TV

America's Best Dance Crew: A Step Into the Limelight

America's Best Dance Crew judge Shane Sparks explains his show's unlikely beginnings, its ongoing significance, and what hopes lie ahead for crew-based hip-hop dancing...

America's Best Dance Crew

Subtitle: Season 4 Finale
Network: MTV
Amazon

On Sunday the 27th of September, 2009, MTV will broadcast the fourth season finale of America's Best Dance Crew. After almost three months of grueling competition on national television, one of two dance crews -- Afroborique or We Are Heroes -- will find themselves crowned by show producer Randy Jackson as "America's Best Dance Crew." The show's only been around for a year and half, but this has already become a familiar sight to the legions of fans who tune in every week to watch the incredibly athletic young dancers attempt ever-more daring moves and acrobatics in hopes of avoiding elimination, and then turn to their phones or computers to vote for the crew they want to stick around for at least one more episode. The show, which has been picked up for a fifth season, has become as common and reliable a sight on television screens as Law and Order or American Idol. But despite it's overwhelming success, there was a time, very recently, when a program about hip-hop dance crews, like ABDC, was by no means a viable project for a cable giant like MTV.

While B-boying and hip-hop dance has been a noticeable presence in pop culture since the 1980s, the actual dancers have had a hard time translating their success amongst their peers into the kind of mainstream careers that other hip-hop artists like rappers, and even graffiti artists, have achieved. While MC's and hip-hop producers like Jay-Z or Kanye West have been able to parlay their hip-hop skills into respected music careers, heavy influence on contemporary fashion, and lucrative business ventures, the highly skilled and athletic B-boys and B-girls have for many years had nothing more to hope for than the chance to win a local talent show or maybe star for a couple of moments in a music video, relegated to background role despite their impressive abilities.

At the same time, hip-hop's rise to mainstream prominence coincided with the pop-revival of the early 2000s, eventually leading to the current blurring of genre roles that leaves many current big-name artists performing varied amalgamations of club, dance, R&B and hip-hop music. Hip-hop inspired dance moves became a requirement for teeny-bopper adored boy bands, while even pop artists drifting further into rock-inspired sounds, like solo star P!nk, found it necessary to have a retinue of tightly-choreographed dance-pros moving behind them when performing on stage. As ABDC judge Shane Sparks puts it "it’s always better to see five people do a show than it is to see one, that’s why most artists like Usher, Mary J. Blige, [and] Chris Brown: they all have those dancers with them. Because that number of five or more, the impact is so much stronger than just that solo dancer."

And yet the multi-member dance crew, a familiar feature of the hip-hop landscape back in the movement's early days, was nowhere to be found. Says Sparks, "Somewhere along the line it died out -- and it just went more to like choreography and solo dancing and doing videos. But nobody was ever doing crews anymore. People ... still did crews, and it didn’t just die away everywhere, but more people was into solo dancing, taking classes."

While well-trained solo dancers continued to be an important asset to the entertainment industry, with people like Britney Spears assembling groups through auditions to support her on-stage antics, the big names in the hip-hop dance industry had a hard time bringing their skills to the front of the stage. Trailblazing choreographer Wade Robson, who actually managed to become somewhat of a celebrity himself thanks to his work on Spears' live shows (and rumors of a relationship between the two), put together a show in 2003 called The Wade Robson Project, a dance competition featuring solo dancers. There were plenty of talented contestants on the program, but despite Robson's name-recognition and a plum spot on MTV's primetime lineup, the project soon fizzled out.

Things changed completely, however, just a year later. You Got Served, a modestly budgeted movie starring minor R&B star Marques Houston and his brother Omarion's now-defunct hip-hop boy band, B2K, as well as Robson himself, was released in 2004. The plot focused on two lower-income teenagers attempts to gain fame and wealth by taking their multi-member dance crew to a local spot where they battled similar crews for cash and respect. The film ends with a massive free-for-all dance battle between the heroes' crew and their Orange County rivals, judged by Robson and rapper Li'l Kim. The incredible stunts and choreography of that final scene captured the imagination of thousands of viewers, many of whom had never seen crew-based hip-hop dancing before in their lives.

