Transcription
We live. Welcome to another episode of Studio Stories. I'm your host, King Mike. Make sure you hit that like and subscribe if you want to see more content, more cool videos, interviews like this.
Today, I have none other. I got to get this one right. I mean, this is the living legend himself. The man responsible, one of the original Electric Boogaloos for the entire world knowing what this popping dance is, what we love and know. The originator of street dance culture as we know, one of the originators right here in front of us. Give it up for the legendary, the one and only, never to be repeated, Popping.
Yeah. My pleasure. My pleasure. My pleasure. Right. You got that one right. You got that one right.
I watched you on Breaking.
Wow. In my in my basement as a as a kid and rewinded the tape 600 times.
That's crazy.
Wouldn't be popping if I didn't see that movie.
Oh man. Oh man.
He was already 23 years old. Yeah. 23.
We had to put some respect on him.
Oh man.
But let's get right into it because I mean, of course, we know who you are. If you're a street dancer and you don't know Popin' Pete, you're not a street dancer. That's just it. You're not into it like that. But for those who don't know you, give them a brief interview because your story is out there. It's in the world.
Yeah.
Give them a brief overview of who Popin' Pete.
Popin' Pete, uh, better known as Timothy Earl Solomon. So, y'all know my government name. Um, I'm from Fresno, California. Um, started uh dancing when I was young. You know, my first talent show I did, I was six years old. Uh, always been into dance. I mean, as as most black um uh families growing up, especially growing up in the 60s and 70s, you know, music and dance has always been a part of the the the black community in a sense, you know, I mean, and um
So me being around siblings, my siblings that we all danced, used to watch our mother and father have house parties and, you know, we we dancing. So, you know, I I was I was destined, I, you know, I guess. But I actually, you know, my um uh even in my junior high school, I was voted the best dancer in school uh in uh the eighth grade. And oh man, trying to and uh and then in the yearbook it says Timothy Earl Solomon, most likely to become a professional dancer. But then I but as I looked at it over the years, I thought I I said, dang, that's how they thought of me in the eighth grade. That's the only thing I had going on is I can I can cut the rug and they said, not most likely to become a lawyer, not most likely to become a doctor. Uh, that one's gonna be a damn dancer, they see.
But and that was nothing I wanted to to be. I actually, I wanted to be a fireman when I was young.
You ain't fight no fire. I not when I not not not after I seen I was I definitely wanted to I wanted to reappear.
Another way, just popping.
Yeah. But yeah, but that's that's that's me in a nutshell. You know, been dancing for uh 45 years now.
And you one of the original Electric Boogaloo members from Soul Train.
Yeah. Yeah. What year was that?
Uh, Soul Train, we did in '79.
Uh, how old were you then?
I was uh 17. Uh, just I just turned 17.
And you had already been popping when you—
Actually, it's so crazy about that, you know, uh a lot of people don't know. Um, I had only been popping and studying to dance for six months.
And was on TV?
And was on television. And all the other guys, whether it be uh um Robot Dane, Puppet Boozer, uh uh Creeping Sid, of course Sam, he's OG. So they only have been dancing for probably like five months or less. Yeah. So when we got on that show, uh, none of us have been cuz I started I started learning from my brother Sam, March of 1978. So and we did that and uh '79. So early part of uh '79. So that's about six, six and a half months. We had already been doing it.
But once you got on on the Soul Train, that's pretty much what broke it to the mainstream world.
Pretty much. But we had did a we had did a couple television shows before that. We did a show called uh um it was uh Hot City. That was a a local, I think it was regional on the West Coast. It was some variety show. And then we did a a TV show called Midnight Special, which it was kind of like this uh midnight dance show that had artists. Almost same premise of Soul Train, since but it was uh but they had artists on it like from Alice Cooper to to, you know, the first time actually, the first time I seen Rick James on the show, I met I met Rick James in in the bathroom when I was uh I was actually at that time I was I was 16. So Soul Train was in '79, but my first television show in '78, October of '78. And uh and that's the first time Rick, I saw Rick James in the bathroom coming out the toilet.
Then you went from that to Soul Train.
It went Soul Train. Then next year to what is that, to Breaking? Or did y'all do—
Uh, uh, we done we done other other uh television shows. Uh, there's another show called uh Kicks. Uh, dance a dance show. Um, and then uh that was that was uh late '79, '78. Then the Soul Train. By this time, what, how and how did the whole Soul Train thing happen? Popping started uh getting out in LA. So a lot of the Soul Train dancers would go on the show and they I see them doing, you know, we see them doing moves because we watching every Saturday morning. And couple of guys uh dancers got a like a feature. And then Don Cornelius would ask them, interview him, say, "What is this? What what's these moves you're doing?" You know, he said, "Oh, we doing this this new dance uh uh called, you know, popping and Boogaloo from this group called Electric Boogaloo." And there was a couple people that went on on there and said that. And the last person that went on there was um uh Casper and and Jeffrey Daniels from Shalamar. They they performed and they interviewed them. And they they told they was talking to him about like, "Oh, this day." He say, "Yeah, we doing, you know, we we learned from the Electric Boogaloos." And then Don Cornelius looked in to the camera and says, "Yeah, we're gonna have the Electric Boogaloo company on the show next week."
Dang.
But we watching it, we we going like, "What? Like, when?" And that was time there was no, you know, was no emails, nothing. If you didn't have our phone number, you couldn't. So that Monday, the Dane, the Robot Guy called the studio. And they had been looking for us. Like, when he said it, they was trying to track down, track us down. And that's how we got on the show. Of the fact that people just kept saying our names, you know, referencing the the dance to us.
Which means y'all was in the community. So was the battle in and all of that hot right now, even six months in, y'all was that was already in the street.
Oh, yeah. Yeah. I mean, that's how I mean, to get, you know, like now you get your street credits from from from battling. So it wasn't, you know, the television stuff came later. You know what I mean?
Off the street.
Yeah. But we we we in the streets. We had house parties. We we had uh uh high school uh parties, uh uh football games, wherever, wherever you can get a get a battle in. And that was part of the, you know, the the landscape. And then me being out again, I started at 16. So uh me doing this dance and not a lot of people wasn't doing it. And especially in Long Beach. I'm this is now I'm living in Long Beach. So we moved from Fresno to Long Beach and in '78. So again, that was uh February of '78. That's why I said in then I started learning in March.
How did you transition? So you going street dancing, full street.
Yeah.
Names buzzing. Yeah.
