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Your Long Journey

From raising sand by robert plant & alison krauss.

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Alison Krauss Champaign, Illinois

• Aug 22 Frost Amphitheater at Stanford Palo Alto, CA
• Aug 25 Yaamava' Theater Highland, CA
• Aug 31 Sunset Amphitheater Colorado Springs, CO
• Sep 1 Gerald R. Ford Amphitheater Vail, CO
• Sep 14 The Pavilion at Star Lake Burgettstown, PA

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Robert Plant feat. Alison Krauss - Your Long Journey Lyrics

Artist: Robert Plant feat. Alison Krauss

Album: Raising Sand

God's given us years of happiness here Now we must part And as the angels come and call for you The pains of grief tug at my heart Oh my darling My darling My heart breaks as you take your long journey Oh the days will be empty, the nights so long Without you, my love And when God calls for you, I'm left alone But we will meet in heav'n above Oh my darling My darling My heart breaks as you take your long journey Fond mem'ries I'll keep of happy ways That on earth we trod And when I come we will walk hand in hand As one heav'n in the family of God Oh my darling My darling My heart breaks as you take your long journey

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Your Long Journey

Robert plant , alison krauss.

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Alison Krauss

Alison Maria Krauss (born July 23, 1971) is an American bluegrass-country singer, songwriter and musician. She entered the music industry at an early age, winning local contests by the age of ten and recording for the first time at fourteen. She signed with Rounder Records in 1985 and released her first solo album in 1987. She was invited to join the band with which she still performs, Alison Krauss and Union Station (AKUS), and later released her first album with them as a group in 1989. more »

 Watch: New Singing Lesson Videos Can Make Anyone A Great Singer

 the easy, fast & fun way to learn how to sing: 30daysinger.com.

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Your Long Journey Chords

Robert plant and alison krauss.

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D God's given us years of A happiness D here

  Now G we G/D must G part

  And as the angels A come and D call for you

  The A pains of D grief G tug G/D at my D heart

  Oh my A darling

  My D Darling

  My heart A breaks as you D take your G long G/D jour D ney

D Oh the days will be empty

  The A nights so D long without G you G/D my D love

  And when God calls for A you I'm D left along

  But A we will D meet in G he G/D aven D above

D Fond memeories I'll keep of A happy D ways

  That on G earth G/D we D trod

  And when I come we A walk D hand in hand

  And A one in D heaven in the G fam G/D ily of D God

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Robert Plant And Alison Krauss

Your long journey, your long journey lyrics.

I think the song is about two old lovers, and one of them is dying. However, the other won't be sad for long because they would be together soon in the kingdom of god.

6 Must Read Facts About The Hit Journey Song "Don't Stop Believin'"

S he was just a small town girl living in a lonely world, and he was just a city boy born and raised in South Detroit. Soon they both took a midnight train going anywhere, and the rest is history. But what is the song "Don't Stop Believin'" really about and whose father was the inspiration for the song's iconic name? These are the things that inquiring minds want to know and questions they're about to get the answers to.

"Don't Stop Believin'" is the song released in 1981 by Grammy nominated rock and roll band Journey, consisting of lead singer Steve Perry , lead guitarist Neal Schon , bassist Ross Valory , rhythm guitarist George Tickner , keyboardist Jonathan Cain and drummer Aynsley Dunbar . Over time, "Don't Stop Believin'" would become the band's most famous and well-known song, finding itself selected by the Library of Congress for preservation in the United States National Recording Registry. Keep reading to learn facts about "Don't Stop Believin'" that helped it get there.

Journey's Greatest Hits: 11 of Their Best Songs, Ranked

1. the chorus doesn't appear for quite a long time.

"Don't Stop Believin'" is 4 minutes and 11 seconds long, filled with great verses, a bridge and glorious instrumental breaks. However, the song's chorus doesn't start until 3 minutes and 21 seconds in, also serving as the track's end.

2. The song's title came from Journey keyboardist Jonathan Cain

The song's iconic name, "Don't Stop Believin'," came from keyboardist Jonathan Cain, who was attempting to honor his father.

