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HgItch

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Reflective.net Archive Project
« on: March 25, 2008, 12:35:37 PM »

Hey guys... after the post gotsdagroove made about flow by digging out one of Joon's old rants on Reflective.net, it got me thinking... I'm sure a lot of us remember some great posts on those boards but a lot of it got buried over the years.  Hopefully we can use this thread to start an archive project where we dig up old posts and post them here in full text (NOT link).  Let's try this format-

Name of board:
Name of poster:
Date of post:
Topic of post:
Quote of post:

(name of board cause if you see something great posted somewhere else, might as well
throw it up here ;-p)

**edit: ... for those of you bored at work who would want to entertain yourself by being nostalgic by digging through the boards ;-p  The Reflective "Bored at Work" thread is a GOLDMINE but really incredibly messy and long)

***we reserve a certain amount of right to remove posts in case we don't really think are relevant... but I doubt that will happen hehe
« Last Edit: March 25, 2008, 12:45:05 PM by HgItch »
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HgItch

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Re: Reflective.net Archive Project
« Reply #1 on: March 25, 2008, 12:38:17 PM »

Name of Board: Reflective.net
Name of poster: Alex's Dad (aka Dad)
Date of post: 5.17.2007
Topic of post: "What is Liquid?"
Quote of post:

Quote
Here are my thoughts on flow. Some of this stuff comes from my discussion with Itchy and Scratchy, so if you think some of the ideas presented here are interesting, they deserve some of the credit. If you object, direct the objection toward me.

Undeniably, the many different examples of what we call liquid have a commonality. We already refer to a type of movement as liquid; we have already defined it, just not explicitly or with clarity. No objections can be raised against attempting to define liquid, as defining liquid has already been done unwittingly. This is an attempt to clarify the preconceived notions of liquid that we already have.

Some fear that such a definition might hinder the progression of dancers and present closed-mindedness, but the muddled and murky nature of an unexamined definition already does just that. Isn't it better to define liquid explicitly under and great scrutiny rather than to carry on with an accepted unexamined definition? At least then we stand a chance at seeing its faults. People could also creatively attempt to defy any standing definitions of liquid. Creativity and closed-mindedness is rooted in a person independent of an explicit or implicit definition, so to argue either way is moot.

Others ask what the point is of thinking about liquid, as though doing liquid or watching liquid had more of a point. The point of thinking about liquid is the same as doing or watching liquid; curiosity and pleasure. A new idea that is applicable to doing liquid often arises during these times of contemplation, but to say that that is the point would be a gross overstatement. In the same way that, for dancers, dancing can be an icebreaker with the opposite sex, such is thinking about liquid and the new concepts that arise. Something else drives the thinking, just as something else drives the dancing; everything else is secondary. To think about liquid, one must begin with a basis to think about it with, and so we are led to the murky implicit definition of liquid.

What is the commonality that links liquid, that is called 'flow?' Flow is undeniably the defining element of liquid, but the definition is circular. What is flow? We've observed many different styles of flow (eg, orbital, rails, helical, folds), none more 'flow' than another, but certainly of varying complexities. The complex was derived from the simple, so let's observe the simple and most basic flow: the "handwave" flow (ie, handflow). Note that a handwave by itself does not have the appearance of flow.

What occurs during the handflow? One hand might be seen to follow the other, or one hand might be seen to push the other. Both views are problematic in that they imply a dualistic cause-effect relationship. If one hand's action is the cause of the other, what is the cause of the cause? A more accurate description would be that the movement of a given hand corresponds with the movement of another {1}.

Is the movement of one hand corresponding with the movement of another enough to give the appearance of "flow?" The sound of two hands clapping says no. Clapping hands fulfill {1}, but do not appear to be flow-like. What else occurs during handwave flow that gives the appearance of flow?

