This is me stalling at my best. I twiddle my thumbs and ponder other things instead of doing what I need to do.
So here I am, posting my Literary Journalism group profile for Zombie Hunters, written two years ago for LJ 20. I never showed you guys this paper; after bugging you guys at session, I think you guys deserve to enjoy and laugh at this group profile. Bon appetit.
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“We got Miracles, Furious Styles Crew. On my right, representing Concrete All-Stars, Zulu Kings–the man below 4’ 5, we got Smurf. It’s going down. I need everyone to take three steps back. That means if you’re in the back, three steps back. Ladies and gentlemen, this is going to be something to behold” Duo, the charismatic and witty MC proclaims, as DJ Renato scratches his turntable. “$15 to the person who quits, whoever buys him a beer. Ladies and gentlemen, this is gonna be a tight five-round battle going down here. Make some noise y’all. Let’s show our competitors that we feel them, and we gonna give energy. So on three we’re gonna say “Get Em!”
“1, 2, 3!” Duo shouts.
“Get Em!” the crowd clamors.
“1, 2, 3!”
“Get Em!”
DJ Renato puts on the beat, an instrumental upbeat and rhythmic sound. The sound of trumpets, drums, and bass fill the air. Smurf paces back and forth, tension wound tightly in his shoulders. The crowd begins to clap to the beat, as Miracles begins with a sick step and goes into a frenzy of fluid movements, twirls, and flips. Miracles finishes his round and locks eyes with Smurf, never taking his attention off him. True to his name, Smurf, a five foot-two Latino beyond his twenties takes the floor, showing off his footwork, back flips, and blow-ups. Almost instantaneously after Smurf finishes his set, Miracles, a young Asian male wearing a red T-shirt jumps onto the scene with energy and aggression to start his second round.
I’m at New Kids on the Block 4, an annual jam, or break-dancing competition hosted every January by Richard Fagel, or as he is better known by, Nes. It’s my third New Kids in a row, but I am still in awe of all of the commotion going around me. Of course, not every battle is as highly anticipated as Smurf vs. Miracles simply because these two individuals are not competing in the actual jam. Instead, they are doing an exhibition battle, competing against one another as a performance battle, a paid showcase for these already well-known and established B-boys.
New Kids On the Block is a different jam, in that it is open to and geared towards up and coming breakers, who may not be so established or professional– at least not yet. Zombie Hunters is one of these crews, and they have definitely started making an impression on the Southern California break dancing scene. Today however, they are competing with a few other affiliates, and have signed up under the name Bukkake Kings. It is really interesting to see the dynamics of ZH, particularly in its members. The crew is made up of Gary Sapalicio, Jon Maturan, Barry “Killa B” Troung, Tony Vongpatron, Richard “Nes” Fagel, Mike “Nazty” Villaster, Socheat Pech, Yong “Monk” Chong, and Ruben Soto. They come from diverse backgrounds, and have different ambitions and interests.
“There’s an overwhelming feeling because we don’t know what’s going to happen or who’s going to be there. We try to keep our cool but we’re nervous.” –Monk
“First thing that goes through my head is… don’t fuck up” –Reuben
“Feels like…you’re about to go on a roller coaster. You’re nervous. Adrenaline. After you’re done, you just wanna go again” –Nes
Break dancing has its roots in the hip-hop movement, and as much as it is still connected to hip-hop, it has definitely transcended into its own culture. Born out of the Bronx in 1970, break dancing started as an outlet for gang members as a substitute for violence. The term break dancing originates from dancers moving to the “break” of the music. Traditionally, many dance moves derive from lindy hop, and even Kung-fu. Today, however many breakers today also incorporate other styles of hip hop, adding backspins, flips, windmills, and increasingly, body contortion. Although break dancing is not as popular as it once was at its peak in the 80’s, B-boys and B-girls still try to keep the tradition alive and have formed their own unique culture through the underground scene. At jams, breakers compete usually individually, in groups of two, or five at a time. Smaller jams offer prize money of a paltry $300, but big jams can offer as much as a few thousands.
