Bboy Guillotine - The Hip Hop Ambassador - Noise of the Broke Boys Episode 012

Noise Of The Broke Boys

Bboy Guillotine of the Concrete Allstars Crew sits down to discuss his various work in the Hip Hop community and speculates on the future of the bboy/bgirl scene.

A broke degenerate hooligan documents conversations about being a Bboy, Breakin', Hip Hop, Dance, Art, Music, Creativity, Innovation, and the slow subtle crumble of society in audio form.

Follow @
Instagram: noiseofthebrokeboys
Twitter: BrokeBoysNoise

Listen to the Audio on all Podcast platforms. All The Links Here:
https://linktr.ee/NoiseOfTheBrokeBoys

----more----

[Music]

this episode of noise of the broke boys

is brought to you by food pictures do

you like bragging to your poor friends

about the nutritious meals you get to

eat that they can't afford maybe you

like to display your social status to

the peasants that happen to come across

your social media by showing pictures of

takeout food you pretend to have cooked

perhaps you have no friends because no

one relates to your elitist behavior and

food is a personification of the deep

sadness and resentment you have in your

heart this is you and I have some

exciting news grab your camera and your

favorite dish get ready for some fun

arrange the dish in a pleasing way and

aim your camera at an artistic angle

before snapping the photo go ahead and

dip your camera into the food upon

retrieval of your newly damaged camera

reflect on the decisions that you've

made in your life

and go find a real hobby and now onto

the show

[Music]