"It was all based on some advice my father had given me back when I was struggling in Hollywood ," Cain explained. "My dog got hit by a car and I had to put her back together. It was a $900 vet bill and I'm barely making my rent. I call my dad up and said, ‘I need a loan. … Am I just dreaming? Should I just come back to Chicago?'"

"He said, ‘I'll give you the loan, you gotta stay put. … And he said, ‘ Son, don't stop believin .' I was like, ‘That's beautiful, Dad.'. I had my little lyric book, and I'm doodling "Don't stop believin.' This was in the '70s. So, I took my lyric books with me and my spirals with me all up to San Francisco and (had them) when (Journey) asked me to join."

Jolene Facts: 8 Things You Might Not Have Known About Dolly Parton's Classic Hit

3. "don't stop believin'" was the band's second single for their album escape.

"Don't Stop Believin'," appears on Journey's seventh studio album, Escape , which was released in 1981. It was the second single for the album, and is the first song to appear on the record.

4. "Don't Stop Believin'" was written by three of the band members

The iconic song was written by lead singer Steve Perry, lead guitarist Neal Schon and keyboardist Jonathan Cain.

"The lyric is a strong lyric about not giving up, but it's also about being young," Perry explained. "It's also about hanging out, not giving up and looking for that emotion hiding somewhere in the dark that we're all looking for. It's about having hope and not quitting when things get tough, because I'm telling you - things get tough for everybody ."

‘I Want to Hold Your Hand': 9 Facts About The Beatles' First No. 1 Song

5. the song did not hit number one on the billboard charts.

When "Don't Stop Believin'" hit the music scene in 1981, the song reached number nine on the Billboard music charts. But over time, the song nonetheless grew into one of the band's most well-known songs of all time. In 2009, it also became the top selling track in iTunes history.

6. Facts about "Don't Stop Believin'": The song was remade in 2009

A large reason the song became so popular in 2009 was because of the cover version presented on Fox's Glee musical comedy series that aired for six seasons.

Surprising Facts About Southern Singer-Songwriter Edie Brickell

The song actually appeared on the show seven times: First in the "Pilot" (2009), then again briefly in the episode "The Rhodes Not Taken" (2009), before being sung in the season finale "Journey to Regionals" (2010). It would make an appearance again in the season four episode "Sweet Dreams" (2013), and a season later in "New Directions" (2014). Lastly, it was in the shows finale "2009" (2015).

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AGT Season 19 Results: Did Richard Goodall Make It to the Semifinals?

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America’s Got Talent aired its first live results episode of the season on Wednesday, revealing the fates of golden-voiced janitor Richard Goodall and 10 other popular acts.

Of the 11 acts that performed on Tuesday, only the Hakuna Matata Acrobats were able to rest easy. Having received a Golden Buzzer from Sofia Vergara in the quarterfinals, the quartet is already guaranteed a spot in the finals. That left the remaining 10, including Goodall, at the mercy of the voters.

For what it’s worth, TVLine readers were asked to pick their favorite performances from Tuesday’s show, and here’s how the results shook out: Goodall led the pack with 37%, followed by Roni Sagi & Rhythm at 15% and Ashes & Arrows at 8%. So, did our readers’ favorites make it through? Let’s find out…

We’ll start with Goodall, who seems to be an across-the-board fan favorite. For that reason, we assume you’ll be relieved to hear that he did make the cut, meaning you’ll get a chance to hear those sweet, sweet vocals again in the semifinals. And if you missed his performance on Tuesday, go ahead and hit PLAY on the video above. Your ears (and your heart) will thank you.

Read on to find out which of the other nine acts — Flewnt and Inkabee, Attraction Juniors, Liv Warfield, Hypers Kids Africa, Ashes & Arrows, Los Osos High School, Phillip Lewis, Roni Sagi and Rhythm, and Arshiya — are heading to the semifinals, then drop a comment with your thoughts on Wednesday’s results show below.

ELIMINATED: Flewnt and Inkabee

The flow remained strong with this father-son rap duo, as the Australian twosome reconvened on the AGT stage to spit another round of rhymes.

ELIMINATED: Attraction Juniors

The Hungarian shadow dance group once again wowed the judges with another moving performance in the quarterfinals.