There is space between the hands {2}. When both hands are in motion and their movements correspond as in {1}, the space between the hands becomes just as much of a part of the appearance of flow as the hands themselves. The space is what gives flow the appearance of an illusion. The hands move in such a manner that the space is mistaken as a much of a means for the flow to exist as the hands {2a}. A means for existance seems intuitively material, but not only is it not visible, but through splits, it is not confined to material at all.

How is flow created? Earlier we chastised dualistic thought, but to grasp the inner workings of an object, one must take it apart piece by piece and determine the relationship of one part to another, as one would a watch or engine. There is the right hand (RH), left hand (LH), and the space (S). The interactions then are H vs S, LH vs RH, LH and RH vs S, and LH and S vs RH (ie, RH and S vs LH).

As the LH moves, one can view its interaction with S in many different ways. S may push or pull the tip of LH, or perhaps LH is immersed completely in S and S forces LH into movement from all directions. S may simply be the tracks of a simulated rollercoaster. The same holds for the relationship between RH and S. Notably, the interpretation of S can be changed with different hand positioning (splits, folds, etc.). Because the interpretation of S's relationship with RH and/or LH ultimately depends on the audience, we can focus on LH and RH.

What about the relationship between LH and RH? Their movements are actually inverted {1a}. This is hard to describe without a visual demonstration, but most of us here understand basic handflow. Imagine a circle, and any given segment on the circle represents a different hand position during handflow. The segments, of course, are arranged sequentially. The movements of the LH and RH are akin to two points travelling through the circle, one clockwise, one counterclockwise. That is not to say that the literal movement of LH and RH are clockwise or counterclockwise. The circle is merely representational of the sequence of motions that each hand does.

To recapitulate:
-The movement of a given hand corresponds with the movement of another, and there is space between the hands. The nature of the movement of the hands displays an inverse relationship, and as a result, the space is mistaken as a much of a means for the flow to exist as the hands are a means for the flow to exist, creating an illusion.

I've not been comprehensive with this model of understanding flow, but it's a start. It also presents some interesting implications for expansion of "flow" beyond hands/arms, along with "partner liquid." Any thoughts? Objections? I know that Itchy has a primer theory that he'd probably like to introduce as an objection.
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Re: Reflective.net Archive Project
« Reply #2 on: March 25, 2008, 01:02:49 PM »

Name of board: Reflective.net
Name of poster: Distortion
Date of post: May 4, 2007
Topic of post: General/basic liquid advice
Quote of post:

Quote from: Distortion
General Liquid Advice


-  step number one is actually believing that you are manipulating some unseen force or energy or whatever you want to call it. If you play along with this idea, you will notice that your mind will feel more free to create and just have fun with it opposed to thinking of what move you want to do next.

- With liquid, you want to cover a lot of area. Liquid does not look very impressive when it is confined to a small space in front your torso. As mentioned in the lpc instructional, bringing your elbows away from sides is where it starts. I find that running strait liquid patterns horizontally across the entire length of the body is a good way to open up your liquid. 
    One thing that helps me expand my liquid; is picturing that I am in a 3 dimensional sphere, and from the point I am standing at I need to bring my liquid to all areas of the sphere.  to my left side, to my right, above my head, diagonally across my body, in front of me, ect ect ect.
And By trying to hit all these different areas you will not only be making the overall look if your liquid better you will be learning new ways to get from point a to point b. New ways to angle your wrists and elbows... which brings me to my next point, and possibly the best practice tip I could give someone.

 - The time that I progressed the most with liquid, was when I was practicing my liquid at half speed or even slower most of the time. If you slow your flow down and really dissect it, I mean really analyze it. You can stop in the middle of a movement and say, "Hey, instead of turning my wrist like this all the time, I could take my liquid over here by doing this instead. And with that one idea, that one second of thought, you may just knocked a wall with your liquid that you would have taken you months hadn't you stopped and looked at your liquid long enough to figure out how to have more then one way to get from point A to point B.

  - Keeping the thumbs tucked in helps me maintain the illusion better in most cases. its really as simple as that, tuck the thumbs while you do your liquid and see how it works for you.