in this episode I sit with a b-boy

educator and community activist that I

have tremendous respect for we have a

great conversation about hip-hop and

where we see it going in the future I'm

very excited to get into it so please

enjoy this conversation with guillotine

of the concrete all-stars hello

everybody and welcome to the show my

name is Kurt rock and I'm joined today

with guillotine how are you doing man

yeah without feeling good man thanks for

having on the show

I should have adjusted these mics a

little bit before we started so that

they're in your face a little bit better

so um so what's up man I know you're a

busy guy cuz you you you're involved

with like a lot of stuff right I know

you do those all those well actually how

about you tell me what you're into cuz

yeah you got lots of stuff going on yeah

sure thanks bro

um so

well I mean right now it's like the

second day of the new year so I'm lucky

I get a little break most of my classes

are like on school break right now so um

it's kind of getting some time to reset

and get ready and kind of like get back

in shape a little bit after the holidays

but um what I what I've been doing

lately for work is I I work out juice

juice is a nonprofit organization in Los

Angeles that does hip-hop culture

we got an open session every Friday

night it now it's hosted at Belvedere

Park currently because Salazar Park is

under there gym is under renovation

mmm so basically while they're

remodeling the gym they hosted us at

another part called Belvedere

Belvedere's dope it's a dope place for

practice because they have like two

different areas you could break and they

have like a blue like gymnastics

training type floor oh no these work on

like blow-ups and stuff we're gonna

crash land okay yeah yeah Belvedere part

East LA and then every Saturday at

MacArthur Park by downtown LA and that's

a famous session spot that's been going

on for at least nine years so yeah I

work at juice right now I'm taking a

break from being a regular facilitator

there but I'm still gonna work with them

on other projects in the future yep and

I'm just trying to keep alive that free

open practice space for b-boys and

b-girls people of all skill levels if

it's a person that breaks all the time

now and they want to train with other

b-boys and b-girls a person that hasn't

braked in 20 years when I get back into

it or somebody wants to learn for the

first time I tell everybody y'all come

to juice we also got facilities for you

to learn how to do you know make beats

do rhymes and work on em scene and beat

production you can also learn a deejay

if you want to because you know dope ass

deejay that juice also nice yeah thanks

man so I do that that's my Friday and

Saturdays or that was now I'm kind of

taking a break but Saturday nights I

perform at break room 86 which is like a

straight-up needies themed night club

yeah so that's that's pretty fun that's

just something I keep alive because it's

one of my homies runs it so it's just

like a fun way to kind of like keep me

out of trouble on a Saturday night you

know make a little bit of extra money in

off hours and be connected to some cool

stuff because that that Club is kind of

it's dope it's kind of high-end we get

to meet a lot of celebrities yeah but

not be bougie about it you know like we

break they're like we dress like we're

from the 80s and come out and break so

it's it's dope I like it and then during

the week I work at ok I do a fitness

program at an elementary school for

diseases yeah thanks man that one's

really fun cuz that's in the morning so

it always gives me like a good start in

the morning and then three days a week I

teach a art class a nonprofit

organization in South Central LA at

Leimert Park it's called the good seat

uh-huh and so I love that one too

because it's basically you know like I

said it's for homeless youth that are

looking for transitional services oh

yeah kids that are trying to like take a

shower do their laundry get some food

get on a computer and work in the resume

apply to some different opportunities to

get a job and get housing and then I do

a art group so it's kind of like art

therapy you know I mean I try to turn it

into a career development because a lot

of those kids are really talented

artists yeah they are and so it's just

like how we're talking and building on

stuff right now when I sit down with

them and we start drawing and painting

and stuff they you know they start to

build on their creativity and you know

that's the job I really love so I do

that three days a week and then oh I

teach at a college I need to the

Performing Arts college called the

studio school yeah so that one's dope

that's and that's like that's like

everybody there is like Italy performers

who have been in performance or dances

there are little kids yeah yeah so you

got there like industry type of yep

dancers and stuff and they're kind of

trying to learn some hip-hop or

something totally and so that's another

one I love I have a very special love

for that place because I come in there

and just straight do b-boys shit and

talk about blow ups are not blow ups I'm

talk about doing solos freestyling

battling hip-hop history like I show my

students like Star Wars

documentaries like yet yeah cuz I think

so you know so many people utilize and

commodify hip-hop culture in so many

ways and then even know where it comes

from

yeah yeah it's it's crazy how that is is

like the conversation rarely goes to

b-boys and the involvement that b-boys

had in

hip-hop but it's almost the fundamental

reason why it even exists which i think

is crazy because yeah it's like all that

famous hip hoppers now are like rappers

most most of the time right and you know

there's not really mention of b-boys

really but right it's you know the break

the reason there's a break is because of

a B board they were like hey let's see

that let's see that guy do some some

moves for longer right let's extend this

song and then you know yeah man so so

that's that's really dope cuz I get to

educate those kids those kids that are

literally going directly into the

entertainment industry yeah I get to

teach them about like you know

foundation footwork where this comes

from the history the influences and give

them that knowledge and also I try to do

other stuff to kind of keep it real with

them and talk about important things in

the entertainment industry like

exploitation and cultural appropriation

and stuff like that and try to keep them

keep their mental you know their mental

side a little bit more cutting edge cuz

I feel like a lot of people that come

from a that I've met that come from a

dance studio background they're very

good at being just told what to do and

just do it oh yeah yeah you know without

questioning or thinking or being like

you know super about it that's what drew

me to breakin actually is cuz like cuz I

didn't dance before it I did martial

arts and I was just sick I was like I

mean I love the martial arts but I was

like man it feels so restricting in a

way cuz it's like do this style do this

style and I didn't know what mixed

martial arts those back in the day I

probably would have done that if I had

known what it was but I had no idea I

just you know I would read like Bruce

Lee's book and stuff and I'm like dude

this guy's talking some realness and you

know anyway so like I found breaking and

I was like oh this is a lot less

dangerous than fighting let's just try

it look so cool and then it was just

like I went to the homies that knew how

to do it and they were like you know I

say how do you do it and they go oh

we'll just come here roll around and

dude that's breaking and I was like dude

I can just do whatever I want really in

there like

yeah that's kind of what it is here's

some of the moves everybody else does

but you know like do it your own way or

else you're a biter so right and so

that's what really drew me in cuz I

could just do whatever I wanted which

you know at that age you know I was a

teenager I just you know that's all I

wanted to do in the first place is do

whatever I want it's so bright dreamy

and really quickly the same thing with

my brother

but going back to what you're talking

about with your classes with all these

different people it's kind of similar to

what my my mother does and I don't know

if my brothers talked to you about that

actually similar to what my brother does

to UM but my mother she used to work for

a food bank in Sacramento

she's an artist she's a painter um and

what she would do is she taught this

class I forget the name of it right now

but it was basically it was called oh

it's called woman's wisdom which women

that were in I guess difficult

situations in their life like you know

they they're homeless whatever something

you know they're they've been abused or

whatever they could come to the food

bank they would help them out with

different things food shelter or

whatever they need classes to get back

on their feet and a lot of them you know

had like you know such a rough time that

they said okay we need to give these

these women some creative things too and

so that's where my mom came in she was

like oh here I'm a painter let me teach

some classes so she would come in that's

most classes and she found that these

women you know once they were in the

studio with her they would just kind of

go wild be you know let the true artist

kind of come out and so um you know

eventually she started doing art shows

with the with the women that were part

of her program that's you know letting

people do it I'm pretty sure they sold

some of the artwork for a lot of money

actually that's dope so you know so as

m'as kind of a skill that they all

learned as just as some kind of stress

