"Breaker's Revenge," his contribution toīeat Street, splices a whoop from "Girls Just Want to Have Fun" and a lyric from "Perfect Beat" with the drum program from his production of Face to Face's "Under the Gun." He even makes a joke of his thievery on the latest Baker-Robie rap single credited to Guru, it's called "Who You Stealing From?" But what's yanked Baker out of the rap pack and made him a big-biz force to reckon with is his work remixing club versions of hit singles for Cyndi Lauper, Bruce Springsteen, David Bowie, Hall & Oates, and Diana Ross. Baker isn't exactly a musician - on the Bambaataa tracks, it seems clear that he manipulates the beatboxes and studio hardware while his collaborator, John Robie, invents the sinister keyboard melodies - so as a solo act, he frequently adopts the au courant technique of quotation. I'm talking about the masters here, specifically Arthur Baker, the Roland Barthes of the beatbox.īaker first made his name producing 12-inch dance singles for Tommy Boy and Streetwise Records, most notably Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat." Since then, he's produced tracks for theīeat Street soundtrack, his wife Tina B's debut, and the latest Hall & Oates (aptly calledīig Bam Boom), and he just signed with Epic as an artist. Looking for the perfect beat, these guys facetiously overplay dance rhythms, mess around with the mechanical pulse like a sadistic heart doc, and in general treat the beat as an overfamiliar text to be deconstructed. But whereas high-tech disco hit a dead end by concentrating too much on the BPM, the drum machine has created a new kind of artistry in the hands of producer-programmers who want something more than an automatic pilot. Even powerhouse drummers like Benny Benjamin, Hal Blaine, and Charlie Watts couldn't compete with the punishing BLAM-puck-puck-puck-BLAM that splinters radio speakers on my block nowadays. By now Linn drums, syndrums, the Fairlight, and the Synclavier have increased the efficiency of the beat by relieving its dependency on human limbs. It had such a good beat, you had to dance to it, or else. The beat never got brutal - certainly not during the Beat era, when you kept it by snapping your fingers, nor even during the Beatle era - until mid-'70s disco, when thump-thump-thump-thump was all you got. Apres la big bomb, le baby boom, whose number grew up with the knowledge of a new beat. Do you want to sit there listening to music.Because rock and roll was a bastard child, its birthdate is a matter of dispute, but one theory says it was August 5, 1945. I play the dance tunes from the era that created dance parties. Hey you.baby boomer. Seriously, have you ever watched baby boomers trying to dance to hip hop? I started Boomer Dance Parties because my wife and I are passionate about dancing, but we were frustrated by DJs who play a few "oldies" and "wedding reception perennials" as they made their way to more contemporary music that just didn't do it for us.
DANCE BABY BOOM HOW TO
Later, we learned how to Boogaloo and Shingaling by tuning in to Soul Train on Saturday morning.
We are the generation that danced to the Twist, the Frug, the Mashed Potato, the Jerk, the Pony, the Watusi and a dozen other steps that came and went on shows like American Bandstand, The Lloyd Thaxton Show, Shindig, Where The Action Is, Hollywood a Go Go, and Hullabaloo. Boomer Dance Party is a DJ service for the baby boomer generation.īoomers were born between the years of 19, which makes us roughly a population in our mid-50''s to early 70's.
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