Dance
Popin' Pete: "I wouldn't have anything if Sam hadn't show me this dance"
Popin' Pete is a living dance legend and one of the founders of the popping style. Here, the American dancer talks to us about what popping is, how battles began and his passion for music.
Timothy Earl Solomon, better known by the moniker Popin' Pete, is a first-generation member of the legendary The Electric Boogaloos crew, which was founded in 1978. After being taught to dance by his older brother, Boogaloo Sam, he inspired generations of popping dancers and continues to do so today, over 40 years after he started to dance.
Recently, there's not been a lot of time to travel. How did that affect your creative process?
Finally, I have time to think. When I travel, I usually don't have time to really focus on other tasks and now I do. For example, before the recent events started, I had a couple of ideas for the show, but not even dance one, a reality show. I want to come back to these ideas, because one day I'll no longer be able to dance, so I need to invent something else. I'm also creating music and beats.
How did you get into music and does it come easy for you?
I grew up in a family of African-Americans and in our house music was constantly playing. So, for me, it's something natural. Mom had always turned the music on when she was cleaning. Many friends also gathered their own groups and became musicians. I saw how they constantly rehearsed in garages, so it's not really surprising that I began to write music by myself – it's what was always surrounding me.
In 1978, we created The Electric Boogaloos. Now I'm talking about this as a career, but back then we were just hanging out
Was it the same with dancing?
Yeah, with dancing it was the same as with music. It was always there, at home or on the street where I lived. When I was 16 I decided to do dancing professionally and in 1978 we created The Electric Boogaloos. Now I'm talking about this as a career, but back then we were just hanging out. There was an opportunity to make a profession out of this and now I've been doing it for 42 years.
What changes have occurred on the dance scene during this time?
Well, nothing big has happened. Even in popping, which is the style I dance. When I was 18-years-old, I'd been studying ballet for three months to learn balance and discipline, so I used some elements from ballet in popping, like leg movement, but also from flamenco and salsa. We were always doing that, we just didn't have social networks to talk about it at that time.
It's a continuous evolution: different styles are intertwining and constantly borrowing movements from each other. When I see how people are doing it now, I think 'that's really cool'. If you understand this, then you know the basics of your art. I like it when someone brings something new and unknown to dance.
It's also important for me to be a part of this process. I grew out of what's called the old school, but where I am today is more important to me.
Where are you now as a dancer?
The basics are still the same. Everything that I do is based on what The Electric Boogaloos came up with in 1978, but I'm not stuck in '78, or in any other year. I don't consider myself an 'old-school' dancer, I live in the moments that I create by myself. I continue to develop and I’m certainly a better dancer now than 42 years ago. I'm also definitely not at my limit. I'll continue to study as long as I can dance.
Popin' Pete has been a fixture on the dance scene since 1978
© Popin' Pete
What motivates and inspires you?
I have enough of my own motivation and inner inspiration. You know, people say, 'Oh, that's so inspiring'. Well, yes, I'm also checking out new things, but to do this, you must remain open and not wait for someone to inspire you. If someone says that I'm an inspiration for them, then why don't I inspire myself? Trying to become better than you are is a good motivation, right?
I like it when someone brings something new and unknown to dance
What does age mean to you?
Nobody can last forever. Basketball players retire at the age of 35, but I'm 58, still in the business and I'm dancing better than when I was at 38. If suddenly I'm not able to dance like I'm used to, I'll be able to adapt. I think this is the most important thing. It's all in your head. You can be in excellent physical shape, but it doesn't matter if you're saying to yourself. 'That's it, I can't anymore'. I just love dancing, it's like an everlasting itch, so I'm probably going to keep dancing until I fall apart or they put me in a coffin.
A lot of people think popping is an umbrella term for many related styles. What's your take on that?
Popping is a very specific style, it's not an umbrella term. It includes specific movements, muscle contractions and technique. Boogaloo and ticking, strutting, tutting and waving all started to be called popping, but all these are different styles and I refuse to consider them popping. Different styles, different times, different people, different communities. My name is Popin' Pete because I dance popping. I can do waving, ticking and boogaloo, but if I do them I'll call them by their proper names.
You saw the emergence of hip-hop culture, so what do you think about modern hip-hop?
My roots are not in hip-hop. I'm from the West Coast and hip-hop started on the East. I understand what you mean, but with all the respect to this culture, its creators and the global phenomenon that hip-hop has turned into, I don't consider myself a hip-hop dancer or a hip-hop specialist.
Hip-hop grew up on the streets, but we didn't learn from street dancers. For us, it wasn't part of street culture. I would like people to know the real pioneers of hip-hop, though: Africa Bambaataa, Kool Herk and many others. If someone connects me to hip-hop, but not them, then this person simply doesn't understand hip-hop.
Popin' Pete is an original member of the The Electric Boogaloos
© Little Shao
Have you ever met street dancers that really impressed you?
Sure, constantly! Back then, when you wanted to show yourself, you went to the streets. I mean, we started appearing on TV in 1978–79 and we were practising in the backyard or a garage, but people were dancing on every corner, even on Hollywood Boulevard. It was simply impossible not to see that.
Not all of those dancers were really cool, but don't believe those who say that in their times they danced cooler. There are always excellent dancers in any genre at any time. The 16-year-old boy who's dancing now can be just as good as the 16-year-old boys from the past. Nothing has changed here. I don't like comparing the eras, there are always good dancers and the rest.
I live in the moments that I create by myself
How do you feel about big dance championships? Do they really make people improve, or is competition not the essence of the dance?
This isn't the main goal, but still, it's part of the dance culture. When I started, the dancers organised street battles. It seems to me that the championships are a continuation of these battles. Early on, the maximum prize in a dance competition was $75 and we thought 'Wow, that's a lot of money."
I remember how it all began. A guy from Osaka, Japan, told us about the 'day parties' as he liked to call them. It was, I think, 1987. He said that in Japan you could talk with the club owner to have a party during the day, with DJ and dancing. I think all started with that. Nobody had done something like this before and then, when people heard about these day parties, they began to organise dance shows and battles.
Which moment in your career are you especially proud of?
Oh, that's easy. I used to work with prominent people, like Michael Jackson, Justin Timberlake and Janet Jackson, but the best moment was when my brother Boogaloo Sam showed me this dance. Without this moment, there would be no meetings with Michael Jackson or Will Smith. There would be no Popin' Pete in the movie Breakin'. There would be no interview. I have a nice achievement list, but nothing of these would have happened if Sam hadn't shown me this dance.
