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3 episodes with idance
2 episodes with idance
2 episodes with idance
How does one apply the feminine intelligence and feminine wisdom to the area of business and the cycles and seasons? It starts with coming home to self and understanding your own cycle. Whether you're bleeding or not, whether you're in touch with the lunar cycles or not, we can't escape what is innate within nature. If we are always living on the cycle of the masculine business structure like the 9-5, which is based on the testosterone cycle, and when it comes to allowing nature to be in business especially for entrepreneurs, Kate asks, “How is your cycle moving through your business?”. Your business is always reflecting your energy and your healing. If we are faced with our cycle in a time where we need more rest but the 9-5 is telling us get up and get to work by 8 and come home by 6 PM, the first thing that Kate would change is how we work with our time and our cycle moving with your flow. Kate Murphy is a Canadian entrepreneur, founder of The Feminine Code, Co-Founder and former CEO of The Play Magnus Group, Investor, Business Advisor as well as an Initiated Priestess. Kate's work is focused on raising the feminine - both through the path of the priestess and through business. She works with women and entrepreneurs around the world to both start-up and scale-up by combining the sacred with strategy. As an entrepreneur at heart, at the age of 23, Kate co-founded Canada's largest national dance convention, iDance, while earning both her BBA and MBA between Canada and France. As a priestess, she walks the path of priestess with women in her 1:1 mentorship containers as well. Over the last 16 years, she has also been deeply immersed in her spiritual path, which began in the yogic traditions and eventually led her to the path of her Celtic heritage as a priestess. Her passions are on both sides of the spectrum: the power of masculine strategy and the mysticism of divine feminine wisdom. It is her life's work to help guide and weave the feminine and masculine together, in business and inner worlds. What we discuss: 01:10 – Introducing Kate 03:08 – The Time of the Feminine for Kate 04:15 – The Ascension 08:58 – The Feminine Wisdom in Business 10:54 – The Feminine Wisdom in Business… For Men 13:31 – The Feminine Code in Workplace Culture, Morale, and Productivity 21:25 – Tips for Tracking Three Months of Cycles 22:34 – Guidance for Men and Women in Start-Ups 24:12 – Kate's Visions, Intuitions, and Revelations in Business 28:38 – Women's Sense of Undeserving in Business 31:19 – Kate's Journey of Transformation 34:13 – Women's Fear to Present Themselves 36:46 – How to Value Women's Services 38:01 – Kate's Steps for Women Starting their Business 41:46 – Running the Feminine Code 43:44 – Feeling Guilty 49:04 – Kate in Behalf of the Divine Mother 50:59 – Where to Find Kate www.globalsisterhood.org/wow Worth of a Woman - A month-long study group and woman's initiation to heal the patriarchal wound of unworthiness, reclaim the divinity of your desires and step into your self-worth in every dimension of your life. Taught and guided by: Anne Baring, Yeye Luisah Teish, Mare Chapman, Quanita Roberson and Global Sisterhood Co-Founder, Shaina Conners To amplify your health with GoddessWell products, go to Goddesswell.co to and use the code SISTERHOOD at checkout to buy one and get one free! More of Kate's story can be found here: https://www.thisiskatemurphy.com/meet-kate and on Instagram at @thisiskatemurphy. To join a virtual circle with us, go to http://www.globalsisterhood.org/virtual-circles To follow us on Instagram, @theglobalsisterhood @Laurenelizabethwalsh @shainaconners
We are joined today by Ole from Immortal Games to talk about Story Games History.Story Games History is a ground-breaking concept for making history more accessible, both to casual fans, and for learning purposes. Ole talks about his plan for approaching schools and colleges, adding more academic clout to this exciting project. Perhaps most interestingly, Ole explains how Story Games History will bring 16 key historical world events and persons to life through this innovative new educational medium, where players will be in the centre of dramatic events. The game kicks off with a scenario now frightfully familiar to us - the world poised on the edge of war, nuclear war. The date is 1962, and the Cuban Missile Crisis is underway. As Ole explains, the plan is to put you, the player, into the shoes of JFK, and see if your choices make or break the world. In terms of gameplay, Ole plans to use a 'choose your own adventure' style, with a story and dialogue written by dedicated researcher. He'll also draw on tools such as quizzes and puzzle games with visual connection to the event, and each of the planned 16 scenarios will follow this formula. We talk together about how we intend to collaborate, and how Matchlock could even get its own mobile game, with an exclusive story written by me!Above all, Ole shares a clear vision for how to bring Story Games History from concept to life. If anyone can do it, it's him! Ole is armed with experience in projects like these - including iDance, which brought him to the European Parliament, where he shared his vision for technology and learning can be blended together, to create something incredible. We hope you enjoy this fun conversation, and if you want to offer your expertise or advice, email me at wdfpodcast AT hotmail DOT com, with the subject Story Games History, and I'll be sure to pass it on! Thanksss! Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.
