Written by the Audionauts
PLACE
OF ORIGIN: Oakland, California USA (mid-late 1960¹s A.D.)
TERMINOLOGY
Chronological
order of various terminology referencing the contemporary dance art
form from mid-1960-'s to date:
• Bangin'
• Cuttin Up
• Hittin'
• Boog-a-loo
• Poppin'
• Struttin'
• Robottin'
INTRODUCTION
During the
1960's, overt discrimination and racial tendencies flourished throughout
the United States, particularly within urban metropolitan areas. Artists
such as Marvin Gaye and Gil-Scot Heron wrote and produced music addressing
these issues. At the same time, Martin Luther King, Jr. and Malcolm
X were leading black communities throughout the nation in the midst
of the same racial issues. More locally, The Black Panthers (formed
in the heart of Oakland, California USA) reigned and voiced its views
of current events at the time and aggressively showed the world the
meaning of "Uhuru". This particular organization not only
had an impact based on its political views, but also with its actual
physical involvement within Bay Area communities as well. Between The
Black Panther organization and the music and movement of both James
Brown and The Temptations, very few will argue about their responsibility
for what inspired into Oakland's unique and revolutionary "rhythmic
and robotic" dance art form. In the midst of this era, Oakland's
unique dance art form would eventually spread throughout not only the
surrounding San Francisco-Bay Area, but evolve across the nation and
into various parts of the world.
EAST
BAY TALENT
The East Bay Area of Northern California, USA is
known for its history of generating a variety of musical talent that
has influence the music and entertainment industry in various ways.
Claiming home for artists such as Larry Graham and Graham Central Station,
The Whispers, Lenny Williams, Tower of Power, The Pointer Sisters, Frankie
Beverly and Maze, George Duke, Pete and Sheila Escovedo; and to later
artists such as Club Nouveax, En Vogue, Tone Tony Toni, Digital Underground,
MC Hammer, Too Short and Tupac Shakur. For every artist that has originated
its musical style from the East Bay Area, all will agree that the unique
style of the "fonky, robotic, mime movement to rhythmic beats and
rhythms", originated in the Oakland and spread throughout San Francisco
and various parts of the East Bay Area.
ART
FORM PIONEERS
Individual
movement (referred to as "one-on-one") was the first to hit
streets, house parties, community rallies, picnics and various social
get-togethers. It originated in Oakland and was often referred to as
"BANGIN'" (which later became known as CUTTIN' UP, HITTIN',
BOOG-A-LOOIN', POPPIN', STRUTTIN' and ROBOTTIN'). During the late 1960's
(and up until the mid 1980's), there was a young promoter by the name
of Jay Payton. He promoted his self-titled showcase The Jay Payton Show.
This was considered in the Bay Area as a generic version of the popular
television dance show Soul Train. In the show's first season, the dance
craze among individuals was each person's version of the "James Brown
Slide" (also known as "The Skate'). It was through Jay Payton
that many East Bay Area up and coming artists (i.e. Larry Graham, Lenny
Williams, The Whispers, Tone Toni Tony, MC Hammer, Too Short and others)
were able to jump-start and/or add to their musical careers.
A
variety of geographical areas within the city of Oakland generated a
number of up and coming individuals that began revolutionizing a new
style of an individual dance art form. "Iron Man" (a.k.a Albert
Milton, a native of Oakland, CA USA), had performed on the Jay Payton
show circa 1967. His style was considered a combination of pantomime
elements with the James Brown Skate. During this show, someone in the
crowd yelled: "Man, that's one bad boog-a-loo". Thus, the
term "boog-a-loo" was born.
Month's
after the Iron Man performance, other locals in the area looked to duplicate
the style. It is certain that many were capable of executing the unique
dance art form, however, not all had nerve to do so in front of an audience.
A gentleman by the name of Henry Fisher (also a native of Oakland, CA
USA), advanced this version of robotic movement and took the "Iron
Man" style to a new level. A style that existed of extreme execution
of reverse movement. Over time, many locals in the Oakland East Bay
Area developed the "one-on-one" into what was classified as
a "solo" style. This was defined by a unique individual dance
style in the form of the "boog-a-loo". The term "solo"
was more generic whereas "boog-a-loo" was a brand of solo.
Other
well-know Oakland natives began to flourish. Ted and Steve Williams,
who were labeled by locals as the masters of the "Dynorama"
and "7th Voyage of Sinbad" styles (explained later in detail)
evolved from East Oakland. Tony Newsome (East Oakland Castlemont High
School 1978 and student of Ted and Steve Williams). Other unsung heroes
making their mark in the history of the unique dance art form were Michael
Carter, Larry Hamilton, Steve Watts, Darrel Binams, Patricia Scott and
Jericho all natives of East Oakland.
INCREASING
NUMBERS
The individual
"solo" style was advanced into a more organized style consisting
of additional members. The added element was more members rather than
just one individual. This style was inspired by groups such as the Tempations
and The Four Tops.