  -  My favorite tip, the one I still think about the most. Tension control.  I find using heavy amounts of tension through-out my upper body helps my maintain the illusion better when im doing certain things. For instance, with rails or any rigid pattern or shape your trying create, tension will help. keep those muscles slightly flexed. (forearms, biceps, triceps, and pecs) The amount of tension you need to use to pull off certain things will vary, and as you get better with liquid, tension control and speed control will be two things you will be playing with alot.
Video example:


  - By altering the speed of your liquid  you can really bring up your level of musicality. maintain a consistent speed with your liquid but if it makes sense to slow it down or speed it up for a short period to match the music, then go for it!
Video example:

« Last Edit: March 25, 2008, 01:06:03 PM by HgItch »
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HgItch

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Re: Reflective.net Archive Project
« Reply #3 on: March 25, 2008, 01:12:28 PM »

Name of board: Reflective.net
Name of poster: Lucas Lock formerly Relic of LPC
Date of post: 8.10.2005
Topic of post: "This Topic is for Dancers Bored at Work"
Quote of post:
Quote
i just got off the phone with shock and thought i would share some knowledge passed since locking is part of the topic.

"knowledge is not power, applying knowledge is power"
thats what gets me practicing the RIGHT way every day. you can talk about so much, but if you dont do it yourself and cant do it yourself its almost useless.

as far as creativity - something shock said i think can help out with those ruts we speak about. "do something new with the old." just think about how you can do whatever it is you do a different way. do this as many times as possible with as many different things as possible. e.g. points - there are probably 6,784 different positions you can throw a point. how many do you have?

in the words of harvey in pulp fiction "just because you are a character does not mean you have character." shock says think of the Mask - he is a character with character, best example i can think of so far. This development of character is yourself, think of who you are, how you act, your morals, your values, etc. now apply this in every setting and environment you are in. dont be afraid to every be who you are. Now apply that to your dancing (harder than you will ever know) . NOW apply that to your dancing every moment you are dancing. THEN the final step is developing the ability to turn it off. i think this development might be the single hardest thing in locking with so many lockers nowadays saying there is a right way and a wrong way to do it. i see fear from them not being able to do what they want.

a lot of this can be applied to other dances, i think whether you understand it or not shows where you want to go with your dancing. if you want more, i highly suggest going to NY and speaking to Shock or go to LA and speak to Don, some of the best in the game.
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HgItch

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Re: Reflective.net Archive Project
« Reply #4 on: March 25, 2008, 01:14:04 PM »

Name of board: Reflective.net
Name of poster: Lucas Lock formerly Relic of LPC
Date of post: 8.11.2005
Topic of post: "This Topic is for Dancers Bored at Work"
Quote of post:
Quote
yea the whole story telling ideas and improv our basic needs of performing arts. its vital to have these in order to "create" and have that element of surprise rocky speaks of. ive seen dope lockers do the same blow up moves over and over. what if you are there best friend and see them do it 45 times, not so exciting anymore huh? but when you watch a dancer going off with the music, creating on the spot, thats more impressive i believe.

i understand your wish for power, but as ive said sooooo many times - there is going to be things your already good at, and things you arent so good at. by spending time on those things you arent, you are shaping yourself more rounded BUT dont forget you are losing vital time on that thing you were already good at, and could be excelling and really standing out and known to everyone as "that guy who...."

you can break it down to styles of dance, or elements of a dance.

do i wanna be that guy who has decent digitz, locking, tuts, vogue, waving and popping?
or do i wanna be that guy who is freakin crazy at locking!

do i want to have power, speed control, mimelocks, flexability, character, foundation, etc.
or that guy known to everyone with the crazy flexy arm style?
the first sounds great dont get me wrong. but what cost will you pay for it? how old are you gonna be till you finally get there? and will you still be able to do it all when you do get there? even those who do this as a living dont have "everything"

these comparisons dont have anything to do with development of ego so dont bring it there (KAI). it has to do with studying the hell out of something and truely having an understanding of it

just food for thought yejoon. your a close friend and partner so the influence that gets me moving i thought would get you too.
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"In this is love, not that we have loved God but that he loved us and sent his Son to be the propitiation for our sins. Beloved, if God so loved us, we also ought to love one another. God abides in us and his love is perfected in us." -1 John 4:10-12 [ESV]

