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Interview: Slim Boogie

October 29, 2011 1 comment

Slim Boogie

Half a year ago, I started losing interest in popping. I couldn’t figure out how to develop an interesting style within the confines of traditional popping styles. I started focusing on locking and physical exercise because it seemed more rewarding. But when a friend showed me a clip from Slim Boogie, I felt the same fascination I had when I first saw popping. His smooth flow, animated movements, isolation and hard pops showed me that it is possible to develop a style within popping. I met him in Brixton, England for the UK BBoy CHampionships and was able to interview him for a few minutes.

What are your daily traing goals, and how have these changed over the years?

For me, Ive never taken any Electric Boogaloo classes. I’ve never taken any any classes at all, actually. But my crew and I are very close to the EBs.

So you session with the EBs more than you practice?

Yeah. I practice with them and try to learn as much as possible, and I’m still learning. I think it’s good to learn the style, so we can keep it as popping. If you don’t do that it’s going to lose its edge. It’s gonna be a completely different thing. The way I usually practice… I always practice my hits, my angles, my musicality, but always just trying to be creative.

Try to be open to all styles. Don’t think of training as training, but as fun. Remember that there are always new ways of creating new things. That you always have room to innovate and create; like even with the old man and the walkout, you can create something within that style.

Liquid Metal: what was the greatest obstacle you had to overcome in your training?
Right now I’m working on more freedom in my dance. I used to be really into animation (I still am), but when you practice too much of something like the robot, you lose something. I wouldn’t say you lose the dance, but you lose some aspect of it. It becomes too much of only robotic movements or something like that. So now I’m trying to mix those robotic movements with a free feeling, but still stay isolated and animated. I’m sure that it has been done before, but I haven’t seen too many people do that.

How long have you been popping?
Six years, seven in May next year.

We are standing in front of the building for the UK Bboy Championships. What role does competition and ego play in this dance?

I see these competitions like UK BBoy as something to put on my resumé. Like when you get a Master’s degree from the university. You could be the greatest popper, but if you don’t have it on paper that you won these battles, then people won’t easily recognise that.

If you could only give one piece of advice to beginners, what would it be?
If you have a goal, then stick to that goal. Don’t care what everybody else says. If you don’t have a goal, then find one. I think that just following a goal will make you a better dancer.

A convo with Boppin Andre

August 25, 2011 Leave a comment

I befriended the legendary Boppin Andre on Facebook and asked him if he were willing to describe his practice methods and how he developed his unparalleled animation skills. Instead, we had a chat about originality, pioneers, and experimentation. I have never heard of a dancer saying he doesn’t practice and  I would put it down as false boasting if it didn’t come from such a great dancer like Andre..

Boppin Andre: You should first be aware that I do not train! I do not even practice. I just go withwhat i always have done and then throw in whatever I feel appropriate at the moment […]

Well, I guess that everytime i perform, that’s practice enough, but I feel that people practice to acquire skills and movements they dont have. I mean, they really practice hard to try and master someone else’s moves!
Outside of the robot, which I use to practice hard, when I was young (13-15), I also practiced popping at first (compton style popping, which came from EB’s and popping pete!..1977). After that, i made the connection and combo..bopping! I’ve not have to peactice since then, because i’m only doing me. It’s what I want to do, and as such I don’t have to practice or try to master it. It’s whatever i do!
I am however about to begin practicing. When i figure out how to go about trying to master or perfect someone else’s moves, I’ll be glad to share that!

LM: Well, would you say you spend a lot of time experimenting? Because your reply reminds me of how David Elsewhere explains how he developed is dance.

Hahaha, i don’t experiment..with nothing! Elsewhere both experiments and shares his movements with others.(skywalker, his influence, and squid , another share buddy!)

At one time, i incorporated some mime type moments into my repertoire; influenced by a guy nemed Robot Prince. But I only do me, and he, like eveyone else, watched, took and copied what they could, and some even best me at doing myself!