ELIMINATED: Liv Warfield

The other Golden Buzzer recipient from the Season 19 premiere, Warfield hit the stage with another high-energy performance in the quarterfinals.

ELIMINATED: Hypers Kids Africa

The Ugandan dance group brought their fierce moves back to the AGT stage for another impressive performance.

SAFE: Ashes & Arrows

The North Carolina-based music group showed up ready to rock with an original song called “Wild Horses.”

ELIMINATED: Los Osos High School

The California-based dance group put up another strong showing in its second turn on the AGT stage.

SAFE (FINALS): Hakuna Matata Acrobats

The acrobatic group from Tanzania leapt back into action with another eye-popping routine in the quarterfinals. In fact, their second showing was so impressive, it earned them Sofia Vergara’s live Golden Buzzer.

ELIMINATED: Phillip Lewis

The 27-year-old Georgia-based baton twirler came back to the quarterfinals with another dizzying routine.

SAFE: Roni Sagi & Rhythm

Good dog? More like great dog. Roni Sagi and Rhythm returned to AGT on Tuesday with another fun routine.

ELIMINATED: Arshiya

The 13-year-old contortionist once again left the AGT judges totally bent out of shape with another jaw-dropping (and mildly terrifying) routine.

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Richard Goodall number one in the poll? Ugh. Sympathy vote. He’s not a great singer.

He’s very good and the man deserves a break. I hope he wins

I’d like to see your singing

What does the poster’s singing have to with it?

anybody can sing like steve perry is good dumb dumb

An unsympathetic sympathy vote? How does that even work.

They need to ban singers from this show and have them go to the voice or idol. Every year some singer with a sob story goes through over a more unique/talented act. Just call it America’s Got Sob Stories

It’s not just singers with the sob stories I am all for just show us the acts with no back stories Plus no shots of the judges and Terry

I’m okay with Terry and the judges. My only comment would be as much money as Terry makes you’d think he could find suits that fit his button on his suit is always trying to break free.

Believe it or not, a lot of singers who audition for AGT, have already auditioned for Voice and/or Idol. The just didn’t get very far. I think the bar is set a bit lower for AGT because they’re only looking for people who can perform well in front of an audience, not necessarily sell records.

Do you know how filthy rich Simon Cowell is? Do you know where he gets a lot of that money from? Getting a lot of those people on America’s got talent and other shows of his to sign contracts. Then he takes a percentage so doesn’t matter if the bar is a little bit lower. I guarantee I’ve seen some of those people that are from even the semi finalist line out on the road performing.

Simon make money getting people that get a platform on his shows. To sign contracts. To be on his label. Are you sure. Does other know this. He manag there careers in exchange of being a manager. Wow thanks for sharing. But I think we knew this already

Singing is still a talent, and if you can sing on key and put yourself out there to show that talent you deserve to be there sob story or not. As far as the singing competition shows are concerned, talk about age discrimination, on most of those shows Mr. Goodall wouldn’t be allowed to compete!

Richard Goodall, no matter what, be ready. I do predict correctly each year the winner. Richard, shall be the winner.

Richard is my favorite he’s got a heart ❤️ of gold

You know, you could just turn the channel. Why so hateful?!

Wonderful. Beautiful. And he showed his ability to switch from rock to ballads.

Richard works at my daughter’s school. He is a amazing man Good Luck Richard keep singing

Hooray for Richard Goodall, so glad he made it through! I agree with Simon, the song he chose didn’t really highlight his abilities, so I can’t wait to hear him sing again in the next round. Good luck Richard!!

EXTREMELY HAPPY FOR RICHARD GOODALL! WE ALL LOVE HOW HUMBLE, & GROUNDED, & SOOOO APPRECIATIVE OF THE OPPORTUNITY TO BE THERE!!! 🙏

They really kept a bunch of improvished kids on stage till the end to tell them they had been eliminated? They could have eliminated them earlier in the top 5.

In the round one finals, Simon Cowell made the comment on Richard. Goodall’s performance that he nailed the song, but he didn’t like the song choice. Thought it was too old-fashioned, and that Mr. Goodall should have chosen a newer song. My comment is. It doesn’t matter how old the song or from what generation it is. It matters how well it’s sang. And mr goodall sang it very well.