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tommy VFIII

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Re: Reflective.net Archive Project
« Reply #5 on: March 25, 2008, 03:01:32 PM »

lol, i was asking myself those questions from that last post(more or less) yesterday and this morning :x

dont have an answer atm.

i think this is a fantastic idea itch, i just wish i were around on reflective to know where the good stuff is :), with all the great post over there, this thread could get crowded with just comments on those post, so i think if anyone wants to address a specific post(beyond 1 lil comment like i just did) they should make a new thread for it. still giving credit to the original reflective post of course.
« Last Edit: March 25, 2008, 03:02:04 PM by tommy[!!] »
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Re: Reflective.net Archive Project
« Reply #6 on: March 26, 2008, 08:11:31 AM »

Name of board: Reflective
Name of poster: MrKingGeorge
Date of post: Oct. 27 2004
Topic of post: Styles of Liquid - weekly #1, old, new, and unknown
Quote of post:

Quote from: MKG
Talking to kai today, I suggested that we start doing an unofficial weekly thread relating to some aspect of liquid, digitz, and the surrounding community which forces people to think and evolve. ?So, I am hoping that this will be the first of many weekly threads that will involve both older and younger members of the community. ?The goal here is not to come to a right or wrong answer. ?In fact, there really is no answer. ?The goal is to collaborate intelligently and push our dance forward. ?We do not have the luxury of a wide variety of OGs to help inform of us what people have already done. ?Furthermore, liquid is so conceptually vague that even if two people practice liquid founded on the same basic principle there is a good chance that their liquid does not look even remotely the same. ?In fact, there is no sense in looking the same since there are so many things that have not been done. ?So, once again, the goal here is to find as many different basic principles upon which one can build their conceptual interpretation of liquid and a person who serves as a good example of this style if possible. ?And if you have one, which to the best of your knowledge, has not been explored by anyone, list it.

LPC style - The majority of us here practice liquid based on the notion that one hand follows the other and that hand flow turns itself over in a looping fashion from time to time whether to repeat the same patterns or not. ?Typically, one hand effects the other and at all times the watery look of flow is maintained. ?Examples: LPE, fu, frequency

Pantomime based liquid - Tinylove is perhaps the quintessential example of what this is. ?liquid is the hands and nothing more. ?the arms and elbows do not play as large a role as in the LPC style of liquid. ?Also, since the liquid appears mime based the actions within the flow itself deal alot more with the manipulation of objects. ?Perhaps this is where builds first originated or maybe the liquid originated out of mimes building things. ?who knows, i don't but it's an interesting thought.

Digitz based liquid - Code Red is no doubt the best example of this particular take on liquid. ?The focus is obviously placed upon the fingers and as a result, the patterns tend to be smaller in scale and more intricate. ?

Geometric liquid - ?The idea here is that your liquid is based on the notion of shapes. ?Any means can be used to portray and manipulate yourself and your flow within that construct. ?Obviously, at this point in time, those of us who practice this style (me, kai, and yejoon) depend largely on the concept of folds introduced to us by lucas. ?However it is my hope that we will expand the ideas within this style and will no longer rely so heavily upon folds or perhaps come up with new and inventive variations on the fold.

Connector Style - This idea was first introduced to me by Shane aka Shenchi. ?He explained it to me by saying that i should imagine my hand flow connecting both directly and indirectly to parts of my body. ?Then, as my hand flow travels it should effect those parts of my body to which it is connected. ?The fucked up part is that the connections are continually changing and thus all parts of the body are moving in different directions alot. ?One might consider the notions of robotics, puppets, and polarity when addressing this particular style. ?You'll have to ask him to elaborate more on this personally as I pretty much suck at it.