You get on the show and you're with the group, you know, doing a lot of group stuff.
Yeah. How did you break out from that? Cuz the group wasn't on the movie Breaking. I felt like that was like the industry seeing what y'all doing in real life and making a movie about it. How did you get on the movie Breaking?
Oh,
Which inspired the whole world. You, Taco, cuz I felt like y'all was the young gun.
Well, I wasn't originally. I wasn't I wasn't a part of the the the cast. Uh, I was actually in London. We was uh we was trying to get a a record deal. So uh again, Jeff a little bit, but it was uh it was um back more background, but it was um the group was called Eclipse. The Jeffrey Daniel from Shalamar was our manager and producer. So this was and the group was me, Ski, Robot Dane, Sugar Pop, this girl named Brenda, and and Casper, who actually taught Michael how to do the backslide. So that's yeah, Jerome Kade. We was we formed. He, we, he, we, he formed. He wanted to do a dance um, a singing group. So he was living in London. So he, we, he flew to London and we recorded some demos. Actually, we recorded some demos in LA and we had had a few songs and we actually performed in LA a couple spots, Mavericks Flats, the the Fame Club, um, Crenshaw. We performed there, uh, some other stuff in LA. And then, and Then he moved there and that's and we tried, we went over there, got did the demo and he's shopping around. Didn't get the deal. We almost got a deal. They wanted to only give us an EP. He wanted an album deal. So that's popping.
So so so that that whole transition, but in the in the sense of of um, you know, the Breaking situation, it was it was uh when we was there, they were filming cuz actually Sugar Pop got left the group. Sugar Pop at this time was, I think Sugar Pop was 18 and we was over there and it wasn't going going good. So Sugar Pop said, "I'm I'm out. I'm going back to LA." He, we was hearing buzz. There's a lot of stuff going on in the dance, you know, the street dance community getting on, doing commercials, being on, you know, and stuff I had done before. But it's got now we talking about this is '83.
Dang.
So, and he left and he, you know, and he said, "Man, I'm doing a." He had called, he called back, you know, we talked to, "Man, I'm doing this so and so." And then he went, he did uh Thriller and and all this kind of stuff. So, we was like, we sitting over.
Yeah. He was one of the Yeah. He was one of the
ones that uh Yeah. Sugar Pop, Cool Pockets, Robert, and I forget the other fourth guy. But so, he telling us, we going, "What?" Like we tripping. Like, "Damn, you." Yeah. So, and then we started hearing about the this movie called Breaking that they filmed. You know, Shabba Doo, of course, been known Shabba Doo since I was 16. Um, rest in peace. Yes. And then, uh, So, but when I got home, we left London in '83. December of '83. '84 rolls in. They, you know, and it's
I'm at I'm sitting at at the parents' house, no money. Like, "Oh man." You know, the whole thing in London didn't go well. Got a call one day and and the lady said, "Speak to Popin' Pete." And then my my mom gave me the phone. I said, "Yeah." "Oh, this is so and so from uh Glo Global and Globus Production. We're we're the ones who filming the the street dance movie Breaking and we would like to offer you a role." What? Wait, wait. They had been filming the the movie all along, you know? You know, and then I guess what happened was they at first they uh um Shabba uh Turbo Ozone didn't have a have a rival. Uh, so they created that later. Taco was working on the film, but Taco was like was there as uh a dancer. His was with with Shabba Doo and them group, but he was just like just like the dude hanging out. He had no lines. So Shabba Doo said to the to the production company, "Hey, get Taco and Popin' Pete. That's that's who should do." And they called me.
Yeah. So I had to. They say, "You got to be out here on Monday." And in them days, you it wasn't it wasn't "Well, we going to pay for your trip." I had to ask my father for to drive his four-door 1976 wood-paneled station wagon. Like I, you know, I'm I'm 23 years old. Got in Pop's. Uh, he said, "You can go use it." I drove. Got in a car. I think I had about $100 on on me. I had a and I and I um uh and my my girlfriend. Uh, she was still living in LA with her parents. So I I lived with him for to to do the movie and drove that that four-door station wagon to the set like it was a Benz.
Now when y'all on set, cuz I know a lot of the newer movies sometimes they just let him go. They let them really battle.
Y'all was really battling.
Yeah. Yeah. Because it was uh even the scene. Oh man. You talking about that movie so much.
They didn't get. I know it's a lot.
Yeah. But you know the if you know the scene where Shabba pushed me that set into second battle.
Yeah.
He actually. I didn't know he was going to. That was some ad-lib. And when he pushed me,
I wasn't prepared.
And then, you know, we did the thing to cut. I walked up to him. I said, "If you ever push me like that again, it's on." And oh man, we acting. I said, "I mean, this you, man. I would tell me, you know, but you know, he ad-libbed. I'm from the streets. All right. You pushing." So it was a lot of things in that movie, but the battles were real in a sense. We had we went off. Yeah. Some was No, but the the two battles. Now, the second battle
felt real though.
Yeah. You see, let me tell you why the second battle. You don't see me. You see, they they concentrate on Taco because the second we supposed to lose. So the the director came to me, Pete. Hey, you know, Jewish man, Joel. He said, "You guys gotta the second battle. You guys got you won the first one, but you got got to lose the second one." I said, "And me in my this is I'm I'm on this real."
Oh, this is a script. Oh, hey, you.
And he said this to me into my face. He want to dance. This man's like at that time 23. He probably like in his 40s. He said, "You know, you guys, you and Taco are my favorite. Y'all to me, y'all better. I mean, this is what he said. This is what he said."
Oh, yeah.
"This first time I'm saying this on camera." So, he said, "But I, but you guys got to bring it down. They got to win. It's in the script." So, I said, "Okay." I said, "Joel, no problem." I went to Taco. I said, "Taco, we got to we got to lose because it's in the script." But I said, "We going off." And that's why when you see, if you watch it again, when you see me come out, it's it's edited. It's cut. All my parts are cut. And they they show the show the audience, show the extra, show cuz I am in beast mode. I am going. I'm this. I'm doing ground moves.
They had to cut it. They had to edit all around that. So when So when they show me, they show me coming up out of a out of a of a.
Yeah. He was going.
Oh, I was I was I was in it. So.
So that was the start of pretty much the move. Cuz then after that, you went Michael Jackson, y'all, Cap, Neo, all the way up to even you worked with Chris Brown, Justin. You've been all over the.
Yeah, pretty much. Yeah.