No my friend, nowadays I’m not original. In my prime, i was bar none. The most influential cat, bar none. Elements of my endeavors have been indirectly incorporated into almost every poppers performance. Popping Pete had the brake (drum). I brought the disc brake, and everybody, including Pete, use to disc brake! The vibrate; been there, I was the first moving vibrate. Sinbad/3d/strobe/animation/speed changes and the rythym riding instead of on the beat only popping (later perfected by my friend , flattop)

No my friend. I only do  my moves, and everybody else are doing my moves as well (in part or totally)!

LM: Do you feel that you have received the proper respect for your contributions by the current generation? Some OGs feel overlooked and betrayed.

Again there’s that word: “OG”. Wrong word to use by anybody! There are only a few cats that actually created or brung something new to the table, and only a few cats that are original/different! Everyone else could claim they saw, then went and practiced, and perhaps they became the best at it!

There are not many og’s. Sure, some were lucky to promote themselves and get onto tv, on stage, into film, but they only truely took the credit and income from the source. Many, myself included, were not soo lucky to get that opportunity

In the streets, OG is the identifying marker and title for the first! It’s like Senior and Jr, so most all of those guys trying to fluant the OG title are perhaps OG in name only. Perhaps they were pioneers. They didn’t create, but they took it into another arena. They were the first in that arena.

I’m the LA OG, or so i claim. I was not the first to pop, others did it before me, from different areas, around LA county. But to my knowledge I was the only South Central LA cat! Big deal! I am the originater, not of the robot/ not of popping, but of the combo-deal;.Bopping!

And i was an original! Today, I’m not so original. Perhaps there’s even questions as to if I am the best at even doing me ! But, i am the originator Anybody coming after me can not claim to be the first, and with that they can not be OG!

Click here for more of my interviews with streetdancers.

Three questions with David Elsewhere

March 5, 2011 Leave a comment

David Elsewhere’s dancing style and training philosophy have provided the greatest source of influence on this site. It is only natural that I contacted him so that he could represent himself in his own words. Here are three replies he sent to me.

Your practice methods and philosophies are a great inspiration to me. The principles require an incredible sense of self-reliance. Dance the way you want, trust your judgement, practice alone, transgress labels and catagories if necessary, rely on your memory and your own originality. Has this self-reliance always been a trait of your personality, or did you gradually learn the importance of it for your dance?

My self-reliance was mostly something I had to train myself to do.

It is only natural to be influenced by others especially when you believe someone else has a greater ability than you. I admit that I was influenced by and imitated a lot of people, but I eventually realized that it was more rewarding to be as independently thinking as possible.

I remember when I was a very young child I used to paint and draw really creative, extraordinary things. Of course my scribbly artwork as a child didn’t have the craftsmanship of a trained illustrator which I would later go to school for, but they did have a certain quality of creative freedom and innocence. I wasn’t afraid to draw a picture wrong because I didn’t know what wrong was.

Similarly with dancing I try to go about it in the same free spirit that I had as a child, before I was taught there is a right and wrong way.

Describe how Skywalker, Squid, and Salty influenced you. Are there any other dancers who played a significant part?

I was Squid’s friend since 8th grade. We both got into dancing around the same time in High School. He already knew how to do a few basic robot moves, and the backslide. He also seemed to naturally learn the basics a lot faster than I did. So I was really influenced by his style throughout the first few years I danced since I practiced with him so much.

Salty I saw in a breaking contest video within the first year that I started dancing. My mind was blown the first time I saw him dance and I became totally infatuated with learning his particular style. I would watch his footage over and over and then try to mimic his moves. I did this for many months, until I realized that it was almost impossible to copy his moves exactly. I would video tape myself and I would always be disappointed that I could never quite replicated his style. However my dancing wasn’t bad at all and it had my own unique personal flavor. Eventually I gave up trying to mimic him and stopped watching his footage altogether. This was very liberating and probably my biggest breakthrough because it was when I really started on my own path.