Richard Goodall sang well. However, if he sang that song in his audition, there wouldn’t be all this hoopla over him. I’m interested to see his next performance.

Coming from Terre Haure area I am proud and impressed to express my positive votes for Richard. He’s amazing. Go all the way!!!!

Richard Goodall is the Susan Boyle (BGT 2009) in AGT 2024. No matter what happens in AGT 2024, he is going to get some kind of contract in the music industry. America loves this man.

Richard goodall seems to sing from his heart with passion that’s what I love about him…many wonderful people that are performing…bless every contestant

Don’t worry am wearing pants guy earn. Exactly what he wanted. He was on britain’s got talent. But had 3 more rounds lefts. Then 7 moths layer end up on French got talent. Then got on american got talent 11 moths and two weeks after his first addition. So in a year he went on every round of a season. On a got talent. He earn it. I actually hope he wins. The amout from britain’s got talent now.

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Breaking’s Olympic Debut

A sport’s journey from the streets of new york all the way to the paris games..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

From “The New York Times,” I’m Sabrina Tavernise. And this is “The Daily.”

So my name is Gabriel “Kwikstep” Dionisio.

Rokafella, R-O-K-A-F-E-L-L-A.

I go by Kid Glyde. I represent Dynamic Rockers. I’m from Queens, New York.

This year at the Olympic Games, there’s one sport that’s on stage for the first time — breakdancing.

I’m excited that people are going to be exposed to it on that kind of stage.

They’re going to see breaking. They’re going to see hip-hop. They’re going to feel it. They’re going to — you know what I’m saying? So it’s going to be an experience.

Today, my colleague, Jonathan Abrams, tells the story of how it went from the streets of New York all the way to the Paris games.

But I’m also concerned that it’s not being represented at its fullest cultural capacity.

People are clueless to what this even is. And people are going to be really surprised.

And the debate that journey has inspired about whether treating breakdancing as just another sport might be a mistake.

This comes from a culture that had to go through so much just to exist. So are you going to do right by us?

[MUSIC PLAYING]

It’s Friday, August 9. Jonathan, welcome to the show.

Thank you so much, Sabrina.

So, Jonathan, we’re going to talk today about the Olympics. And I think something that catches people’s attention is when the Olympics adds new sports. The Olympics is this ancient thing. So, I find that kind of surprising when new things pop up. And you’ve been writing specifically about the new event that is debuting this year in Paris, and that is breakdancing.

Yeah, a lot of people in the community refer to it as “breaking.” Breakdancing is kind of a term that they have said was created by mainstream media and not a term that they use. So it’s almost frowned upon.

Ah. OK, breaking. Got it.

So it’s been a little bit of a journey these last few years to get it to the Olympics. And this is such a special watershed moment. It’s kind of crazy to think that breakdancers are going to be at the Olympic Games. They’re going to be mixing along with LeBron James, with Kevin Durant, with Simone Biles, all these athletes you historically think of being involved and intertwined with the games. You’re going to have a component of hip-hop right there alongside with them.

And it’s joining a class of new sports recently added to the Olympics, like skateboarding and rock climbing and surfing. And if you look at these sports, what they all have in common is that they’re trying to get a younger audience to watch the games.

And what the International Olympic Committee — they’ve been frank about what they’re trying to do — is that they’re trying to go for that younger audience because viewership has been way, way down. And so these ancient games are trying to modernize themselves by changing the rules and welcoming these new events to have a newer, younger, more diverse viewership.

OK, so breakdancing — oh, sorry, breaking — is here to try to breathe some new life into the Olympic Games — expand the audience, as you say. But I don’t really think of breaking as a sport, I mean, never mind a competitive Olympic sport.

Lots of people make that argument, Sabrina, but competition has been part of breaking since its inception in the Bronx in the 1970s. At that time, New York City is basically in this state of disrepair. The construction of the Cross Bronx Expressway cuts through the heart of the South Bronx, and it displaces thousands of residents. Crime levels rise, unemployment increases. These large buildings are sitting vacant because of white flight. And property owners, some are facing default, and they start burning their buildings in order to cash in on the insurance value. And people, especially the Black and Brown people in the Bronx, they’re feeling this sense of utter hopelessness. And the culture of hip hop grows out of that despair. It was a way for these marginalized communities to take something back and to have something for themselves.

