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Break Dance
Breakdance
This article is about the hip hop dance style. For the amusement park ride, see Breakdance (ride). For the Commodore 64 game, see Breakdance (video game).
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Breakdance, breaking, b-boying or b-girling is a street dance style that evolved as part of the hip hop movement among African American, Asian and Puerto Rican youths in Manhattan and the South Bronx of New York City during the early 1970s. It is normally danced to pop, funk or hip hop music, often remixed to prolong the breaks, and is a well-known hip hop dance style. Breakdancing involves the elements of toprock, downrock, freezes, and power moves. A breakdancer, breaker, b-boy or b-girl refers to a person who practices breakdancing.
Breakdancing may have begun as a building, productive, and a constructive youth culture alternative to the violence of urban street gangs.[1] Today, breakdancing culture is a remarkable discipline somewhere between those of dancers and athletes. Since acceptance and involvement centers on dance skills, breakdancing culture is often free of the common race and gender boundaries of a subculture and has been accepted worldwide.
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[edit] Origins: From street to dance
Breaking became popular in the Western world when street corner disc jockeys would take the rhythmic breakdown sections (or "breaks") of dance records and string them together without any elements of the melody. This provided a raw rhythmic base for improvising and further mixing, and it allowed dancers to display their skills during the break.
Breakdancing, in its organized fashion seen today, may have begun as a method for rival gangs of the ghetto to mediate and settle territorial disputes.[2] In a turn-based showcase of dance routines, the winning side was determined by the dancer(s) who could outperform the other by displaying a set of more complicated and innovative moves.
Michael Jackson's televised performance of the robot dance in 1974 displayed elements of the breakdance subculture to a wide audience and helped spark its popularity. Meanwhile, dance teams such as the Rock Steady Crew and the New York City Breakers, changed the dance into a pop-culture phenomenon receiving a large amount of media attention. In the 1980s, parties, disco clubs, talent shows, and other public events became typical locations for breakdancers. Though its intense popularity eventually faded in the mid-1980s, in the following decades breakdancing became an accepted dance style portrayed in commercials, movies, and the media. Instruction in breakdancing techniques is even available at dance studios where hip-hop dancing is taught. Some large annual breakdancing competitions of the 2000s include the Battle of the Year or the Red Bull BC One.
Shortly after groups such as the Rock Steady Crew came to Japan, breakdancing within Japan began to flourish. Each Sunday performers would breakdance in Tokyo's Yoyogi Park. One of the first and most influential Japanese breakdancers was Crazy-A, who is now the leader of the Tokyo Rock Steady Crew.[3] He also organizes the yearly B-Boy Park which draws upwards of 10,000 fans a year and attempts to expose a wider audience to the culture.[4]
[edit] Dance techniques
For more details on this topic, see List of breakdance moves.
There are four basic elements that form the foundation of breakdance. These are toprock, downrock (also known as footwork), power moves, and freezes.
Toprock refers to any string of steps performed from a standing position, relying upon a mixture of coordination, flexibility, style, and rhythm. It is usually the first and foremost opening display of style, and it serves as a warm-up for transitions into more acrobatic maneuvers. Perhaps the most basic toprock is the Indian Step, but toprock is very eclectic and can draw upon many other dance styles. Though commonly associated with popping and locking (two elements of the funk styles that evolved independently in California during the late 1960s) breakdancing is often considered distinct from popping and locking, as its moves require a greater sense of athleticism, as opposed to the contortion of limbs seen in pop-and-lock. Breakdancers who wish to widen their expressive range, however, may dabble in all types of hip hop dance.
In contrast, downrock includes all footwork performed on the floor as in the 6-step. Downrock is normally performed with the hands and feet on the floor. In downrock, the breakdancer displays his or her proficiency with foot speed and control by performing footwork combinations. These combinations usually transition into more athletic moves known as power moves.
Power moves are actions that require momentum and physical power to execute. In power moves, the breakdancer relies more on upper body strength to dance, and is usually on his or her hands during moves. Power moves include the windmill, swipe, and flare. Power moves are very physically demanding and a great display of upper body strength and stamina. Several moves are borrowed from gymnastics, such as the flare, and martial arts, with impressive acrobatics such as the butterfly kick.