Skywalker I saw at Rave once probably a year or two after I had started dancing. Again I was amazed by his skills, mostly his uncanny waving ability. I started waving a lot more after I saw him. Since I didn’t have any footage of him to watch, I was only able to see him again in my memory. This definitely forced me to put my own spin on his style.

Other dancers which really influenced me would have to be: Mr. Animation for his popping ability, Bam Bam for his ground moves, Flattop for his isolations, Kujo for his philosophical outlook, and Midas for his style mixing.

You said in an interview that before the Kollab2001 clip went viral, that you thought that your dancing wasn’t really going to go anywhere. Did it really seem that unlikely at the time that a unique style like yours wasn’t going to lead to some kind of attention or success?

I could imagine my dancing getting some attention, but at the time it didn’t seem likely that my career as a dancer would suddenly take off the way that it did.

I was no stranger to the web before Kollab2001. The Detours video had been out for a while already and none of the video clips of me that where already on the internet got a lot of attention. Up to my kollab2001 performance I had been trying to make money off dancing for a long time doing various small gigs, street performing and selling the Detours video, yet the money I made wasn’t enough to support myself. Shortly after the Kollab2001 I had a falling out with my manager which prompted me to put dancing aside so that I could concentrate on my college courses. A year later the Kollab2001 clip appeared on the net and I had already graduated college and was working full time as a video editor. I hadn’t done paying dance gig in months and suddenly I was getting more offers than I could imagine.

Part 2 coming soon.

Raw interview: Vadim Savenkov

February 2, 2011 Leave a comment

This is my interview with Vadim Savenkov, one of the great Russian performing artists, who is also an amazing waver and botter. He is one of my biggest inspirations when it comes to blending performing arts and street dance. Also visit his website to receive further info.

What led you to performing arts like mime and circus clowns? Were there specific mimes and performers that inspired you?

During my childhood, I went crazy with movies. That is why I always like to dress as a movie character (soldier, indian, musketeer), and play the parts from recently watched movies. We in the USSR did not have the chance to buy nor rent any “carnival ” costumes. I used old clothes ,hats,belts, threads, needles, and my imagination. Sometimes my parents would help. And at the same time I did like drawing . Everybody was sure that I would be the painter because I easily won drawing competitions ( I later got into an art school ). Plus I have been in a children theater where I play parts. Then I was mad about martial arts and east culture. And of course music. When I heard first time “the Rockets” I felt something strange. I liked that music very much and I feel that something is getting closer.

Unfortunately in Russia, most of the invitations to participate in tv show with your act go to humorous shows. If you do not have a humor in your act you have almost no chance to be seen on tv. That is second reason why I start studying humor as a genre.
When I started to dance there were people who inspired me : Aleksei Geroulaitis, Vjacheslav Ignatjev, Michael “Boogloo Shrimp” Chambers.
Later I was inspired by: Michael Moschen, Koichi Tohei,David Copperfield shows( all production team), Michel Courtemanche, Tommy Cooper.
My favorites actors which inspired me from my childhood are: Andrey Mironov, Jurij Nikulin, Georgij Vitcin. Unfortunately those actors were seen only in Russia.

My drawing skills helped me to create new characters, build a combinations of moves, how to do the right make up.
My martial arts gave me good physical ability and knowledge of the rules of harmony.
My theatrical skill helps me to find right gestures, pouses and mimicry.
As a movie fun I have in my brain collection of many screen plays, actors reactions, compositions…
My researching skill helps me to get all that things together .
I am still researching an illusion dance and stage performance. Reading scientific books such as ” Biomechanic”, ” brain’s reaction on a visual signal”…
As for mime and clown, I can say that in 1990 I have a trip with famous Russian mimes. And of course I learn many things from them. Then I participated in shows with famous Russian comics. I always liked good sense of humor and one day I started to analyze this thing.

What is your daily training regime, and has this changed significantly over the years? How does one train to develop the strength, body control and agility that you acquired?

