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Uprock, or Rocking as it was originally referred to, also known as Rock, is a soulful and competitive urban street dance, performed in synchronization to the beats and rhythms of soul, rock and funk music, but was mostly danced to a specific and exclusive collection of songs that contained a hard driving beat. An example of such a song is the uprock classic "It's Just Begun" by noted jazz musician Jimmy Castor. The dance consists of foot shuffles, spins, turns, freestyle movements and more characteristically a four point sudden body movement called "jerk".

Use of gestures[link]

Although women participated in this style of dance, it was usually danced by two men facing each other. The underlying philosophy of uprocking was to undermine the "opponent" with hand gestures called "burns". One would "burn" one's opponent with a variety of these hand gestures that would mimic an action that would be considered detrimental to the dancer's adversary. Two examples of typical and fundamental burns are the bow and arrow, and the shotgun. The "winner" of these mock battles was usually the individual who was able to choreograph and execute his or her burns creatively and even artistically to the rhythm and syncopation of the music.

In this sophisticated and rhythmic form of Rock-paper-scissors, one would have to dance thoughtfully as to not step forward and inadvertently get one's head "sledge hammered".^{[disambiguation needed ]} Although it is common knowledge that uprocking is supposed to be a mock battle, those who are less professional sometimes get carried away with the dance which can result in real violence.

History[link]

Uprock evolved in New York circa in the late 1960s. A precursor and influence to this form of dance was gang culture. Throughout the very late 1960s and mid-1970s, New York was home to street gangs.

As rocking/uprocking developed, body movements called "jerks" and hand gestures called "burns" (as defined above in this article), would be added to emulate a fight against an opposing dancer. Being skillful in this new dance form, Apache would get the better of his opponents by skillfully using burns. Dancers throughout New York City in all Boroughs continued to invent new movements and gestures to create a street dance. Many gang members began to perform this dance. It became commonplace to see gang members hanging out in corners dancing against each other. Rocking/uprocking became a competitive dance that caught on very quickly.

Early 1970s[link]

By the early 1970s uprocking shed its social stigma and was no longer considered a "gang" dance. It evolved and became a local dance performed by adolescent men throughout the New York City. Some say it originated in Brooklyn in the late 1960s, while many others say it was developed in the Bronx. However, it is now more widely accepted that the Dance Culture itself spread throughout New York City into all Boroughs because the best dancers danced mostly at Manhattan Clubs, where everyone took notice of the different styles and incorporated some of the moves into their own style of dancing.

It was common to see this form of dance at block parties, teen dances and festive gatherings, and in particular at St. Mary's Recreation Center in the South Bronx, where dancers from all over the city would come and dance every Tuesday and Thursday until October 1, 1974 when Rubberband one of the most popular Rock dancers in the City from back in those days got stabbed to Death by a 14 year old youth, after an argument over a Dollar. Rubberband was 21 years old at the time of his death.

Some of the best dancers, from the South Bronx, hung out at a club called The 310 and a half, with names like Papo Rubberband, Mexico, Electrico, Mike Dominquez, Lil Richie, Dee Dee, Enoch and Papo, Willie Marine Boy, Willie Wip, Moses Martinez. They were part of the Latin Symbolics Dance Company. Competition was common in Manhattan clubs, such as The Foot Steps, The Bon Sua, and the Starship Discovery became the clubs where intense rock dance contests took place. Popular clubs were The Red and White, The Kontiki, The Footsteps, the Ice Palace, The Boombamacao, The Ipanima, Roseland, The Fresh, the Ruby Fruit. In Brooklyn, The Salsa and The Orange Peel were popular clubs.

In Brooklyn, you had Dancers like Lil Dave, Bushwick Joe, Chuck, Apache, Vinny, Noel, Blackie, Sammy, Papo774 and several others who actually danced at the New York Clubs and contributed to this dance culture as much as anyone else throughout New York City.

Some competitions created problems because of the disrespectful style of battling which was soon gone from the South Bronx because of the fights that would break out during some competitions. Brooklyn however kept that style of Rock Battle Dancing alive, where it still exists today. Though many battles would end peacefully, several others did not, which is the reason why The Bronx stopped that style of Rock Dancing very early on, and it evolved into a more disco style.