Dual Railz Style - Alright, this is one of my originals. ?I'm saying that simply because no one told me about it before i thought of doing it. ?In this particular style of liquid, each of your hands follows and flows along an independent pathway yet maintains some sort of relationship to the opposing hand. ?To pull off the illusions that paths must be primarily asymetrical as symetrical pathways will simply look like a mirror (the concept). ?The difficulty comes in when trying to move both hands at the same time versus simply alternating between them. ?I hate to be so vague in describing this style but i'm still trying to understand it myself. ?Regardless, this is supposed to be about throwing out new ideas and I will certainly add more when i have a chance.  as far as an example, uhh, i guess come find me.  i've only shown a couple people bits and pieces of it. 

This post is incomplete and I will add more to this when i get the oppurtunity....

Quote from: Archimedes
Just taking a swing at this...I am no break-dancer, however I will relate what I'm trying to say directly to breakdancing...  Everyone can six-step...Everyone can top-rock...But, this style has had time to expand upon concepts and diversify a little.  So, the fundamentals are always present, but the styles and techs always form a little different.  Give liquid time and I'm sure it could happen.  It might be happening now...the point is I really like the idea of this thread, very intriguing.  Positivity~Plus

Explosive Style:(no one cares how I came about this because It has assumingly been done by many a liquid disciples)...Anyway...this form of liquid relys mainly on speed shifts and continuity of your flow.  As per the music, when rising action is occuring or a climax of some kind (I listen to a lot of drum and bass, so you can imagine) you actively change you speed.  So if you were moving one unit of distance per beat, you could maximize it to two, three, or four units of distance per beat.  You alternate between these slow patterns of flow, to the same pattern with the speed shift applyed.  Anyway...the effect whether or not I was acurate in my explanation is that of a re ocurring explosion.  Some patterns repeated give it the effect of a super nova exploding and collapseing on itself.  IF that explanation does not do the trick, ask for clarification.  I think it is a cool concept at the very least...

Axis Digits...I perform these mostly during rails or along the axis points of my flow.  Basicly, I flare my fingers in a spiraling patten toward whatever direction I am shifting to.  This just gives a little spice to an otherwize standard rail or flow..

My assumption is that everyone in the forum could contribute something of value...Hope mine are acceptable...if not i have more...
LIMITLESS LIQUID...what a cool concept

~Prim

Quote from: Joonbugg
The following would be from my own observations:

LPE's style of liquid - it's sort of orbital, but it revolves around dancing with the illusion of the flow. What it lacks in intricacy it makes up for in character and dynamics.

Fu/Freq's technical liquid - Here the illusion of the flow is the focus rather than the dancing around the illusion. Lots of rails and such, and has the opposite strengths and weaknesses as LPE's style.

Digital Liquid - What most new school liquid heads seem to be on these days. It seems everyone does a variation of it, including LPE, Fu, and Freq, but I think this style is exemplified by Code Red (go figure). The new school liquid heads more or less take Fu and Freq's approach to liquid, but add more digitz. Red sometimes takes digitz, but adds more liquid simply by making his digitz cover more space. Digital Liquid is a telltale sign of LPC influence.

Folds/Geometric style - Described above by MKG. Started by Prime, evolved and passed down by Lucas Lock/Relic/Silly/Blunt Asshole. This is based on the folds concept, and looks very planar/structured/geometric/etc.

Quote from: shameless
-The Melting pot.
The New Gen. knows this very well. As Many new heads start out there only contact with liquid is video, and well this board. So of course there style tends to form around what they see. Many try to mimic the videos they see leading to a mix match of the differet styles ( mainly the diffent styles of the lpc because as we all know when you first start out there all that exist to you ) Often in conversation i hear " my style is a mix of my own original stuff, Fu and Eric's styles" or " i see some eric influence in your liquid and maby a touch of frequency" So we get the melting pot. its like watching all your favorite lpc videos waterd down and crammed into one 3 minute video

Quote from: kai
Circuit Style Liquid

*note* this is more just a way of thinking about liquid then it is a style different from any other style.