Sparks, who choreographed the film's dance scenes firmly believes that You Got Served was a watershed moment for the dance crew movement. "When You Got Served came out," he recalls "it made people realize like, 'Oh my God! How beautiful is it to watch these five or ten guys, do this choreography' and how, you know how beautiful that picture is. Everyone was like 'Y know what I want to be like this crew; I want to be like this B-boy crew.' Everybody wanted their own crew. And that started a whole 'nother world."

Coinciding with the surprise success of You Got Served was the arrival of popular dance shows on American broadcast television. In 2005, ABC premiered the first incarnation of what would become their runaway hit Dancing with the Stars, a British import which paired various celebrities with professional ballroom dancers. While the show brought dancing into primetime, it relies more on nostalgia for classic variety programming and the novelty factor of watching NFL players attempting the foxtrot than any elements of the burgeoning contemporary dance scene for it's ratings.

In the same year, Fox, who already had a huge hit with singing competition American Idol, debuted a slightly more comprehensive dance show called So You Think You Can Dance?. The competition, which Sparks also works on as a choreographer, features performers competing in various forms of dance, which include street and hip-hop styles as well as more traditional jazz and ballroom performances. While it has become a hit show that helps showcase a little bit of hip-hop culture, the real excitement was still happening under the radar.

Regional dance competitions were becoming bigger and bigger, with crews traveling across the country just to compete in the biggest shows. Exciting new styles, like Krumping, were emerging all over the country. Documentaries like Rize -- a David LaChapelle directed feature about krumping -- found small, passionate audiences, and the growth of YouTube gave dancers a new venue where they could present their unique abilities to millions of viewers around the globe. Sparks, who was still an active dance instructor and judge at many of the big regional competitions, believed that crew-based dancing was ready for it's moment in the sun.

Luckily for him, big names in the entertainment industry were feeling the same way. Randy Jackson, the music business heavyweight and American Idol judge was looking to turn The Hip Hop International -- a huge dance festival and competition that Sparks had been judging for year --, into a TV show and tapped Sparks as a possible judge for the venture.

"He actually literally walked up to me and told me he had this project in mind," remembers Sparks. "I had actually been hearing about this show being turned into a TV show and we really didn’t know what was going to happen, but once Randy got involved he came up to me and was like I got something that I want to talk to you about. And I went in and I literally had to audition and do what I do, and a week later, two weeks later they called me up and said 'Y’re booked for the biggest dance show ever created!' [Laughs]"

Despite the success of You Got Served and the ever-increasing popularity of the genre, many were initially skeptical about the prospects for a show based on a still-marginal trend that would air on a basic cable network, MTV.

"Oh my god you know how many people told me that I shouldn’t do it?" Sparks relates. "They was like, 'Y gonna leave So You Think You Can Dance?' 'cos at that time I couldn’t do both of them, and they were like you’re gonna leave for this dance show that is on MTV, that no one knows about. Went from the big network to MTV, and I was like 'Y’all don't understand, I’d rather do something that I love and have the heart for.'"

Sparks, it turns out, made the right decision. He'd always found success by taking risks (his choreography career began when a Dance Complex worker mistook him for a dance instructor and asked him to teach a class. Despite having no experience, Sparks gave it a go and his workshop quickly became the most popular in the Los Angeles area), and ABDC was an instant success, with it's first season winners, the mask-wearing Jabbawockeez, becoming instant icons both in the dance world and within pop culture in general. Fan's instantly fell in love with the shows fast-paced style, with each crew putting on a performance based around a particular challenge (create the illusion of weightlessness, incorporate a famous Michael Jackson dance move) every week. The competitive nature of the show forces the groups to come up with new ideas to trump their competitors, which leads to jaw-dropping moments like when a member of Season Three's champion group Quest Crew backflipped horizontally over two of his colleagues, or when Season Two's So Real crew used intricate choreography with the show's cameras to create dazzling visual sequences on-screen.