Breakdance sets usually end with freezes that halt all motion in a stylish pose. The more difficult freezes require the breakdancer to suspend himself or herself off the ground using upper body strength, in poses such as the handstand or pike. Alternatively, suicides can also signal the end to a routine. Breakers will make it appear that they have lost control and fall onto their backs, stomachs, etc. The more painful the suicide appears, the more impressive it is, but breakdancers execute them in a way to minimize pain. In contrast to freezes, suicides draw attention to the motion of falling or losing control, while freezes draw attention to the final position.
[edit] Music
As the clichéd quote "break to the beat" points out, rhythmic music is an essential ingredient for breakdancing. The original songs that popularized the dance form borrow significantly from progressive genres of jazz, soul, funk, electro, disco, and R&B.[5] The most common feature of breakdance music exists in breaks, or compilations formed from samples taken from different songs which are then looped and chained together by the DJ. The tempo generally ranges between 110 and 135 beats per minute with shuffled sixteenth and quarter beats in the percussive pattern.[5] History credits Kool Dj Herc for the invention of this concept, later termed breakbeat.
The musical selection is not restricted to hip-hop as long as the tempo and beat pattern conditions are met. It can be readily adapted to different music genres (often with the aid of remixing). World competitions have seen the unexpected progressions and applications of heavily European electronica, and even opera. Some b-boys, such as Pierre, even extend it to rock music.
[edit] Fashion
For most breakdancers, fashion is a defining aspect of identity. The breakdancers of the 1980s typically sported flat-soled Adidas, Puma, or Fila shoes with thick, elaborately patterned laces.[citation needed] Some breakdancing crews matched their hats, shirts, and shoes to show uniformity, and were perceived as a threat to the competitor by their apparent strength in numbers. B-boys also wore nylon tracksuits which were functional as well as fashionable. The slick, low-friction material allowed the breakdancer to slide on the floor much more readily than with cotton or most other materials.
Hooded nylon jackets allowed dancers to perform head spins and windmills with greater ease.[citation needed] Additionally, the popular image of the original breakdancer always involved a public performance on the street, accompanied by the essential boombox and oversized sheet of cardboard, which serves as a dance floor.
The b-boys today dress differently from the b-boys in the 80s, but one constant remains: dressing "fresh".[citation needed] Due to the spread of breakdancing from the inner cities into the suburbs and other social groups, different perceptions of "fresh" have arisen. Generally the rule that one's gear needs to match has remained from the 80s, along with a certain playfulness. Kangols are still worn by some, and track pants and nylon clothes still have their place combined with modern sneakers and hats. Trucker hats were reintroduced to the scene in the late 1990s, well before the mainstream pop culture began wearing them again in numbers.[citation needed]
Function is heavily intertwined with b-boy fashion. Due to the demands on the feet in b-boying, b-boys look for shoes with low weight, good grip, and durability in the sole as well as elsewhere.[citation needed] Headwear can facilitate the movement of the head on the ground, especially in headspins. Bandannas underneath headwear can protect against the discomfort of fabric pulling on hair. Wristbands placed along the arm can also lower friction in particular places, as well as provide some protection. Today's breakdancing styles, which emphasize fast-paced, fluid floor moves and freezes, differ from that of two decades ago, requiring more freedom of movement in the upper body.[citation needed] Therefore, less baggy upperwear is more common today (though pants remain baggy).[citation needed]
Some dancers and crews have begun to dress in a style similar to "goth" or punk rockers in order to stand out from the more traditional toned-down b-boy appearance. Certain clothing brands have been associated with breaking, for instance, Tribal. Puma is also well known in the breaking community. Both brands sponsor many b-boy events.[citation needed]
But aside from these generalities, many b-boys choose not to try too hard to dress for breaking, because one would want to be able to break anytime, anywhere, whatever the circumstances.[citation needed] This is part of the reason why many breakdancers would rather learn headspins without a helmet even though helmets allow them to learn the technique more easily.
Other breakdancers style their pants by cuttting off or rolling up one pant leg. Bucket hats are also popular.
[edit] Stage shows
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In many different countries, most notably South Korea, different stage companies and individual breakdancing crews are creating musicals and stage shows that are either based on, or focus on breakdancing. Among the most notable is A Ballerina Who Loved A B-Boy, a musical telling the story of a ballerina who falls in love with the power of breakdancing.
It is played by professional breakdance crews, including Extreme Crew, Maximum Crew, and Able Crew. Another breakdancing musical is "Marionette" performed, created and choreographed by Korean breakdancing crew "Expression Crew". Many entertainers have incorporated breakdance moves into their stage performance, ranging from professional wrestler Booker T to Korean singer Se7en.