LITERAL
REVOLUTIONARY MOVEMENT
The first group to come together out of the Oakland
East Bay Area was The Black Resurgents. This concept was adapted from
the idea of a resurging people living in the midst of racial discrimination
within and around urban metropolitan areas. Founding members claim the
exact territorial location as Oakland's own Black Panthers and were
considered the official dance group to represent the political organization.
The Resurgents (William Randolph, Larry Robinson, and other natives
of Oakland) formed together anywhere from 6 - 8 members. The numbers
were easy to come by at the time since movements during this era were
in large numbers and community involvement was strong. The Resurgents
gained local notariety for dancing alongside (if not in front) of The
Black Panthers at community rallies.
SPREADING
TO OTHER AREAS
Within this increased number of dance individuals,
new styles of the unique art forms began to escalate. Locals were constantly
trying to take the art form to new heights. The first known style for
groups were to run through ROTC organizational drills to music. This
was defined by more than one individual (in the case of the art form:
2 - 8 members) lined up like soldiers with the same movement of arms
and legs. Head turns were moves as well. This "together" style
was later advanced by groups through a "catch-on" style of
group movement. The two top groups of their time out of Oakland were
The Black Resurgents and The Black Messengers. As more groups formed,
the only alternative to stand out was to advance what the Resurgents
and the Messengers had already presented. During their prime, these
two groups performed in showcases, assemblies, and rallies particularly
anywhere there was community involvement or a talent contest. End of
1969, 1970, 1971.
OTHER
INFLUENCES
1970 Marked the year of innovation. The two reigning
groups, The Black Resurgents and The Black Messengers were known in
Oakland of trying to constantly compete. Both groups set standards for
each other using innovation and unique routines as a way to measure
greatness as a player in the dance art form.
By
1971, The Black Messengers innovated to a new level. They performed
with white wigs and white make-up. The message that was being sent during
this time was an answer to white America and it's entertaining interpretation
of the Al Josen¹s era during the 1920's and 1930's. The Al Josen's eras
was where white entertainers dressed up in suits and a straw hat and
painted their face completely black. The Black Messenger's version was
a more serious one that incorporated Oakland's unique dance art form
(referred to as "hitting" pronounced "hittin'" at
the time).
USE
OF PROPS
Props
began to be incorporated into group stage performances as an attempt
to further innovate the stage show rather than just presenting creative
attire and routines. Theatrics became more involved with group performances.
Black lights were also used to bring out the white color on stage. One
example was the use of coffin's by the Messengers in a performance as
a way of presenting an innovative graveyard presentation to show how
serious and hardcore the unique dance art form was.
Coffins
to mock a scary and more intimidating stage presence became popular
as a move to continuously advancing the dance. Adding lighting to stage
shows became popular as well. Becoming more of a theatrical group became
the new trend and way of cmpetition and presentation. The tuxedo-style
uniforms became more advanced as well. Some groups were known of adding
a mascot (i.e. caretaker, & other solo artists).
OAKLAND'S
LEGENDARY'S
During this same era, The
Black Resurgents not only were master's of Oakland's unique dance art
form of rhythmic robotic movement during their time, but few of the
members were singers. They were known for being "fonky" (funky)
with regards to the art form and dancing of the most popular songs available.
The style of The Black Messengers were more of robotic and mechanical
mime movement. More strange and weird than their local counterparts,
but still maintaining that "fonky" (funky) element in their
movement.
EARLY
MUSICAL INFLUENCES
Live bands that complemented the Tempation style
with orchestrations to lead group's movements.
The
Temptations
• Get ready, here I come
• Psychodelic Shack
James
Brown (His
era following the doo-wop style with the "Fabulous Flames")
• The Mother Popcorn
•
Say it loud, "I'm black and I'm proud"
• Get on the good foot
• Funky President
• Body Heat
• Spank
• Git up off of that thang!
• Lick 'N Stick
• Payback
• You can¹t take it with you
• Refuse to Lose
• Make it Funky
Lynn
Collins (Female
Preacher off of James Brown's album)
• Think
Larry
Graham & Graham Central Station
B.
T. Express (i.e.
The Express, Do It 'Til You're Satisfied)
Brass
Construction
(i.e. Movin')
1972 was the era of dancing to the sounds of a variety of funk bands
and popular black music. Groups flourished at all tim
Earth,
Wind & fire.
Groups were
known for dancing of the the popular tune "MIGHTY, MIGHTY".
Other popular music to perform to during this era were song by the Commodores
(i. e. come inside, machine gun, brick house). Billy Preston¹s "Space
Race".
George
Clinton and the Parliament/Funkdadelic
Bootsie Collins era
changed the ways of the art form as well. Clinton¹s strange but funky
contribution to the funk era
The
Gap Band
Cameo
Bar
Kay¹s
Roger
and Zapp
Inspired
by the sounds of recording artists like Kraftwerk (Dusseldorf, Germany),
James Brown, Gil Scott-Heron (as well as the influential sounds of every
band and solo recording artist of the 70's and early 80's eras claiming
the Larry Graham-type Funk/Soul/R&B genres following the Godfather of
Soul) combined with the mime drama movements of Marcel Marceau and Shields
& Yarnell.