When I was younger I spent lots of time in training ( 5-8 hours a day), but now I often have no time for that, unfortunately, because sometimes I make the shows as director and it means that after the working day you have no time and no power. But if I have contract as a performer( in South Korea,Switzerland….) I spend at least two hours a day on training(character movement ,dance ,conjuring,…)
I think that east arts ( wu shu, karate,yoga..) can help to develop good body and soul control. For example, after practicing kata in karate for years I can able to make quick movements and stop suddenly.
If we need we can practice with a little weight on our wrists…
But I think that the most important thing is control the tension and relaxation in muscles and not to overtax joints. Of course tension is good thing If we want to do something extraordinary, but the way of harmony is how to be a good friend to our body and our soul and not to break them in order to impress audience .
Another thing is how to make combination( act,performance ) look good. As for me, I often draw on my ideas and try to find the way how to fill the space and how to match the music. Plus I always pay attention to the Russian theatrical school. There are lots of answers on how to make the act, how to work with a character ,where to you lead your audience …..
It does not mean that every B boy must know all these things. No. It is just for someone who want to get to the bottom of himself and make something that will be very good for audience of all ages.

How did you come into contact with streetdance styles like the robot, waving, and electric boogie? How did the Russian youth come into contact with streetdances.

Being in the Army in 1985, I suddenly saw Break Dance on TV! I saw people who were walking normally but the floor was moving, then you saw that it was a normal floor. Those people moved like robots, sometimes it seemed like the space changed, and the music sounded futuristic. From that particular moment I understood that this is what I have been waiting for such a long time!
I found that Break dance consist two things:
Demonstration of incredible physical ability. Audiences see ordinary people who perfectly operate with their bodies.
Demonstration of the ability of illusion. Audiences see people with abnormal physical ability who don’t seem human at all.
But I saw a stage version of Break dance . Maybe that is why when I got a chance to see the Breaking movie I was disappointed by some of the clothes. They looked like clothes for rock. But of course I liked very much electro rock , and the dance with the broom. I liked the happy face of a man who had no legs but had a chance to dance, being in harmony with the music and sharing his ability with an audience.
Later I bumped into the differences between street style and stage rules. As for the professional stage there were many obstacles. On the street there is more freedom.
Mostly I was on stage then on the street. But you know that we have cold weather in Russia, so most of the year you should dance inside.
Now the Russian youth can see break dance in a night club shows and on the internet, but very seldom on TV.

How was your experience in the Volzhskiy Circus School? How did it improve your skills?

When I was in a Circus School I like acrobatics, juggling and conjuring. I learned many rules about how to do tricks using only power which you actually need to spend to do that and avoid injury. And of course I learned what exactly it is to be a professional performer.

Is there any government support for the performing Arts in Russia? It at all possible to make a living as a performer?

Thank you for this particular question . As far as I can see, our government does not pay enough attention on these things. If you do not belong to classical ballet or folk dance, you are sailing on your own. It is difficult to even find out if someone casting because the casting system is hidden.
Our show business is based on singers and stand up comedians. If you want to go abroad you have to have a visa. Some of my friends (performers) are dead already and they were young people and not lazy at all but for them it was too difficult to get used to the situation. In the last years, the situation has changed a little. Our dancers can be seen on a world championships…( Top 9).
Anyway, it is possible to make a living as a performer in Russia.

How were your experiences performing in American venues like the Beau Rivage Casino.

I had a jolly good time there in USA! During my work in the USA I received many interesting ideas. In Las Vegas I saw most of the greatest shows with outstanding effects,scenery,costumes…!It was not my first visit to America but I always like to be there. Very quickly I met with local B boys . That was fun.
As for experiences… in one of those show I had character which performs thoughout the whole show . It is such a pleasure to feel yourself as a fantasy character, but at the same time you have to work hard and control your body as to be interesting for the audience; An who have already seen many shows,actors,dancers. You have to do something to make audience believe that you are not an actor or a dancer. You are real character.