[edit] Media exposure
In the 1980s, with the help of pop culture and MTV, breakdancing made its way from America to the rest of the world as a new cultural phenomenon. Musicians such as Michael Jackson popularized some of the breakdancing styles in music videos, and movies such as Flashdance, Wild Style, Beat Street, Breakin', and Breakin' 2: Electric Boogaloo also contributed to the growing appeal of breakdancing.[citation needed] Today, many b-boys and former breakers are disappointed by the media hype that has changed the focus of breakdancing to money and overuse of power moves.
Breaking and hip hop culture have also been the subject of documentaries such as The Freshest Kids: A History of the B-Boy, and Style Wars.
[edit] Gender Inequality
| | This article or section contains weasel words, vague phrasing that often accompanies biased or unverifiable information. Such statements should be clarified or removed. (February 2009) |
Like its musical counterpart, rap music, the world of break-dancing and hip-hop has remained a bastion of male domination since its origins thirty years ago.[6] Like most aspects of hip hop, including the three other major components graffiti, emceeing and turntabalism, women are overall seen as having less influence than men. Relatively speaking the women are seen as outsiders to the groups. It is interesting to note that if there is a group with a majority of males and a minority of females, the crew will still be referred to as bboys. However, if there is a majority of females and a minority of males, the group will normally not be known as a crew of bgirls. This simple concept of naming certain groups is proof of the gender inequalities within the break dancing world.
Critics argue that it is unfair to make a sweeping generalization about these inequalities because women have begun to play a larger role in the break-dancing scene[7][8][9]. Despite the increasing number of female break dancers, another possible barrier is lack of promotion. As Andrea Parker a.k.a. Firefly, a full-time break dancer, says, "'It's getting more popular. There are a lot more girls involved. The problem is that promoters are not putting on enough female-only battles.'"[10]
Issues such as these have been addressed more and more in recent years by such groups as We-B-Girls, who seek to "influence and inspire leadership to change the perceptions and roles of women in hip-hop for current and future generations."[11] As well, more people are seeking to change the traditional image of females in hip-hop culture (and by extension, break-dancing culture) to a more positive, empowered role in the modern hip hop scene.[12][13][14]
However, this argument is deemed nonsensical by its detractors[who?]; is it stated that "the floor does not discriminate against anyone"[citation needed]. The lower exposure of female dancers is probably caused not by any conscious discrimination, but simply by there being fewer female break dancers. Since there are no women division as in "official" sports, they have to compete with men on equal terms. In any "Bboy" Battles, if it is a one-on-one competition or maybe a battle between crews, B-girls attend the event as equals to the B-Boys. They compete against the B-boys and as members of crews alongside B-boys, and all female B-girl crews battle against other crews with no negative discrimination. The term "B-girling" is as acceptable as the term B-boying and the only reason the masculine form is used more often is simply because of a lack of a gender-even term. Other than the terminology, both males and femles practice this art together.[original research?]
[edit] Battles
Battles are an integral part of the b-boying culture. They can take the form of a cypher battle and an organized battle. Both types of battles are head to head confrontations between individuals or groups of dancers who try to out-dance each other.
The cypher (or the circle) is the name given to a circle of b-boys and/or b-girls who take turns dancing in the center. There are no judges (other than the participants of the cypher itself), concrete rules or restrictions in the cypher, only unsaid traditions. Although people aren't always battling each other in the cypher, there are many times when battles do take place. B-boying began in the cypher and only later did organized competition develop. This type of battle is how b-boying was originally and it is often more confrontational and more personal. The battle goes on until it ends for one of many possible reasons, such as one dancer admitting defeat. Cypher culture is more present in communities with a stronger emphasis and understanding of original, true hip hop culture. Battling in the cypher is also a common way for dancers to settle issues between each other whether it be individuals or crews.
