RED BULL DANCE YOUR STYLE COMES to DENVER APRIL 5, 2020 at SUMMIT 1902 Blake St, Denver, CO 80202

Total Page:16

File Type:pdf, Size:1020Kb

RED BULL DANCE YOUR STYLE COMES to DENVER APRIL 5, 2020 at SUMMIT 1902 Blake St, Denver, CO 80202 RED BULL DANCE YOUR STYLE COMES TO DENVER APRIL 5, 2020 AT SUMMIT 1902 Blake St, Denver, CO 80202 ALL STYLES STREET DANCE COMPETITION HOLDS QUALIFYING EVENT IN DENVER BEFORE HEADING TO WASHINGTON, D.C., FOR A NATIONAL FINALS WEEKEND For Tickets and more information, please visit: http://bit.ly/DYSDENVER Photographer Credit: Little Shao, Red Bull Media House DENVER, CO – February 21, 2020 - One-on-one all styles street dance competition, Red Bull Dance Your Style, returns with a full 2020 calendar and full-fledged tour, including a stop in Denver on April 5th, 2020 at Summit, before heading to the World Finals. The premiere dance competition brings together the best artists in the U.S. across hip-hop, popping, waacking, locking, krumping, house, and flexing, to celebrate freedom of expression through dance and provide the street dancers a new platform to showcase their individuality and creativity. Riding on the heels of an explosive 2019 season, the 2020 Denver qualifying round of Dance Your Style marks the first time that the competition will come through Colorado. Following the same rules as previous years, the audience at the Denver event will decide which dancers advance to the National Finals Weekend in Washington, D.C. on April 21st-25th. From there, the winning dancers will advance to the Red Bull Dance Your Style World Final taking place on October 17th, 2020 in Johannesburg, South Africa. Hosted by breaker legend and Red Bull BC One All Star Ronnie Abaldonado and music provided Denver’s DJ A-L, Denver’s qualifying event will feature a mix of local and national dancers competing to wow the crowd, battling to unexpected music – the track-list is not revealed to the performers ahead of time – creating a spontaneous and exciting event. Without a panel of judges, planned choreography, or pre- selected music, Dance Your Style truly presents a no-holds-barred competition allowing the dancers to fully embrace the moment and optimize the spotlight. With 80 events in 39 countries all over the world, Dance Your Style is the ultimate global street dance battle, bringing together the most exceptional talent and showcasing the dance community. For more information about where to buy tickets and event details follow the Red Bull Dance Your Style website. ABOUT RED BULL DANCE YOUR STYLE: This spring, Red Bull Dance Your Style will bring together the most exceptional dancers from across the USA for a chance to compete in the USA National Final in Washington D.C. in April, and ultimately advance to for a chance to compete at the Red Bull Dance Your Style second annual World Final, more details coming soon. Red Bull Dance Your Style is all about giving freedom to dancers. From hip-hop to house--- locking to popping, there’s no planned choreography or one dedicated style of dance. Dancers participating in Red Bull Dance Your Style will have the dancefloor as their canvas to thrill, surprise, and delight the audience by adapting on the go their chosen style of movement to contemporary music ranging from recent global hip hop hits to rock and pop. Whoever dances the coolest steps, combined with musicality, and manages to ‘wow’ the crowd will win their vote and become the winner of Red Bull Dance Your Style! SOCIAL: Instagram: @redbulldance Facebook: @redbulldanceyourstyle YouTube: https://win.gs/RedBullDance MEDIA CONTACTS: LiveLoud Media Alexandra Dunne [email protected] Carrie Lombardi [email protected] .