Late 1970s[link]

By the late 1970s uprock was established as a bonafide form of dance and this is when dozens of dancing crews formed in the Bushwick section of Brooklyn. Two of the better known groups of dancers were "Touch Of Rock" and "Dynasty." One was not required to be part of any particular group in order to dance or compete and there were many individuals who were considered independent. Also, not all uprockers focused on "battling" and instead perfected what were then known as "routines" wherein two dancers would perform a designed repertoire of movements that matched or coincided with each others steps. Two of the best dancer out of Bushwick B'klyn that took routines to the next level of Freestyle routines, where Papo & Jr. they took this style by storm, becoming one of the hardest partners in this genre' to beat. they where best known for there routine known as S.W.A.T. Papo & Jr. in this era where ahead of there time. At one point no would want to compete againest them.

The first 4 man Rock Routine was choreographed by Willie (Marine Boy) Estrada who was the leader of the Latin Symbolics Rock Team who were called The Rock Masters in the mid 1970s. The Latin Symbolics where known for having some of the best dancers in all categories throughout New York City, and were considered the Innovators of the Latin Hustle. Some uprock competitions prizes were earmarked for "best routine." Two such independent dancers that became well known for "routine-ing" were known as simply Enoch and Papo from The Latin Symbolics Dance Team from the Bronx in the early 1970s.

Uprock was taken seriously by some of its participants and supporters as it was an integral part of socializing. Prize money, women, bragging rights were all coveted and to the better and popular dancers went the spoils. Mimicking gang mentality where a member from one gang would successfully take the "colors" (jacket with gang insignia) from a member of a rival gang, dancers would sometimes compete for their respective shirts, however this practice was mostly done in Brooklyn, where the dance remained a bit primitive with the mind set of burning the other dancer with disrespectful hand gestures. Similar to gang idiosyncracy, this was considered a particularly severe humiliation, thus, it was considered one of the highest stakes in a battle. If you lost your shirt, you would sometimes lose your nickname and/or your crew's name.

While other Rock Dancers throughout the City had critical acclaim from dancing in City Wide Rock Competitions Brooklyn Rockers kept their beloved style of Jerks and Burning in Brooklyn in local competitions. However, a few dancers from Brooklyn competed in competitions against the better dancers from other boroughs at contests in clubs like The Bon Sua, The Footsteps, Latin Times and the Starship Discovery in Manhattan where they placed in the top 3. One of the biggest City Wide Rock Contests was hosted by The Hoe Ave Boys Club on 174th St. in the Bronx in 1977. Dancers from all Boroughs competed and it was won by Hector Barrios and Pete Martinez from the Rock Masters executing a routine Choreographed by Willie (Marine Boy) Estrada of the Latin Symbolics Dance Company, and Leader of the Rock Masters.

Fading popularity[link]

At first, the popularity of rocking was challenged by the well known disco dance called the Hustle. Some talented rockers preferred the gracefulness of dancing with women that the Hustle provided, as opposed to the adversarial and sometimes dangerous climate of competing against another male dancer. By the mid-1980s and into the 1990s uprock began to fade into history. At the same time, another competitive form of urban dance called breaking all but replaced uprocking. As many uprockers became grown men with adult responsibilities, it seemed that the culture of uprock would become a distant memory, but it was revived in the 1990's and got global attention with mostly the Brooklyn style of Uprocking being done in a Burn & Jerk type of style, which Brooklyn is known for. However, the resurgence of the Bronx Style is now also gone global, and is a very popular style because there is more freestyle movement in the style, which requires more dancing as opposed to the Burn & Jerk Style Brooklyn does.

Brooklyn Dance[link]

The dance involves two opposing dancers, or teams dancing alternatively or simultaneously performing a choreographed "battle" throughout the duration of a complete song. Although some of the moves uprockers execute emulate fighting, physical contact is never allowed. As stated above, physical contact is usually a sign of inexperience and/or dysfunctional behavior. If an uprocker is experienced he or she will not make any contact in order to "burn" his or her opponent. Uprocking's rules of engagement penalizes any dancer who actually touches the opponent, even if contact was made unintentionally.

Experienced uprockers are usually familiar with the songs that they dance to and use the lyrics and sounds of the music to out-do their opponent. The music is the guideline for when to execute a jerk, burn, or freestyle. The dancer uses the music's lyrics or sounds in his or her favor in order to create the physical narration of the mock battle that manifests.

