Funk (anos 70), Soul, Rock, Jazz, Soca, Salsa, Calypso, Reggae, Techno Pop Europeu e variados ritmos Africanos sempre fizeram parte da eclética trilha sonora dos B. Boys, desde a popularização das Block Parties trazidas da Jamaica pelo ilustre “DJ Kool Herc”. Com o desenvolvimento da técnica conhecida por back-to-back durante os anos 70 pelo próprio Herc – que consistia no aproveitamento dos trechos instrumentais de duas réplicas de um mesmo álbum, dando o sentido de uma extensa linha de groove –, tais gêneros se fundiram culminando no primeiro passo para a música eletrônica, que ficou conhecida como “Breakbeat”. Dentro da gigantesca e complexa árvore da Black Music, o Breakbeat está compreendido pelos seguintes ritmos: Hip-Hop (Electrofunk inicialmente), Dancehall, Uptempo e Grime…
A partir dos anos 80 outros ritmos se associaram à rica trilha sonora dos B. Boys, como foi o caso do “House Music” (Electrofunk, Disco, Synthpop e Deep) e o “Urban Contemporary”(R&B Contemporâneo, Rap e Flogger), isto sem falar no “Miami Bass” (de Miami) e no “Freestyle Music” ou “Latin Freestyle”(de Nova York) desenvolvidos a partir do Electrofunk de “Afrika Bambaataa”.
Diante de toda esta fonte inesgotável de sons variados apoiados por muitos DJs-produtores ao longo da história do Hip-Hop, como uma banda inglesa de Hard Rock anos 70, caiu na graça dos dançarinos de rua do mundo inteiro e inexplicavelmente até os dias atuais faz o diferencial nas rodas de Break…?!
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Este é caso de “The Mexican”,faixa do álbum “First Base”,de 1973 (primeiro álbum de carreira da banda inglesa de Hard Rock “Babe Ruth”),que se tornou uma das experimentações de “Alan Sharlock”, líder, compositor e guitarrista da banda, pois fugia aos padrões do Hard e ia ao encontro de novas propostas sonoras. Em The Mexican, percebem-se nitidamente influências da obra do imortal maestro e compositor “Ennio Morricone” (artista de vasto currículo em trilhas sonoras para a sétima arte) para o tema principal do filme de faroeste “Por uns Dólares a Mais” (For a Few Dollars More), de 1965, do diretor italiano “Sergio Leone”, com “Clint Eastwood” no papel principal de “Monco”, um caçador de recompensas. Mas as influências não param por aí: The Mexican se tornou ainda mais
atraente em 1984, quando a criatividade do DJ John “Jellybean” Benitez, que buscava novas sonoridades para as pistas de dança, veio à tona ao remixá-la, tendo o privilégio de contar com a participação especial da cantora original da banda, “Jenny Haan”. Como uma luva, The Mexican ganhou uma vida nova graças às influências latinas de Jellybean (natural do South Bronx), conquistando naquele ano o primeiro lugar na “Billboard Dance Charts”. Jellybean também é responsável por retrabalhar renomes do cenário musical como “Jocelyn
Brown”, “Whitney Houston”, “George Benson” e “Madonna” além de contribuir para a trilha dos filmes “Flasdance”, “Footloose”, “Top Gun” e “De Volta para o Futuro”.
E como uma Fênix renasce das cinzas, a dupla de DJs conterrâneos de Babe Ruth, “Deekline” e “Tim Healey” ressuscitaram The Mexican em uma versão eletrônica mais moderna, trazendo também na nova bagagem um vídeo produzido na Austrália por “Tanya Babic”, que contou com o apoio da crew local “Robotek”.
Ter The Mexican como um clássico do Hip-Hop através dos B. Boys aponta a cada momento que o Movimento é algo híbrido, capaz de associar-se a muitas culturas ao mesmo tempo, sem desligar-se de suas raízes afro-diaspóricas. Um brinde a democracia consciente do Real Hip-Hop…