Laurent Choukroun est le créateur de la plateforme" Idance Music" dédiée à l'accompagnement des cours de danse. Il nous présente ses particularités et spécificités tout en détaillant avec passion ,ce qu'est un pianiste qui accompagne la danse. Si vous appréciez écouter le podcast « Porté » n'hésitez pas à le soutenir en lui attribuant cinq étoiles sur Apple podcast et à laisser un commentaire , vous pouvez aussi me joindre à cette adresse email: charlottejacq.danse@gmail.com, je serai ravie de vous répondre.
Mikaela talks about the struggles she encountered when moving to a new location she had no ties to and starting a new business. She has taken her business from 35 students to more than 300, even after the pandemic. You can find more information about her business and get your children signed up for classes at www.idanceprojectpac.com.
Illjaz of the Ruffn'x crew talks about the European breaking scene, coming to America, and various other important topics in breaking.A broke degenerate hooligan documents conversations about being a Bboy, Breakin', Hip Hop, Dance, Art, Music, Creativity, Innovation, and the slow subtle crumble of society in audio form.Follow @Instagram: noiseofthebrokeboysTwitter: BrokeBoysNoiseListen to the Audio on all Podcast platforms. All The Links Here:https://linktr.ee/NoiseOfTheBrokeBoys----more----[Music]this episode of noise of the broke boysis brought to you by math are you anintellectual because you can solve amath problem posted on social mediausing the correct order of operationsyou operate on a higher plane ofintelligence because you recognize thatalgebra is the mathematicalrepresentation of knowing how many boxesof tissues you can buy for five dollarsafter losing that dance competitioncongratulations you are officially aconnoisseur of fifth grade mathematicsand well on your way to mastering sixthgrade mathematics however if this isn'tyoudon't fret I'm excited to announce toall my listeners that math does not needto be a burden on your life it is asubject that not only has immensepracticality but it will also help traincritical thinking and strengthen yourlogic based argumentative skills pleaseconsult a local library or onlineresource for further information on howmath can change your life and now ontothe show[Music]in this episode I talk with a b-boy whohas significant experience in both theEuropean and American breaking scenesthis guy really puts me on game aboutlife as a dancer in Europe in the early90s I had a great time learning abouthis history and picking his brain aboutvarious topics please enjoy the episodewith ill jazz or Elyas of the Roughneckshello everybody welcome to the disastershow that I just fucked up Dana pressrecord so here we are hopefully I cansalvage something from what we recordedwith my boy ill jazzhe's from Switzerland we are talkingabout break dancing and you know how Idon't know how to record podcast so okhow long have you been dancing oh I so Istarted dancing with my younger brotherhe's one and a half year younger than meand we started in 9899 okay and it was agood time I'm happy we started still inthe nineties yeah and before that weplayed soccer we did inline skating likehalfpipe and everything and then we tieand then one day we we saw like the RunDMC it's like that music you know andthat was like dope and shit you know butwhen when to use scented they have ahalfpipe and we went with the inlineskates yeah and then we look insidethere was a zombie voice you knowunderneath no it was a halfpipe andthere was a building right next to it ohand there were windows and I looked inthe windows and then I want I needed togo to the bathroom I go inside and I seesomebody doing 90 oh I didn't know what90 is you know and that was a shit Iwant to learn that you know and thensince then we threw out the inlineskates and we started breaking and sohow old were you I was 15 15 that'sprobably about when I startto us and 14 or 15 em and I had noflexibility because of Socratic likeXena almost like I was pretty flexiblewhen I started because I did Taekwondofor a long time and so we would you knowyou'd have to kick really high and stuffso I was kind of flexible from that butI used to skateboard actually um so Iknew about half pipes and stuff I had alot of friends that did inline skatingand so we would go to those lots ofskate parks and I wish I had beenbraking at that time cuz I totally wouldhave done windmills on it because it wasjust so smooth yeah I didn't break Iquit I kind of quit skating to breakyeah because it was waiting let's I justfelt like skating was so dangerousno