It becomes monotonous if not redundant should a rocker utilize burn after burn while dancing. Really good dancers tend to maintain uprocking as an art form and not just an all out burnfest. There should be a constant give and take of burns and jerks in order to give each opponent the space to burn the other, but also exhibit dance moves.

Opposing dancers can also face off in a line formation called the "Apache Line". In contrast to the circle formation in breakdancing, the Apache line allows multiple opposing dancers or crews to face each other and execute their burns. Back in the 1970s it was a fascinating display to watch. Each uprocker must keep in his/her line formation while battling. One form of Apache line competition utilized rotation positioning. In other words, dancers would battle until either he is tapped to step out by another rocker, or the opponent has been worn down.

These days, in the initiation of a new rocker who intends on joining a particular crew, an Apache line is created. Borrowing again from gang culture social protocol, the new uprocker must battle each member on the Apache line. The new rocker must dance down the center of the Apache Line and battle each rocker while maintaining a discipline in the use of jerks, burns and freestyle for which he is then evaluated.

This style of dancing was done mostly in Brooklyn, other Boroughs had different ways of doing things, and the Bronx faded out this style of dancing Rock at an early point. Brooklyn continues to dance along the same mind set and rules which existed when they first started battling each other.

Etymology[link]

No one is sure where the term "rocking" came from or why this form of dance was named using this word. It may have been that because of the dance's inherent nature of conflict, the colloquialism of "rocking" as in "rocking" the opponent was used. An example would be in describing a triumphant boxer or fighter by saying, "He rocked that dude."

Another school of thought is that it was called "Rock" because early on rockers danced mainly to a specific range of rock and roll songs that fell into a category that would be more accurately categorized as a hybrid of rock/funk. Examples of songs that fell into this genre would be "It's Just Begun" by Jimmy Castor, and the live version of "Sex Machine" by James Brown. These and many other songs were not quite soul nor rock and roll, yet, they provided the kind of hard driving beat that fueled the uprock style of dance.

A dance hall flyer announcing a "Rock Contest", would confuse some who were not familiar with the term rocking as it related to this specific form of dance. Individuals would show up at an organized party event expecting a rock concert having mistaken the event as a "rock and roll dance". After about a decade since its inception, "Rocking" became known as "Uprocking". It was the same dance with a different name.

See also[link]

• Breakdance

References[link]

• Rock History Forum, created to teach and share Bronx Rocking History in the 1970's
• The Spartanic Rockers: Uprocking
• United Brooklyn Uprockers History
• Facebook Rockdanceforum: Debate, Discussion, and Current News

Ken Swift (born Kenneth James Gabbert) is a second generation B-boy, or breakdancer, and former Vice President of the Rock Steady Crew of which he was a long time member and key figure. He is now President of the Breaklife and VII Gems Hip Hop movement in NYC. Widely known in the B-Boy world as "the Epitome of a B-Boy," Ken Swift is credited with the creation of many dance moves. Ken Swift is nearly universally considered by B-Boys to be the individual who has had the greatest influence on break dancing.^[1] Ken Swift began B-Boying in 1978 at the age of twelve when he was inspired by dancers on the Upper West Side of Manhattan.

Ken Swift has several film credits to his name, including "Style Wars", the first Hip Hop documentary, and the first hip-hop major motion picture, "Wild Style". His most famous movie was 1983's hit "Flashdance", where his two-minute dance with several members of the Rock Steady Crew launched the Hip-Hop scene into national attention. Ken Swift also danced in the motion picture "Beat Street".

History[link]

Ken Swift's exposure to breaking first began in Manhattan where he encountered dancers participating in a then-popular street dance known as Uprocking. In 1978, an affiliate of Ken Swift's, referred to as Dante, was the first person he claimed to have seen do the floor moves that made up breakdancing.^[2] Frosty Freeze, an original member of the Rock Steady Crew, had approached Swift and later cultivated him to become a fellow member of the crew. As a B-Boy, Ken Swift's name originally was "Kid Zoom," and had gone through consistent changes that include, "Ken Rok," "Ken Ski," " and "Prince Ken Swift" before finally being settled as just "Ken Swift". The Village Voice published the article "Breaking is Hard To Do," which influenced a greater audience to garner an interest in Hip Hop and B-Boying. Along with several other members of Rock Steady Crew, Ken Swift performed regularly in local clubs at events such as Negril, Danceteria, the Kitchen and the Roxy, and he participated in the world’s very first International Hip Hop tour "New York City Rap".^[1]