relief but it became maybe something

that they were really passionate about

and that they could actually make maybe

some money on that's great man so yeah

so I totally

what you do and and the importance of it

because it's like creativity I think

it's highly overlooked definitely in in

school and it doesn't get emphasized as

you become an adult and I really think

that that is one of the fundamental

things of as a human that we strive to

have yeah I totally agree with you and

and to piggyback on that I think a lot

of the professional routes of a person

coming from a creative background they

take the creativity out of it they do

you know like like just just in

particular as an artist you know I've

been an artist since I was a little kid

I always loved to draw you know my first

kind of like stab at doing more

professional type of artworks like you

know I drew all the pictures in the

school newspaper in the school yo yeah

like that you draw your girlfriend's

name and you drop into people but then

when you get to a college age and you go

okay I'm an artist what can I do and

you're like oh graphic design and I just

was never really that excited by it and

now years and years later I've done work

where I've worked with graphic designers

and they frickin a lot of ones that work

for big corporations they they don't

like it because it's like a corporate

office environment and you're not using

your creativity to create something new

you're creating like I got like I'll

just give an example I worked at a toy

company hmm as a as a structural

prototype er there's just part-time work

helping out our friends like like studio

shop where they all worked in oh yeah

and we would meet the designers and I

was kind of thinking like oh this is

cool it's a designer like this is what I

would be if I went to like art school

mm-hm and they're like oh man I fucking

hate my job and I hate this person that

my boss is a dick and they want to tell

me to design all these toy packaging

it's wack and I always felt like wow you

know you you have that um that was so

what I'm looking for like everything's

laid out you have your insurance you

have your 9 to 5 yeah the reliability of

having that career but you're not in

control of it and you don't even like it

yeah like that makes me really sad to

see an artist like their like art slave

you know yeah yeah no I totally

understand that kind of thing I work as

an engineer and like

there's creativity in it but not much at

all and you know in a lot of ways you're

kind of like a paper pusher and stuff

and so you know breaking has always been

like my creative outlet to kind of get

my mind off of this number crunching and

all this other stupid shit and just kind

of exercise the other side of my brain

to do you know some other stuff and

that's kind of what this podcast is too

is like finding out what what makes

other creatives tick and you know kind

of giving me my own thing to like do

whatever the hell I want with you know

put some dead flowers in a trash can for

instance I've been painted in so long

actually but I used to paint all the

time mine it's fresh year I like the

trashcan it's kind of like a thing for

me now well see so actually this is

probably maybe a good time to explain

this a little bit is like the reason the

trash can I think is kind of like a

symbol for me in a way because it

represents like kind of a container it's

an empty container that really you can

put anything in and we arbitrarily as a

society say this is not worth anything

the stuff we put in here is not worth

anything but I think that you know if

this was made out of gold you'd probably

think differently of it but why why just

cuz it's gold it's it's just a container

to put something in and I might highly

value this stuff that's in there and so

it's kind of like counterculture in a

way to have a trash can as a symbol for

me is that I can put whatever I want in

there and I value it and so anyway so

like you got a trashcan fire with you

know some ladies boom box meteorite boom

box yeah so you know I thought it was

kind of funny too but but yeah that's

kind of what I'm doing is like there

there's there's value and things you

might not see value in

kind of what I try to remind myself of

and that's why I use that I love it man

that's very hip-hop of you take the

image and flip it you know yeah yeah

definitely so uh let's talk about so

you're originally from Seattle yeah okay

and so did you start out as a b-boy so

you started out as a b-boy because I

know you do graffiti as well how did you

get into the graffiti scene from there I

mean I think I I want to see I started

at both very simultaneously like when I

was really little kid like like 10 years

old and younger I always saw graffiti

and was like yeah like what is that you

know yeah and I always felt like wow I'm

drawing comic characters in a notebook

but this person drew it on the wall with

full colors like whoa yeah yeah

and that was always like something I was

kind of obsessed with and then same

thing with when I would see kids break

because sometimes here and there I would

see people break randomly and I was like

that's that's the craziest movement like

that's like something I really want to

do because it's just there's something

so original about it but but very

organic about it mm-hmm you know and I

was obsessed with martial arts too when

I was when I was a kid was in middle

schools to take Taekwondo oh cool yeah

yeah yeah right and so when I would see

kids break I was like that around that

same time I was also watching a lot of

like hip kung fu movies yeah and then

also I started to get into wu-tang Clan

I was like the first hip-hop that I

started listening to and they and they

use like kung fu sounds in their in

their hip-hop music and so I was like

this is all kind of tied together yeah

you know and then when I when I got a

little older I think I was like 14 I saw

this documentary called Style Wars

mm-hmm and that comes from the 80s and

that was just like a blueprint that gave

me all the info I needed and once I saw

that I was like BAM that's me I'm gonna

learn about graffiti and get good at it

and I'm gonna learn about breaking into

how to like learn how to break so yeah

yeah I know I feel like I have a similar

story is you know kind of like always

seeing it going like what is that it's

really cool I wonder what that's all

about and then just you know coming

across

just a slew of information it probably

was stock Style Wars that I watched

there was some documentary long time ago

but yeah it was just like this is what

hip-hop is and I was like okay that is

everything I wanted it to be and so I'm

glad that that's what it is because this

is this is tight this is hype I'm all

about it so let's go and I was maybe

only like 14 or something at the time so

that was like you know it just all

clicked to me and then now it it was

almost like I was always a hip hopper

and then didn't know what it was called

until I was like introduce you were

already moving congruently with it yeah

yeah yeah and so yeah so that that's

dope so what do you think about the age

of hip-hop it's like because I was

talking to someone earlier today about

it is I realized that hip-hop is you

know 50 years old maybe crazy dude and

you know I have been deeply into the

scene for almost 20 years and maybe

invested into it even a little bit

longer than that before I even knew what

it was really and that's like a third of

the time to a half of the time that it's

even been alive I I was like whoa what

the heck that's kind of a crazy thing to

realize totally that it's such a young

thing in that it's ever-growing it's not

like it's not like some of the other

things that we see out there is like we

are whether we understand this or not we

are like still the beginning pioneers I

guess of like what hip hop is going to

be in like a hundred years exactly it's

it's kind of crazy to think about that

yeah I love that and um I think that you

know another thing we see now because

guys like me and you are at that age

where we're getting married settled down

having kids and so now if you're a dad

who comes from hip-hop you want to take

your kids to like you know like dads do

dads stuff like oh they get to get their

kid in sports or music or whatever but

yo you can take your kid to break in

together take them to open practice spot

have a break or get him into

you know DJing or Ryman or art video art

and like that's a thing now you know and

I think that's beautiful I think it's so

cool to see how it's gone all the way

around the world and come back you know

what I mean and we have people like from

other countries that took up hip-hop

because they loved it and ended up

influencing our hip-hop culture in

America yeah you know I think that's so

dope dude and I'm always it's always

blowing my mind to see the level that

hip-hop is is taking it to like like

every time there's something new you

know like oh man there's a Netflix

series about hip-hop

oh yeah there's all these new Doc's

about it I'll dude there's another movie

about hip-hop like Oh like I love that

because I feel like people are passing

it on on the right way yeah yeah you

know there's some there's obviously you

know I'm sure we'll get into dissolving

some stuff at from our generation where

we look at it like what yeah what is

that you know yeah but but but to me

that's also a part of it and you gotta

take you know take that with it and keep

alive what you think is important you

know it's like a it's like a martial art

we got to keep the style alive so yeah

actually I have a question um cuz cuz

this really ties in to what you're

saying is what are your thoughts on like

