The result was “Bounce, Rock, Skate, Roll.” Indeed, the lure of scoring a skate hit caught on amongst a variety of artists: The late ’70s incarnation of classic doo-wop combo Little Anthony and The Imperials had some success with their skate anthem “Fast Freddie the Roller Disco King,” which featured none other than a young Prince (a known roller skating obsessive) on electric guitar—not that they followed up on it. Other more dubious figures also tried their hand at the rink burner, including the jailed former cult leader and controversial Afrocentric author, Dr. York. His funky, slightly upbeat Afro-disco skate gem “Shake ‘n’ Skate” from 1981 found a place in sets of African American style skate DJs in the north eastern United States—that is, long before his writings expounding on the evils of the Illuminati were popularized by early ’90s rap luminaries like Mobb Deep. Regional hits like Michigan Avenue’s “Roller Skate Cowboy” or Times Square’s “You’re Hot” were groovy outliers for skating communities that made smalltime artists and managers a quick buck, and there were countless others. What many have in common—in contrast to the faster disco-oriented major label fodder—is that they are more like skate “dubs,” groove copies in a sense, with “Bounce, Rock, Skate, Roll” being the best example. Think Chic’s “Good Times” and multiply that by X, with the minor exception being a handful of electro-inspired skate tracks in the early-mid ’80s.
Inevitably, Hollywood would eventually revisit roller skating, this time in an attempt to appeal to today’s sizeable African-American skate scene amidst a spate of appearances in the mid-2000s by jam skaters in music videos for the likes of Ciara and Missy Elliot, amongst others. However, some style skaters had mixed feelings about films such as 2005’s retro skate flick Roll Bounce starring Bow Wow or 2006’s rink drama ATL, starring Atlanta rapper T.I. and Outkast’s Big Boi, and coproduced by TLC’s T-Boz. The latter is based on the significant hip-hop scene surrounding the historical Jellybeans roller rink in Atlanta, where groups such as Outkast, Goodie Mob, TLC, hitmakers Dallas Austin and Jermaine Dupri all hung out and skated in the ’80s. For historian Tasha Klusmann, both films come across as somewhat inauthentic representations of the style skate scene, despite the attention paid to detail in the skate choreography.
In contrast, national skate party promoters like Donte Doyle see the increased coverage of African-American style skate scenes as a positive development, regardless of the accuracy of Hollywood’s dramatizations. A style skate entrepreneur of sorts, Doyle has invited stars like Bow Wow to make appearances as guest MCs at his skate parties, such as the recent Skate Warz held in Orlando this past November. Musically however, Doyle seemed adamant when I spoke to him about sticking to rink specialists as DJs. And for good reason, as skaters from all over the U.S. travel to national parties expecting skate DJs to know the rink diaspora’s musical common denominators, as well as understand the different kinds of music played in regional African-American style skate communities: JBs in Chicago; slower R&B grooves for Baltimore style “snap” skaters; Bmore and Philly club for “fast backwards” skaters from New Jersey; house, boogie and disco classics for the New York heads. In that sense, Moodymann’s Detroit-based Soul Skate—often the lone style skate party discussed in dance music circles—is actually something of an anomaly within the national style skate scene, it being pretty much the only time of year when skaters also roll to big name acts like “Little” Louie Vega or DJ Quik, as opposed to national party DJ regulars like Brooklyn’s beloved DJ Arson or Chicago’s DJ Joe Bowen.
That said, Part 2 of Sound in Motion will continue to focus on important American DJs and producers who not only started out in rinks, but made some of their most significant musical contributions in them—both in terms of sound and accompanying dance styles. Read on about how these artist’s genre-defining contributions to music were influenced by the groove and smooth, circular roll of one of America’s most underappreciated wheel-based subcultures.
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A series of set of movements to music, either alone or with a partner. That is the definition of dancing. Dancing is a way to express one's feeling and to get active.
Dance has been a part of human history since the earliest records of human life. Cave paintings found in Spain and France dating from 30,000 -10,000 BC. have vivid drawings of dancing figures in association with ritual illustrating the pesents of dance in early human society. Many people around the world see life as a dance from the movements of the heavens and the turn of the seasons to the unique dance of every creature. The history of dance reflects the changes in the way people see the world, relate to their bodies and experience the cycles of life. In India…show more content…
These dances eventually evolved to include praise songs and myths that were enacted by trained dancers and actors. By the end of the 5th century BC, these dance dramas were part of entertainment and provided social and political commentary on the times. Amongst the Romans, dance waxed and waned in acceptance by the powers that ruled. Until 200 BC, dance brought life to Roman processions, festivals and celebrations. However, in 150 BC all of the dancing schools were closed as Roman nobility considered dance as suspicious and even dangerous activity of the masses. Dancing has come a long way since ancient times. But there are still some similarities. When people thought up these dances they were trying to express themselves, their emotions, their problems and beliefs. Today we do the same thing. We make up dances according to our attitudes, beliefs, thoughts and feelings. The future will also contain dances that will reflect that society. There are many different kinds of dances. There is ballet, line dancing, slow dancing, the list goes on and on. Some of these dances are slow. Some of them are fast. They all use different type of instruments. Each dance representing a time, an event, an expression or feeling. Each dance expressing something different. Dances will never die. They are too interconnected in the