The underground break dance culture reveals itself as something visually unexpected. From the media, we have come to have this preconceived image of what a B-boy may look like – stereotypically adorned in baggy cotton sweat pants, large graphic t-shirts, and other hip-hop affiliated clothing and accessories. But in reality, the average B-boy or B-girl looks nothing like this. There is a diverse set of styles, and although many would not believe it, you are more likely to see a frail looking, svelte, punk white kid sporting a choppy, razor styled hair cut, (sideburns and all) in grey cigarette skinny jeans and purple eye shadow, than a tough-looking, muscular African-American wearing the respective beanie, sweat pants, and a baseball cap. I know because I’ve seen this kid. The media also portrays dance competitions as events held in the slums of the city, sometimes literally underground, in the shadiest and darkest looking of places. Take for example, the infamous movie You Got Served. The competition is held in a dark, and what seems to be, underground arena. In reality, most jams are held in local, public communities, usually recreational centers, or parks, and are very community oriented. What we consider hip-hop music today would not even be played as beat music at a jam. B-boys move to the rhythm of soul, and are aficionados of funk, especially James Brown, and Kool & the Gang. They session, or practice, to beats from the 60’s, 70’s, 80’s, and early 90’s, and you rarely ever hear mainstream hip-hop that is played on the radio today. B-boys do not rely heavily on choreography or rehearsed synchronic dance moves, which is why competitions are a true test of skills and moves. As Yong or “Monk” puts it, “Nothing’s ever set. Things could change at any minute depending on what the other crew does. If they do a routine, you have to do a routine. If they try to impress the judges with power moves, you have to do the same.”
“It’s the only thing I like to do. I know people without talents…those people suck.” –Reuben
“We don’t think. We feel.” –Kris
There is definitely something special about the break dancing culture that sets it apart so much from another forms of dance, and from hip-hop in general. It has become something entirely on its own. When someone does an impressive move or set, the crowd chants in unison “Whoo!” while holding up one hand in the air and doing an almost jazz-hand like movement. When you’re about to move into your set with a sick step, B-boys clap rhythmically, and repeatedly chant “Uh!” When you want to burn someone, or make fun of your opponent, you imitate and parody their moves, maybe even do it better. The break dancing scene has its own trends, entirely different from hip-hop. Mullets, braided dragon tails, and fake over exaggerated glasses are widely popular. Of course, traditional hip-hop clothing and styles will always have its presence in the B-boy world, but it’s important to note the diversity. Everything is very light-hearted, from the MC’s witty remarks, to crews burning one another, the B-boy scene is all about having fun and showing what you got, and being the best at the same time. Even during a brief interview, there was never a dull moment. As I begin to ask Reuben how the break dancing scene has changed within the years, Kris interjects “REACH FOR THE STARS!” in a movie phone voice. Just minutes later, “BOOTS WITH THE FUR!”
The underground break dance scene is not void of politics either. You never, never ever copy someone else’s moves. Doing so will dub you a biter, and that reputation will stick with you. Rivalries exist. Crews each have their own reputation, some for being original, some for being biters, and some for being very out there. Commenting on one crew, Yong says “They try too hard. They always show up with neon pants, makeup and green hair. It’s like they’re showing themselves off, not their dancing.” Yet, at the end of the day, respect is something that is still highly valued. After each battle, crews acknowledge one another, no matter who won or lost, and respect their competitors’ efforts. “Some B-boys are arrogant and some just don’t know everyone in the scene. But after a battle you always show respect by shaking hands or at least acknowledging someone with a nod. If you don’t that shows disrespect, and that something else besides dancing is involved” Yong explains. Another aspect of respect is knowing who came from you as well, and paying tribute to the origins of the culture and dance. Barry expresses that “You gotta be creative, be original, but at the same time, know where you came from and keep true to the roots of hip-hop.”
Although many of the Zombie Hunters have been dancing for a few years, growing up and accepting more responsibilities have definitely taken a toll on their love for the dance. Nes, who will be graduating from CSULA this year, is constantly interrogated by his traditional and by the book Filipino parents whom ask, “Where are you going?” Of course, when he tells them the truth that he is going out to practice to dance, they respond negatively. “Stay home and study!” So, he attempts to make the best compromise. “Yeah, that’s what I’m doing. I’m going out to study…” What his parents don’t know won’t hurt them, right? Kris Villaster, another dancer shares a similar sentiment, “When you get serious with school, and you need to work, and you realize you have a test… School and dance, there’s no room for a third.” I found one B-boy particularly interesting. The most established of the Zombie Hunters, Barry Troung. He is the oldest of the group at 27. A graduate of UC Irvine with a degree in Business Economics, Barry currently is employed by Warner Music Group, where he works in the Finance & Accounting department. Monday thru Friday, he holds a 9 to 5 job, in his navy-blue collared dress shirt, pressed and ironed immaculately crisp and held together with a striped grey and white tie, black dress pants, leather shoes, and watch. Arguably one of the most tedious and monotonous jobs, Barry passes time by calculating and punching numbers methodically into Excel spread sheets in the company’s black eighteen-inch Dell monitor. Then, overnight, something magical happens. The corporate shell that is Barry Troung becomes Killa B on the weekend, dancing side by side with the Zombie Hunters and showing off his impressive footwork and blow-ups, with no less flava than anyone else. The five-foot-five Vietnamese B-boy still has a young boyish face, and sense of innocence and youth in his smile. When he is out at a jam dressed in a blue nylon windbreaker, cap, and Nike sneakers, he blends in so seamlessly with all the other much younger B-boys. Barry admits, “I still love it, even after I started working I just wanted to challenge myself, and pursue the dance.” Yet, despite no matter how much Barry loves being a B-boy, it is definitely without difficulty or sacrifice. “Work really puts a damper on dancing. You find yourself slowly practicing only once a week. I work 9 to 5 everyday, so on the weekends I finally have time to be with family and friends, and I have to choose between that and dancing. But, if you truly love it, you’ll find the time.”