And you're doing a style that we all do and love today called popping.
Fast forward, you still popping.
Yeah, that's at 64. I want to know because you've been through the history.
What do you think the state of popping is in right now?
Give me three positives first.
No, no. I mean,
three positives and three things that you just like, look.
I mean, the positive about it is still here. I mean, the thing about it for me, because it was a dance that we didn't think was going to last this long, man. We kids. I'm a young I'm 16. Some people 14s, people Sam was only 18. So it wasn't like this. We saw the future like this going to be a dance I'm going be doing for 40 some years, going to take me overseas. No, we was it taking us? We was happy that it taking us from Long Beach to to South Central. So we was like, "Damn, we in it." So my thing about it is still it's still here. You know, the the the the gripes, the debates, the still around, still the same stuff I've been hearing all my life. But the the positivity of it is is is worldwide.
Yeah.
You know, whatever whatever that is. I mean, people are doing doing the dance. And again, popping is is I I want to make sure that people get get their just dues. It's not only about cuz popping to me is not the umbrella term. Popping is is just one single style. When I came in in the game, if you said if you walked up to somebody say, "What style you do?" If you say popping, I'm I want to see you pop. You say I wave. You say I touch. Those are the things that people said. Then you go, you say, "Man, how many styles you?" And the person say, "I mean, I do I do four different styles." And you, they name them. We go, "Oh, cool." So the word popping is then for me is taken away from the wavers, the strutters, the animators, the roboteers, all these. So street dance is this thing that I want to I I pay homage to the to all because if it's for me, when you say popping, I'm only going to go where that style is because I will never accept it as an umbrella term. It is never going to be that for me. It's always going to be a separate style because if you know. So my thing is that's why I wish people would would understand in this current climate that, you know, because when they start putting on umbrella term, they didn't they didn't asked the people before them, "Hey, you think this is cool? Think we should do this?" And and once it happened, it got it kind of got out of control. So kind of that's why that whole thing, uh, this this moment in time where people were saying where people say, "Well, Sam created popping." How did he create popping? He didn't create waving and tutting and strutting because everybody thought though we was talking about the umbrella term. So that was the the misnomer.
So that term has been out since the beginning?
The the umbrella term, umbrella like—
Nah, that never was out. New.
That's new. That came that came in probably like the 90s, the early 90s. And and that's probably why our generation, we associated all of it with popping because that's how—
Think about it. I'm born '87.
Yeah.
So by the time I start seeing Breaking the movie at seven, eight years old, watching the tape all the way up to 10. All I seen people doing older than me was everything. They pop, they wave, they touch, they robot. It's all associated. I wouldn't separate Mr. Animation from Mr. Wiggles. It was just a style preference to me, to to me, how we learned.
But yeah, but that—
As I got educated. Yeah. Now I know that the move with the hit is the pop.
Well, I may even talk about the hit because I got to even correct that. The hit is not. It's not. It has nothing to do with the the pop. It has nothing to do. Originally, when you say, if somebody would say they was hitting, that means you was you was doing whatever style you're doing on a high level.
The original. Yeah. Yeah. Original term. It's always going for me. Everything's always original for me. So for somebody like, even when we used to say it back in the day,
"Man, he's hitting."
I mean, he's getting busy.
"He's hitting them waves. He hitting that tut. He's hitting that Boogaloo. Hitting that pop, that strut."
Say hitting that pop.
Hit hitting that pop. And everybody thought hit was this thing because—
But cuz the new term, they they use hit as the hit.
Yeah. But then why, but there's why is no hitting battles?
Right?
Why popping?
Yeah. Why is no one around here saying, "Man, I'm doing a hitting class workshop." Why is it popping? Because you can't, you know, that's the thing that the popping, popping. P O P I N G. We we going to be proper about it. You know, it's not P O P I N all them, you know, things. It's it's always been popping. So when when the style and the technique, the foundation came out, the popping thing is when you say, "Let me see you pop. Let me, you know, let me see your hard pops." That's the technique. That's the That's Somebody said, "Let me see you do popping." And that's the that's uh entails your groove, your move. Yeah. Your dance. Yeah. Yeah. With your with your with your pop. But your your your pop is the is the foundation, your your feel.
Like I say, everyone has a different feel.
So, let's say by definition, a person didn't actually have the terms, but they're doing what it is.
So whether they call it hitting and popping, whether they call it groove and pop, whatever they call it, they're actually doing it.
Yeah. If they doing if they if they contracting the muscles, whether it be the arms, the chest, the head, and snapping the knees, that's that's the that's the that's considered popping.
So when you talk about these other styles, cuz I seen you post something the other day. You said—
That and it was kind of controversial. Uh, these other styles, wavers, they'll come to popping battles, uh, roboteers, they'll come to these jams and they'll get to judge a popping battle.
But they don't invite Popin' Pete.
Yeah. I mean, to do animated battle, I don't judge those. They don't offer me. They don't offer me to go and do a strutting judging. They don't. I'm not. See, my thing wasn't about the people who joined the battle. It's about the people who sitting on the panel and judging because if I if I go and say, "I want to I want to sit on a judging panel and judge strutters," and you got pure strutters, they're going to look at me like, "What? Why Pete sitting here? He's not a strutter."
Why Pete sitting on a thing? He's not a. Can I wave? Yeah, but he's not. That's not what he's known for. But I'm a judge. Sit there and judge waving. Can I judge waving? Yes. But I don't. I'm a respectful judge. If I if it's not what I do, I'm not I'm not gonna sit there and and and do it, you know, and judge something that I that I'm I know that I'm not known for popping. I can judge ticking. I can judge puppets, scarecrow, all that. Strutting, animation, waving, tutting. I shouldn't shouldn't no one because that's what I'm saying. If if they would say that to me, they go, "They not they're they're poppers and Boogaloos. Why? Why are they judging this?" But if you reverse it, no one has a problem.
So, do you think that that's a problem within the I'm talking about worldwide? Cuz I see that at a lot of jams too.
Yeah.
I see some people who I say, especially technique-wise, cuz we are we a crew, especially our crew, you know, we original. I feel like we move or have the same kind of philosophy that you all had when it comes to creating your own way of doing it. Like using the techniques but doing it your way. The groove, the pop, the I see a lot of either copycats or people who don't even pop well.
That are judging worldwide competitions.