Recommended publications
  • WORK IT 18.8.10 Alison Peck
    WORK IT Written by Alison Peck 8.10.18 STX Entertainment Alloy Entertainment AK Worldwide Prods FADE IN: OVER CREDITS: CLOSE UP of DANCERS’ FEET as they STOMP the pavement while an upbeat, hip hop BANGER picks up. Rhythmically, fast. Bursting with style. Now we see other FEET on a STAGE. They SPIN, they SLIDE, they STOMP in unison. Mesmerizing. And then, BOOM. Girl’s feet-- A pair of plain white Keds move down a hallway. Passing by much cooler kicks belonging to much cooler people. We’re in-- INT. HIGH SCHOOL HALLWAY - DAY The feet move across the dirty floor, passing backpacks, lockers. And we PULL BACK TO REVEAL-- The lovely face of QUINN ACKERMAN, 18, the one wearing those Keds. Big glasses, vintage baggy Stanford sweater. Her vibe is intense-phD-student-working-on-her-dissertation. Out-of- place in high school. A modern Brat Pack Molly Ringwald, a post-Millennial Annie Hall. The most interesting person here, but no one knows it yet. SOME DUDE is horse-playing, doesn’t see Quinn, and BODY-SLAMS into her. She SMASHES into the lockers, FALLS to the floor, GROANS-- “what the fuck?” QUINN Come on, man! SOME DUDE Eat my dick, Einstein! QUINN I’d have to find it first! As she collects her fallen books, ANOTHER STUDENT shoots a look in her direction. QUINN (CONT’D) I know, I know. I shouldn’t emasculate... Though then again, why’s it my responsibility as a woman to protect a man’s fragile masculinity-- 2. ANOTHER STUDENT --You’re blocking my shit.
    [Show full text]
  • Antoine Troupe
    bloc, inc. 6100 Wilshire Blvd., Suite 1100 Los Angeles, CA 90048 PHONE: 323-954-7730 FAX: 323-954-7731 Antoine Troupe Height: 5’8” Eyes: Brown Hair Color: Black Television/Film ARSENIO HALL - PRINCE CHOREOGRAPHER CHOREO: SELF JIMMY FALLON – CHRIS BROWN ASST. CHOREO CHOREO: FLII STYLZ AMERICAS BEST DANCE CREW SUPREME SOUL CHOREO: NAPPYTABS/ROSERO MCCOY MINDLESS BEHAVIOR DOCUMENTARY FEATURED STEVEN GOLDFRIED BET AWARDS PRE-SHOW – VIC MENSA DANCER CHOREO: IAN EASTWOOD BET’S SPRING BLING W/TRIPL3 THREAT TRIPL3 THREAT CHOREO: SELF Music Videos PRINCE – “BREAKFAST CAN WAIT” CHOR/DANCER DIR: ROB WITT E40, CHRIS BROWN, TI – “EPISODE” CHOR/DANCER DIR: BEN GRIFFIN DRAKE – “THE MOTTO” DANCER DIR: LAMAR TAYLOR/HYGHLEY ALLEYNE PIA MIA - “MR. PRESIDENT” DANCER DIR: _P MAT KEARNEY – “HEARTBEAT” CHOREO DIR: WILLIAM RUSSEL Live/Stage Performances PRINCE ESSENCE FESTIVAL CHOR/DANCER SELF/NICOLE KIRKLAND CEELO GREEN EURO TOUR CHOR SELF MINDLESS BEHAVIOR AATW TOUR DANCER/CAPTAIN DAVE SCOTT MINDLESS BEHAVIOR #1 GIRL TOUR DANCER/CAPTAIN DAVE SCOTT/KOLANIE MARKS PIA MIA – GUAM LIVE DANCER FLII STYLZ ROSHON (SHAKE IT UP) DANCER ROSERO MCCOY SILLY WALKS FOR HUNGER DANCER CHOR: RICH + TONE DANCE CREW CANADA TOUR DANCER SUPREME SOUL AMERICAS BEST DANCE CREW TOUR OPENER CHOR/DANCER CHOR: SELF JESSICA SANCHEZ CHOR/DANCER CHOR: SELF LIL MAMA TEEN CHOICE AWARDS PARTY DANCER SUPREME SOUL NBA ALL-STARS WEEKEND – VEGAS CHOR/DANCER TRIPLE THREAT Commercials STARBUCKS FEATURED 72ANDSUNNY Training HIP HOP, KRUMP, POPPING, JAZZ, FREESTYLE, DEBBIE ALLEN, CHAPKIS DANCE STUDIO, MILLENIUM, IDA, MOVEMENT LIFESTYLE, DEBBIE REYNOLDS, ROBERT HOFFMAN, KOLANIE MARKS, GREG CHAPKIS, NICK WILSON, Special Skills (HIP HOP, JAZZ FUNK, KRUMP, POPPIN, FLEXING), DOUBLE JOINTED SHOULDERS, FOOTBALL, BASEBALL, BASKETBALL, TRACK, RECREATIONAL ACTIVITIES, BOWLING, ROLLERBLADING, SWIMMING, BIKING, BILLIARDS .