In this "style", or perhaps more just a way of htinking about liquid, liquid manifests itself in its most logical form. ?This ties in with Geometric/Linear style liquid as MKG described above and is more of a way of breaking down what you're doing, when it happens, and how liquid changes. In this curcuit diagram, or any common circuit diagram, you'll notice lines. ?these lines represent a path in which current (electricity) flows. along the way, from the power source through the resistors, diodes, transformers, parallel circuits, loops, and steps, one should notice that the flow that was originally generated has changed. changed in intensity, in amplitude, ?in frequency, etc. ?Let your liquid be this flow, and the music be your diagram. let the beats and time signatures change your liquid just as the resistors and parallels of a circuit changes electricity. Make up wacky and/or intricate paths that have never been conceived. Its your dance afterall.

Quote from: Joonbugg
Martial Arts liquid is another substyle. As far as I've seen, it's best done by Itchy Ballz (HgItch), it's probably the most explosive style I've seen, not unlike a bad case of diarrhea. The way Itchy covers a huge amount of floor space doing his Kung Fu liquid is ridiculous.

Quote from: Itchy
Coo thread MKG :) ?hey Kai I had an idea simliar to your's, except using protein and DNA structures for paths of flow travel (I'm a bio/psych major... or at least I hope to finish ;-p). ?The difference I guess is that organic molecule structures require 'dancing around' the flow (almost 360 degrees) instead of the rail that one can hold in front of oneself. ?The problem I kind of ran into is that a lot of the times my back covers the flow when I'm stepping around it... anyone wanna help me out? ;) ?The bends and such in the molecules also make for fun ideas in digitz and such ;) so I guess this maybe constitutes as cookie-cutter style/circuit style? ?I guess in the end it's just guidelines for flow patterns... go buck wild- anything with real-world examples of 'lines' can fall into this style right?

Quote from: Shenchi
yo mkg.... you did a very good job of descibing my connected liquid style... wich is still in development... i developed this style because i felt liquid seemed very limited in the way that it included the rest of the body and the way it moved the dancer or should i say that the dancer moved with it. alot of the leg movevements(if any ) were taken from popping. ie glides,slides.  i just felt that in order to really be dancing and using as much of the floor as i could and to incorporate the rest of the body there needed to be an expantion of the concept of where liquid could go... plus i felt that if liquid was going to be taken seriously, as a real dance it needed to stop borrowing so much from other dances and develop a more wholistic and inclusive process of logical progression. the idea is based on the concept that the body is not just divided by the right and left hemishpere but also a front and back, a up and down, and then the central hemispere or axis... the all inclusive hemisphere... then it is divided into smaller points or articulation. in other words the joints. and the major points of connection the hands... the hands and the connection they share i call the knot... now as the knot orbits it passes through the various hemisperes it developes a sympathetic connection with the various points of articulation and thus is joined in it's movements by these points... for example the knee is tied in the knot, then say the shoulder, or the hip and so on. the combinations are pretty various... also this connection exists not just verticaly and horizontally but also diagnally... now this comes most in handy when connecting your feet with your flow so that the flow moves the feet.. the invisable connection lifts the feet, it rotates the feet ,it sets the feet down .... so that the foot movements are directly connected to the flow this means that your feet are liquid too...infact the whole body is part of the flow... and thus not dependent on other dances for it's source of movement.... now i'm sharing this with people even though i'm still mastering it because i want to participate in the expansion of the comunity not so that people can take these concepts and claim they are theirs... one thing i've noticed in this community (and this may be due to a lack of og's and tangable creators) is that people
tend to take a move or a style and then never credit the person who either created it,influenced them, or showed it to them... if your doing something that you know is someone elses, or a style that you know isn't yours then please credit the person who either created it or who showed it to you.
if someone compliments me on say my digitz i always mention red and lucas cause most of what i learned is from them... maybe it's just me but it's just a matter of respect to those who came before you and who spent alot of time and thought coming up with and perfecting these concepts... respect for your elders as they say... this will also help to develop a seperation between the generations,and add too the richness of our culture... after all every culture or tribe has elders and inovators... without them there would be no dance to do and nothing to write about. i'm not saying that i don't want people using this style just give credit where credit is due, so that we can start writing our history wich has been (up until recently) vague and mysterious.
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Re: Reflective.net Archive Project
« Reply #7 on: March 26, 2008, 08:18:55 AM »