I mean, you got people who who's teaching worldwide that shouldn't be teaching. So it's not popularity or uh out outweighs uh skills. You you you know, back in the day, you you had to have skills because you didn't see nobody. You your name, your name became synonymous to how dope you were. Now it's about kind of like, you know, you just you can push a button and get a million views and become popular. Doesn't mean popularity doesn't mean you're good at what you do. Just people who who even back in the day talk like they had it. Skill-wise, they didn't. But they talk like they had it. But then you have to show it. You know what I'm saying? So now it's easy to push a button and get a million views.
So become popular. That'll that'll change at some time.
No.
You think it's done?
No. It's it would never change because it's it's too far gone. It's too um I mean, it's about views. It's about if you want you want you want you know, go viral, you got to you know, it's it's people who send me clips of old older people dancing and and you know, just doing some just some minimal popping uh and they they have a million views. And this term that I keep hearing, man, it it goes to your point about I hear a lot, especially when it comes to specifically popping.
"These are the best poppers in the world."
"They're the best."
And I'm sitting there like looking at him like, "What have they done? What makes you the best popper in the world?" Cuz you got a million views on one clip. Cuz I look at the original, like anything in history, you got any sport, you got to do what that sport fouls to be considered the best. If you go at just popping, we'll go with just Popin' Pete. Popin' Pete has started in the street, got the street credit, went to stage and film.
Right?
At the highest level, movies, inspired generations, teaching at the highest level. That's a criteria to be considered a best in the world.
I got people who only enter jams.
Right?
Never really was in the street, right?
You got your viral clip.
Right?
Never did nothing TV, stage, or film.
Yet that's the best popper in the world because it's current. They don't. It's not.
I'm talking about even right now.
That's what I mean. That's what I mean.
Even right now. Our crew be right now. We stage from street, stage, film, with highest level. We'll be in the Emmys tomorrow. It don't it don't matter.
Exactly.
See, the the thing is that path, I I went that path. I know that path.
It's not a. Yeah. They being on television is you know, people see who you know, "Ah man, you." It's it's some there's some singers who can't sing but are very popular. And some actors who can't act because they they in a movie constantly over and over. They're popular. Popularity is due sometimes is due to the fact how many times you're seen. It doesn't always equate to skills. Skills is they show up to every jam. Of course, it's only you. You're the only contestant. You're the only one. You're you go to this city, that city, this city, that state, this jam, that jam. You're in every video.
Yeah.
But your skill set ain't changed.
But it's But that's I said. But it's—
But you got to understand something, too. When when you're dealing with people who don't understand the dance when they're looking at it. That's why that's why uh there's many clips people send me or I see on YouTube or anything back even 10, 20 years ago. "This is the best popper." And I go and I see them. But I understand. I understand the game. I understand why they saying this. If you if you're uh if you're looking at something that you and and the person who's watching is a novice uh fan of dance who may not even know their style. They say, "This person is moving." And they go, "There's something about this person I like." That's why I got so many likes and views. Whether the comments say, "He suck," or this, and somebody say, "Oh, his movement is." And I read it all the time. And I put my clip on YouTube when I be before, you know, only thing people was using YouTube more often at that time. I I get a thousand. And the same people somebody going to put up put up a hat and they get a million. One thing I don't do, I don't look at that. I know the game. I I understand because it's not about it's about the viewers who's watching. If they are not educated enough to know that that this is that it's not really their fault.
It's just the fact that this is what's presented to them. They go, "Yeah, this is cool." I'm glad you said that education thing.
Because I feel like the mass majority of even the current popping game aren't educated on how to be original because that's why it's so replicated. It's so far gone. I don't see people who are applying the dance like it was a Popin' Pete and it was a Mr. Uh, it was a Mr. Wiggles. It was a Popin' Pete, Taco, and Boogaloo Shrimp all on one screen.
At the same era, same time, but y'all all look different.
Yeah. But—
Yeah.
That doesn't exist as much these days. Do you feel like there's a disconnect on how they're learning the style now versus how you guys learned it and was pioneering your own movement?
For for one, I mean, we we learned it from one person. There's people learn it from multiple people now. You know, even when I go to China, there's the students that have multiple teachers that come through there and and have different applications to it. So now it's like, "Well, my this teacher did it. He said popping has done this way. This teacher said popping has done this way. This teacher says." And when I come in, I say, "Well, all them are wrong. It's not the way." So you got too much. My day was, we only had Sam. There was no TV, there was no internet, there was nothing. You either go to the jam and you see it and you try to figure it out. That's what people did. And they figured out wrong a lot. Yes, there's even back in those days, I I even me looking back in those days, I don't give I don't even give those days uh no no more credence or credit like like it was some kind of like era of these, you know, these incredible people. These when I saw people do it back then when I was 16, 17, if they wasn't doing it uh correctly, I said, "That's not that's not how you do it." It's because now it's it's a uh a local thing. It's not like we all looking at at a clip and and watching somebody put something up that we can critique.
Yeah.
So you had to critique people in real time. So we, me seeing stuff, I'm going, "The the the 70s, 80s wasn't for me wasn't like some some, oh my god, this era right here, everybody's getting down, everybody is creating, every—" No.
Yeah, it it's it's the same critique I give now. It's just less people were doing it then. Now because we have social media, we we see things instantly. Back then, you didn't know. You only heard people hear your name in the in the either. Yeah, Pete. They ain't never knew how I look until I go to you. They say, "Man, who you, man? Pete." "Oh, yeah. Oh, I heard about you." Now, everybody know your know your your blood type, your your food, your light, the so and so, your girlfriend name, your mama name, your daddy name, cuz it's right there. Back in them days, you can walk by somebody and not even know if that's the person cuz it because it wasn't that thing uh that instantly people knew who you were. They didn't recognize you. Only recognize your name from from from the rep you get in the streets. You know your name if you because that's only by phone call. "Man, this dude name these this guy named uh uh Boogaloo Shrimp blah blah blah blah blah blah." Everybody doing that was no, "Hey, let's let's see how they described how you dance, man. He was doing that. His neck turned this way. His leg shot out this way. He was." Now you don't have to. You don't have to describe. Just look.
Look at him.
"Oh, he suck or he dope." So do you feel like with that with the internet being so prevalent now that—
Originality—
Can go back to his original sources like how can someone even a newer dancer today even learning from whomever with all the information—
Still make his dance—
According to him because I seen you make a post about that like you, "I'm still learning." And we're all still learning and evolving. How can you with all this information, all the jams, all of it being thrown at you, still say, "Hey, I want to do it like this."
Well, it's hard because everybody want see the difference.