Organized battles, however, set a format for the battle, such as a time limit, or specify a limit for the number of dancers that can represent each side. Organized battles also have judges, who are usually chosen based on years of experience, level of deeper cultural knowledge, contribution to the scene and general ability to judge in an unbiased manner. There are however, times when non b-boys or non b-girls are chosen to judge by some organizers, and these type of events (jams) are often looked down upon by the b-boying community. Organized battles are far more publicized and known to the mainstream community, and include famous international-level competitions such as Battle of the Year, UK B-Boy Championships Redbull BC One, Freestyle Session and R16 Korea. It should be noted however that a view exists that a trend in recent years has been to place an over-emphasis on organized battles, which takes away from a more originality-based aspect of the culture that is often more emphasized in cypher culture.[15]
[edit] Crews
A crew is a group of two or more b-boys or b-girls who choose to dance together for whatever purpose, either simultaneously or separately. Crew vs Crew battles are common in breakdancing. Many B-boys and B-Girls are part of a crew, which makes many feel more dedicated to breakdancing. A few of the most well known crews are the New York City Breakers, Rock Steady Crew, Last For One, Super Cr3w, Gamblerz, Rivers, Flying Steps, Shebang!
Many b-girl crews often find themselves competing or trying to prove their legitimacy and passion for this specific type of dancing. Anonamiss is an all female b-girl crew, based in Christchurch, New Zealand, known for incorporating b-girling moves with Samoa siva dance inspired moves.[16]
[edit] Controversy
Though recreational, the dance is not without its heated debates. Some practitioners state the original terms b-boying or breaking are better names for the dance as breakdance was supposedly created by the media as a marketing device[who?]. As such, the term breakdance is said to lack the depth and history of the older terms and are today looked down by some who consider its use as an evidence of ignorance and disrespect to the history of the dance style itself.[weasel words]
Multiple stereotypes have emerged in the breakdancing community over the give-and-take relationship between technical footwork and physical prowess. Those who focus on dance steps and fundamental sharpness—but lack upper-body brawn, form, discipline, etc.—are labeled as "style-heads" and specialists of more gymnastics-oriented technique and form—at the cost of charisma and coordinated footwork—are known as "power-heads." Such terms are used colloquially often to classify one's skill, however, the subject has been known to disrupt competitive events where judges tend to favor a certain array of techniques. It has often been stated that breakdancing replaced fighting between street gangs, though some believe it a misconception that b-boying ever played a part in mediating gang rivalry. These gang roots made breakdancing itself seem controversial in its early history.
Uprocking as a dance style of its own never gained the same widespread popularity as breakdance, except for some very specific moves adopted by breakers who use it as a variation for their toprock. When used in a breakdance battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some dancers argue that because uprocking was originally a separate dance style it should never be mixed with breakdancing, and that the uprock moves performed by breakers today are not the original moves but poor imitations that only shows a small part of the original uprock style.
[edit] Pop-culture references
[edit] Music videos
Buffalo Gals (Malcolm McLaren music video. 1982): The first breakdancing video on MTV, that brought hip hop to the mainstream, most noticeably in Europe. It's like That by Run DMC (Music Video. 1997): Quite possibly the dance video responsible for the return of breakdancing to mainstream culture. The recording, though seemingly unrelated to the harsh themes of the song, features a comical battle between two talented respectively all-female and male crews.
Canon in D Korean video clip (2006) features a famous DJ (DJ Chang Eue), beatboxer (Eun Jun), and two members, Bboy Joe and Bboy Zero-Nine of the 2005 BOTY champions, Last For One in two different versions. South Korea vs North Korea Breakdancing video clip (2005) depicts the separation of these two nations and the will for reunification through bboying. This video clip includes world famous breakdancers Bboy Ducky (Drifterz). Bboy Trickx (Drifterz), Bboy Physicx (Rivers), and Hong10 (Drifterz). Korean crews including Gambler Crew, Rivers Crew, Extreme (Obowang) Crew, Drifterz Crew and more have participated in creating breakdancing tutorial clips shown on television and online to help instruct the new generation of aspiring b-boys.
Korean singers have been known for incorporating breakdancing moves into their choreographies, music videos and performances, including Se7en, Big Bang, BoA, Rain, and Minwoo. In 2004, the Pro-Test video by Skinny Puppy depicted B-Boys breakdancing on a sidewalk in Los Angeles, who ridicule a group of goths, which leads to a dispute. The video also depicts krumping, a street dance which originated in LA, which is characterized by free, expressive, and highly energetic moves.