the new style of hip-hop now like the

mumble rap and all that stuff compared

to like what we grew up with which is

like 90s kind of style right what are

your thoughts on it because I know

there's like a lot of mixed opinions

about it from people like our age

totally um I think I just see

reflections in this new style in the

same new so called new styles when I was

young

mm-hmm like when I was when I was

getting into hip-hop it was like I love

you know boom bap type hip hop or

underground hip hop or or backpacker

type music but I also did like some more

trendy club time music's has a dope beat

and you can vibe to it especially as a

b-boy you can identify with that yeah

you know but then there was okay I I got

to admit I would specifically remember

hating on like Cash Money millionaires

No Limit

yo type because I was like okay you guys

are kind of using a commercial or

superficial type of information base in

your raps where these other MCS

talking about positivity knowledge

creativity something different if you're

gonna say it the same way you have to

flip it make it different you know what

I mean however that movement is is like

party music United media and that's

that's how I look and I like it too bro

when you learn you look at the samples

the influence how they made like the

bass and the hi-hat more important in

the beat than your things and I like

that music too and it has adult vibe to

it too so you know I feel that way about

a lot of the rappers out today I think

that it's is very different um

definitely a lot of the conscious minded

cultural movement has like left and come

back like I'm always kind of is blowing

my mind to to see now the female artists

that are talking about empowering stuff

for females and yeah we did not have

that yeah we do as much you know it's

like Lauryn Hill Erykah Badu a couple

other artists like that um you know like

but now it's a lot more of them and it's

a much more powerful thing I think

that's amazing

yeah you know you got to acknowledge

what's positive that's coming out of it

and I see like even now a lot of older

rappers are coming back releasing new

albums and kind of dropping tracks with

they're kind of mumble rapping a little

bit yeah oh yes I could do that too yeah

yeah you know and I like that and I'm

like that's what that's what hip hop is

supposed to do is supposed to be like

acrobatic and be able to be flexible and

make fun of stuff and go and elevate by

going there so yeah ya know I I think I

had a similar perspective on it too cos

when I first you know I used to be all

into the conscious kind of hip-hop and

stuff you know some of the other kind of

party music I was like okay it has its

time in place but for the most part you

know it's not really for me

but then something common has a lyric in

one of his songs where he says if I

don't like it I don't like it that don't

mean that I'm hatin true and that like

really resonated with me back when I

first heard it because I was like you

know what that doesn't mean it's not

hip-hop and I shouldn't like try to hate

on it because of that because it's just

someone else's perspective on that and

so with that mind that with that

mentality I was like I gained like a

bigger respect for what they were doing

and

you know was more accepting to it you

know like I guess I stopped being the

hip-hop police

ya know anyways yeah like cuz I was like

you know I gotta keep this thing real

but it's like no you're not keepin it

real you're just being a hater you're

yeah there they took hip hop to a

different place than you thought it was

gonna go but that doesn't mean that it's

a it's a bad thing and so I look at that

I look at mumble rap the same way like

when I first heard it I was like aw what

the hell what are these guys doing but

then the thing you know that thing in me

clicked again going like you know what

hip-hop has always kind of been this

counterculture thing and what is mumble

rap they're going you know we don't want

to sound like the guys before us you

know why cuz we don't want to be biters

let's do something different let's you

know in a way like mumbling so you have

to kind of listen harder or whatever to

understand what's going on is like their

artistic expression of what they're

trying to do in a way sure you know and

so when I started realizing that I'm

like dude they're doing the same thing I

was doing you know everyone else was

doing it so I can't hate on that that's

hip-hop that really is hip-hop yeah man

and I mean I personally I'm like a

reverse hater like when I see older

heads hating on new him up I'm like man

what are you doing bro mm-hmm you know

what I mean cuz exactly I have social

media have Facebook and Instagram all

that stuff so when I see people you know

they post a video of somebody who broke

down in an interview with sets of wack

shader said something that was negative

against legendary iconic hip-hop artist

because they're not obviously not

educated about the importance of these

artists mm-hmm which you know I can

understand that but it makes me sad when

somebody who's older is pointing at the

youth and being like oh these youth are

so crazy it's so out of control look at

them look I can't believe they're doing

that when it's like yo bro it's the same

thing people saying about us when we

were teenagers yeah when I was a

teenager doing graffiti and doing

breaking mad people will shake a finger

and be like you're wack you don't know

what you're doing that's not a part you

don't know what this is and it's like yo

I'm here I am 20 years later keeping

this shit alive so my answer to those

people is like don't hate you know like

find the positive in it or promote

what's positive like what's dope to me

now is you got people like um

my other favorite podcast Noriega and

this move deejay efn they have a podcast

called drink champs and yeah it's

ratchet like they get drunk and they

smoke weed but they talk about hip hop

non-stop and it's on a major platform

and they got millions of listeners and

they're literally giving you direct

history of hip hop culture right there

yeah yeah I love that and it takes these

artists makes them relevant again it

gives another push in the popular

culture to be like you know a local Jay

still around Wyclef you know if you know

about their history and how they made

their hip-hop music which is iconic mmm

classic you know you can learn more

about yourself and what you're doing

what's happening now yeah kind of like I

guess getting spreading the message of

like what hip-hop actually is and not

trying to like define it under the terms

that you had when you first were

introduced to it you know cuz that's it

is ever-growing thing and it's gonna

yeah and recognizing that it's going to

evolve yeah yeah and so I guess with

that in mind breaking right now is

evolving a lot too and I know the scene

is very different from when I started as

it is now and in the future we're gonna

see it even more different because now

the breaking is going to the Olympics

and stuff and so it's like crazy I feel

like the scene right now is where we're

kind of like approaching this this thing

with the Olympics and I feel like that's

gonna be the stage where maybe a lot of

people that have never you know I've

never been introduced to it are gonna

see this for the first time and so I

what I want to do is welcome those

people and show them like what it's all

about and here's here's some history

here's you know here's what you missed

on all the years that you weren't doing

this right and now you know now enjoy

the rest of what this is you know and so

that's kind of what I'm trying to do

with this podcast is like kind of

document what's going on in the scene

what you know everyone's thoughts on it

and

like have something there so that when

someone comes in who's never seen

hip-hop before and was introduced to it

they can go okay

I think I understand a little bit more

there's some background information yeah

and there's you know here's you know it

guess it's your foot in the door in a

way and you can easily go down the

rabbit hole as you did as I did in our

own lives but we had to get we had to

get our introduction somewhere and write

nowadays you know most people's

introduction is through like social

media or whatever and so it's like I'm

not too big on social media or anything

so I'm trying to at least like put my

thoughts out there somewhere yeah that's

good that's that's totally important

crucial yes so I guess what do you see

with with the future or like I guess

from when you first started in the scene

till now and beyond how do you see this

going oh man I don't know so yeah that's

a vast vast answer like when I first

started in breaking and very very very

first started I got really lucky the

first Jam I ever went to was like an

epic Jam link I was like 15 I think

and my homegirls told me about it and

they're like you know let's go

because they knew older hip-hop people

in Seattle mm-hmm and so we went and I

think the jam is called break beats in a

jam it's a jam that Crazy Legs was

throwing on a tour where he throw him

all over the place and so it was so dope

all these b-boys from all over the west

coast came and that was the first time I

ever went to and I got to see like LA

Breakers caveman and Bruin Iron Monkey

energetic all these people from from

down here in LA and the Bay Area people

like b-boy wicked b-boy Ivan all the

people from Seattle like the young

massive before they were massive monkeys

I think mmm the younger like circle of

fire people and see all these styles

like I specifically remember just

looking at people how they were dressed

and how they would dance

and I'm like wow everybody here has

their own style mm-hmm like there was a