Present Day[link]

As of today, Ken Swift is heralded as one of the greatest influences on Hip Hop culture, and a legend in the breakdancing community. He has participated in and judged dance competitions throughout the world in countries such as France, Switzerland, Sweden, China, South Africa, Finland, Italy, Holland, Portugal, Spain, Brazil, Venezuela, Norway, Germany, Canada, Japan, Belgium, Russia, Portugal, Australia, New Zealand, the United Kingdom and the throughout the U.S.^[3] Because of his skill and reputation in the B-Boy scene, Ken became a member of the 1999 U.S. Team “1st Platoon,” which took first place out of six other countries in a dance competition known as "The Korea World Cup".^[1] Although he is currently not an active member of Rock Steady Crew, he still considers himself to be a credible representation of the group. In 2004, Ken Swift is working on various projects with Inferno & Premo Entertainment, run by his affiliates Dante and Premo. Swift's office resides above their club in Williamsburg known as Brooklyn Sole, and the downstairs club is used for training and teaching classes.^[2] At a local Manhattan elementary school, P.S. 84, with a grant from the New York Historical Society, Ken organized a course for 7-11 year olds entitled “The History of Hip Hop Culture in New York: Focusing on Dance” and in 2004, Ken founded “The Ken Swift School of Hip Hop Fundamentals” at Breaklife Studios in Brooklyn, New York, to allow for an environment for others to learn the art and history of Hip Hop.^[1]

Influence and Legacy[link]

During the period in which Hip Hop and breaking were gaining national attention, Ken's original footwork and overall style became an integral part of B-Boying and is recognized as a blueprint for the dance. As a dancer, he continues to innovate and improve upon original foundation moves; though his style was viewed as “new school” in the past, today, it is considered fundamental for breaking.^[1] In August, 1996, Ken Swift was on the cover of “Rap Pages,” making him the first B-Boy ever to be on the cover of a major Hip Hop. The popular article, "Past, Present, Future: Ken Swift The Quintessential B-Boy" portrayed and Ken Swift as pioneer of B-Boying and reaffirmed him as a fundamental figure in the Hip Hop community. He choreographed and performed in a world premiere dance piece for the ceremony entitled "Super Disco Breaks,” which also premiered its first B-Boy battle, hosted and co-judged by Ken Swift himself.^[1] In 1999, Hip Hop Culture was inducted into the Rock & Roll Hall of Fame and Museum for which Ken was asked to produce an installation. He founded a dance company in 1996, known as VII Gems, which aims to spread the knowledge and preservation of New York City traditional dances such as Breaking and Rocking.^[3] Due to his contributions in the B-Boy and Hip Hop culture, Ken Swift has received two Lifetime Achievement Awards, both from credible members and groups within the Hip Hop community. In addition to these major awards, Ken Swift has received other awards including an Appreciation Award from Seoul Arts College, a Hall of Fame Living Legend Award from the Korean Tourism Agency, the Award of Recognition at the Coffey Park Old School Reunion, a Zulu Nation Achievement Award in Belgium, an Appreciation Award in Brazil, and most recently, a Lifetime Achievement Award at the Ultimate B-Boy Championship in Las Vegas, Nevada. Also in 2010, Ken was awarded the National Endowment for the Art's American Masterpieces in Dance award to reconstruct his choreography with Olive Dance Theatre in a show titled "Swift Solos: The Re-Construction of KEN SWIFT’s 20th Century Breakin’," which tours cities in the United States throughout 2010.^[3]

Films[link]

• Flashdance, Paramount Pictures
• Beat Street, Orion Pictures
• Wild Style, Charlie Ahearn
• Style Wars, Tony Silva/Henry Chalfant
• The Freshest Kids (Breakdance BBoy Breakin Hip Hop)
• Planet B-Boy, Benson Lee

Television[link]

• N.Y Edition Marc Wahlberg Show, NBC
• Good Morning America, ABC
• The David Letterman Show 1983
• The Grind, MTV
• Club Concert, PBS
• September Songs:The Music of Kurt Weill & Ghettoriginal, PBS

References[link]

Benjamin J. Heckendorn
Benjamin Heckendorn at Midwest Gaming Classic 2007
Born	(1975-10-19) October 19, 1975 (age 36) Richland Center, Wisconsin
Residence	Verona, Wisconsin, U.S.
Website
BenHeck.com

Benjamin J. Heckendorn (born on October 19, 1975) is a console modder and Internet Celebrity. He is better known as "Ben Heck" on the Internet. Heckendorn is also an independent film maker.