[edit] Films and television shows
In 2007-2008 MTV created America's Best Dance Crew featuring street dance crews from the United States. The Jabbawoockeez won the 1st season, Super Cr3w won Season 2,and Quest Crew won Season 3. In the early 1980s, several films depicted breakdancers, including Wild Style! (1982) and Flashdance (1983), which showed the Rock Steady Crew. The 1983 PBS documentary Style Wars by Tony Silver and Henry Chalfant tracks the rise and fall of subway graffiti in New York in the late 1970s and early 1980s. At the peak of its popularity, graffiti was as much a part of B-boy culture as rapping, scratching, and breaking. Several 1984 movies focused on the dance, including Breakin'; Breakin' 2: Electric Boogaloo; Delivery Boys, a comedy about a gang of boys under the Brooklyn Bridge who are united by their common interest in breakdancing; Kruch Groove and Beat Street. In the 1994 Australian documentary Sprayed Conflict, by Robert Moller, Australian graffiti artist and future Melbourne Extreme Games breakdance winner Duel performed breakdancing.
The 2001 comedy film Zoolander depicts Zoolander (Ben Stiller) and Hansel (Owen Wilson) performing breakdancing moves on a catwalk. The acclaimed documentary film The Freshest Kids: A History of the B-Boy (2002) provides a comprehensive history of b-boying, its evolution and its place within hip-hop culture and beyond. Break is a 2006 mini series from Korea about a breakdancing competition. Over the Rainbow (Drama series 2006) centers on a different characters who are brought together by breakdancing. The character Mugen on the anime TV series Samurai Champloo uses a fighting style that is based on breakdancing. The 2007 film Transformers includes a robot character named Jazz who performs a "1990" (breakdance move) as it transform into its robotic form. Planet B-Boy (2007) brings contemporary b-boying alive as it follows crews from around the world in their quest for a world championship at Battle of the Year 2005. The award-winning documentary Inside the Circle (2007) goes deep into the personal stories of three talented b-boys (Omar Davila, Josh "Milky" Ayers and Romeo Navarro) and their struggle to keep dance at the center of their lives.
[edit] Video games
Breakdance was an 8-bit computer game by Epyx released in 1984, at the height of breakdancing's popularity.
Bust A Groove (Video game franchise. 1998): The two games series by 989 Studios which spanned comprises a rhythm based gameplay that featured characters with distinctly unique dance styles. The fictional main character, "Heat," former F-1 racer, specializes in breakdancing, while other selectable characters, punk Gas-O and alien twins Capoeira use respectively house and (obviously) Capoeira martial arts.
B-boy (videogame) (2006) is a console game which aims at an unadulterated depiction of breakdancing.[17] Pump It Up is a Korean game that requires physical movement of the feet. The game is open for breakdancing and many people have accomplished this feat by memorizing the steps and creating dance moves to hit the arrows on time. See World Pump Freestyle (WPF) videos.
Some characters in the Tekken series, notably Eddy Gordo and Christie Monteiro, specialize in capoeira, resulting in a fighting style similar to breakdancing. In the game Super Smash Bros. Melee for Nintendo GameCube, some characters use breakdancing moves for their downward smash attack. Sonic is known to breakdance, and one of his taunts in Super Smash Bros. Brawl is breakdancing. In Fatal Fury Duck King fighting style is breakdance.
[edit] Other media
In 1997, Korea, Kim Soo Yong began serialization of the first breakdancing themed comic, Hip Hop. The comic sold over 1.5 million books and it helped to introduce hip-hop and breakdancing culture to Korean youth. The first breakdancing-themed novel, Kid B, was published by Houghton Mifflin in 2006. The author, Linden Dalecki, was an amateur b-boy in high school and directed a short documentary film about Texas b-boy culture before writing the novel. The novel evolved from Dalecki's b-boy-themed short story The B-Boys of Beaumont, which won the 2004 Austin Chronicle short story contest.
In 2005, a Volkswagen Golf GTi commercial featured a partly CGI version of Kelly breakdancing to a new version of "Singin' in the Rain", remixed by Mint Royale. The tagline was, "The original, updated."
BMX
BMX History
Somewhere in southern California during the early 70's, a bunch of kids on modified 20' Schwinn Stingray bicycles went out to a vacant lot and created a brand new sport of their very own... Those kids were probably not even the first. The same scene of youthful energy and American resourcefulness was quite probably going on in Nebraska and/or New Jersey. But it was the California gathering of nameless pioneers who were recorded on film by Bruce Brown's cameras. The resulting motorcycle film, ON ANY SUNDAY, would spread the word like a wildfire.