And breaking is a key component of hip-hop, because when hip-hop first formed and came along, it was presented as this vivacious, multifaceted gem, where you had four distinct tenants and components. One was lyricism, the artists words going along a track of music. One is turntablism, or being a DJ, and that’s scratching records. The other one is graffiti, or writing. And then the last one is breaking. And that’s the physical expression of hip-hop, dancing to the music.

And so these latchkey kids in the Bronx would throw these massive parties where breaking was born. And people, they came together, and they formed crews. And they competed against one another. And they danced to make a name for themselves. They danced to earn respect in their street, in their neighborhood, and in their city. And that was how they cultivated self-esteem and made something of themselves when they really had nothing else.

OK, so in these poor neighborhoods in the Bronx, in this very turbulent time, kids were finding themselves finding inspiration in breaking. Why exactly did they call it breaking? Why that word?

Breaking comes from these pioneering DJs being able to figure out how to extend the breaks for songs. So say there’s a drum break in a famous song where it’s a snippet, and then the song will continue.

And they were the most popular parts of the songs, where kids would dance for 10, 15 seconds and then stop.

DJ’s like DJ Kool Herc and Grandmaster Flash. They were innovators and engineers because they figured out how to extend those breaks.

And once they were able to loop them endlessly, then kids were able to extend their dances and be able to dance and be creative with it and form the circles. And that’s where breaking came from.

So what did it actually look like?

There is no way I can accurately describe breaking just through words. I can try to say that it’s graceful or powerful or athletic, and all those words seem to fall flat. Breaking is a call and response. It’s a back and forth conversation. It’s almost like trumped up jazz.

Picture this. You’re going into a crowded party. There’s people everywhere. Music is thumping. If you’re walking to the cypher, which is the circle where breakers perform and compete in, you finally get to the front and what you see is people doing these most amazing moves, moves that you don’t think are possible with the human body.

They’re spinning, contorting their bodies into pretzels, stopping on a dime, bending backwards, and doing windmills and airflares. And then the next person is going to come in and challenge them. And what breaking is, it’s attitude. It’s an expression of yourself. It’s energy balled up.

And when did breaking go beyond the streets of the Bronx and really kind of emerge as a sport?

Well, before it got to that level, it had to become part of the mainstream culture. And breaking started to hit that level around the early to mid 1980s. And at this point, people may know “Rapper’s Delight.” They can maybe say “a hip hop, the hippie to hippie, hip hop.” Everybody knows that song by then.

But these movies, like “Flashdance” and “Wild Style,” are also starting to come out, and they’re starting to capture hip-hop’s infancy. And one of the main ones that comes out in 1984 is “Beat Street,” and that’s pivotal.

Bronx rockers. Gino, hey, come on.

Yo. Let’s serve.

There’s a scene of the movie with these crews coming together in a club.

And there’s anticipation. There is adrenaline. It looks like they may fight. But no, instead of fighting, a dance battle breaks out.

And if you’ve never seen this, like I said earlier, about words and being able to describe it, if somebody described breakdancing to you and you had never seen it in person, you wouldn’t have a good clue as to what it was.

But now, for the first time, in movie theaters from LA to New York, you can actually see what it is. And then you have these pioneering groups, like Rock Steady Crew and Dynamic Rockers, Zulu Kings, New York City Breakers, they all start to be in these movies and do these demonstrations globally. And that inspires a whole generation of kids to get into breakdancing.

This is the newest craze. It’s called breakdancing.

So as the popularity of breakdancing continues, experts say it’s OK to dance, as long as you just watch your step.

It’s the Big Breakdance Contest from the Roxy, with host Leslie —

And at this point, we’re starting to see judges and prizes be introduced into breaking. Then in 1990, a German breaker set up a breakdance competition in Germany known as Battle of the Year. And 2001 was a pivotal year because it’s the first year that Red Bull has its Lord of the Floors competition.

