DOCSLIB.ORG

Nefalšovaná Hip Hopová Atmosféra Už Tento Víkend Na Festivale the Legits Blast V Banskej Bystrici

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nefalšovaná Hip Hopová Atmosféra Už Tento Víkend Na Festivale the Legits Blast V Banskej Bystrici TLAČOVÁ SPRÁVA - Bratislava, 27. júl 2017 NEFALŠOVANÁ HIP HOPOVÁ ATMOSFÉRA UŽ TENTO VÍKEND NA FESTIVALE THE LEGITS BLAST V BANSKEJ BYSTRICI Hiphopová legenda ONYX, americký raper R. A. the Rugged Man, RYTMUS, Vec, Tono S., Škrupo, Joe Trendy, Supa, Jožis Engerer, PJ & DJ FunkDat či česká crew PSH vystúpia už túto sobotu 29. júla na festivale The Legits Blast na streche banskobystrického nákupného centra Europa Shopping Center. Okrem kvalitnej hudby sa návštevníci môžu tešiť na tanečné kreácie, ktoré medzi inými predvedie aj úradujúci majster sveta v breaku Thesis či Jesse CASPER Brown, známy z hollywoodskych filmov. O prestížne tanečné tituly a hodnotné ceny sa v rámci hudobno-tanečného festivalu The Legits Blast „pobijú“ jednotlivci, dvojice i krajiny. Tancovať sa bude ako o život, veď víťaz Undisputed postupuje priamo na celosvetové finále najlepších bboyov do San Diega, na prestížne súťaže Silverback Open vo Philadelphii a na Bboy Gala do Portu. Inšpirovať k tancu budú tanečníci z desiatok krajín, len vlani prišli zástupcovia 72 národov. Z Kanady do Banskej Bystrice zavíta Jesse CASPER Brown, ktorý má na konte spoluprácu s tými najlepšími streetovými tanečníkmi. Svojou originalitou a šikovnosťou sa dostal do filmov ako Kickin´ It Old Skool, Battle of the Year a Step Up All In, ktorý je zatiaľ poslednou časťou série týchto tanečných filmov. V nej si zahral aj s českou tanečníčkou Jajou Vaňkovou, ktorá aktuálne žije v USA. Predstaví sa aj „nenápadný“ Bboy THESIS, úradujúci majster sveta v bboyingu. Tancoval po boku amerického rapera a hudobníka, držiteľa GRAMMY, známeho pod pseudonymom Macklemore a už v sobotu môže tancovať aj po vašom boku. Bboy THESIS sa venuje tancu už od 8 rokov a jeho najväčšou podporou na ceste k profesionálnemu tanečníkovi boli rodičia, práve mama mu vymyslela pseudonym. Americkú tanečnú elitu bude okrem THESISA zastupovať aj BBoy RoxRite, vlastným menom Omar Delago. Emigroval z Mexika do Spojených štátov amerických ako šesťročný a o sedem rokov neskôr pod vplyvom bboys z okolia začal tancovať. Pri hľadaní svojho vlastného štýlu ho inšpirovali aj slávni tanečníci ako Ken Swift, či Remind. Počas desiatich rokov vyhral viac ako 80 rôznych súťaží (napr. Red Bull BC One 2011, Battle of The Year 2010 alebo Outbreak Europe 2015). Festival The Legits Blast prináša už po ôsmy raz do Banskej Bystrice vášeň, radosť z tanca i života a v neposlednom rade neopakovateľný zážitok z bohatého tanečného a hudobného programu. Z najväčších kuriozít sprievodného programu vyberáme Hod tuli vakom. Predpredaj lístkov tu: https://goo.gl/47RsWl KONTAKT: Mgr. Miroslava Ryšková, +421 903 674 453, [email protected] TLAČOVÁ SPRÁVA - Bratislava, 27. júl 2017 PROGRAM: 29. 