    [Show full text]
  • Table of Contents General Information Locking and Unlocking Seat And
    Div: Out put date: April 3, 2001 Table of contents General information Locking and unlocking Seat and seat belts Instruments and controls Starting and driving For pleasant driving Vehicle care For emergencies Maintenance Specifications Div: Out put date: Overview - Instruments and Controls EB21AOHc 1- Front fog lamp switch* → P.4-22 Rear fog lamp switch → P.4-22 2- Electric remote-controlled outside rear-view mirror switch* → P.5-51 LHD 3- Combination headlamps, dipper and turn signal switch → P.4-14 Headlamp washer switch* → P.4-19 4- Supplemental restraint system-air bag (for driver’s seat) → P.3-42 Horn switch → P.4-24 5- Ignition switch → P.5-11 6- Auto-speed (cruise) control lever* → P.5-53 7- Meter and gauges → P.4-2 8- Windscreen wiper and washer switch → P.4-17 Rear window wiper and washer switch → P.4-19 9- Headlamp levelling switch → P.4-16 10- Rheostat (meter illumination control) → P.4-23 11- Fuse box lid → P.8-28 12- Bonnet release lever → P.2-9 13- Fuel tank filler door release lever → P.5-4 B21A600T Div: Out put date: Instruments and Controls 14- Parking brake lever → P.5-42 15- Audio* → P.6-2, 6-17 16- Hazard warning flasher switch → P.4-20 LHD 17- Multi centre display* → P.4-27 18- RV meter* → P.4-40 19- Rear window demister switch → P.4-21 20- Front heater/Manual air conditioning* → P.6-36 Front automatic air conditioning* → P.6-43 21- Ventilators → P.6-35 22- Supplemental restraint system-air bag* (for front passenger’s seat) → P.3-42 23- Ashtray (for front seats) → P.6-60 24- Cigarette lighter → P.6-59 25- Heated seat
    [Show full text]
  • Waacking Is a Style of Dance That Came up in the 70'S, Coming Directly from the Funk & Disco Era
    Waacking is a style of dance that came up in the 70's, coming directly from the Funk & Disco era. It was born in gay clubs, but through television show, it became popular. Waacking is now starting to resurface and it's popularity is starting to grow. This dance allows you to create a personal style; doesn't matter whether it be sexy, feminine or aggressive, as long as you express yourself and let yourself go to the music. Movements of the performers were so creative. This style is often wrongly considered a style oh house dance. Disco music was the perfect vehicle for this style, with its driving rhythms and hard beats. In the early 1970s in Los Angeles, dancer Lamont Peterson was one of the first to start using his arms and body to the music. Dancer such Mickey Lord, Tyrone Proctor and Blinky fine tuned the arms movements, by making the arms and hands go fast to the driving disco beat. At the time waacking was primarily a gay black and latino dance. Many people mistakenly believe that waacking came from Locking becouse some movements are very similar. the gay community is soley responsible for the creation of this style. Waacking and Lockinghave some similarities but they are different dances. Waacking is the original name; Punking is a name set forth by non gay community that mixed in movements from Locking. The Name originated from Tyrone Proctor and Jeffrey Daniel's. Garbo in another name given to the dance. The difference between Waacking and Voguins is the first became popular in the 1970's on the West Coast.
    [Show full text]
  • The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
    The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice.
    [Show full text]
  • Sharing Economies and Affective Labour in Montréal's Kiki Scene
    SERVING EACH OTHER: SHARING ECONOMIES AND AFFECTIVE LABOUR IN MONTRÉAL’S KIKI SCENE by Jess D. Lundy A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Women’s and Gender Studies Carleton University Ottawa, Ontario © 2019, Jess D. Lundy Abstract Against a tense socio-political backdrop of white supremacy, intensifying pressures of neoliberal fiscal austerity, and queer necropolitics, this thesis addresses performance-based activist forms of place-making for urban-based queer, trans, and gender nonconforming communities of colour. Using participant observation and qualitative interviews with pioneering members of Montréal’s Kiki scene and Ottawa’s emerging Waacking community and interpreting my findings through the theoretical lens of queer of colour theory, critical whiteness studies, queer Latinx performance studies and Chicana feminism, I argue that Kiki subculture, which is maintained by pedagogical processes of ‘each one, teach one’, is instrumental in facilitating i) life-affirming queer kinship bonds, (ii) alternative ways to simultaneously embody and celebrate non- normative gender expression with Black, Asian, and Latinx identity, iii) non-capitalist economies of sharing, and iv) hopeful strategies of everyday community activism and resilience to appropriative processes during economic insecurity and necropolitical turmoil. ii Acknowledgements First and foremost, I would like to acknowledge the members of Montréal’s Kiki scene and Ottawa’s Waacking founder for their willingness to participate in this study despite the understandable reflex to safe-guard their own. Secondly, I extend my sincerest gratitude to my thesis supervisor Dr. Dan Irving. Apart from disproving that you should never meet your heroes, Dr.