Name of board: Reflective
Name of poster: Pillow Face
Date of post: Dec. 14 2004
Topic of post: Liquid Weekly #2
Quote of post:

Quote from: Pillow Face
It seems MKG never followed through with these, so I will write up #2 many many weeks later than the first one.

Liquid is for nerds. Itchy Barrz brought up this point to me, and it's true. Think about it for a minute. Eric is a gamer geek. Before he was into dancing, it was all about video games. Shit, his signature clip takes place in front of an arcade game! Fu was a fighting game geek too. Jared isn't nerdy, but he's been fiending Halo 2 like none other. As for Lucas, he is a jerk and doesn?t matter, forget about him.

Then you have the new schoolers. I can't get off of AIM or message boards long enough to fix a decent meal and I?ve lost weight because of it. Compare old ?Crap? clips (or jesus-forbid, Des) Houdoken was a Star Wars freak back in the day. Itchy Barrz is asian studying science, 'nuff said there. You guys should know Kai well enough for me not to have to say anything about him. And remember Bitsmart? Yeah. Jia is studying Computer Engineering I believe, and played a fair amount of Starcraft in his day. HelmetJap is also in college for computers and is about as Internet as you can get. Mr. King George is a gamer and almost all of us watch anime. Sheesh, I'd better stop now or else I'll be up all night namedropping this whole forum!

A lot of it might have to do with the new kids discovering dance through the Internet, and Internet is for nerds. If you look at the street styles of dance, you will find a lot less nerds. Dementia is sort of nerdy, I heard he's a programmer, but then he also started off on liquid. Maybe Wes Lee too, he's Asian and watches anime and gets good grades.

Most street styles encompass people from the streets, or used to anyways. They were roughnecks, and battling/confrontation was a part of their culture, that was what they lived. Nerds are not the type for such things. We get wedgies and swirlies and then take out our aggressions later with p-kills on Everquest after beating off to some tentacle-rape Hentai. Yet right now, a lot of liquid community members are about battling and competitions, because they learned about underground dance styles and sort of lumped them all together.

The problem is that liquid is different from the funk and hip-hop styles that we?ve also been learning, regardless of Wiggles board arguments of whether it?s just waving or not. Liquid as we know it came from raves, and rave culture was not street. It wasn?t about battling and serving. Liquid was never really anything to be good at like it is now, where people are putting out clips for critiques and displaying progression. It was just a thing people did for fun that looked cool and that was it, not an alternative to violence.

Liquid battles and competitions in the funk styles don?t make sense on multiple levels. Nerds don?t battle, ravers don?t battle, and we are not street by any means. So for golly?s sakes guys, don?t worry so much about fitting into their mould, know where you and your culture came from!
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HgItch

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Re: Reflective.net Archive Project
« Reply #8 on: March 26, 2008, 06:52:28 PM »

Wow Yejoon.... got a lil extra time at work? ;)  But awesome man thx for digging all those up!
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"In this is love, not that we have loved God but that he loved us and sent his Son to be the propitiation for our sins. Beloved, if God so loved us, we also ought to love one another. God abides in us and his love is perfected in us." -1 John 4:10-12 [ESV]

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Re: Reflective.net Archive Project
« Reply #9 on: March 27, 2008, 12:36:01 AM »

GREAT GREAT THREAD!!!!

If only some of my ramblings were worth quoting :(
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