07. 2017 – SOBOTA: ORANGE MUSIC LIVE OPEN AIR STAGE 17:00 – 17:30 PJ & Funkdat 17:30 – 18:15 Supa + Jožis Engerer 18:15 – 20:15 Vec + Tono S. + Škrupo + Joe Trendy 20:15 – 21:15 PSH (CZE) 21:15 – 21:40 MC Freestyle Exhibition 21:40 – 22:40 Rytmus + Opostaris Live Band 22:40 – 23:40 R.A. The Rugged Man (USA) 23:40 – 01:00 Onyx (USA) GARAGE STAGE 12:00 – 15:00 Cyphers 15:00 – 17:00 Cypher Kings 01:00 – 02:00 Flue Funk band (PL) 02:00 – 03:00 DJ Scream (UA) MINISTRY STAGE Vstup do 21:00 na program Outbreak Europe len s celofestivalovým lístkom! 12:00 – Otvorenie dverí 12:00 – 13:00 Cyphers 13:00 – 13:30 Top 16 1 vs 1 BGIRL 13:30 – 14:00 Top 16 1 vs 1 UNDISPUTED 14:00 – 15:00 Top 16 2 vs 2 BBOY/ BGIRL 15:00 – 17:00 Cyphers 17:00 – 17:10 Otvorenie finálového večera 17:10 – 17:30 Top 8 1 vs 1 BGIRL KONTAKT: Mgr. Miroslava Ryšková, +421 903 674 453, [email protected] TLAČOVÁ SPRÁVA - Bratislava, 27. júl 2017 17:30 – 17:40 Semifinále 1 vs 1 BGIRL 17:40 – 18:00 Top 8 1 vs 1 UNDISPUTED 18:00 – 18:10 Semifinále 1 vs 1 UNDISPUTED 18:10 – 18:40 Top 8 2 vs 2 BBOY/ BGIRL 18:40 – 18:50 Semifinále 2 vs 2 BBOY/ BGIRL 18:50 – 19:10 Prestávka (20 minút) 19:10 – 19:30 Cypher Kings Final Cypher Battle 19:30 – 19:40 Showcase poroty 19:40 – 19:50 Finále 2 vs 2 KIDS 19:50 – 20:00 Finále 1 vs 1 BGIRL 20:00 – 20:10 Finále 2 vs 2 BBOY/ BGIRL 20:10 – 20:20 Finále 1 vs 1 UNDISPUTED 20:20 – 20:30 Vyhlásenie víťazov 20:30 – Ministry ZATVORENÉ 21:00 – Ministry OTVORENÉ 21:00 – 04:30 Party s Blast Djs 3x3 BASKET STAGE 09:00 – 09:30 Registrácia 09:40 – 15:30 Preliminácie 15:30 – 16:10 Slam Dunk Contest 16:10 – 18:35 Štvrťfinále a Semifinále 18:35 – 18:55 Zápas o 3.miesto 18:55 – 19:15 Finále CENTRAL SLOVAKIA STAGE 14:00 – 15:00 Hod Tuli vakom 30. 07. 2017 – NEDEĽA: KONTAKT: Mgr. Miroslava Ryšková, +421 903 674 453, [email protected] TLAČOVÁ SPRÁVA - Bratislava, 27. júl 2017 ESC Indoor Stage (Europe Shopping Center Atrium) 14:00 Oficiálne otvorenie REP YOUR COUNTRY 14:00 – 16:30 Preliminačné kolá REP YOUR COUNTRY / 16 crews advance Garage Stage 17:00 – 18:20 Top 16 REP YOUR COUNTRY 18:20 – 19:00 Top 8 REP YOUR COUNTRY 19:00 – 19:30 Semifinále REP YOUR COUNTRY 19:30 – 19:40 Judges Showcase 19:40 – 20:00 Finále REP YOUR COUNTRY Kompletný program nájdete tu: https://goo.gl/DZ2aJB Viac info o podujatí nájdete tu: www.tlb.sk www.facebook.com/thelegitsblast www.instagram.com/thelegitsblast KONTAKT: Mgr. Miroslava Ryšková, +421 903 674 453, [email protected] .