History in the making, y’all.

And that, again, convened all the best breakers to be able to compete against one another to measure themselves up. But there’s also the carrot at the end of the stick.

The runner-up of the 2001 Red Bull Lords of the Floor is —

There’s a multi-thousand dollar cash prize that’s awarded to the top talent.

The winners, Los Angeles Breakers. Come and get your checks.

So you start to see the trappings of this thing that was created in New York City in the Bronx in the 1970s start to leave its beginnings a little bit and become more of a competition and more of a sport through Red Bull and these other entities that are sponsoring it.

Y’all loving it or what? Give a big round of applause to all the contestants.

We’d like to thank Jaimeson Keegan and the whole Red Bull crew.

OK, so breaking is going mainstream in a very big way. But in my mind, there’s a big difference between a Red Bull event and the Olympics. So how do we get from here to there?

It’s actually a bit of a wild story. So nearly three decades ago, this global governing body of dance, International Dance Sport, is recognized by the International Olympic Committee, and they want to bring dance to the Olympics. So they want to have ballroom dancing. And they suggest that, and they get rebuffed.

So they eventually rebrand themselves as World Dance Sport Federation, and they find out that it’s not foxtrot or salsa or ballroom that the Olympic thinks could have a shot. It’s breaking. Breaking is highly watchable, easily viewable on social media. And it comes along as the Olympics is reevaluating what they’re going to use as a sport to try and gain that younger audience.

There was a testing period in 2018.

Winter Olympic Games just got a little more exciting. Breakdancing will now be part of the Youth Olympic Games. And there’s still a search for —

They debuted breaking at the Youth Olympics in Buenos Aires.

3, 2, 1! It’s battle time!

And what happens is that it exceeds almost every expectation by every metric possible. There was more than 50,000 people who attended the two-day event in 2018. There was over 2.5 million social media impressions, according to the International Olympic Committee. I mean, it seems like it aligns itself perfectly with the Olympics mission of trying to skewer to a younger audience. And once you see those numbers, that pretty much locked up breaking for the 2024 Olympic Games in Paris.

The Olympic Games are changing, and the future of breaking is coming.

We’ll be right back.

OK, so now we’re at the Games. Everybody’s watching how this is going to go, which must be pretty exciting for breakers.

You would think so. But there’s a lot of skepticism and tension from many of these veterans and pioneers and purists of breaking.

And what do they say? Why do they not feel excited about this?

Well, I think anytime you take something and strip it away from its roots — and let’s be honest, Paris 2024 is very, very, very far away from Bronx 1970s.

[LAUGHS]: That is true.

It is not going to be the same thing or presented in the same thing. I think that’s what the purists and the pioneers are afraid of.

But Jonathan, couldn’t you also make the case that skateboarding is also a specific kind of culture and that it also has all of its own peculiarities and is also potentially hard to judge by a bunch of Olympic judges?

To some extent, yeah. But breaking, it’s just different in a lot of ways. The pioneers and the purists, the ones who invented this thing will argue that it’s more than just a hobby or even a sport. It’s a lifestyle. It’s the product of a culture. It’s something that was born from Black and Brown people’s struggles in a deeply turbulent time in American history and is a way for people to express themselves, to tell their stories, to build self-confidence.

And on top of that, there’s a lot of breakers who just aren’t happy with how this arrived at the Olympics in the first place. It arrived in the hands of the World Dance Sport Federation. And remember, that’s an organization that wasn’t even associated with breaking. They were trying to put ballroom dancing into the Olympics way before they ever thought about breaking.

So back in 2017, a bunch of breakers, they got together and they signed a petition essentially protesting this organization. And they were saying, you don’t represent us. You’re not from our community, but you’re taking our art form and using it to advance your own goals. And all of this has left a lot of breakers really worried and concerned about what exactly this weekend is going to look like for breaking.

OK, let’s dig into that. What will breaking look like on stage in Paris? What can we expect?