What are your current projects?
Two months ado I finished with an ice show ” Alice in wonderland on ice” as a director and visual effects creator. Then one month ago I worked in a circus and gave lessons for the whole troupe and participate in a show as a wizard. Then took a part in Alterum theatre performance ( you can see on Youtube as” Alterum theatre” HD ,I was a Chess man).
At this moment I am participating in different shows which belong to Russian New Year celebration( December – January ).

What one piece of advice would you give people who are interested in the performing arts?

Try to get to the subject matter itself!

Best of luck for everybody!

For more interviews with inspiring people, click here.

Raw interview: Scramblelock (part 1)

August 21, 2010 Leave a comment

Meet the great locker from Canada, Scramblelock. From teaching classes to organising events like Funk Fo Yo Feet, he has done so much for the dance community and deserves our gratitude. Some of my favourite dance battles came from the events he organised, and he has helped me realise how important it is to dance to the music.
The interview is divided into three parts. A link at the end of each post directs you to the subsequent part.

You write that you started bboying in 1998 as a result of facing bullying in school. How did dance help you deal with conflict?

It’s funny, one of the kids I grew up with in elementary school went from being a close friend to a bully once we got to high school. The first school dance I went to, I witnessed a bboy circle and was blown away. I knew about breakdancing since I was really young, my uncle introduced me to it in the 80s through Michael Jackson, but I had never seen it live and with that kind of energy. Then I saw that one bully go in and was really surprised. The next day he got all sorts of compliments and respect from people and it really frustrated me. I said “if he can do that, I can do it better!” Long story short, after a few months of practicing on my own when we came back to school the next year people were shocked to see I was able to break. I remember at one point even that bully came up to me and gave me props. After that I never really got picked on as much as that first year so to answer your question dance was my escape and it served to diffuse what could have been a really negative situation throughout high school. Some of my best memories in high school were meeting a really good group of friends and all of us used to practice in a hallway during lunch. That was where I formed my first bboy crew: Rubber Soulz! Much respect to those guys!

What roles do you believe that ego, competition, and aggression play in bboying and other streetdances?

First off, ego to me is a negative thing. Having an ego blinds you from seeing where you really stand skillwise. Honestly, in the street dance world, you got to be able to check your ego before you can really start learning from anyone, including yourself. However, I believe having confidence is something very different and much more important. Having confidence in yourself is one of the gifts one can gain from studying bboying, locking, popping, whatever dance you pursue. If you are honestly aware of your own abilities, I think it helps you see much more of the big picture and where you fit into the scheme of things.

As for competition and aggression they play an important role in all street dances as well. Having competition can be very motivating. It can push you to reach new levels so long as you keep it positive. I’ve always liked battles and contests not necessarily for the winning, prizes, recognition, etc. but being able to test yourself. Winning is dope but walking away knowing what you need to work on and improve is way more rewarding.

I think it’s ok to be aggressive too but there’s a time and a place for it as well. Battles can get intense sometimes whether in a contest or in the circles so sometimes you need to step up that power in your dance. Sometimes when Im dancing there’s so much going on in my mind (stress, frustration, etc) that letting out that aggression through dance is almost therapeutic too. It really comes down to knowing how to handle the aggression and being able to channel it constructively.

What were the reactions of your family and friends? Did any of them provide an influence in your dance?

Well my parents were always tough on me for wanting to dance, they always stressed me to focus more on school. They were right, of course, and I’m glad I listened to them. Finishing off my Masters in Chemistry last year was a huge accomplishment and I couldnt have done it without them. But like I said they always gave me a hard time when it came to dancing. In a way, that was really motivating though. It made me work harder to show them I can do something with dance and when they see I’ve been able to travel, teach, etc I think it really opened them up to it a bit more. We made a deal back when I was in school: Finish school, then do whatever you want. So here I am finished with school and I’m really trying to do something positive with dance.
As for the rest of my family, they were always supportive of what I was doing so I’m very thankful for that and of course I have a lot of close friends who have shown nothing but love and support since the beginning. My girlfriend has always been supportive of what I do and that also means a great deal to me.