Load more

Recommended publications
  • 13661 Sunday MAY 10, 2020 Ordibehesht 21, 1399 Ramadan 16, 1441 U.S
    WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 12 Pages Price 40,000 Rials 1.00 EURO 4.00 AED 42nd year No.13661 Sunday MAY 10, 2020 Ordibehesht 21, 1399 Ramadan 16, 1441 U.S. ridicules TEDPIX notches Beiranvand shortlisted Lebanese publisher Dar Al international law record high, hitting for AFC Player Hadaek acquires rights to 2 one million points 4 of the Year 2020 11 Persian book “The Boxer” 12 Zarif to Guterres: U.S. trying illegal See page 9 paths to reverse Resolution 2231 TEHRAN – In a letter addressed to UN (A/72/869-S/2018/453), I would like to Secretary General Antonio Guterres, For- bring to your attention several matters eign Minister Mohammad Javad Zarif has related to the unlawful withdrawal of the elaborated on the U.S. violation of the 2015 United States of America from the Joint nuclear deal – JCPOA - and gross violation Comprehensive Plan of Action (JCPOA) of the UN Charter in a continuous manner. and the unlawful imposition of its uni- Following is an excerpt of his letter lateral sanctions against the people and published on the Foreign Ministry website government of the Islamic Republic of on Saturday: Iran in clear violation of its obligations Further to my letter of 10 May 2018 under international law. 2 Iranian galleries prefer to continue lockdown in pandemic TEHRAN — Art galleries across Iran are the Persian service of ISNA on Saturday. allowed to resume activities during the new The Visual Arts Office of the Ministry of coronavirus pandemic, however, gallery Culture and Islamic Guidance has agreed since owners prefer to continue the lockdown April 20 that art galleries may reopen after an since there are no visitors, buyers, or dealers.
    [Show full text]
  • Sezione Break Dance
    Sabato 1 Aprile 2017 concorso coreografico hip hop battle 1vs1 break dance Palazzetto dello sport di Brendola (VI) INFORMAZIONI GENERALI Alla sua 5a edizione il concorso “Street Dance Battle 5” ha come finalità quella di offrire alle scuole di danza, ai numerosi appassionati, ai cultori della filosofia Hip Hop, l’opportunità di esibirsi di fronte ad una giuria di livello esprimendo le doti tecniche ed artistiche maturate durante gli anni di studio, in un confronto costruttivo e stimolante. La manifestazione si svolgerà Sabato 1 Aprile 2017 con inizio alle ore 14.00 circa presso il nuovo palazzetto dello sport di Brendola (VI), Piazzale del Donatore 5, a 3 minuti dall’uscita del casello autostradale di Montecchio Maggiore (VI). La struttura dispone di un ampio parcheggio, di 600 posti a sedere, di ampi spogliatoi e di un adiacente punto ristoro presente per tutto il giorno. L’iscrizione va effettuata entro il 18 Marzo 2017. La scaletta con l’orario definitivo sarà inviata tramite e-mail alle scuole iscritte entro la mezzanotte del giorno 28 Marzo 2017. Il costo del biglietto per l’entrata al pubblico è di € 6,00. A tutti i ballerini e al responsabile verrà consegnato un pass per l’ingresso. La zona per l’esibizione è di mt. 14x12, con un fondale che consente un corridoio per passaggi dietro scena e due quinte laterali. Segreteria Organizzativa TEL. 0444.760945 – CELL. 338/2391024 e-mail: [email protected] Pagina Facebook: https://www.facebook.com/pages/Street-Dance-Battle 1 REGOLAMENTO - SEZIONE HIP HOP ISCRIZIONI E QUOTE DI PARTECIPAZIONE L’iscrizione al contest hip hop è di € 120 a coreografia per tutte le categorie.