There was no stopping it now. A new sport created by kids for kids was born. Bicycle Motocross was the name it was given. That name was quickly shortened to BMX. It grabbed the attention of thousands of kids in one short summer. Boys and girls on their modified bicycles were seen jamming through the dirt emulating their motorcycle motocross heroes.
Imitation lead to innovation and quickly the kids were performing tricks and 'getting air' that made their motorcycle heroes green with envy. The next step was organized racing. By 1977, pockets of loosely organized BMX races dotted the nation from coast to coast. It was time for a national sanctioning body and from out of this need, the AMERICAN BICYCLE ASSOCIATION was created. The AMERICAN BICYCLE ASSOCIATION not only filled that need, it completely changed and continues to shape the future of the sport it serves. The first step was to create a system of qualifying participants that was not only fair, but one which enhanced the competitive nature of the very sport itself and still afforded each and every rider the chance to be a winner. This need for fairness and allowing for the fortunes of luck led the way to the transfer system, in which the winner of each moto advances to the next round - be it quarter, semi or main event.
That first step led to a long and continuing list of firsts that spell out the very success of the ABA. From supplying the first and world's largest national sanctioning body, first national tour, first Pro purse, first Cruiser class competition, first sanction to call fouls as they occur, first starting light system, first automatic gate system, first voice command, first duel announcing, first computerized membership and points system, first computerized sign-ups, first computerized system for local tracks, first interactive website to service it's members, first and most prestigious National Amateur Championship to cover all ages and the list goes on.
ABA BMX racing is a sport of youthful achievement and the American family. While the young boy or girl BMX racer develops skills at an individual pace, they are learning about winning, losing and trying again. The racer's family learns that time spent together is support of the racer and the individual achievements is quality time.
It is the duty of the ABA to establish the rules of racing that provide fair competition and fun family entertainment for all of it's 60,000 plus members. This is a job to which the AMERICAN BICYCLE ASSOCIATION and all of it's employees are 100% dedicated.skateboard
History
There is no definitive origin or inventor of the skateboard. One proposed origin is that skateboards arose in the 1930s and 1940s, when children would participate in soapbox races, using soap-boxes attached to wooden planks on rollerskate wheels. When the soap-box became detached from the plank, children would ride these primitive "skateboards". Another suggests that the skateboard was created directly from the adaptation of a single roller skate taken apart and nailed to a 2x4, without the soapbox at all and that it was often surfers looking to recreate the feel of surfing on the land when the surf was flat.
Retail skateboards were first marketed in 1958 by Bill and Mark Richard of Dana Point, California. They attached roller skate wheels from the Chicago Roller Skate Company to a plank of wood and sold them in their Val Surf Shops.[1]
Five years later mass produced skateboards were sold nationally. These early models were often made in the shape of a surfboard, with no concavity and were constructed of solid wood, plastic, even metal. The wheels were usually made of a clay composite, or steel and the trucks (axles) were less sturdy and initially of a 'single-action' design compared to today's 'double-action'.
Parts
Descriptions of the following skateboard parts are the ones most prevalent in popular, modern forms of skateboarding. Many niche disciplines exist with exotic or alternative constructions and designs that fall outside of much of the descriptions listed.
Deck
Most decks are constructed with a seven to nine-ply cross-laminated layup of Canadian maple. Other materials used in deck construction, fiberglass, bamboo, resin, Kevlar, carbon fiber, aluminum, and plastic, lighten the board or increase its strength or rigidity. Modern decks vary in size, but most are 7 to 10.5 inches wide. Wider decks can be used for greater stability when transition or ramp skating. Skateboard decks are usually between 28 and 33 inches long. The underside of the deck can be printed with a design by the manufacturer, blank, or decorated by any other means.
The longboard, a common variant of the skateboard, has a longer deck. "Old school" boards (those made in the 1970s-80s or modern boards that mimic their shape) are generally wider and often have only one kicktail. 1970s variants often have little or no concavity, whereas 1980s models have deeper concavities and steeper kicktails.
Grip tape, when applied to the top surface of a skateboard, gives a skater's feet more grip on the deck. It has an adhesive back and a sandpaper like top.