He has two podcasts, one which he runs with the help of a friend, Jason Jones,^[1] and the other on Warpath TV with George Force, Mike Zucker, and Anthony Carboni.^[2]

Most of Heckendorn's mods are done by taking apart old video game consoles such as the Atari 2600 and Nintendo Entertainment System. He then reconfigures internal printed circuit board (PCB) into a smaller form factor. The newly configured circuit board is enclosed within a custom case (done by a CNC machine) and any peripherals are assembled.

His creations have been featured in such publications as Wired, Popular Science, and Maxim, and on television shows such as TechTV, The Screen Savers, Attack of the Show! and X-Play. His mods are also commonly presented on high popularity blogs such as Engadget.^[3]

Systems[link]

Atari[link]

Heckendorn has created a line of portable Atari systems, almost always using some form of Atari 2600 board cut up into a smaller PCB. The only exception is the Atari Jaguar "64-Bit" Portable he made. (and the Atari 800 laptops)

• Original VCSp: Ben's first portable project.
• Revisions 1-7: After "it all" was started these units came next.
• VCSp Special Edition: An all-oak VCSp.
• Vagabond 2003: A special unit made to be small.
• Vagabond 2000: A special unit made even smaller.
• Atari Jaguar "64-Bit" Portable: Ben's newest Atari portable. The Jaguar is also the newest Atari video game system he made into a portable.
• Atari 800 Laptops: He has turned two Atari 800 computers into laptops.

Xbox 360[link]

• An Xbox 360 was modded so it has a similar form factor of a portable laptop computer. Ben had been very used to modest popularity on the internet until the Xbox 360 laptop was revealed, skyrocketing his publicity for an extended period of time. The Xbox 360 laptop caused such a massive flood of traffic to his website that for a time caused it to crash until he acquired unlimited bandwidth from his provider.
• A one-handed Xbox 360 controller was built for a serviceman injured in Iraq. The Y, B, X, A, and trigger buttons are on the underside of the controller. The right bumper was moved vertically, opposite to the left bumper. The right analog stick was also moved to the underside, reversed wired, and elongated, so that when the right analog stick is tilted on the leg it works the way it supposed to. The left analog stick and left bumper were not moved.
• He has revisioned the Xbox Laptop five times, his fifth revision being a modded Xbox Slim.
• He made an Xbox 360 controller out of a Standard Xbox Controller. He called it the: Xbox 360 “Duke” Controller. The black and white buttons were wired to be the left and right bumpers. He also added a guide button and sync button. The batteries go where the memory card slots were on the top of the controller.
• He has made another one-handed Access Controller with modular ministicks and buttons. Originally designed for PC, PS2 and PS3, it will now work with Xbox 360 through an adapter. The modular aspect allows the user to freely switch the location of the sticks, digipad and buttons.

Nintendo[link]

Heckendorn has created five (3 NESp's) Nintendo portables:

• NESp: A portable version of the NES, it uses a "NES-on-a-chip" and is quite small.
• SNESp: Built in 2001, it is the portable version of the SNES.
• N64p: Portable Nintendo 64
• Several portable NES projects using the NES-on-a-chip hardware, the most notable being the NES micro, made to parody the unnecessarily small Game Boy Micro and the nPod, a project that Ben had plans to make in large numbers and sell.
• Wii Laptop: Ben is done with the Wii Laptop. A making-of is posted on Engadget.^[4] A video is posted here.

PlayStation 3[link]

• A "laptop" version of the PS3 based on the Slim version.

PC[link]

• The MGDp: a fully functional PC built into an antique MGD beer case(18 pack).