Contest.
It's it's everything. It's about popularity. It's about who it's about views. It's about being famous. I wasn't trying to be famous. It wasn't about me. I want to be the best popper in the world. I just wanted to be like my brother. I wanted to be part of what my brother was doing. That's only thing I wanted to do. Wasn't about, "Hey man, one day I'm gonna travel the world with this. I'm I'm gonna be considered one of the best." Oh, if somebody say you was good in that moment, cool. Somebody say you sucked in that moment. That that that's that's the thing for for me back then was it was um the purity of it. Even though it was still the Boogaloo, you know, everybody trying to figure out how to do it because it was no classes. Nobody, nobody came into our our uh rehearsals and learned from Sam. Learn, you learn, it was a group. Anything outside of that, you you you see us and then you, "Ah, I think they was doing this. Oh, I thought they were doing this." Yeah, your personality can be there, but still technically there's a little a lot of people are flawed technically even back in them days. It's just it's just wasn't nobody was going around because we didn't see couldn't see everybody instantly. You couldn't go around. Let me just drive around, go to jams, and then critique. You ain't doing it right. No, no, you didn't do that. You know, you go, "All right, you don't I mean," back in them days, especially me, I'm a humble Pete now. I was I was I was the diabolical. Talk more crap to people when you when I was dancing at 16, 17. If I, I don't care if you was 12, 11, you jumped in my face and you weren't good. This how everybody was. "Ah, you sorry." "Ah, that's the word back there. It wasn't you suck. We never said suck. That's a that came from after you was a sorry dancer."
You scary now. I was talking to a kid and uh their generation, he was saying that it's kind of grown soft. They don't call nobody out no more. They don't even really cipher like that. And I'm not calling the new generation soft because there's hugs. There's dogs in the new generation. But do you think that that era in our era too, cuz we came up cipher. I own my whole career cipher battles. I got world renown off cipher battles. I never. You don't see me enter no contest. There's no footage.
Yeah.
All my footage is in the street. In the real street.
Yeah.
So,
do you think that that element—
Brings a source of what originality back to the game? Just that raw, forget the cameras, forget it, and let's just get it cracking right now.
Emano. Do you think it should be more that in some kind of way implemented today? I mean, that's that's up to the individuals today because again, it's not a. I mean, we had we had dance contests back in my day. Go to battle. Uh, it was more dance contest wise. Street battles were like, you saying—
But we we didn't know nothing. We don't know nothing about ciphering. We don't know nothing about that. We that we never used that word.
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So, you saying how y'all used to say "get down"? We say "get down" too.
Yeah. Yeah. You know, back then, you know, uh, "get down," "cut the rug," you know, "go off." Uh, if I was ask calling somebody out, I said, "You want to go against me? Want to go against me? You want or you want some?" Yeah.
You want some.
So, you know, in those days again, the we battled for the lack of, you know, the just the the wording. We didn't care where you were. We went to your house.
Out.
We went. I my my first battle was um I had uh my friend came to came to my house. 16 now. Now, at this time, I only been popping for three and a half months. Popping in Long Beach. was living in Long Beach. And people started cuz locking was the was the still the number one dance. So when we started doing getting down popping, Boogaloo, and then again, let me make sure I say popping, Boogaloo, scarecrow, tutting, ticking, all that, not just popping. So—
So we so all these different styles that we would we would do within the group. Uh, because everybody had had that name. You had Boogaloo Sound, Ticking Deck, Ticking Wheel, uh, Puppet, uh, Boozer, uh, Scarecrow, Scally, Popping Pete, Creeping Sid, you know, had all these, you know, everybody did what what they named after what they do more more than than not. So, my first battle was somebody came to me and said, "Hey, this this kid, I'm 16. This kid this guy want to my friend want to battle you." I said, "Where he live?" He said, "Man, he lived like four blocks." I don't have. I was 16. I don't have a car. I didn't have a bike. I ran four blocks.
He was—
I ran four blocks and got to his house. And I said, he was in the front, his front yard, his little his little sister, his mother. I ran up and said, "Who want to get out against me?" And they said, and and his mother said, "He want to dance dance against you." Black family, you know. I said, "Who go first, me or you?" He said, "I said, this one on my this is me on my area. I said, "You should go first cuz I'm going to beat you in five moves. I'm going to beat you in five moves." And and and, you know, and that time was the beginning. So he really, you know, they was like, "Well, I said, what the boom." I said, "Did I win?" He said, "Yeah." I said, "Okay, bye." And I ran back home.
You see Pete, I'm holding you accountable right now. See that? How you just said, "I'mma beat you in five more." That attitude. Y'all started that battling thing, right? And you took it overseas. And and that's good because you had to spread it worldwide.
But now, wait, let me look. Now, I'm just getting into I'm just using this.
Yeah, I know. I know.
Getting into what's going on over there because they got that same attitude in these other countries.
Nah, they don't.
They don't. They don't either. Not like I mean, not like this. See the the difference for us and and and a lot of people, they wait to they wait till they go to a jam.
Yeah.
And that's the thing. That's what I mean by they put the culture on. But then when you get out of they take. We lived it. Like I'm in Baltimore, like how you're describing battling. We grew up club dancing. We battling in school cafeterias,
skating rings, on the parking lot, concrete, asphalt. I grew up doing. So by the time I got to the popping game, this is like child's play. Why are we only doing this at this man? Get on this parking lot. But I'm saying that to say when it comes to the international circuit, you guys have created,
the jams, the battles, and which is great, but now it's like all the big jams are only overseas.