it's I saw so many people just falland break the wrists my cousin broke hiswrist actually but I had another friendwho broke his ankle and they were doinglike you know shitty tricks yeah youknow kickflip and they like mob and it'slike if you did a windmill and brokeyour arm like you know what I mean it'sjust the generic you know beginner tricksort of like the sport and you justbreak you know I I started with skatingfirst actually yeah and then I went tothe mini ramp and I went there theskateboard stayed thereoh do back oh yeah I tried I triedinline skating I picked it up prettyeasily actually but I just never was toointo it um I was just more intoskateboarding yeah but I had somefriends they would like you know jump upand grind on stairs they showed me howto do that so I learned kind of some todo that stuff man like 10 years after Ihaven't done anything on the inlineskates mm-hmm I stand on the halfpipe Icouldn't go down it's scary yeah I waslike man how did I do that yeahyou know what I mean yeah no shit we'renot yeah when I was in she wouldn't Iwas skating I think I started when I wasprobably like 11 and I went tillprobably 15 or 16 maybe and yeah I usedto go on half pipes and stuff and now Ilook at him like holy yeah and it wouldgo off like stairs and stuff and go ontorails and I'm like what the heck how didI even do this I mean I wasn't reallygood at it or anything but I just I feellike I was maybe less fearless yeahyeah now yeah yeah back then we just didit man yeah I remember when I started alittle bit braking and still a littlebit in Nice skatinghey they have like this ramp going downand then this little island yeah I flewyou know I started breaking I had somuch energy and different I flew overthat thing and I landed like two metersaway from it you know and that was likeshit whatever I gotta do I just roll thereally coin drop and then you know whatbraking has saved my life a couple timesgood yeah there was times when I wentsnowboarding and you just you're goingso fast down a hill and you just hitlike something and you just eat shit andI'm like you know I probably should havebeen wearing a helmet but I wasn't andit's just like woop and then for somereason it kicks in I'm like oh I knowhow to like land and I'll do a coin dropor something in like you know so my headdoesn't get hit and you know I kind ofrollers or whatever to roll out and thenI stand up and people are like I gotsomething from cats yeah cuz I mean in away braking is just like falling butshowing off at the same time sort ofsmooth so it's like you got you you gotgood at jumping on the ground yeahbut fun fact is when we started breakingwe thought it's a sport oh you did yeahlike so we yeah before we startedbreaking with inline skates we welistened we discovered to puck and weknew that hip-hop and Cypress Hill yeahyou know to pass episode exhibit NWA alittle bit you know so all that madetheir way to but I thought this iship-hop yeah yeah in the nineties men welistened all the golden era yeah and wethought that's hip-hop but we didn'tknow aboutwe knew graffitis somehow mixed withhip-hop you know DJs they have therappers have a DJ you know but we didn'tknow breaking is part of hip-hop youknow but when we started we learn allthe four elements and yeah knowledge theculture and everything you know yeahyeah but first we we did it because welike this sport yeah yeah yeah I meanit's it's definitely cool and I firstsaw I mean I I don't know when I firstsaw I think I first saw it when I usedto watch pro wrestling and there was agroup - cool and the one guy his specialmove was he would just throw you on theground and then he would just dancearound you and then do the worm she allthe way across the ring and then justwhoo and like elbow using the base I wasin probably in middle school I wasprobably maybe 12 years old when I firstsaw that so I thought breakdancing waswrestling that's crazy but so yeah butmaybe because we stop breaking in onlymusic videos you know back then you knowand it was all kinds of music it wasn'tonly like hip-hop music yes like housemusic dance music you know techno youwere always saw a b-boy somewhere youknow yeah so we didn't connect it withhip-hop yeah I think in the 90s that waswhen house music started really likecolliding a lot with with hip-hop yeahyeah yeahbut yes so I'm interested in like howhip-hop looks in Europe compared to herecuz just like I've seen hip-hop as Igrew up here and I imagine it's waydifferent in Europe because like herehip-hop was always associated with likegangs and like you know people mischiefcausers he's done you