Trucks
Attached to the deck are two metal (usually aluminium alloy) trucks, which connect to the wheels and deck. The trucks are further composed of two parts. The top part of the truck is screwed to the deck and is called the baseplate, and beneath it is the hanger. The axle runs through the hanger. Between the baseplate and the hanger are bushings, also rubbers or grommets, that provide the cushion mechanism for turning the skateboard. The bushings cushion the truck when it turns. The stiffer the bushings, the more resistant the skateboard is to turning. The softer the bushings, the easier it is to turn. A bolt called a kingpin holds these parts together and fits inside the bushings. Thus by tightening or loosening the kingpin nut, the trucks can be adjusted loosely for better turning and tighter for more control.
Longboard specific trucks are a more recent development. A longboard truck has the king pin laid at a more acute angle (usually between 38 and 42 degrees) to the deck, this gives a lesser degree of turning for the same tilt of the deck. This adds stability and allows riders to go much faster while still maintaining stability and control.
Wheels
The wheels of a skateboard, usually made of polyurethane, come in many different sizes and shapes to suit different types of skating. Larger sizes like 65-90 mm roll faster, and also move more easily over cracks in pavement. Smaller sizes like 48-54 mm keep the board closer to the ground, require less force to accelerate and produce a lower center of gravity, but also make for a slower top speed. Wheels also are available in a variety of hardnesses usually measured on the durometer 'A' scale. Wheels range from the very soft (about 75a) to the very hard (about 101a). As the scale stops at 100a, any wheels labelled 101a or higher are harder, but do not use the appropriate durometer scale. Some wheel manufacturers now use the 'B' or 'D' scale, which has a larger and more accurate range of hardness.
Modern street skaters prefer smaller wheels (usually 45-53 mm), as small wheels can make tricks like kickflips and ollies easier. Street wheels are often quite hard as this allows the wheels to 'break away' from the ground easier. Vert skating requires larger wheels (usually 55-65 mm) as vert skating involves higher speeds. Vert wheels are also usually very hard which helps with maintaining speed on ramps. Slalom skating requires even larger wheels (60-75 mm) to sustain the highest speeds possible. They also need to be soft and have better grip to make the tight and frequent turns in slalom racing. Even larger wheels are used in longboarding and downhill skateboarding. Sizes range from 65 mm right up to 100 mm. These extreme sizes of wheels almost always have cores of hard plastic that can be made thinner and lighter than a solid polyurethane wheel. They are often used by skateboard videographers as well, as the large soft wheels allow for smooth and easy movement over any terrain.
Bearings
Each skateboard wheel is mounted on its axle via two ball bearings. With few exceptions, the bearings are the industrial standard "608" size, with a bore of 8 mm, an outer diameter of 22 mm, and a width of 7 mm. These are usually made of steel, though silicon nitride, a high-tech ceramic, is sometimes used. Many skateboard bearings are graded according to the ABEC scale. The scale starts with ABEC1 as the lowest, 3, 5, 7, 9. It is a common misconception that higher numbers are better for skateboarding, as the ABEC rating only measures tolerances which do not necessarily apply to skateboards. The ABEC rating does not determine how fast or how durable a bearing used for skateboarding will be. In particular, the ABEC rating says nothing about how well a bearing handles axial (side-to-side) loads, which are severe in most skateboard applications. Many companies do not show the ABEC rating, such as Bones Bearings, who makes bearings specifically for skateboarding.
Hardware
Mounting hardware is a set of eight 10-32 bolts, usually an allen or cross head, and matching self-lock nylock nuts. They are used to attach the trucks to the board. Some have a different colored bolt to show which side is the nose of the skateboard.
Optional components
Rails
Narrow strips of plastic or metal that are attached under the deck lengthwise along the edges. They are used for additional grip for grabs, and to enhance sliding while protecting the deck's graphics at the same time.
Slip Tape
Slip tape is a clear piece of self adhesive plastic that sticks to the underside of a deck. It helps protect the board's graphics and can allow the board to slide better.
Lapper
A lapper is a plastic cover that is fastened to the rear truck and serves to protect the kingpin when grinding. It also prevents hang-ups by providing a smoother transition for the truck when it hits an obstacle or a metal pipe or bar used to grind.
Nose guard
A plastic bumper used to protect the front of a skateboard.
Tail guard
A tail guard is a plastic skid plate used to prevent wearing of the tail; they can also be used as a means to stop the board on old school boards.
Angled risers
Angled riser, or a milk dud are risers that alter the turning geometry of the truck they are bolted to. A thin side out results in more turn per board lean, thick side out results in less.
References
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