Well, let me tell you about that. We we had no influence on the jams things. And uh um Minsky went to Japan in 1985. First time we met a guy named Cherry. He passed away. Uh, DJ Cherry, first one of our first students in Osaka, Japan. He was a DJ. Uh, you know, we stayed at his house and he, you know, taken us in. He spoke English, so it was all good. And uh, we would me and Ski, first time went there, we performed at nightclubs. We the first thing you know, we we performed at three, yeah, three, three different nightclubs. We would perform at 12 midnight, 2, and 4 cuz the club stayed open all night. And Cherry was at was DJing at one of the clubs. So, you know, we became friends. And this about this is then '87, 1987. Yeah. 1987, Cherry came to Ski and me. And Ski and said, "I got an idea." And we said, "What?" He said, "Man, I'm g I want to do a a a thing called a daytime party." We say, "What is a daytime party?" He said, "We at we're going to I'm going to ask the the people that that for the club, can I can I uh come and and do a daytime party instead of a nighttime party?" He said, "I want to I want to, you know, just invite a bunch, you know, just just to just to dance to do." Because it was people were trying to because again, this is three years after me and Ski. So two years after. So the the Osaka scene that start kind of growing. Tetsu was yeah, they was trying to pop. But Tu, he was only 15 when I. But you had like Yuki, who now everybody say he's 71, he's 61. Oh, he was 20. I was 20. He was 21. So all these dancers wasn't a lot. So he said, "I got an idea. Daytime party." Me and Ski said, "Man, ain't nobody getting ready to come to no club." He said, "What?" I said, "What you gonna do?" "Okay, we gonna do we gonna have a um, you know, people come in and dance and then we going to
"Have a we gonna have a dance uh battle." I said, "What you mean?" "Yeah, we going to have a battle." The very first battle was me and Ski. Would would we all the dancers in the club who was there? Probably was only about 50 people in there. Minsk had to he had a team out, you know, like basketball. I want him. I want him. I want him. So, we did and then Minsk would send his person out, battle, come back, battle, come back, come back.
>> Like team captain.
>> Team captain. Then we then we did a mock battle at the end. Me and him, me and SK against each other.
>> That was the very first time. Then the second time he did it, then he started formulating, I want you guys to be a judge. And then we and it was only 10 people.
>> So would you say that that template kind of template?
>> Yeah. Because other countries >> to no to other organizers who start Cherry did it the template for old school night is because of Cherry.
>> They they uh taken that concept and started doing their own thing called cuz we did old school night one. The very first one in the club was small and it was uh 20 dancers,
>> right?
>> And and um uh maybe was 20 30 dancers because when we were judging Ski was like, "Man, man, how many?" 30, man, it's too many. And he said, "Man, they got to come out here at 10 uh 10 and then come out each one of the prelims and then me and Ski will will talk and we pick two out of the 10 and we go like this. You and you like an audition. You you my everyone else get out and then the next 10 and we had them and I think it was like it was like a top go straight to the top eight but and then that's how but those but Cherry is the first one. No other country, nobody. And then then old the uh machine who runs old school started using that same template and then old school night became the the
>> go trickles down all the way.
>> It start trickling down.
>> Yeah. Yeah. Start doing everybody. Somebody got to give you a residual.
>> No, not me.
>> No, not me. I was just as you know it's like what the hell you talking about?
>> Now that we on the international circuit,
>> right? I see a lot of dancers, poppers from the states,
>> original dope poppers go overseas
>> and of course it's their market. They have their own world now.
>> But do you feel like the talent is better overseas or in the states when it comes to strictly pop?
>> Overseas.
>> Now why do you say that?
>> Because they because they learned they invited more uh original people even the second generation to go teach. I I can't I can't teach when I teach here it's a it's it's like I got to make my own classes. Nobody's no you know it's not like a lot of you know it's a few people who invited me to come teach. There's no one in here in America that say, you know, after I taught Taco and allbody far as, you know, and Sugar Pop and all them, no one came to Sam, saying hey, man, I want to learn from you. It became a thing of everybody said, "I got my own thing."
>> Yeah.
>> I don't want to learn from them.
>> But I said, "But who are you learning from then?" Cuz you say, "I got people say I got my own style." And I go, "But you look just like that those people." Yeah. So it's not a you know and so it became for me in America it became this kind of like like we on our own we don't need this we don't we got our own style because everybody on this arrogant thing versus me as a dancer I'm when I started trying to learn how to lock I went to the source when I learn when I when I want to learn you know how to wait I'm going to look at the best or the not it don't have to be one particular person can be a gambit of people who do these dance styles that's dope.
>> I never had an attitude about if somebody got when waving came in. When I saw waving and tutting and strutting and all that, I embraced that. I was like, whoa, those styles are dope. It never was a thing. I went, man, man, with this, this is the problem, you know, for me in America. America have this thing where like we the originators. No, you're you're you're a part of a community like you didn't originate it. You you you know, like I can't take credit for the person who created locking or crumping just because I'm because I'm black or in the community. I go I have to give full face value and respect to those creators and you should do if I want to learn I'm going to go to them. I'm not going to sit back and say I'mma do my own thing and and and I don't even know I don't need I didn't learn. I was selftaught. I said, "How?"
>> Yeah.
>> I said I said, "Do you I watched some videos?"
>> Yes.
>> And you was you was indirectly taught by someone.
>> But now what about the ones who because I feel like
>> I'm not inspired by the overseas poppers. Not all some of them I am. Some who I know that learned from somebody over here like a MT. I know he got the strutting formula because I see it.
>> I see I know Tartan taught you or somebody like original like a Sally Sly. That's a popping and peep kind of bag right there. Like even though he doing it his own way, I can see the
>> even us I got the G style template. Even though I do it my own way, like you say, "Oh, you're doing it way different than them." Like you do it, but you do it way different.
>> But the everyday contest popper, they don't move me because they don't have nothing under the pop. It's I just see technique.
>> Boom. Straight out of the classroom. I'mma do it just like Pete. Boom. straight and it's a 7,000 of them in one original, two originals out there or somebody who put their own flavor on it. That's just why I'm not inspired by everybody. Like it's something that's cold, but overall I just see more difference in the States.
>> And I'm not saying that everybody in the States is cold. I'm just saying I just like the fact that you're moving a little. You may need to fine-tune it a lot of bit, but the difference is I feel like what grows the dance like, okay, if you get some more technique, if you get some more what Pete got, you get some more what some OG's got, you're going to take it to a different place.
>> But and and and and I and I understand what you're saying, but in in that, you know, this is sometime when I when I hear hear that, you know, even even, you know, with the G style, y'all, it's a flavor that all you guys had. So it wasn't a thing that I I looked at and go, "Oh, they're the waves are the way it should be done under that blanket. The the feeling should be done." So it was if you're in G style or if you in or if you from uh Oakland, you're doing uh struting,
>> it's going it's going to be it's going to be the same. All it all all that makes the difference was cuz we had we had the opportunity to travel.