Sega[link]

• Heckendorn has made a Sega Genesis portable called the Sega Exodus. It started life as a Radica Genesis collection DTV unit. However, its on-board composite video output and low power requirements made it the perfect candidate for a handheld. When a cartridge slot was added, it gained the ability to play most Sega Genesis games (however it is incompatible with Sonic & Knuckles, the Sega 32X, and other Genesis add-on cartridges, a limitation caused by the re-designed hardware in the Radica DTV).
• On episode 11 of The Ben Heck Show, Ben built a portable Sega CDX.^[5]

SNK[link]

• The SNK Neo Geo MVS Portable was built around an MV-1C motherboard from 1999. For a screen, it uses the Sony PSone screen wired for RGB Video. The board was set up with an updated BIOS and a pair of wires to get stereo sound. Everything is mounted in a CNC cut case made of acrylic plastic.
• The SNK Neo-Geo Arcade cabinet.^{[citation needed]}.
• The Neo Geo MVS console: Uses standard Neo Geo controllers to play all your favorite MVS games on your TV.

Sony[link]

Heckendorn has made three Sony portables:

• PSp: A portable PlayStation. (This project predates the PlayStation Portable or "PSP.")^[6]
• PS2p: A portable PlayStation 2.
• PS3p: A portable PlayStation 3.
• He made a "PS360" controller, which is a PlayStation 3 controller built into an Xbox 360 controller's shell.

Apple[link]

• Apple IIGS Laptop: It is a laptop made from an original Apple IIGS motherboard, with added RAM and a CompactFlash interface.

Commodore[link]

• A Commodore 64 (C model for its smaller motherboard) modded into a portable laptop computer with an SD drive taking the place of the disk drive (not to be confused with the SX-64). Ben Heck's portable C-64 being much cooler (and more useful to commodore fans). See ^[7]

Combo systems[link]

Heckendorn has made two combo system to date.

• Atari 2600 / PS2 Combo Unit: It was a PlayStation 2 and an Atari 2600 all together in an Atari 2600 case. The system was not a portable unlike most of his game system mods. The case had to be modified and the cartridge slot was redone to allow more space in side the case. The Atari's controller ports were moved to the back of the unit. The PS2 controller and memory card ports were also on the back of the unit. The switches on the console were modified to perform various tasks that had to do with both systems in the unit.
• NEStari: His first portable combo system. The system was an NES and an Atari 2600 combo. Ben used both a NES-on-a-chip and an Atari 2600-on-a-chip hardware instead of whole systems (due to size it had to be made to be a portable). The Atari 2600-on-a-chip came from an Atari Flashback 2 system. The NES and the Atari 2600 use the same buttons except for the A button which is not used by the Atari 2600 hardware. A video of the NEStari in action is available for download here.

Hacking video game consoles[link]

In February 2005, Heckendorn released his book Hacking Video Game Consoles, published by Wiley Publishing Inc. and printed under their ExtremeTech line. It contains step by step instructions for creating two Atari 2600 portables, two NES portables, two SNES portables, and two PlayStation portables, each in hand-built and CNC-cut designs.

Podcast website[link]

On December 13, 2006, Heckendorn started benheckpodcast.com, a website for storing all of his podcasts, and all he is going to make.

Heckendorn's other podcast is called Sonic Boom, and is available at warpath.tv.

Movies[link]

Heckendorn is also an amateur film maker. He has completed 6 Films since 1995, including his comedic love story, Port Washington, released in 2006. His most recent movie, released on October 31, 2008 was entitled Possumus Woman, and is the sequel to his 1995 film, Possumus Man.

The Ben Heck Show[link]

As of recently, Ben Heck has gained an online TV show. Episodes of this show occur bi-weekly available at Revision3, the host, and sponsored by Element 14.

References[link]

1. ^ http://www.benheckpodcast.com
2. ^ http://www.sonicboompodcast.com
3. ^ http://www.engadget.com/tag/BenHeck/
4. ^ http://www.engadget.com/2007/01/23/how-to-make-a-wii-laptop-part-1/
5. ^ http://benheck.com/02-07-2011/ben-heck-show-episode-11-sega-cdx
6. ^ http://benheck.com/classic/PSp/PSp1.htm
7. ^ http://benheck.com/04-05-2009/commodore-64-original-hardware-laptop

External links[link]

• Official website
• Benjamin Heckendorn's channel on YouTube
• Benjamin Heckendorn on Twitter