kid and he had a kung-fu suit like a

silk good blue suit and a Kangol hat and

he was doing like kung-fu movements with

his hands I was like oh shit that's so

sick and then like the con yeah or like

a crazy like comic book character

Throwdown showdown like yeah you see

like like um like one of my favorites

even from back then from that first time

was Jerome ski cuz Jerome ski had mad he

had Matt's town like a cocky attitude

like loosely kind of yeah and he's

dressed like he's like a little sports

player something so he looks like he's

gonna like fuck you up with this sit

down and then like like caveman caveman

looked like a badass you know he really

he could probably could whoop your ass

but then he's gonna do some hard-ass

like shoulder hallo impossible type

movements you know like and so that that

was my first introduction to b-boying in

hip-hop and that's one of the things

that I think has kind of left a little

bit is like that aspect where you wanna

look at the next person and go nah homie

I danced differently than you yeah yeah

yeah yes yeah yeah no I think that's

right is back then it was like you you

recognized people's styles and that they

were good at what they're doing but

you're like yo my style is better and

then this is what I bring to the table

and now I think it's more like people

approach it and they go wow I like what

that guys doing I want to take it and

flip it or something right you know and

so it's kind of gonna buy the same

sweatpants he has oh yeah I want to

dress like that guy or what you know

whatever it's so it's kind of day and I

I have a feeling it has something to do

with the social media world is that a

lot of people get you know get their

kicks on social media and you know the

they see you know someone who's popular

there and they go okay let me try to

emulate what this guy does cuz he is

obviously popular on you know on social

media or whatever right and so yeah I

think the jam the the aspect of events

and like getting ready for events and

jams and stuff is not so important

anymore because you can still

you can still get the clout you were

striving to get on social media now

right whereas before it's like there is

no social media there's barely an

internet it's just this Jam this month

and that's it exactly guard and I mean

it there was maybe one Jam yeah there

was one Jam that you knew there was

gonna be a ton of people at and you were

gonna see a ton of b-boys there and all

the other days the only people you saw

break was your crew oh you know probably

3 to maybe 10 people if you were lucky

you know

and so that Jam was like so freaking

important to you that you were like dude

okay I got a you know I got to make sure

that I'm hitting everything and if

someone's trying to battle I'm gonna

smoke them or whatever you know you're

coming correct every single time and so

it's yeah it's a different it's kind of

different yeah I think too there was

that influence in hip-hop like yeah I

mean once again taking back to the

moment right thing you could see how

part of the part of the coolness of it

is the conformity to be like is lit it's

wet look at what's up in that bed you

know like hey like if I can follow this

formula I can find success and be cool

kind of feel whereas with the original

art not the original but you know when

we're not when I was getting into it it

was like okay but flip it though like

don't act like then that the last person

don't let that be a standard of coolness

or a key to unlock your you know street

cred or whatever keep pushing it like

flip the shit in another way to show

that you actually are more creative and

more intelligent and you can push this

thing further so I think that's kind of

a big change that happened and I think I

think with the dress code I feel like

there was so much more other stuff

involved in hip-hop that was coming in

and part of it was like street culture

gangster stuff martial arts sport where

culture you know what I mean and after a

while it became like like instead of

looking like a character I think you

wanted to look like you could do more

flares than the next person you know

yeah yeah kind of like I will win by

doing more

instead of like I will win by being

totally different yeah yeah does that

make sense yeah I don't know no that

makes a lot of sense yeah I mean I just

look at b-boy I guess it's I think the

the the most definitive thing you could

see is that people that break in this

era versus people that break in like

late 90s or so it's hard to say it's

hard to pin a style to that like late

90s early 2000s Aaron but nowadays it's

like I can probably think of maybe a

handful of b-boys that probably define

that era very much so and it'd be like

somebody who's somewhat well-rounded has

like you know decent power you know

every every blow-up type of fries or

whatever right you know enough basic

footwork to like you know do a really

nice CC or something you know you know

basically that kind of formula that

works on the like BC one level right yes

so to take it a little further this is

one thing that I see is very popular now

it's a style of break and I call it one

of everything and the dude comes out and

does one of everything he does one top

rock one burn one go down one footwork

one transition one spin ya freeze one

blow up one beat hit and that's it I

feel like in their mind or like I just

did everything you can't beat that

hey oh yeah yeah it's like yo you had no

style you did this ain't like shout out

to those b-boys that you described cuz

to me those are the people now that are

pushing this culture to new audiences

and being the main influence now that's

like this is what b-boying is so you

have to be good like that I think that

is a part of it's important to to

respect that but I think a lot of the a

lot of the younger heads because of

YouTube and social media that's how

they're consuming it yeah they're

they're sort of taking this to like say

push basically pushing in the sporting

direction rather than like back in you

know back then it was like nah don't do

that you're being a biter right now

we're like nah man come on dude like

different or like you literally go in a

group with your friends you say we're

all gonna be different from every

but we're gonna be together on this you

know and so I mean I think there's still

a lot of crews that do that which is

dope I'm not trying to say that stopped

it's just a lot of the jams and

practices that I go to I see a lot of

b-boys that are like the one of

everything style

ya know what there's a you know one guy

that I've always liked a lot is Yann

yeah he's crazy like and the reason I

like him so much is that he's not a one

of everything b-boy but if you if say

your style is just you're like you love

just doing top rocks or something and

you battle that guy he's gonna answer

you with just top rocks and he might

smoke he's gonna rock your ass yeah yeah

he's gonna go and then if it's a you're

just a power head or something and you

just do power against him he might go

okay well here's some power moves to

right and he might smoke you too so it's

kind of like totally he's a he he is

like everything b-boy but he does have a

like a definitive style he has like a

vocab in each of those things he's got a

huge vocab right yeah that's what it is

he's he's a dictionary of stuff just yes

styles are I don't know what to say but

yeah just different elements of b-boying

and and another thing that he does which

I like is he throws his own style into

it you can see he's a guy that has

obviously a very flexible back you know

I mean he's always doing like crazy

rainbows where it's almost touching the

ground and back bends and crazy dolphin

dives in and out of his power and shit

and like that's dope that's isn't that

he discovered that probably very early

on in his breaking and that's like part

of his style he's a person that if you

see a silhouette of him breaking you'll

recognize him yeah yeah yeah you know

mm-hmm to me those are always the

greatest ones because they have there's

their style of how they move is like

comes from the shape of their body and

then also probably their background you

know I mean and then going from there

yeah yeah yeah it's yeah he does it

really well and what I'm talking about

is where like sometimes I'll watch him

and I'll go like dude what the heck did

that guy just do and I'll like have to

read

the video or whatever or hope there was

a video that I can rewatch of it and I'm

just like what the heck was that that's

crazy crazy crazy and then like finally

it clicks in my head oh that was like a

CC but he just did his own little twist

to it

right and made it his own move and I

think that's like the dopest way to

really like show show that you

understand the dances that you took a

fundamental move that literally every

b-boy does and you made it into

something that's your own that was hard

for someone who's been dancing for 20

years to like even recognize as a

fundamental move you know and I think

the first person I ever saw do that was

migas from boogie Bratz was like I when

I first saw that guy I was like blown

away I'm like dude what is he doing it's

like it's it's like he's going in a

different dimension or something cuz

it's like we had all these weird little

things it seemed like everything had it

it's like his hand would go this way and

then your he was telling your brain to

look at this and then he would do

something over here shoot he tricked me

right and that's kind of like what I

when I understood that is like he was

tricking you the whole time it's like a

magic act almost it made me want to like

kind of do that is like you know trick

you into thinking I'm gonna do something