>> Yeah. See, this is the thing that what people got to understand, and this has always been the the the the the crutch or the thing that people try to stab us in the side over. We It's almost like, how dare you guys get to go travel and teach y'all style now that a lot of people are doing like you guys and then call it out as if we had have some plan to do this. I'm on I'm if somebody asked me to teach I can't teach I can't teach G- style I can't teach struting they say we though that group or that person I'm only going to teach if you go if you go uh to to uh China you're not going to go there and teach the Fresno
>> no
>> you're gonna go you know see yeah but when it comes to the popping there's there's no technique-wise foundationally wise there is no one doing no if I tell everybody in the world don't despite your your personal moves technique we all doing the same pop
>> contracting the muscle da da da that's the thing that people don't understand a move a feel makes you different a but the technique is the same this is this is why I say when I hear people say you know who waving tutting all this stuff no one no looks at those dances and go, "Yeah, but them people overseas, they they all when they touch, they all they don't they all look the same as the we that we're doing here." It's only because it's the but it only comes to popping when people have this this this this micro minute critique of ah
>> y'all doing like Pete, y'all doing like damn in a sense. But when I see people doing uh snaking and way I don't go, "Oh my god, y'all look y'all trying." I go because you get in where you fit in. If you're a waiver and that's what you do, you learn it. If you're a Tutter, you learn it. If you're a strutter, you're a bugalure, you a you're a animator, you a visual field, that's you know, I don't in electric bugaloos wiggles don't look like me.
>> Yeah.
>> But if you say only do the technique, well, everybody going to do the same. That's why I say when people hit me with man, you know, the European style popping. So I said, "So Sally look Sai looks just like Salah."
>> Yeah. But but he don't look what I'm saying is go to Korea. Hoen doesn't look like JG. Come go to come to LA. You don't look like Boos.
>> So my thing is techniquewise is the same. if you can. And this is the thing Sam told me. He said, "I'm gonna teach you the foundation, the the the groove, the technique." He said, "But all this," he said, "But put your personality inside."
>> And and that's where I that's what I only look at. I'm a feel guy. I'm come from house music, club music, all we feel first. So when I watch a lot of these poppers, I see the same approach. I'm not even looking at the technique. I'm looking at how you moving under the technique. I'm looking at the personality and and I'm not saying you pop like this or you pop like that. It just doesn't feel like anything.
>> It feels a little manufactured and that's and that's given because a lot of people are learning. Everybody not going to have the same thing. That's just my
>> No, and I agree with you. My my thing is I tell people this all the time in even in China whether I go teach privates or do thing. I tell people, hey, look, you trying to take on someone's dance personality cuz technique-wise, you can't you can't say, I'mma teach you how to pop, but I'm going to show you you only can pop your shoulder. No, you're going to show them or waving or whatever it is,
>> it's a it's when people take on people's personality. So, if I say to you, man, damn, you good, but you dance, man. You dance just like John Boos, man. And and some people be like, "Thank you." They think that's a compliment. That is not that's saying they they're recognizing someone else
>> and not you.
>> So I that's why I say understand this is what I say. My thing is I'm going to teach you the foundations. I'm going teach you the things. I don't teach people my moves. When people ask me, man, can you teach me crazy legs? Nah, I really don't teach. That's that's a personal thing. Even though if you do it, I don't tell people like when kiting all the people do. I don't go why y'all doing my thing. But I don't teach it like that. I don't That's why Wiggles don't teach wiggle walk in his classes because it's personal. We teach the fun fundamentals of the style. Then we tell them find yourself. The hardest thing is to find yourself. You I can't tell you how you should be. I only can say look there is you can hold your hand like this. You can do this. Find your comfortability where you where you uh it makes sense for you. So my thing is that this is the the misnome of what people thinking like oh electric bill is just making a bunch of clones. That's not what we do. Our whole thing was we don't the fundamentals I can't somebody said hey uh I like how Pete dance I I don't walk up to him say you know hey man stop doing that dance like me. I I I already tell them find yourself. But I go, you know, but people want to emulate and then and there's no OGs. There's no original because we're all copies of copies of copies. I'm not a I'm not my feel may be, but technique-wise, I'm a copy of Sam. And wherever Sam got inspired or person who did waving, tutting, G style, we're all a copy of a copy of a copy. finding your feel inside the copy is is is where
>> make you move and do whatever the technique is differently.
>> Yeah. And exactly and that's the thing that and I can see it from your perspective. Yeah. You doing a style or feel that or I don't see too many you know people overseas doing it because it didn't take off like that.
>> And I would like to just see cuz I seen some I was just watching me and John we was watching what's the boy Christo how he waves. I was like, "Whoa, I just That's fire." Paris, that's fire. The way you do it.
>> That's one person.
>> That's what I mean. That's he got an individual
>> and and and that's what I mean. Well, I just want to see and this is just not just overseas. I'm not picking on overseas. I'm talking about anywhere any time I'm looking at popping. I'm looking at how are you doing it differently first because I want to talk to you. I want you talk to me through your dance. I don't want to talk to you and I see a classroom. And it's not knocking you. Yeah. I'm just saying I'm not as I'm not crowning you.
>> That's the best. Right. I can't do it.
>> Right.
>> You gotta be an original and you got to have the techniques crazy.
>> Yeah.
>> For my for my And I And I I ain't the king of popping. So I can No, no, no. I understand where you're coming from. Especially our group cuz we pride ourselves on being originals and doing it the way we do it but keeping the technique high train. We drill technique all day.
>> Yeah.
>> You got to put yourself in there.
>> But that's what I mean. That's what I said. I you know
>> don't see it mass produced like that.
>> No because everybody's on the in there's no groups if you're on an individual thing. Like I said, it's it was like that in the in the in the 70s, in the 60 I mean 70s and 80s and 90s that there was that's why I said this this a few pockets of people that people see even some of the old old school dancers out of LA, they see these pockets. But you got to remember there was a people that you didn't see that everybody looked the same. See, this is why I say the same thing you you you're saying the same thing I used to say back when I was 17, 18. I just see people just going everybody did the same thing. I'm going
>> well everybody's pretty much doing the same thing
>> for preservation purposes in the game
>> for purity of the game. Do you think that it would be wise, especially at this point, for all the OGs of whatever faction of style you have, whether it's the Bugaloos like you, Electric Bugaloo, the Strutters, the the the the Boppers to G-style, maybe the leads or heads of them groups come together and have a conversation.
>> No,
>> now why not?
>> Ah, that's because it's not needed.
>> Just
>> it's not needed.
>> Put perspective on.
>> It's not needed. It's not a thing where this is, you know, dance history as black dance has always been pockets of of uh disagreements or pockets of everybody doing their thing. That's the that is the for me the the within the culture or even I don't even like saying culture but within the community of how dance has been presented since since the Africa our ancestors coming from Africa. You go to Africa there's you go to Sagal you go to Nigeria there's totally different dance styles totally different fields they're not having this conversation it's just a thing that it's a mutual risk it's a respect for me. Yeah.