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Filipino youth cultural politics and DJ culture Permalink https://escholarship.org/uc/item/4gh239b3 Author Tiongson, Antonio T. Publication Date 2006 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Filipino Youth Cultural Politics and DJ Culture A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnic Studies by Antonio T. Tiongson Jr. Committee in charge: Professor Jane Rhodes, Co-Chair Professor Yen Le Espiritu, Co-Chair Professor Rick Bonus Professor Lisa Park Professor Anthony Davis Professor Dylan Rodriguez 2006 Copyright Antonio T. Tiongson Jr., 2006 All rights reserved. Table of Contents Signature Page………………………………………………………………… iii Table of Contents……………………………………………………………… iv Vita…………………………………………………………………………….. v Abstract………………………………………………………………………… vi I. Framing Culture: The Politics of Youth Culture and the Negotiation of Cultural Meanings and Identities………………………………………. 1 II. Contextualizing Filipino Migration and Racial Formations…………… 55 III. Hip Hop, DJ Culture, and Filipino Youth……………………………… 92 IV. Reconfiguring the Boundaries of Filipinoness Within the Contexts of U.S. Racial Formations and the Filipino Diaspora…………………….. 129 V. Conclusion: Critical Considerations…………………………………… 181 Appendix A…………………………………………………………………….. 187 Bibliography……………………………………………………………………. 206 iv VITA 1987-1991 B.A. in Psychology at the University of California, Berkeley 1992-1994 M.A. in Clinical Psychology at San Francisco State University 1994 Completed a Master’s Thesis, Sexual and Contraceptive Knowledge and Efficacy Among Pilipinos and Other Ethnic Groups, exploring sexual and contraceptive knowledge among Filipino youth compared to other ethnic groups using both quantitative and qualitative methods. San Francisco State University, San Francisco, California 1994-1995 M.A.
    [Show full text]
  • WDSF - Manual De Reglas Y Regulaciones Breaking
    WDSF - Manual de Reglas y Regulaciones Breaking Fecha: febrero del 2019 (Versión 1) Esta versión de Reglas del Breaking de la WDSF es una adaptación del libro de Reglas de YOG WDSF documento que fue creado por la WDSF en 2018 por los autores siguientes: Autores por orden alfabético: Dominik Fahr, and8 Kevin "Renegade" Gopie Steve “Silverback” Graham Patrick Grigo, and8 Dr. Gabriel Ma Niels "Storm" Robitzky Mario Roth, Six Step GmbH Thomas Shaughnessy, WDSF Corrector y organizador del formato: Géraldine Zahnd, WDSF Crédito fotográfico: Fotografía de portada por el fotógrafo Little Shao Traducción al español: Oscar “mos-k” Ortíz Itzel Arellano 2 Tabla de Contenido 1. Prólogo 2. Introducción al estilo de danza Breaking 2.1. Una breve historia del Breaking competitivo 2.2. Elementos del Breaking 3. Reglamento General para el 2018 Juegos Olímpicos de la Juventud 3.1. Formato de competición 3.2. Conducta de los Atletas 4. Sistema de Jueceo 4.1. El Sistema de ValoresTrivium 4.2. La Metafísica del Sistema de Valores Trivium 4.3. Los criterios y su Jerarquía 4.4. Descripción detallada de los seis criterios de evaluación 4.4.1. Calidad física - Dominio superior en el Trivium 4.4.2. Calidad interpretativa - Dominio superior en el Trivium 4.4.3. Calidad artística - Dominio superior en el Trivium 4.4.4. Superposición de valores 5. Reglas y regulaciones para la Competición 5.1. Reglas y regulaciones para las batallas Uno-contra-Uno 5.1.1. Preselección para Uno-contra-Uno 5.1.2. Fase Round Robin para Uno-contra-Uno 5.1.3.