    [Show full text]
  • Wedding Ringer -FULL SCRIPT W GREEN REVISIONS.Pdf
    THE WEDDING RINGER FKA BEST MAN, Inc. / THE GOLDEN TUX by Jeremy Garelick & Jay Lavender GREEN REVISED - 10.22.13 YELLOW REVISED - 10.11.13 PINK REVISED - 10.1.13 BLUE REVISED - 9.17.13 WHITE SHOOTING SCRIPT - 8.27.13 Screen Gems Productions, Inc. 10202 W. Washington Blvd. Stage 6 Suite 4100 Culver City, CA 90232 GREEN REVISED 10.22.13 1 OVER BLACK A DIAL TONE...numbers DIALED...phone RINGING. SETH (V.O.) Hello? DOUG (V.O.) Oh hi, uh, Seth? SETH (V.O.) Yeah? DOUG (V.O.) It’s Doug. SETH (V.O.) Doug? Doug who? OPEN TIGHT ON DOUG Doug Harris... 30ish, on the slightly dweebier side of average. 1 REVEAL: INT. DOUG’S OFFICE - DAY 1 Organized clutter, stacks of paper cover the desk. Vintage posters/jerseys of Los Angeles sports legends adorn the walls- -ERIC DICKERSON, JIM PLUNKETT, KURT RAMBIS, STEVE GARVEY- DOUG You know, Doug Harris...Persian Rug Doug? SETH (OVER PHONE) Doug Harris! Of course. What’s up? DOUG (relieved) I know it’s been awhile, but I was calling because, I uh, have some good news...I’m getting married. SETH (OVER PHONE) That’s great. Congratulations. DOUG And, well, I was wondering if you might be interested in perhaps being my best man. GREEN REVISED 10.22.13 2 Dead silence. SETH (OVER PHONE) I have to be honest, Doug. This is kind of awkward. I mean, we don’t really know each other that well. DOUG Well...what about that weekend in Carlsbad Caverns? SETH (OVER PHONE) That was a ninth grade field trip, the whole class went.
    [Show full text]
  • Synthesizing Dance and Conducting Pedagogy for Heightened Creativity
    Inspiring Sound: Synthesizing Dance and Conducting Pedagogy for Heightened Creativity on the Podium By Matthew Dean Schlomer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Wind Conducting) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 2/7/12 The dissertation is approved by the following members of the Final Oral Committee: Scott D. Teeple, Associate Professor, School of Music James Smith, Professor, School of Music Dr. Teryl Dobbs, Assistant Professor, School of Music/Department of Curriculum & Instruction Kate Corby, Assistant Professor, Department of Dance Mary A. Brennan, Professor Emerita, Department of Dance i To my wife, Katie, and children, Claudia, Roy, and Evelyn. You have not only made this endeavor possible, but a wonderful journey we have shared together. Thank you for your tremendous support. ii ACKNOWLEDGMENTS I wish to thank: my mentor, advisor, and colleague, Scott Teeple, for his profound artistry and unwavering encouragement to seek out new information and opportunities; Dr. Mary “Buff” Brennan for her insights, sense of adventure, and the most delightful conversations in Lathrop Hall; Professor Kate Corby and Mary Hayne for your creative and patient instruction in moving the body expressively; Dr. Teryl Dobbs for your high standards and warm encouragement; and Professor James Smith for your mentorship and generosity of time and insight. I would also like to acknowledge my family and friends that helped and encouraged me in so many ways during the writing process: Gabriel and Christine Reilly, David and Michelle Schlomer, Paul Schlomer and Erin Grunze, David and Sarah Melander, David (Billy) Hagedorn and Marjolein Eweg, my parents Duane and Barbara Schlomer, Harold and Kathleen Hagedorn, and my colleagues and friends, Erik Jester and Paul Bhasin.
    [Show full text]
  • Hip Hop Dance: Performance, Style, and Competition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.
    [Show full text]
  • Streetdance and Hip Hop - Let's Get It Right!