and then do something else cuz I was

like that is like such a cool way to to

kind of blow someone up in a way I call

it flow up instead of blow up that's

what's up yeah totally

ya know I used to love to watch that guy

cuz he's amazing the way his um how

fluid you know his movements are and

what like when you say that term flow up

that really makes me think of like

circle afar like orb and free oh yeah

yeah those guys are like that too like

though they will they will flow on you

and like it'll just blow you away like

it's crazy because they're they're like

control of the dance like they don't

have to do I feel like I feel like

they're very well-rounded but it's more

like just their own style it's not like

I did a power set with like swipe 90 it

just Flair like they just flow and

everything just fits together so well

were you like whoa damn it just it looks

like they just made up their own dance

in a way right when you see it you're

like oh what the heck is this it's like

it's like I know it's breaking but it's

almost you know it's it's almost

different than breaking plate I mean I

guess that's what that's the point

but um ya know I always liked free a lot

I always like to orb a lot circle a fire

they that's a very revolutionary crew I

think did a lot for the scene I mean and

they still are as far as I understand

they're still like oh they're doing that

thing I know um Seth he lives in the Bay

Area so I lived in Oakland for like five

years and so I would always like hang

out him break with him and stuff and so

him yeah that's what's up he kind of has

like a kind of couple where a style or

something it's it's interesting yeah

yeah dude I love it man that guy's the

homie - like shoutout south seth circle

fire all those guys bought the balance

of the balance I've been a long time

yeah that guy was good - yeah those guys

are always cool they were like cool

older brothers yeah and and I feel like

especially for Seattle they brought a

lot of opportunities like straight to us

and she's like showed in our face like

look like redbull Lords of the floor

mm-hmm was a crazy Jam I don't know

exactly how bad the balance was involved

but I know he that was one of the big

first times when redbull got into

breaking was like here's a you know

whatever the budget is let's do

something crazy and like and he was

involved with that yeah he was oh yeah I

think he like organized it or something

I don't know exactly that what yeah

that's crazy cuz like you look at how

involved redbull is with the scene now

and as far as I am as I know that was

the first gem that redbull was even

involved with Leto and that's you know

obviously a legendary event you know

where all these other people came in

yeah one of the biggest things for me

was was being cuz I was like 18 when it

happened or 17 maybe it was seeing all

the people they flew out in in person

instead of on a video yeah yeah yeah and

also realizing like

oh I seen that dude on the b-boy summit

in 99 yeah that's that one guy and oh I

see oh damn that's intrigue oh but

that's actually migas you know I mean

that cat had different names and it was

like wait but that's Oh like it was so

cool to see him in person and it was

kind of like a mind-blowing thing you

know yeah what I always thought was

funny was that like cuz you had this

grainy ass footage that you would see

these guys on and it's you know like

people you never met before and then you

go to a jam and you're like oh who's

this guy he looks like he's important or

whatever and then you see him breaking

you're like oh that's free it like

clicks in your head and like oh that's

what his face looks like because you

recognize the movement recognized his

style and you're like no shit you know

like oh that's Rob Zilla okay good dude

he's another one oh man that guy was

crazy yeah yeah Rob zilla's dope he's

still good I he sometimes comes to

practice at my brother's house I will

train and stuff and he's still he's

creative as hell I guess where he that

guy has so many moves mm-hmm just and he

it's like when he approaches the dance

he goes like what are you expecting me

to do oh okay I'm gonna do the complete

opposite or I'm gonna do that in Reverse

and I'm only gonna use my elbows or

something and it's like okay dude I love

it yeah his dogs very complete like very

crazy yeah just I feel like he's one of

the first like a blow-up move artists

I've ever seen is where it's like cuz

you know like the typical blow-up guy is

just like you know hand hop and stab

into like a you know air chair or

whatever right you know that takes a lot

of difficulty no doubt but there's a lot

of artistry in the way that Rob Zilla

would blow you up because he had that

sort of athleticism too but he would

just like do something creates like

something that weird little swipe thing

he does and then he'll like go on his

fingertips and like you know his shoe

off in the middle of it right and it's

like holy shit how did he do that that

was the craziest thing I ever seen and

it was also like you know

super um just super artistic it's just

like he not only blew you up with

athleticism but he also blew you up in

like the weirdest shit he could think of

so yeah I mean hard like difficult so

did a lot of those signatures I still

haven't seen anybody do yet yeah you

know what I mean like the Mothra style

he has the plague moth wings yeah yeah

but I feel like yeah the Grinch thing

the freaking he would do like elbow tip

spins like what his hand on his hip kind

of thing like that like dude he was man

that guy was crazy good yeah I want to

get him on the show actually eventually

though I'm gonna do ace tomorrow

actually Oh tight yeah that's a guy that

has a lot of history a lot of history

himself he's deeply embedded in the

Southern California breaking history for

a shirt that's sick it's like I feel

like he's the I don't know he's uh he's

like so damn smooth just nope yeah it

like you see you see a little bit of him

in so many like oh jeez it's crazy yeah

it's probably because he taught a lot of

them yeah I feel like is it's really

cool to see somebody like him because he

realizes like wow there's people in this

area that were very well-rounded mm-hmm

yeah like very well-rounded like a

little bit of everything yeah cuz

historically Southern California was

known for like power moves and just like

doing some crazy stuff and then makers

top style like yeah but then you there's

also like a very rich history yeah like

a little Caesar perfect example of like

dudes that'll just like go crazy on you

but yeah but yeah Los Angeles has like a

huge history of like some styles beyond

that too and so I think ace is a good

example of that totally yeah

so uh so we didn't really talk about the

Olympics what do you think about

breaking in the Olympics

man something I've been asking probably

everyone I've had on just because it's

such an interesting place that we're

about to go to totally I think that one

big thing about breaking when you break

every b-boy can identify with this I

think people have so much Miskin

misconceptions about it yeah you know

like think of the things that normal

person says do you like oh you break oh

dude

like do you get in a lot of dance

battles like when you believe them all

or something yeah yeah oh you break you

must have crazy upper-body strength

oh I must be able to bitch like you know

and it's like no none of those things

are true you know and I just think that

the the miss conceptions about it could

possibly be like crazy magnified mmm by

this situation possibly possibly not it

could be great for us you know so I want

to keep my mind open to the positivity

and I personally would love to be

involved I'm a type of person like I'm

good at talking and hosting and doing

stuff like that like I would love to be

the commentator talking at the break-in

Olympics yeah yeah because when I do

that I'm gonna talk about where that

person is from what crew they're from

what country they're from why they dance

that way why they're dancing that way at

this moment - you know like I think that

that's an opportunity that all of us

have to bring this culture with us into

the forefront of this spotlight and a

positive on a in a positively motivated

sense it could be fantastic

yeah you know what I agree I think it's

like a very good opportunity for the

scene to showcase like what we have been

up to since you last saw like in the

freakin 80s or whatever right you know

and and I hope that everyone else is

recognizing that it's a huge opportunity

but we also need to get our acts

together for it because if we go into it

blindly and you know don't introduce the

public to it the right way you're gonna

have some wild-ass shit happen and

they're gonna get the wrong cuz

someone's gonna be out there saying okay

this is what's happening on these

battles and it's you know this guy just

rolled on the ground all that was cool

Oh what do you call that right let's

call it a you know the Rolly do you know

yeah you don't want that to happen yeah

and so um

like commentators are probably the most

important thing at least for the

introduction to everyone else into the

scene because in my mind the battling is

gonna happen it's we've been doing the

shit

you know our whole lives it's gonna

happen and it's gonna be right so I'm

not worried about that the battles are

gonna be hype yeah but I'm I'm more

afraid of like how the public is gonna

be introduced to it and so that's why

again I think this podcast is a good way

to like get give I guess give the the

call to everyone that there needs to be

some thought into this totally before we

just kind of blindly step into it yeah I

mean I think I think another really big