    [Show full text]
  • Australian Management Remuneration Results
    AUSTRALIAN MANAGEMENT REMUNERATION RESULTS RANDWICK-ONE OUT ONE BACK PASSION POWER OPEN SEASON A December - January 2000 ix)bo Solution for large scale ( "The turf conditions on PincltM courses have been enh for many years. We re con fit Toro's innovation and team rship wiff provide the best turf solutions for the 1QQQ U.S. Open and beya -Brad G. Kocher Director of Golf Course Maintenance for Pinekurst Resort and Country Cluk When it comes to large ductivity at its peak and scale cutting coverage, ensure quality of cut no one offers solutions wi tk tke results you like Toro. With need. 8Reelmaster® fairway And on lv To ro can bring mowers from which to you Total Sol utions, our choose, you'll he assured customized program the right machine for offering a complete your climate and grass range of products, ser- type. vices and irrigation, Backed hv more than 80 individually designed to years or experience, To ro meet tke specific needs offers the perfect combi- of your course. nation of precision per- To ro. When you demand formance in an easy-to- quality, precision and use machine. Our proven reliability. reliability will keep pro- To find your nearest Toro Dealer, please telephone 131 588. Torn Commercial Equipment, 59 Woodlands Drive, Hraeside Vic 3195. Phone (03) 9580 7355 Fax ((XI) 9580 7399. Offices in Sydney, Melbourne. Perth, Brisbane. Head Office, Toro Australia Ply Limited, 53 Howards Road. Beterley SA 5009. Phone (08) 8300 36.13 Fax (08) 824.12940. IJP p . •. • w/fh Jacklin® Seed and BEST® Fertiliser For over 60 years Jacklin Seed and BEST fertilisers have built strong reputations in the turf- grass industry.
    [Show full text]
  • From the Margins of the Peripheries: Female Voices from Brazil's And
    From the margins of the peripheries: female voices from Brazil’s and Portugal’s hip hop scene Federica Lupati Tese de Doutoramento em Estudos Portugueses Julho 2019 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Portugueses, realizada sob a orientação científica de Prof.ra Dra. Ana Maria Mão de Ferro Martinho Gale e a coorientação do Prof. Dr. Phillip Rothwell ACKLOWLEDGMENTS This work would not have been possible without the support of CHAM – Center for the Humanities and its incredible team. Some people from CHAM deserve to be mentioned: without their help and encouragement it would probably have taken much longer for me to finish this thesis than what it did. Among these, my friend, colleague and “partner in crime” Margarida Rendeiro, my supervisor and mentor Prof. Ana Maria Martinho, and Prof. Rosário Monteiro for always believing in me and motivating me. I also would like to thank my friend and colleague Márcia Leão, for giving me a home in São Paulo and accompanying me through my research there. Finally, I would like to mention rappers Telva TVon, Mynda Guevara, Capicua, Samantha Muleka, Rose MC, Lívia Cruz, Keli Rosa and Sharylaine for generously sharing their experiences and thoughts with me. They have given me much more than just “study material.” This project would not have been possible without all these great women. FROM THE MARGINS OF THE PERIPHERIES: FEMALE VOICES FROM BRAZIL’S AND PORTUGAL’S HIP HOP SCENE FEDERICA LUPATI ABSTRACT This research responds to the need to fill the void in terms of studies and scholarships on female rappers from Portugal and Brazil.
    [Show full text]
  • The Poetic Message of Rap Music Dufferin A. Murray Department Of
    From the Word Up: The Poetic Message of Rap Music Dufferin A. Murray Department of Anthropology Submitted in partial fulfillment of the requirements for the degree of Master of Arts Faculty of Graduate Studies The University of Western Ontario London, Ontario September 1998 QDufferin A. Murray 1998 National Library Bibliothèque nationale du Canada uisitions and Acquisiîions et "sBib iographic Services seMces bibliographiques The author has granted a non- L'auteur a accorde une licence non exclusive licence dowing the exc1usive pennettant à la National Li1,rary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distniiute or seîi reproduire, prêter, distri'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic foxmats. la forme de micxofiche/film, de reproduction sur papier ou sur format électronique. The author retains ownefship of the L'auteur conserve la propriété du copyright m this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othdse de ce11e4 ne doivent être imprimés reproduced without the author's OU autrement reproduits sans son permission. autorisation. Abstract Althoug h rap music is rooted within West African cultural aesthetics and practices. it is best described as a form of contemporary urban American poetry. From a philosophical argument that nothing comes from nothing, the lyrical, musical, technological and symbolic elements composing rap music are highlighted and juxtaposed in order to aniculate the process of building upon. These elements include rap music's sociolinguistic predecessors, socio- economic and material environments, and musicaI/narrative structure.