Click here for part 2 of the interview!

Raw interview: Scramblelock (part 2)

August 21, 2010 1 comment

What led you to pursue locking in 2000?

At the time locking was a mysterious dance. People were talking about it and there were a few videos I managed to find (VHS not youtube!) but there was still very little known about the dance. It was through the bboy.com forums where I first saw some interesting discussions of locking from Gemini, Richie Rich and Sundance and that really sparked interest. I wanted to learn more about this mysterious dance and see what it actually looked like as opposed to reading about it. I saw a clip of Loose Caboose doing a showcase at Freestyle Session 3 and when I saw this energy and funk, which was something very different from bboying, I was sold! A few years after I met the Fantastic Poppers from Toronto and those guys showed me tapes of The Lockers and really broke down the basic foundations of the dance. After that it was on!

You took classes from such prominent lockers like Don Campbell and Skeeter Rabbit. Which locking dancers were the greatest influence on you, and from which did you learn the most in the classes.

Much respect to all the lockers Ive been fortunate enough to have met in the last few years. They have all influenced and taught me many valuable lessons. The ones who have had the greatest influence on me are as follows:

Licorice Lloyd – my first locking teacher. He was the one that put me on to the foundations and history of locking

Richie Rich – Richie was the first locker I met when I visited LA for the first time. He told me “don’t ever let anyone tell you you are doing anything wrong, but always remain open and learn from everybody!”. Richie has a really positive approach to locking and he’s been more than just a teacher, he’s become a mentor and friend. He’s taught me a lot about battling and just getting down too.

Gemini – Gemini has been a huge influence on me. He’s like the Obi Wan Kenobi of locking. He’s done his homework and I think one of the few out there that truly understands the full picture of locking. The level he is at is ridiculous! He’s travelled and learned from many different dancers and that really inspired me to do the same. Again he is someone else who has become a mentor to me and is now a good friend too.

OG Skeet – I got in touch with the original Skeeter Rabbit late 2004 after he returned to the locking scene. The stories he’s shared and the feeling he has when he teaches/locks has really opened me up to the real roots of this dance and the true power of locking.

Loose Caboose – Caboose taught me to take my time when I dance. Many people rush through their moves but Caboose taught me to breathe and really take the time to complete my sets. He can take a few moves most people can do in 30 sec and stretch it out to 1-2min. Caboose is full of funk and when he gets down you can really feel it!

Greg Campbellock Jr (RIP) – I think he’s touched everyone in some way before he passed away earlier this year. I managed to meet up with him several times in between 2005 and 2008. He was another original in the game and everything he shared I consider gems!

Also have to mention Flo Master, Suga Pop, Fluky Luke, Don Campbell, Peekaboo, Jazzy J, Frank Boogie and Disco Dave. Much respect!

I have found a large number of talented dancers that live in Canada. Is the Canadian dance scene particlarly vibrant? How much private support and government support do the dance events receive in Canada?

Canada has a lot of talented dancers. From Vancouver to Calgary/Edmonton/Winnipeg, Toronto, Ottawa, Montreal, Quebec and even out east in Halifax and Newfoundland there are dancers growing and developing. I can’t speak for the West Coast or the Maritimes since I havent been out there in a while, but I can tell you there are a lot of dope dancers in Toronto, Ottawa and especially Montreal. From bboys to poppers, lockers, waackers, krumpers, hiphop dancers and house dancers. Montreal is particularly vibrant. As for support, there is and there isn’t support for events. Just last weekend in Montreal there was a really cool Hip Hop festival called Under Pressure that unites Graf writers, MCs, DJs and bboys/bgirls. Every May there is an event called Bust A Move and it got sponsorship from the City of Montreal this year which was pretty cool. Slowly things are growing!

Click here for part 3 of the interview!