    STREETDANCE AND HIP HOP - LET'S GET IT RIGHT! Article by David Croft, Freelance Dance Artist OK - so I decided to write this article after many years studying various styles of Street dance and Hip Hop, also teaching these styles in Schools, Dance schools and in the community. Throughout my years of training and teaching, I have found a lack of understanding, knowledge and, in some cases, will, to really search out the skills, foundation and blueprint of these dances. The words "Street Dance" and "Hip Hop" are widely and loosely used without a real understanding of what they mean. Street Dance is an umbrella term for various styles including Bboying or breakin (breakin is an original Hip Hop dance along with Rockin and Party dance – the word break dance did not exist in the beginning, this was a term used by the media, originally it was Bboying. (Bboy, standing for Break boy, Beat boy or Bronx boy)…….for more click here Conquestcrew Popping/Boogaloo Style was created by Sam Soloman and Popping technique involves contracting your muscles to the music using your legs, arms, chest and neck. Boogaloo has a very funky groove constantly using head and shoulders. It also involves rolling the hips and knees. Locking was created by Don Campbell. This involves movements like wrist twirls, points, giving himself “5”, locks (which are sharp stops), knee drops and half splits. (Popping/Boogaloo and Locking are part of the West Coast Funk movement ). House Dance and Hip Hop. With Hip Hop coming out of the East Coast (New York) and West Coast Funk from the west (California) there was a great collaboration in cultures bringing the two coasts together.
    [Show full text]
  • Hip Hop Terms
    1 Topic Page Number General Hip Hop Definitions ………………………………………………. 3 Definitions Related to Specific Dance Styles: ♦ Breaking ………………………………………………………………………. 4 ♦ House ………………………………………………………..………………… 6 ♦ Popping / Locking …………………………………………….….……… 7 2 GENERAL • Battle A competition in which dancers, usually in an open circle surrounded by their competitors, dance their routines, whether improvised (freestyle) or planned. Participants vary in numbers, ranging from one on one to battles of opposing breaking crews, or teams. Winners are determined by outside judges, often with prize money. • • Cypher Open forum, mock exhibitions. Similar to battles, but less emphasis on competition. • Freestyle Improvised Old School routine. • Hip Hop A lifestyle that is comprised of 4 elements: Breaking, MCing, DJing, and Graffiti. Footwear and clothing are part of the hip hop style. Much of it is influenced by the original breaking crews in the 1980’s from the Bronx. Sneakers are usually flat soled and may range from Nike, Adidas, Puma, or Converse. Generally caps are worn for spins, often with padding to protect the head. To optimize the fast footwork and floor moves, the baggy pants favored by hip hop rappers are not seen. o Breaking Breakdancing. o MCing Rapping. MC uses rhyming verses, pre‐written or freestyled, to introduce and praise the DJ or excite the crowd. o DJing Art of the disk jockey. o Graffiti Name for images or lettering scratched, scrawled, painted usually on buildings, trains etc. • Hip Hop dance There are two main categories of hip hop dance: Old School and New School. • New School hip hop dance Newer forms of hip hop music or dance (house, krumping, voguing, street jazz) that emerged in the 1990s • Old School hip hop dance Original forms of hip hop music or dance (breaking, popping, and locking) that evolved in the 1970s and 80s.
    [Show full text]
  • Street Dance
    Street Dance Overview Street Dance is a great way to increase fitness, promote flexibility, balance, co-ordination, rhythm & style and is also an extremely popular way of introducing boys and girls into the dance industry. Street Dance is unique in that is doesn’t follow one style, it has a variety of styles within it and enables anyone to take part from as young as age 5. As well as this it increases self-confidence, performance skills, strength and creativity. There are several elements to the Street Dance term and some of these include: Locking Breaking (Bboy/Bgirl) Popping Waacking Waving Vogue Tutting Krumping Street Dance is a fun yet challenging activity which creates opportunities for young people to show their own individual style, be unique and creative through dance. It is so popular that even the more challenging children find it fun and often get involved. This is a great way to release their energy in a positive way. 1. Street Dance Lesson Plans 1.1 General Introduction to Street Dance Regardless of course duration, the workshop leader should begin the first session with a general introduction to the specific session being taught e.g. where it originated and a brief background of the style. For a one-off session, however, this can probably be condensed dramatically so as to get students actively involved as soon as possible. Introduction: At the beginning of the first session, workshop leaders should introduce themselves and explain briefly what the course will involve. Ascertain the class’ basic knowledge and understanding of street dance & hip-hop culture.
    [Show full text]