Right, so there’s a lot of questions about how it’s going to actually look. In Paris, you’re going to have some of the crucial components of breaking. You’re going to have attitude. You’re going to have breakers. They’re going to be challenging each other. There’s going to be athleticism. [MUSIC PLAYING]

But there’s also going to be judges. A breaker is going to go get a score. Then the next breaker is going to go and get a score. So you can kind of see those seeds of the origin of this thing that was born in New York in the 1970s. But it’s definitely something different, and it’s more sterile and sanitized.

There’s going to be 16 men and 16 women who will go across two days of competition. There’s going to be nine judges, and they’re going to score the breakers based on five criteria — vocabulary, technique, execution, originality, and lastly, musicality.

And break those down for me. What do they actually mean?

The vocabulary is not how many words somebody can say. It’s the array of moves that a breaker deploys. And technique covers the breaker’s body control and their use of space. Execution consists of the cleanliness of one’s moves.

Then originality is improvising during their rounds, being able to react to what their opponent is doing. And then musicality is staying on beat with the music. They’re not going to know the music beforehand, so they’re going to have to really tune their moves to what’s going on to the beat.

OK, so this is how the judges are actually going to do it. But what about kind of what we know about breaking, the spirit of competition, the kind of outdoing each other, the attitude it brings, like the showboating? Is that taken into account in how it’s going to go with the Olympics?

Yeah, I can guarantee you this, Sabrina, that this is going to be the only Olympic sport with the misbehavior button.

What’s that?

The judges will be able to hit a misbehavior button if competitiveness crosses into crassness, if they deem that to be the case.

What’s an example of something that would get a misbehavior button?

Say if you finish off a move with the freeze and stick up your middle finger at your opponent.

[LAUGHS]: OK, fair enough. Got it. OK, misbehavior button. So this sport, of course, started here in the US. I have to ask, who are the Americans competing this year? Tell me about them.

Yeah, somebody that I’ve talked to a lot leading up to the Games is Sunny Choi, who was the first American woman to qualify for the Games.

All right, switching it up, all the way to USA, first entry, Sunny.

She’s Korean-American. She’s from Tennessee. She’s ironically the only New Yorker — she now lives in New York — who is competing in Paris at the Games.

All right, Sunny slay. Oh, you started as a gymnast? Is that true?

Yeah, so I actually, I watched the Olympics growing up.

She has a background in gymnastics, and she was working at Estée Lauder when she decided to go into breaking full-time.

Some people have been like, you’re a very unlikely Olympian. And I’m like, yeah, kind of. I had always envisioned myself going to the Olympics as a gymnast, and then I never thought I would have the chance again. And so it coming back full circle is amazing.

Woo! Victor.

OK, Victor.

What you got?

On the men’s side, you have Victor Montalvo, who goes by “B-Boy Victor.” And he’s a two-time Red Bull World One champion. He’s from Florida.

So my dad and his twin brother used to break back in Mexico. And they actually taught me, my brother, and my cousin.

His father was a pioneer in the Mexican breaking scene.

I was introduced into breaking at the age of six years old. And I took it serious at the age of 10.

Oh, my gosh.

Yeah, yeah.

So breaking is really in Victor’s blood. And he’s definitely a favorite to medal on the men’s side.

Heavy round.

Still go where the action is.

Victor, what you got?

Victor with the eye contact, going straight into it. He’s like, I see you, and I got you.

OK, so I’m assuming these Americans are poised to win this fundamentally American sport.

Eh, not necessarily, Sabrina.

Breaking is such a global entity now that I feel like America has really fallen behind some of these other countries and when it’s more popular and when people do it more often. So you look at this field and there’s breakers from Japan, from the Netherlands, from France, from Kazakhstan, from all over the world. On the women’s side, there’s B-Girl Nika from Lithuania.

And last year, she won the 2023 world title at the age of 16.

Wow, amazing. A Lithuanian girl has the world title, actually.

Yeah, and she’s an amazing story. And I think she’s emblematic of breaking and its evolution because she discovered breaking on YouTube at the age of five and within just about a decade is one of the world’s best breakers in the world and will be heavily favored to win a gold medal at the first Olympic breaking competition.

Just to go back to the tension around breaking in the Olympics that we started with, Jonathan, and the question of it leaving its roots, becoming detached from the place and the culture it sprung from, is there an argument that that’s already happened, that as people are kind of wanting to pull it back toward where it came from, it’s already gone. It already went out there. Is there any going back?