Soul/Funk
Vinyl Records: 33 1/3 RPM and 45 RPM: Earth, Wind & Fire; Brass Construction;
Mass Production; B.T. Express,Stevie Wonder, Modern Rock/Punk/New Wave/Electronic:
Krafterk, B-52¹s, Art of Noise.
T.
V. SHOWS
The Gong
Show circa 1972 1977. The Black Messengers were the first out of Oakland,
CA to perform the unique dance art form as an organized group. During
that era, however, the group name was too controversial and they were
only allowed to perform under the alias name: The Mechanical Devices.
The
next group to perform on the Gong Show was the Steptronix. This group
was formed by the gentleman known Harry "Berry". Harry "Berry" was known
for.
These years began the era of the "ripples". This concept was based on
the idea behind synchronized swimming. Metro Goldwyn Mayer (MGM) was
the first known filmmaker to present the synchronize swimming concept
CHRONO
CONTINUES
1976
Enter Derrick & Company: West Oakland (McClymonds High School).
This group reigned for 2 _ years, from mid-1975 through 1978.
This group is the pioneers of First group to perform organized stepping
with the following elements:
• Catch on style
• Dominoes
• Vertical line
• Less than four people
GREEN MACHINE (i.e. first girl group to do GIMMICKS, wear beaver hats
with uniforms)
FLOURISHING
GROUPS
OAKLAND:
Derrick & Company
SAN FRANCICSCO: Live, Inc.
1977
Black Operators; Green Machine
1978 Mechanical Toys; Black Operators
1979 Close Encounters of the Funkiest Kind; Androids
FILM
The initial
attire for this new organized style was tuxedo¹s and top hats. This
was symbolic of high class and high standards. It also symbolized its
neatness and cleanliness as immaculate.
DANCE
GROUNDS OF THE BAY AREA
Geographical locations throughout the San Francisco-Bay Area were known
for showcasing these various unique mim movements to rhythmic music
and classified by various terms: bangin', boog-a-loo, hittin', poppin¹,
lockin', struttin', robottin', mimin' (patomiming). As the individual
solo style advanced, so did the terminology.
•
Bushrod (North Oakland) Wednesday teen nights circa 1975 @ $.50 cover
charge (era where the infamous celebrity/athlete Rickey Hendersen was
raised and spent most of his athletic upbringing).
• Mosswood Park (Downtown Oakland: Battle of the Band East Side
vs. West Side) 1974 1978.
• The Temple (66th Avenue and E. 14th formerly known The Black
Panthers Headquarters)
• Allen Temple Baptist Church
•
San Pablo Park (Berkeley)
• Grove Street Park (Berkeley)
•
James Kinney Park (Berkeley)
• Telegraph Avenue (Berkeley)
• Boys Club (Alameda)
• UC Berkeley Upper Sproul Plaza
• Fisherman¹s Wharf (S.F.)
•
Powell Street Market (S.F.)
• Eastmont Mall (Oakland)
• Richmond Talent Shows (Richmond Auditorium: Johnnie Holmes,
Otece Taylor)
GROUPS/GROUP
NAMES
(circa 1975 1983)
Oakland The Black Resurgents, The Black Messengers, Live Inc.,
Gentlemen of Production, The Black Operators
San
Francisco Close Encounters of the Funkiest Kind, Demons of the
Mind, Fantastic Four, Granny and the Robotrons, Electroids, Bam Bam
& Company, Humanoids
Richmond
Mechanical Toys, The Androids, The Criminons, The Astrons, Royal Wizards,
Electrons, Great Encounters, Brought from the Past, Shields Inc., Diabolical
Cylons, Green Machine, Lady Mechanical Robots, Most Wanted, The Mechanical
Robots, The Black Intruders, The Black Klan,
Berkeley
UFOs, Mr. Fantastic, Baby Stretch
San
Jose The Playboys
Vallejo
Jay King and the Unknowns (Club Nouveaux)
EARLIER
INFLUENCES OF MOVEMENT
-
Step
'N Fetchin' (Backslide in place; not the wronfully commercialed "MOONWALK").
-
Snakehips (Cabaret Cotton Club era)
-
Buster Keaton
-
Charlie
Chaplin
-
Marcel Marceau
-
Red Skelton
-
Dick Van Dyke
-
Fred Astaire
-
James Brown
-
Shields
and Yarnell
-
MGM film works on synchronize swimming
-
Military ROTC movement
-
All "Dynorama" special effects (Harry Housen directed film)
-
Golden Voyage of Sinbad
-
7th Voyage of Sinbad
-
Jason and the Argonauts
-
Clash of the Titans
-
Warner Bros. Looney Tune Cartoons (i.e. Bugs Bunny, Daffy Duck)
-
Popeye the Sailor Man and the Nephews
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