aspect of the culture that we are seeing

a shift with late a recent you know big

sponsored battle formats is that you

compromise the music yeah play James

Brown yeah in Rocky damn shame Big Daddy

Kane Rock yeah whoo tang you know all

these classic break beats and funk

tracks and hip-hop tracks in this whole

body of music that's so has educated

b-boys and hip-hop people so much about

hip-hop music like I love break breaking

music so much that it made me learn

about music yeah yeah and I think most

real b-boys are the same way and that's

one thing that always makes me sad kind

of that they can't play classic tracks

because that is one of the ways that you

educate the public about this culture

you know Sean where I came from man

James Brown give it up turn loose sex

machine soul power you know what I mean

and when you take that away and make it

a little more electronical I'm cool with

that

you know yeah like like and once again

shout out to the deejays that are on the

forefront of that that are yeah

making it fit in that format and doing

the best they can you know it but it's

just different yeah you know it is

different and yet I I hope that if

that's the only hump we need to get over

I think we can probably figure out a way

to do it and yeah I think DJ's like plus

one and lean rock and flank flag and

countless others have been doing a

really good job of like

keeping kind of the essence of like what

we do in the music that they produce

themselves and but yeah I mean the but

these guys are not just producers

they're like very very talented DJs when

you give them already established music

they make you know they make it go crazy

so it's like I really I really hope that

we can pull that back into the scene

more and yeah I think it's a damn shame

that it's kind of come out and I think

it maybe has to do with you know

copyrights and all that great job with

that corporate influence when you're

streaming it live to millions people are

viewing it yeah the copyrights right so

yeah yo maybe won't be an issue I

remember watching the Olympics in hey

they do like floor routines and mm-hmm

the routine with figure skating with

their listen to music that music ska be

ready yeah I mean they probably have to

get it cleared so it's maybe just a

really crappy exercise of just saying

here's the music we want to play let's

see what we can get cleared and you know

maybe it's like here's 200 tracks let's

cut it you know let's see what what goes

through okay it's only a hundred let's

see what we can do with 100 maybe that's

what you got to do but it'd be nice to

see that come back into and especially

on the stage of the Olympics where a lot

of people are gonna see it you know and

with that being said I think the other

thing that I am a little bit worried

about is how judging is gonna happen in

right Olympics because it's like I think

breaking is such a like a subjective

thing right you know it's you're judging

an art form and I think most of you

always understand this that you win or

lose a jam and it's not that you

actually won or lost it's more that the

judges maybe they liked your style or

didn't like your style that exactly you

know and so there's a lot of opinion

involved with that I mean the most

unbiased judge is still biased and

that's because no matter what they do

you know no matter how many things they

try to draw away from swing their

opinion they're still gonna go all

things being equal

this style versus that style what breaks

the tie I like that guy's style better

than that guy's style and everything

else being equal no flops you know

perfect execution of everything same

difficulty or whatever same musicality

what breaks the tie it's always gonna be

I like that style more than that one

right so to me that there's an inherent

bias in there that so knowing that how

do you reconcile that in the Olympic

setting where you need to have some

objective criteria to judge on cuz you

can't just point with your hand right

yeah because that's how we traditionally

do it is we point to the winner who we

think wins the battle and usually like

around for round or whatever whatever

way you judge but you know for the

Olympics

you got you got like uh Caicos here um

you're gonna need some kind of criteria

to judge on that is stable for

everything right yeah and I'm trying to

figure out a good way to do that you

know what I mean yeah because I guess

for like gymnastics right you got you

know usually there's like a floor

routine and they'll say okay I'm gonna

do these moves or whatever point system

point point system they'll deduct based

on how you executed or whatever so a lot

of it just has to do with execution and

I think you can probably do that for

braking is given execution score but I

don't think that's gonna really do cut

it for what we need it to do because you

know you can execute a whole lot of

trash right nicely you know what I mean

or a whole lot of biting very nicely and

maybe exactly you know where does it

where do you cut that kind of stuff out

you know and that's where you get this

creative score I don't know how you do

that though I don't know man to me I

feel like the creative score would be

like one of the most important parts

because otherwise when you're

quantifying everything it's just gonna

be about who could do the most flares in

the most head spins yeah it's gonna be

whoo whatever kid as the long as power

sets gonna win probably right

like you know like a score for like your

legs were straight or something yeah and

that's another thing is like people have

different styles how they do power even

the quant the most quantifiable part of

breaking right so how do you even

determine what a set in stone score is

gonna be you know and then how do you

how do you score footwork originality

style you know are you gonna are you

gonna get a penalty if you freakin you

know make a gun with your hand and

putting the dude's face yeah yeah yeah

there's stuff that's already involved in

braking but it's like not involved in

other sports yeah they don't want to see

that in that groin you know I mean like

are you gonna be penalized and stuff

like yeah I'm afraid that that's

probably gonna happen right well yeah I

almost think what you need to do is

embrace the bias and say you know this

is part of what we do because it's a

creative it's a creative thing right and

so what you need to do is have a heat

you know you need to have this pool of

other creatives that are knowledgeable

about the dance and and give their

opinion on what happens and I mean yeah

you can give them criteria like what is

a good execution and bad execution score

and they can factor that into what their

overall opinion is but I think if you

somewhat embrace it a little bit but try

to weed out the bad opinions by having

tons of judges okay you know so like

traditionally we only have like three

judges maybe five judges for a battle

right I'm thinking like what if for the

Olympics you just had like 20 judges oh

well you know because in a way in it in

a way I think it it actually stays kind

of true to what we're breaking is is

like back before any competitions

existed you were breaking you were

battling say me and you are battling

like what are we trying to do we're

trying to blow the other person up right

and have the crowd go like oh that guy

got burned you know what I mean and so

in a way these judges are the crowd

except they're not just like bystanders

they're like they're they're very

knowledgeable people and they have their

holds a lot of weight now and so I think

I think if you had that it would at

least get rid of you know the the few

guys that are like trying to vote for

their homies or whatever right you know

hopefully you can't vet out there's

always gonna be a thing hopefully you

can yeah it will be yeah I think if you

can at least vet out the judges well

enough so that you know that they're not

going to outwardly do that or obviously

do that they at least have a little bit

of honor and like they're judging and

then but you have like twenty of them

and yeah we know that it's probably

gonna happen a little bit unconsciously

but it's gonna get weeded out because

you have this huge this multitude of

judges from different countries

different backgrounds different eras

giving these opinions on it so you have

a diverse diverse judging panel I almost

think that's maybe the fairest way to do

it and still hold true to what breaking

is well cuz that way too if you got 12

judges or 15 judges on your side you

know you really won yeah yeah yes that

many people but you know saying that you

got it then that's a little bit easier I

think to accept ya cuz cuz all this all

these other judging systems while I

think it's like they're they're trying

to nail down criteria for judging I

think they're also showing the holes in

judging to me like Dizzy's system for

instance I think he's he's made a good

effort to try to nail it down but he's

also pointed out that you know you can

have all these things you could score

100% on his scorecard but I could still

think you lost right like like if you

went back to the example of like yawn

right say you had the the one of

everything b-boy versus a yawn who just

say he just does his like typical little

flow kind of move and hits a crazy

freeze you know he probably score high

in certain things and not high in other

ones if you just did something like that

and then maybe you had some other guy

that hits whatever and maybe he scores

really high in all these categories

right in in Jersey system I think maybe

that guy would win but in another system

some

you'd probably go with the aunt I would

think totally cuz he's just you know

maybe he's mastered that style so much

more than this guy