Raw interview: Scramblelock (part 3)

August 21, 2010 1 comment

What is your daily training regime (including supplementary training like exercise and stretching), and has this changed significantly over the years?

Ever since I was in high school I had different training routines. Initially it was just stretching daily and doing pushups, situps, etc as well as practicing almost every day. As I got older I had more on my plate so I had to manage my time more effectively. Nowadays I try to get in 2 or 3 practices a week plus going out dancing at clubs on weekends. Montreal is pretty dope for funk jams and such, so there’s usually always somewhere nice to go dancing on weekends. In addition I had some bboys put me on the conditioning tip and Ive also been doing a training program called Insanity. The name speaks for itself.

You regularly teach classes in Montreal. Does teaching the dance to others improve your own understanding of the dance?

Absolutely! From teaching I’ve learned many many things. Not just about dance but also on how to deal with people of all sorts of age groups/backgrounds etc. From teaching others I’ve learned how to develop my own techniques for teaching, routines (and remembering routines!) It also gives you perspective and can help you see where you once may have stood as a dancer starting out. In a way it gave me a greater appreciation and respect for my teachers and the patience they must have had to school me! Teaching is a big responsibility and I take it very seriously. You can learn a lot from your students as well. I’m still a student of the dance and have my elders that I look up to and turn to for advice/support and so the motto “each one teach one” is something I try to keep in mind along this journey of dance!
I’ve also been fortunate to have taught in countries across Europe as well and out there, I learned that even if you can’t speak a certain language you speak through your dance and that is something very powerful!

What mistake do most beginners typically make, and what one advice would you give them?

“Funky” does not equal “Funny” all the time! Locking is as serious of a dance as bboying and popping and Im not saying you got to be angry but you got to be true to yourself. Dont fake the funk! Funk comes in all forms, feelings and emotions. Learning how to bring that funk out from within is something very difficult and takes years of work!
In relation to this: BE HUMBLE! Many people think they just need to learn a few moves in locking and they’ll get it, but locking is really really hard! Again, it takes years of practice and straight schooling, if you don’t stay open it’s going to be a lot harder to really develop.

Are there any dancers from the Canadian scene you would like to give a shout out to?

Shoutout to my locking partners in funk:

Treklock
Loose Canon
Boombeast
Baby L
Funky Miko
Sun

I also got to mention a slew of other dancers. Here we go!

Frank Boogie, Tony Three, Licorice Lloydd, Boogaloo Storm, Neo, Bonez, Funk Mystic, Sirreal, Popsikal Pete, Fon, Monstapop, Venom, Sam I Am, Dazl, Namo, Tash, Rick Slade, Bag of Trix, Boogie Brats, Supernaturalz, Stylordz, Canadian Floor Masters, Famous Circle, Treble, Tabu, Lazy Legz, Illmask and Fresh Format.
I also have to shout out Son of S.O.U.L., Alan Cross, Frank BLVD, Professor Groove and DJ Static of WeFunk Radio, Ruby Jane and all the Toronto and Montreal funk DJs who have been a huge influence.

Finally, the hardest question: What was your most memorable moment in dancing for you?

Most memorable would have to be the first time I went to LA on my own in 2004. I really got to see what the international dance community was all about and it was the first time I went to the Bboy Summit and Freestyle Session. After going to those two events, I knew I wanted to make dance an important part of my life, beyond just a hobby. I think it was the most memorable because it was one of the first powerful moments next to maybe the first time I decided I wanted to learn to break or lock.

Lots of memorable moments have happened since then. I have never travelled as much as I have this past year and I met so many wonderful people through dance. Being at BOTY or Juste Debout and seeing the amount of people who unite for dance is very awe inspiring. Even just simple moments like hitting up a funk club with your friends or getting a compliment by a teacher you look up to and have them say “you’re on the right track, keep it up!” is pretty memorable.

Be sure to visit Scramblelock’s website, and also take a look at his amazing Love City video.

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Categories: Interviews