Lammastide said:

thank ya!
how do i look? is here btw
http://www.howdoilooknyc.org

Ellie said:

1 minute history moment

Krumping is an extension of "clown dancing," you can almost call it "extreme clowndancing," it's more hip hop-inspired and actually looks like dance-violence if you've ever seen a group go at it.

There is a difference between that and traditional poplocking/Campbellocking which originated in California in the 1970s.

I strongly recommend watching the film Rize, it really shows the differences in two artforms. Tommy The Clown -- the guy who pioneered this -- definitely lifted his initial style from the orginal Campbellocking/poplocking scene in the 1970s and Popping in the early '80s, but Poplocking tends to be more theatrical, fluid and comical whereas today's Krump -- clowndancing's more aggressive off-shoot [or as Tommy The Clown likes to say "clowndance rip-off" (depending on which side of the creative fence you stand)] -- tends to be wilder and visceral (almost tribal), its movements are abrupt and darker -- there's even a lude element in Krumping/clowndancing called "stripper dancing" (but that's a different scene altogether)

Watch this movie trailer to see the dance in action :: http://www.apple.com/trai...edium.html

Still, all are highly improvisational.

Here's a link to a NEW YORK TIMES article published last year on VOGUING today.



STILL STRIKING A POSE

By GUY TREBAY
NEW YORK TIMES
Published: May 22, 2005
Los Angeles

SELVIN KOOL-AID GIVENCHY was stalking the runway, letting fly his hands and his wild invective. "Work it, girls! Serve it like a legend!" said Mr. Givenchy, who is something of an underground legend himself, what with his Moms Mabley mug, his colossally oversize sweatshirt and a mouth that would make that raunchy comedian's seem snowflake pure. "Remember," Mr. Givenchy commanded the ladies, although ladies was not the word he employed. "I am in charge of the girls!"

The girls were not girls, of course, and the boys not boys. The runway was a makeshift theater on which, over the course of a long evening, the girls and the boys would stomp and pose and parade and dance attired in zoot suits or chiffon dresses or else very little at all. The gathering was a celebration of the 25th anniversary of the New York-based House of Ultra-Omni, one of the last of the original drag queen houses whose balls proliferated in the 1980's, then faded from memory and, seemingly, disappeared.

Whatever vague awareness most Americans may have of this bygone scene probably comes from Madonna's "Vogue," the influential 1990 hit that was either an act of homage to the underground that inspired it or one of creative larceny. A fuller introduction was provided by "Paris Is Burning," Jennie Livingston's 1991 documentary, a remarkably clear-eyed appraisal of the epoch and the quirky "legends" who gave it birth.

No one can say for sure when or how voguing seemed to vanish, and with it the houses that brought it into the world. Those houses constituted groups of gay men organized and run by "mothers" and "fathers," populated by "children" and named for fashion designers no one involved had ever met. Then and now, even people who were in on the scene might have been forgiven for assuming that its practitioners had moved on in the decade after "Vogue" and "Paris Is Burning," or, as likely, were now dead. READ MORE BY CLICKING HERE :: http://www.nytimes.com/20...e5&ei=5070