While crews are kept on the show by votes from the viewers at home, the two groups that receive the least votes each week are forced to battle each other for the approval of Sparks and his fellow judges: rapper Lil' Mama and *NSYNC alumnus JC Chasez. It's a format directly based on the dance competitions that inspired the show, and fans have responded to it on a level which has once again invigorated the greater dance scene around the U.S. and beyond. Fans of the show have no doubt noticed both the increased ambition and sheer number of local dance crews, as Sparks himself has on his travels around the country.

"Y’all don’t have a clue of how big an influence our show has on people," he exclaims. "Everywhere I go. I go home to Cincinnati, Ohio, they have Midwest dance crews. I go to Kansas City they have KC dance crews. Every city is trying to get their own ABDC. And it was not like that just 5 years ago."

But the show has served as an inspiration for more than just the archetypal B-boy crews like Jabbawockeez and Super Cr3w (who have won previous seasons). 80's pop enthusiasts Fannypack made a strong showing in Season Two, while Season Three even saw a group of southern cloggers, Dynamic Edition make it a few rounds into the series before they were eliminated. Season Four has seen perhaps the most varied group of crews, ranging from country enthusiasts Southern Movement to Latin sensations Afroborique, and, for the first time, it is the so-called "novelty" crews -- Afroborique and the ballroom-influenced We Are Heroes -- that have made it into the final round. One of the most contrary aspects of hip-hop to its observers is that it is at once an all-inclusive melting pot of different styles and ideas, and yet -- at the same time -- is often ruled by very strict rules about what constitutes "real" hip-hop, whether in music, art or dance.

Sparks definitely seems to support the former outlook on the genre, and is excited about the new direction his show is taking this season. "I think the audience is ready to see different winners," he says. "I think that I don’t care how good a B-boy crew is, after you’ve seen four seasons of it it’s like, we’ve seen almost everything you’re gonna do with a little change here and there. Let’s see something different, and Afroborique, when they came on the show, one thing they were was different. Were they gonna beat out the hip-hop crews? We didn’t know, but they stepped up and they took their style and their individuality and they flipped it. And you know, they stepped up and they took heed to what was going on. They were not going out just because they wasn’t raised in the hip-hop world. It was like 'Well we could do a little bit of this, but we [are] still going [to] keep the essence of who we are.' And that’s why people start respecting them."

Despite the success of his show, however, Sparks thinks crew-based dancing, and the dancers who support it, have a long way to go in terms of making their mark upon the world. One question the show is starting to run into -- like many of it's reality-competition-for-a-profession-related-title peers -- is what happens to the winners after they are dubbed "America's Best Dance Crew." While Jabbawockeez has found some mainstream success (for example, they have appeared in a Gatorade advertising campaign alongside notable athletes like Muhammed Ali and Dwayne Wade) many of the crews have nothing to do after the season is over but go back to their usual schedule of dance competitions and possibly travel with the ABDC national tour. As a result, the show -- and its title -- are starting to be seen for many as an ultimate goal for many crews in the dance world, rather than as a step towards greater success.

While Sparks is happy to help provide a venue for talented dancers to showoff their moves, he thinks the show should represent something more.

"I want them to want to be on this show because they want to further their career," he explains. "I don’t want it to be the last stop. Because after you get off that show there is years and years and years of dance that’s gonna be stuck in your body, that you wanna capitalize on. They’re like 19-20 years old. So what do you do after you get off this show? You’re 20 years old, it’s only [been] three months, now you’ve done ABDC -- now what? I want them to look at the show just as being a stepping stone. Even when you win, it should just be a stepping stone to get to everything else that’s going on in this dance world. I mean the dance world’s so big right now, but it could be so much bigger if the dancers mentally got their minds together and took care of their business, instead of just dancing and thinking 'I want to win a medal [and] I want to win a hundred thousand dollars,' because that money’s gone in the first year."