Yeah, that’s a great question. And I think we’re at this crossroads where you have breaking’s authenticity at stake. And breaking is about that expression from the heart. It’s about being able to show your attitude, your charisma, who you are as a person through your dance. And the pioneers and the purists are going to be watching this to see what part of the soul and the struggle exists as this thing that they invented, nurtured, and cultivated reaches its biggest stage ever.

But it is out there. And for somebody to be able to be in a foreign country and just study the art form on YouTube and be able to become world class leaders in it, it says something, one, about the art form and how wide-ranging and impactful it can be. And it also just says that this isn’t just New York’s anymore. This is global.

And perhaps the people performing on that stage are what breakdancing is now, right, in some ways?

Yeah, and we’re going to see people, men and women from different countries all over the world represented in Paris. And in some ways, it’s very, very far away from what was invented in New York in the 1970s.

But at the same time, seeing people from different countries and men and women be the best at breaking that they can possibly be is also exposing breaking to a whole new generation. And exposing breaking at the Olympics could be the vessel that keeps it alive for the next generation.

Jonathan, thank you.

Sabrina, anytime.

Here’s what else you should know today. On Thursday, former President Donald Trump held a news conference at Mar-a-Lago. It was his first public appearance since Vice President Kamala Harris became the Democratic presidential nominee.

And I look forward to the debates because I think we have to set the record straight.

In his remarks, Trump proposed three dates in September for debates with the vice president.

I haven’t recalibrated strategy at all. It’s the same policies — open borders, weak on crime.

Trump insisted that little had shifted in the contest, despite polling showing a tightening race.

Listen, I had 107,000 people in New Jersey. You didn’t report it. I’m so glad you asked. What did she have yesterday? 2,000 people? If I ever had 2,000 people, you’d say my campaign is finished.

It was an effort by the former President to recapture some political momentum, as the new Democratic ticket has continued to dominate the news coverage. During his remarks, ABC confirmed that it would host the two candidates for a debate on September 10th.

A quick reminder to catch a new episode of “The Interview” right here tomorrow. This week, Lulu Garcia-Navarro talks with Republican Senator James Lankford, including about Republicans who turned on him when he tried to pass bipartisan immigration reforms.

I did have several folks saying, I’ll destroy you if you do this, because although I like you, I like President Trump better. And he’s got to be elected for the future of the country. And you can’t take this issue off the table.

Today’s episode was produced by Sydney Harper and Luke Vander Ploeg, with help from Shannon Lin and Will Reid. It was edited by Lexie Diao and MJ Davis Lin, with help from Ben Calhoun, contains original music by Dan Powell, Marion Lozano, and Diane Wong, and was engineered by Alyssa Moxley. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

That’s it for “The Daily.” I’m Sabrina Tavernise. See you on Monday.

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Hosted by Sabrina Tavernise

Featuring Jonathan Abrams

Produced by Sydney Harper Luke Vander Ploeg Shannon M. Lin and Will Reid

Edited by Lexie Diao MJ Davis Lin and Ben Calhoun

Original music by Dan Powell Marion Lozano and Diane Wong

Engineered by Alyssa Moxley

Listen and follow The Daily Apple Podcasts | Spotify | Amazon Music | YouTube

More than 50 years after its inception, “breaking” — not “break dancing,” a term coined by the media and disdained by practitioners — will debut as an Olympic sport.

Jonathan Abrams, who writes about the intersection of sports and culture, explains how breaking’s big moment came about.

On today’s episode

Jonathan Abrams , a Times reporter covering national culture news.

Background reading

The Olympic battles in breaking will be a watershed moment for a dance form conceived and cultivated by Black and Hispanic youth in the Bronx during the 1970s.

Breakers are grappling with hip-hop’s Olympic moment. Will their art translate into sport?

There are a lot of ways to listen to The Daily. Here’s how.

We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Michael Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Maddy Masiello, Isabella Anderson, Nina Lassam and Nick Pitman.

Jonathan Abrams writes about the intersections of sports and culture and the changing cultural scenes in the South. More about Jonathan Abrams

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