    [Show full text]
  • HERE`S a LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the Late 70S to 1990
    JEE-NICE PRESENTS: HERE`S A LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the late 70s to 1990. Enjoy & spread the word! This Booklet is dedicated to all the ladies who rock da mike and spin the turntables. This copied fan-mag tries to discover the story of female hiphop activity from the beginning of hiphop culture in the late 70s to 1990. There is a cut in 1990. It was difficult to draw that line, to decide which artists to include and which not. Yo Yo, Queen Mother Rage, Sister Souljah, BWP, Conscious Daughters are not in it because they are more 90s then 80s. Nikki D, Tairrie B. and L.A. Star are on the edge, but I included them, because they are more 80s. What I did was to collect all the lyrics and pictures, which I could find and republish facts which are important for making history. I didn’t want to write anything new, I wanted to collect, to see what you can find out (in Germany), if you want to. In the end it’s not much and nothing that was published in the german language. You will find the source material in an appendix, so that you can check out where it comes from and read more, if you want to. Pictures without numbers are from my own record collection. This compilation can’t be complete and some facts will be wrong, but I have tried to make it as accurate as I can.
    [Show full text]
  • FINAL FINAL FINAL July 17
    Artistic Resistance in the Holy Land: ‘48 Palestinian Fiction and Hip-Hop DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By Miriam Rudavsky Bourgeois Graduate Program in Near Eastern Languages and Cultures The Ohio State University 2019 Dissertation Committee: Naomi Brenner, Advisor Alexander Kaye Johanna Sellman Ryan Skinner Copyright by Miriam Rudavsky Bourgeois 2019 ABSTRACT This dissertation examines two literary works and two rap songs by Palestinian citizens of Israel (‘48 Palestinians) that challenge the Jewish state: Emile Habibi’s satirical novel Saeed The Pessoptimist (1974); DAM’s rap song “Innocent Criminals” (2000); MWR’s rap song “Ashanak Arabi” (2001); and Sayed Kashua’s semi-autobiographical novel Dancing Arabs (2002). Habibi and Kashua participated in Israel’s mainstream literary scene: their two novels were read by contemporary Israeli readers and published by Israeli presses. The rappers of MWR and DAM participated in an underground ‘48 Palestinian rap scene in Israel: aside from MWR’s short-lived radio popularity, the selected rap songs were not consumed by mainstream Israeli listeners, played on Israeli radio, or produced by Israeli record labels. How can we account for these discrepancies? I suggest they are more reflective of attitudes within Israeli society than differences between the works themselves. As a result, factors such as genre (rap or literary text); candor (explicit or implicit critique); and language (Hebrew or Arabic) allow the artists to accomplish different things through their art. With a horizontal form of analysis that replaces more traditional hierarchical genre analysis with an emphasis upon the similar rhetorical force of both oral and written communications, I maintain that the “low” art of rap contains as much depth, substance, and nuance as the “high” art of written fiction.
    [Show full text]
  • An Ethnographic Thesis on the Individual and Social Factors That Contribute to the Breaking Scenes' Collective Action
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE A JOURNEY INTO THE CYPHER: AN ETHNOGRAPHIC THESIS ON THE INDIVIDUAL AND SOCIAL FACTORS THAT CONTRIBUTE TO THE BREAKING SCENES' COLLECTIVE ACTION A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Sociology By Jesus Gonzalez December 2013 Copyright by Jesus Gonzalez 2013 ii The thesis of Jesus Gonzalez is approved: __________________________________________________ _______________ Dr. James David Ballard Date __________________________________________________ _______________ Dr. Kay K Pih Date __________________________________________________ _______________ Dr. David Boyns, Chair Date California State University, Northridge iii Table of Contents Signature Page iii Abstract v Introduction 1 Break Dancing’s Hip-Hop? 3 Hip-Hop History It’s Just Begun 8 The Four Elements of Hip-Hop 9 Hip-Hop Meets Capital 11 Break Dancing 14 Literature Review Subcultural Studies 16 The Chicago School 17 The Birmingham School 19 Beyond the Birmingham School 21 Breaking Versus Punk 23 Theoretical Framework 29 Concepts 31 Methods 34 Respondents 37 Results 40 Scripts 45 Plot Dichotomies 48 Discussion Sitting in My B-Boy Stance 55 Journey Into … 64 Battle Mentality 68 Discussion Model 76 Conclusion 83 References 88 iv ABSTRACT A JOURNEY INTO THE CYPHER: AN ETHNOGRAPHIC THESIS ON THE INDIVIDUAL AND SOCIAL FACTORS THAT CONTRIBUTE TO THE BREAKING SCENES' COLLECTIVE ACTION By Jesus Gonzalez Master of Arts in Sociology Break dancing exists in most people’s minds as a dance craze from the 1980’, but the phenomena is far from dead. How is it that a popular culture survived its perceived death and actually reconstituted itself in an attempt, although conflicted, to retain elements of its past and spread its art form globally? There is a distinct order that plays out in the way of performances by dancers.