and that's that depends on the outcome

of what what it is we're going for here

right yeah yeah and so yeah and so I

think with Dizzy system what it's

pointed out to me at least is that it it

it tailors you to have a certain style

to win that kind of battle but yeah

inherently you don't need to do that to

be a good b-boy and so I I think he's at

least like giving good categories for

what breaking what can constitute a good

boy but I also think that there's other

categories I also think you shouldn't

just have one single person judging on

each of those categories because again

you're introducing a lot of bias that

you probably don't want to have in it so

my perspective is that you'd have all of

the judges vote on each of those aspects

would probably be a little more fair

yeah but again I think maybe what you do

is you just say here's this is this is

what we define as all this stuff and

then give it to these twenty judges or

whatever they can use it or they can't

that doesn't matter they just do what

they want they do what they want it's

like I trust that they have the

experience and knowledge to know like

what they like and what they don't and

and they can back up their opinion I

guess the the issue then comes where the

public might come forward and go like

okay well why did this guy win and that

guy didn't win and then now you got a

whole slew of people giving a bunch of

commentary on why that is and there's

nothing objective about it it's just my

opinion was this my opinion was this my

opinion was this and you sum it all

together to say okay that's why that guy

edged over this guy I don't know but I

think this is the conversation that

needs to happen and totally so we can

have some kind of like basis yeah um I'm

sorry to interrupt but can I go the

bathroom oh yeah a gallon water - oh

shoot

break-in Olympics another thing that I

think is gonna be really interesting to

see what you're already experiencing is

the corporate sponsorship influence and

how that's gonna be a thing I mean you

know this is already happening in a lot

of ways in people and already I'll just

give an example it like could happen in

the Olympics let's say you know let's

say like Team USA sponsored by Nike

right and they're in there and they're

all Nike DUP which okay we like Nikes I

freaking love them right yeah

there's like a Nike frickin billboard

inside the arena and then they win and

you look at the judges and all the

judges have Nike track suits on you know

I mean it's an those things were you

like oh

Nike kind of bought this one they bought

it yeah well I don't know yeah to me I

kind of see that as as a negative part

because you know there's so much money

flying around and and I think for for

b-boys it's hard to get a job dude

yeah it's hard to get a job everything

compromises your ability to break you

know unless if your job is breaking

unless it is break and then those jobs

are very competitive with other people

that break so if somebody some corporate

sponsor comes in and says yo your rent

covered plus this amount plus you teared

up you know they're gonna be controlling

those they're gonna be like little

break-in puppets right yeah yeah you

know I don't know that's just a fear I

would have of breaking blowing up but I

don't want to go forward with fear I

want to go forward you know with the

love for it and the understanding that

we're gonna you know those same people

are gonna be involved

I think people you mentioned like lean

rock bless one flag who you know those

same guys turn around they go back into

their local communities and throw dope

jams that are raw where they played the

original break beats and they hire on og

deejays hmm you know actually lean rocks

been doing a series with juice and

they've been awesome it's been - so far

it's called Stiles no joking mmm just a

raw hip hop jam in the park mmm and so

you know that's yeah I just I just think

it's important and and I think it's

important for those of us that work

professionally in in whether it's the

entertainment industry or education or

the

nonprofit sector to always try if you

can try and find a way to give back you

know and that that's why yeah I do gigs

like I'll do if people come to me and I

like it I'll do you know music videos or

commercials or whatever I've been in a

breaking movie like hmmm but I'm a

person that you will see like at a rec

center teaching kids yeah you know what

I mean and like also have a lot of

experience and knowledge in this culture

and I and I turn around and put that

into my lifestyle yeah so I think that's

important because you know hip-hop they

say each one teach one so that's like a

thing that we have to keep a lot yeah

each one teach one is like a staple kind

of thing in the whole all of hip-hop

culture that I feel like you got to be

in hip-hop to like really understand it

but it's something that is so important

to everything really I mean cuz it's

it's it's spreading your knowledge to

someone else and I think that that's the

that's the overall that's the overall

thing we're trying to go with with

hip-hop is like cuz it's ever growing

and you know new faces into it obviously

need to get put on and they need a they

need to end up eventually putting

someone else on too and so I guess

instilling that behavior it's different

now you don't get those those teachings

through YouTube yeah you know or they're

the feet on Instagram you know the

popular most popular feed yeah yeah yeah

um well got a lot of stuff I could keep

talking to you about but probably we

should end this show since I think we've

done quite a bit ok well so it's good

having you I'd love to have you on again

there's tons to talk to you about I know

you've been you've been doing tons of

stuff in your career in

and hip-hop and so like do you want to

plug anything before we end this show

yeah um let me see here if I could real

quick I would definitely want to say if

you come to LA you want to come to

practice come to juice all the info is

on Facebook juice hip hop or instagram

at juice hip hop and that's just a

classic practice spot you know another

thing that's very important is letting

people know when people come to you with

those with those misconceptions and they

say like oh you know like did you where

can I take a class to learn breaking

it's like yo none of us learn in a class

we learn from an open session tell

people that let them know yeah and that

is a community thing it's not just you

know like I'm sure I'm sure a lot of

people did and nowadays even more people

you know have learned in a class but

then they graduated and went start going

open practice I would say you know don't

let not finding a class stray you away

from it and and don't be afraid to take

a class I mean that's good that there's

resources out there but like you know

obviously none of us took classes and we

figured out how to do it so it's you

know it's there in its there's tons of

people out there to help you out and so

right they'll point you to in the right

direction and then you know as you get

more into it yeah there's classes as lot

there's tons of resources yeah my

brother has his YouTube channel if you

want to just lines and stuff it's tons

of stuff out there there is and with

that I feel like the more that we can

uphold each other and push each other up

and give each other give each other

resources and honor each other as

teaching artists as oh geez as like you

said like soldiers in the culture that's

the best because we're basically making

ourselves more valuable to each other

you know like one thing that I'm always

trying to push on my upon myself

especially but then upon other people

who are younger who I see them going and

down a professional path is like yo your

professional development dude how is

your resume what could you really do

with this yeah yeah yeah you know and um

I love that I like like moving here

living here in LA I've gotten so many

crazy opportunities you know like I've

done work as a cultural ambassador

of the United States and other countries

you know yeah bro and I love it and I

and one of the reasons is because when

somebody asked me to make a two-week

long program in a curriculum I'm like

yeah I'll give it to you tomorrow

like when people ask me to do something

professionally in this as an artist too

I always say yes if I want if I want to

do it yeah and and you know it's I feel

respected as whatever I'm doing I always

say yes and I always bust my ass to do

my best because BAM now I could say I'm

a cultural ambassador and it just

expands it expands your the dimensions

of your resume dude you know what I mean

in this stuff you could do like hip hop

is legit why do you think people get

paid millions of dollars to do it you

know b-boying is one of the elements of

hip-hop culture which unfortunately is

the most overlooked overlooked

underutilized correctly and and has the

least professional development if you

you know I seen graffiti artists now

that our millionaires just on the

strength of them building their own

branding and it's just one guy yeah you

know what I mean same thing with

producers and DJs

same thing with emcees b-boys we don't

have that because we just break until

our bodies break right yeah yeah and I

think the more we can add extra

dimensions to what we're doing and make

people respect that it'll it'll get

better for us

well dope I mean that that's actually a

really good topic to jump into in like

another show I'd love to do that which

if you're if you're open to that well

but anyway so thank you for coming I

think this was a great show and it was

great talking to you man - bro thank you

for having me yeah I thank you guys for

listening

[Music]

[Music]

[Music]

you

[Music]