“I’m gonna make mucho, grande money. Buy Yosemite Park and make it into a practice spot, especially for the kids. Smoke Justin, Robert, smoke all them!” –Kris
“Win a big jam…win something with everybody…” –Nes
“Get good, while maintaining” –Ruben
It is a warm and lazy Sunday afternoon, and I’m venturing to Northridge in a 1999 beige Camry under the hot California sun, tagging along with three Zombie Hunters My destination: White Lotus Kung Fu Studio. The studio’s front lobby is covered in a veil of vintage framed black and white photos of Master Douglas L. Wong throughout the years, with students and surprising celebrity figures, such as whom I first recognized as the guy who played “Hercules,” Kevin Sorbo, “Xena,” and Jason Scott, whom played Bruce Lee in his biopic. Made up of mainly one large blue mat, five black hanging fifty-pound punching bags this hardly seems the place to find a B-boy. Although this Kung Fu studio caters mainly to martial arts, it is open to anyone to use on the weekends, and B-boys congregate here every Sunday to perfect their craft. There are eight other male gymnasts here, half-naked and bearing bodies resembling those of Greek gods– I would definitely come here more often. As the gymnasts practice their front flips and back flips, so do the break-dancers. Interestingly enough, the two collaborate, and the gymnasts assist the B-boys in perfecting a front flip. Weekly, the Zombie Hunter crew and some of their affiliates demonstrate their dedication to dance by venturing from the Los Angeles area and make the thirty minute drive towards Northridge to practice in White Lotus’ gymnasium space. Break dancing is not just about rhythm, and footwork. Increasingly, gymnastic moves and flips are becoming an important aspect, and these B-boys go the extra mile, literally, to take their skills to the next level. Richard Fagel, better known by Nes has attempted to do a front flip twenty-two times in the past fifteen minutes. Prior to each flip, there is a look of determination and concentration imprinted deeply into his face. His dark complexion has turned rosy from exertion. His eyes squint and blink, for they are lost and impaired without the usual thick black-rimmed glasses. “Bend your knees!” Monk exclaims. The next thing I hear is Nes yelling “Aughhhh!” as he lands once again on his back. Yet, even as Nes falls again, you can see in his eyes that there is only more determination to get the move down. He steps up to the mat again.
There is so much persistence, commitment, blood, sweat, and tears invested into break dancing. Bruises are an everyday occurrence, and many B-boys and B-girls are often seen wearing arm and knee braces resulting from the many falls they endure. Yet, I view each bruise, injury, and mark as a sign of love for the dance. It’s more than a hobby. It’s a way of life. A true love for an art form— a means of maintaining and preserving a hidden culture. Barry explained to me the impact dance had on him, “Break dancing has kept me focused. It kept my mind in a positive way… it’s definitely an outlet. I grew up in a crappy place, you know. When you focus on things, you tend to do well in school.”
Although break dancing has not been as popular since the 80’s and 90’s, it’s back in the spotlight thanks to America’s dance craze obsession as seen on reality television shows such as: America’s Next Best Dance Crew, Dancing with the Stars,and So You Think You Can Dance?. Although the media has given much exposure and new attention to hip-hop dance and culture, and even break dancing many B-boys have mixed feelings about the way the media portrays everything. “It’s completely different. Media makes it seem childish, like anyone can do it. No musicality at all. Really, it’s a very complicated, skillful art” Reuben states authoritatively. Barry feels similarly, “It’s great exposure. But what the media does to break dancing is, they soften it. It’s not as broad as it should be. It can be really aggressive. I mean, just look at where it came from.” Whether B-boys agree with what the media has portrayed about their art form, the media has definitely given the break dancing more attention than it has in many years, and it is becoming increasingly main-stream. Yet, it seems to me that the best test is the test of time, as Barry states “Dance shows now are exploiting everything, but it’ll fade out. It’s such a fad right now. Only people who truly love it will stay and continue.” He pauses. “I’m gonna do it for as long as I can.”
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