There are two main goals Sparks has on his mind right now, both for him and for the dancers he mentors. First, he believes that just as many rappers have used their influence and initial financial gains to become powerful media moguls, dancers need to take over important roles in the entertainment industry. Lamenting the fall-through of plans to make a sequel to You Got Served, he says "You just get the wrong people behind certain situations and it just kills great ideas and great concepts. And that’s why I’m working so hard to become the person that’s in charge. The person that’s in the forefront. Because I will make sure the best projects get out there, and you have an honest person that really respects and loves what he’s doing getting out there and being the front man instead of some crackerhead or some jokehead or some person that’s really stupid getting out there and just taking people’s money getting all this talent and making them do all this work."

Secondly, he believes that dancers need to market themselves in the same way that other entertainers and athletes have for years. Talking about ABDC's most beloved crew, he says "Jabbawockeez: really smart crew. If they’re really smart, they’ll get out there and take that and market themselves so well that ... dancing is so cold right now, and if you market yourself right you can be in any movie, any TV show, any commercials, you can be sponsored by any clothesline ... picture the basketball players, anyone that plays baseball. They’re just talented at something they love to do. They’re just talented. But they make all this money based off of endorsements and people who wanna use their face based off of them being talented. How come they can’t do that for dancers?"

"That’s my goal," he continues. "They should be getting that big old million dollar deal for wearing Nike stuff, just like [how] Tiger Woods gets out there and puts on a Nike shirt, to swing at a ball, you know what I mean! They get out there and spin on their heads, jump off stage, spitting fire, doing this and doing that, breaking their backs. They should get the same respect."

For now though, Sparks and his show remain the most visible aspect of his life-long passion. If Sparks can be as successful with the opportunities that come his way as he has been so far, his dream of a world where dancers can stand shoulder-to-shoulder with basketball stars and arena-filling pop divas may well come true. Until then, ABDC continues to air on MTV twice a year, providing a venue for some of the most talented and driven young people performing on any stage today.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less
Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.


In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web
Film

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Julian Barratt and Oliver Maltman (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

Under the lens of cultural and historical context, as well as understanding the reflective nature of popular culture, it's hard not to read this film as a cautionary tale about the limitations of isolationism.

I recently spoke to a class full of students about Plato's "Allegory of the Cave". Actually, I mentioned Plato's "Allegory of the Cave" by prefacing that I understood the likelihood that no one had read it. Fortunately, two students had, which brought mild temporary relief. In an effort to close the gap of understanding (perhaps more a canyon or uncanny valley) I made the popular quick comparison between Plato's often cited work and the Wachowski siblings' cinema spectacle, The Matrix. What I didn't anticipate in that moment was complete and utter dissociation observable in collective wide-eyed stares. Example by comparison lost. Not a single student in a class of undergraduates had partaken of The Matrix in all its Dystopic future shock and CGI kung fu technobabble philosophy. My muted response in that moment: Whoa!

Keep reading... Show less
Books

'The Art of Confession' Ties Together Threads of Performance

Allen Ginsberg and Robert Lowell at St. Mark's Church in New York City, 23 February 1977

Scholar Christopher Grobe crafts a series of individually satisfying case studies, then shows the strong threads between confessional poetry, performance art, and reality television, with stops along the way.

Tracing a thread from Robert Lowell to reality TV seems like an ominous task, and it is one that Christopher Grobe tackles by laying out several intertwining threads. The history of an idea, like confession, is only linear when we want to create a sensible structure, the "one damn thing after the next" that is the standing critique of creating historical accounts. The organization Grobe employs helps sensemaking.

Keep reading... Show less
9
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image