    [Show full text]
  • Saudi-Led G20 Summit Marks Global Turning Point in Tackling Pandemic
    UK £2 Issue 250, Year 5 March 29, 2020 EU €2.50 www.thearabweekly.com Turkish military Salafists’ Abu Dhabi crown industry buttresses opportunistic prince’s solidarity ambitions overreach towards Syria Page 16 Page 13 Page 3 Saudi-led G20 summit marks global turning point in tackling pandemic fallout Serious questions and a lot of work remain ahead for the G20 in its stewardship of the global economy. Sabahat Khan gether and cooperate in order to face this challenge.” Prospects for a coordinated world- Dubai wide health response and economic support had been marred by divi- he first virtual Group of 20 sions between the United States and summit, presided over by China over responsibility for the pan- Saudi King Salman bin Ab- demic. T dulaziz Al Saud, set the track At the end of the meeting, G20 for a global approach to tackle the leaders released a communique tell- worldwide fallout from the spread- ing the world they are prepared to do ing coronavirus pandemic but many whatever it takes to overcome coro- short- and long-term questions re- navirus pandemic. main. The G20 announced plans to inject Saudi Arabia, which assumed the $5 trillion into the global economy rotating presidency of the G20 this to preserve financial stability and year, called an extraordinary meet- revive growth by restoring confi- ing of the group and organised it in dence. The World Bank is finalising less than a week. a relief package of up to $160 billion International summits typically of its own while the United Kingdom take months of preparation — the committed $253 million towards the G20’s annual summit is scheduled international effort for finding a vac- for November in Riyadh — but the cine for coronavirus.
    [Show full text]
  • Race, Gender and Censorship in Digital Remix Culture A
    NORTHWESTERN UNIVERSITY Illegitimate Media: Race, Gender and Censorship in Digital Remix Culture A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of Comparative Literary Studies By Abigail T. Derecho EVANSTON, ILLINOIS June 2008 2 ABSTRACT Illegitimate Media: Race, Gender and Censorship in Digital Remix Culture Abigail T. Derecho In 2008, the term “remix culture” is widely understood to refer to mash-up videos and movie parodies, distributed on websites such as YouTube and authored primarily by white male teenagers. This dissertation argues that digital remix was invented primarily by African American men, who, in the mid-1980s, began using digital samplers to cobble together pieces (or “samples”) of existing recordings to form new sonic compositions, and by white American women, who, in the early 1990s, formed online communities on Usenet groups to share fan fiction (fanfic) – stories based on their favorite characters from television and film texts. In other words, digital remix culture was pioneered largely by communities that had long been (and continue to be) marginalized by mainstream mass media industries. Both digital sampling and online fan fiction were censored soon after they appeared. In the case of sampling, censorship was imposed from forces outside the music industry, by a New York District Court, which ruled in 1991 (five years after digital sampling began) that all unlicensed sampling was equivalent to theft. In the case of fan fiction, censorship was imposed from within fanfic communities, as peers’ negative reactions to explicitly sexual content caused writers to cease posting such content.
    [Show full text]