He and Ozkadi call their crew Technical Poppers, and they like to keep their moves up their sleeves. He has never been to Covent Garden, where at times late last summer it seemed there were more Break Dance crews than tourists to fund them. At the Tidal Basin club near his home, he kept abreast of the dance style that evolved into Body-Popping and Break-Dancing. It keeps us from doing something stupid.” He picked it up three years ago from his elder brother, when it was called Robot Dancing.
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Oblivious to the writhing bodies around them, they stand facing each other on the crowded dancefloor, waiting for the mutant crack of the Linn Drum, the signal that galvanises them into tense, jerky spasms, swapped back and forth like a ball of invisible voltage. Both wear yellow peak caps and identical red and blue Adidas jogging suits over… it’s impossible to say over what because they never take them off, never even unzip their anoraks. To records like Newcleus’ Jam On It and One For The Treble by Davy DMX, taped from Radio Invicta on Sunday nights because they can’t afford to buy the records – thus pirating the pirates – they rehearse the flamboyant gestures of a satellite subculture, dancing a zany improvisation on the micro-electronic pulse of the age.Īnd every Friday night they travel six miles to the Electric Ballroom in Camden. He practises them up to four hours a day, during lunch breaks at the Community Project where he works with his old school-friend Gengiz Ozkadi painting murals, and later in the evening in the bedroom at Ozkadi’s council home. But he has heard the records, seen the look, knows the moves. He couldn’t tell you which subway line leads to the New York borough north of the Harlem river that has given him, at 18 in East London, an activity, an identity. That’s ‘B’ for Bad, Beautiful, Black, Breaking, the Bronx. In 2006 he was made a Friend of the Royal Photographic Society. In 2004 he received an MBE for his services to the Arts. Throughout his career he has developed, funded and published a number of personal projects, and has published nine books. Steve Pyke is one of the leading portrait photographers of his profession.
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Paul and Nick Logan and Neville Brody gave photographers and writers creative license and left you alone to do what you do, which was great. It was a lot of fun – all the shoots I did for The Face were a lot of fun. They were playing their music on their beatbox, and they were breakdancing to it. They came in and did their thing, and I showed them two or three Polaroids of each breakdancer, and they really liked the idea. So each frame, each picture that you’re looking at there, represents a second of movement with those breakdancers. So six in a second would give you six different frames, a series of movements in one second. So what I thought we could do is shoot in the studio against a black background, and shoot with a strobe light that would fire off six lights in a second. He shot early photographs of horses running, with multiple exposures but on the same frame. He wanted me to do something in an experimental way, and I immediately thought of these pictures of Eadweard Muybridge.
And these Soul Sonic Rockers were coming over from New York for a gig in Brixton, and Paul Rambali asked me if I could do a series of photographs for an extended piece about them and the dance that they did: breaking.
“Hip-hop was only just kicking off in the UK, and I’d been asked to photograph a number of bands for the NME, both in the UK and in the States, and in New York particularly.
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