>> You know, I don't I don't when I when I speak of anyone view on the respect of the dance, I just respect the dance. I say, "Man, yeah, that when I first saw Crumpet, oh, that's I that's dope. I'mma respect I got to respect that." Individually, if I don't get along with somebody with even within my own style has nothing to do with it. So, my thing is this this coalition of, you know, these head Who's the heads? It's not a
>> with the faces cuz I mean there's f whether we like it or not you you're one of the faces of electric bullet. Slick dog g style bob andre for the boppers. Uh I mean there's plenty more. I'm just saying like these are the most recogn for the starters. There's so many others but there are names household names. And I'm not saying that it has to be you or it has to be them. But you don't think that cuz this I think popping is the ballet of street dance. period. Like a lot of styles derive from popping and we're going into spaces where we can do even more. We're we're stretching the boundaries.
>> So if we can have maybe a general curriculum or general consensus from every style
>> in a book and teach it in a school, do you think that that would be good?
>> No.
>> And why not?
>> Because then then you just got a bunch of people who want to be uh
>> because they doing it anyway.
>> Yeah. Yeah, but that's why
>> so why not do it while the creators and the pioneers are still here? So is
>> a lot of them not but a lot of them still are a lot of them are not here. That's what I mean. What I'm saying to you is a lot of people can't teach now on that level. A lot of people we are getting old 64. We got people who uh you know that there are some um some uh uh strutters and oh they 70 that don't teach but they you know they they are still around not you know but to you know these are the things I've said years ago. Hey man, whatever your perspective style is, why y'all not why y'all not uh uh putting videos out teaching or or or doing classes, it this this thing that that happened was oh the EBS the EBS the EBS the EBS like we stopping everybody from doing what they need to do. So my whole thing is trying to get after 40ome years, 50 years to get a bunch of old bitter us to get together and say, "Hey, booy wooty woo woo. We got to do it's not going to work." What my thing is,
>> let us see it.
>> No, but it's not going to My thing is it's not a thing I'm being negative. What I'm saying is people
>> I've always said whatever style you do, teach it. Stop. One thing I don't do and this is something I have to say. When I go in my classes, I don't I don't talk about G-style people. I don't talk about uh negative talk about uh the Bay Area this and that. They ask me, I say, "Oh, man. They do your do their thing." Hey, uh what you think I should learn that style? Yeah, man. If you want to learn the style, those people you got to go to.
>> Yeah.
>> This is the this is the things that a lot of people, you know, where we're at this, you know, the EVs thing is at this this thing like and or somebody may hear one person say something and then mass when internet and everybody be crazy cuz there was a time where
>> I didn't even know or meet you yet and we was at
>> opposite ends of the spectrum. First time we met was on Dance where we got out John's house and it was and it was love and
>> fast forward we on a set of Will Trent together. Exactly.
>> On TV together. So that's why I'm saying
>> because I never held I never held I never looked at anyone in in there outside the main guy that because you know him him and I had a relationship. So my whole thing is anybody under that, you know, was like y'all just
>> and the same thing. But I still feel like, and it's just me personally,
>> as black people, men especially, grown men, we can sit down, have a conversation. I would like to see that. Not even just y'all two, all of cuz everybody got a little great, a little something. I would like to see everybody get a little round. We've done that before.
>> We never seen it cuz But no, all of us, our generation under y'all, we only seen the war.
>> I never seen y'all We only seen videos of y'all together and we like all the
>> There's a There's a panel.
>> That would be great.
>> There's a B Boy Summit
>> panel that we done. Okay. Right. P Boy Summit panel that we done in uh in uh uh I think 2004 or something. It had the Bay Area, had the uh the the um
>> uh all the
>> you know it it but it you know for right now I'm 64.
>> I have no I have I I wish everyone well. I have no again I have no I mean let me like you said let me point the camera. I have no beef with people. I have no time to have to sit back and be be uh negative and talk about other dancers. I don't care if you black, white, grizzly, or gray, as my mom would say. It does not it holds no value to me to to do this cuz all I'm doing is moving in my own pace. And and I've always recommend any and everyone, whatever, whoever you are, wherever you from, promote your thing
>> without the negativity. Cuz I do not need to talk down about someone to lift myself up. That's the part that I don't get where people sit on the internet or and say, "Oh, these people doing I'm going like this." You know, y'all wasting so much valuable time that y'all could be uh presenting y yourself to others, but y'all think putting these people, I don't care where it come from, my side,
>> they side, upside down, back to back, it don't matter to me. I'm
>> If it happens, if we happen, it got to happen on Studio Stories. That's all I ask. If y'all have a change of heart as a collective, our generation would love to see it just for him. But hey, let let me get my dream. I I and I love it.
>> But but
>> we appreciate you coming through. No doubt.
>> This this never supposed to happen and it did.
>> Of course.
>> Here where we at.
>> Yes.
>> We keep working. We keep grinding. I have And just let you know
>> definitely going to show us on Will Trent cuz that was my
>> Oh my god. Yeah. Down cipher. That was dude that was the word you gave was encouraging. So I appreciate it. And
>> I just want to let you know I have I've always had respect. There was I don't care one thing from me. Even in the in the heat of the of the stuff.
>> I It was never me needed to seek you guys out and go, "Hey, my my my thing was with the with the main man." And that's just how it is. I mean, you know, cuz y'all don't y'all don't know where we come from. It was a thing. So it was your personal thing and I'm standing 10 toes because I ain't got we still rock but at the same time I'm we all grown.
>> Like I said I'm just loving
>> I I appreciate you.
>> No doubt. I I appreciate you.
>> We going to do another one when we can. When you do yours I'm on there.
>> Yeah dog. Hell yeah.
>> Another episode of Studio Stories. Y'all popping heat.
>> Most respect. We out. Peace out.
>> I love this man. Dude. Man. this dude for real
>> to to finally see you in person. Funky
>> your uh execution, your imagination. That's the thing that a lot of people in the game drew something and they repeat it. But I see your creat creativity of how you move and how you create from the from the music aspect of it. Not just like I'm in the mirror. I'm making some move. We all have like we all have our general look and feel. But when you manipulate [Music] I'm like okay and you were good. It's not like you would I never I never I always say [Music] ah ah ah