know I mean I meanI don't know there is two ways ofhip-hop like people that are passive andthere are people that are active youknow they like back in the 90s hip-hopin Europe was like you're not hip-hop ifyou're not in an element you know if youbeatbox you okay you when it's not likereally official apart or of hip-hop butyou're still hip-hop you know okay butif you break or beatbox or MC or DJ orgraffiti you you part of hip-hop andthen there is other people they justfriends and they hang out with and theydress a pup listen hip up and whateverbut they're not active you know okaythat's how you us okay I guess it's kindof like that now yeah yeah I know butmore back in the day it was like yougotta be super down like b-boy was yourlife you know you you lived that lifeyeah we used to go like to Germany youknow like 16 I told our parents thatwe're gonna go to a friend we're gonnapractice and then stay over there but wewent like 500 that's the way you know wetrain and we go to a different city toJohnny go to hm next day practice andthen come back yeah you know it wasn'tgood timing yeah like when we went firsttime bad luck year 19 2000 or 2001 wetrain it was like five six hours away wetrain and then you go to the Battle ofyear cipher everything and eventeverything and then you go the event isover after party is over and then youhave to wait for the Train the firsttrain that starts going back home yousee like a hundred of b-boys at thetrain station just inside for practicechilling some people sleeping in thecorner starting practicing andexchanging you know people like peoplesfrom France Germany Holland SwitzerlandItaly you know you connect you knowexchange and practice that's cool and itwasn't backed and it wasn't like reallya cypher and or calling out somebody butit was more of a circlesomebody practiced something you knowand you go there and exchange and hey dothis like this or ain't look try likethat look I do something similar youknow so was it like a pretty friendlyscene in Europe in terms of like becausebecause what I'm used to is like I'vecome from Sacramento in you know we justget all jump in a car and we'd go to theother city to do a jam or something andeverybody calls us out because it's likehey you're in our neighborhood and wewould just get battled so that's niceman it's like it was almost I mean itwas definitely less friendly now it's alot more friendly I can come you knowlike me moving to LA if I had done thatwhen I first started breaking I probablywould have got battled for like a solidyou know three or four months and peoplewere like okay I think this guy's coolyou know cuz dude the first time I thinkI went to a practice in Sacramento likeI was in high school and like we justshow up and they're like who are thesethere's me and my brother that we justshow up and they're like who are thesetwo kids and we like couldn't even do doanything really like my brother could doin vert and like I think I don't knowwhat I could do like a head slide andfreeze or something and that's like ouronly moves I guess we seriously we'rebreaking for maybe like six months andit's like the whole like room is apsycho fuck these comments we on thetitle you know and then I think you knowafter you battle a couple times thenthey realize okaytrying to cause harm or like because thething was that everyone was scared thatyou're gonna like bite their moves stealtheir yeah so it was like you knowthey're automatically sort of hostile toyou but imagine you guys would havestopped dancing because of that you knowyeah what's up it wouldn't ya know Imean yeah there was a lot of reasons tostop I mean for sure but it but it's itwas all the way it makes you strongeryou know to not give up and you stay onit you know motivate you maybe you knowI just yeah it was just I had to learnwhat the scene was like you know whatwhat was acceptable in the scene and gowith that you know like well I think Iremember I told this in another podcastbut I remember we brought this thisshitty camera because me and my brotherused to we used to make a lot of homevideos we used to make like skits wewere really into MADtv do you rememberMADtv it's like Saturday Night Live'sokay so we used to make all these stupidskits and stuff so we had our parentsgot us this like really crappy videocamera so we can make all these stupidskits just for fun and then we broughtit to go practice cuz we were just gonnafilm ourselves and stuff and then peopleare like what are you doing with thiscase you get beat up for like bringing acamera to practice and stuff because youknow because they automatically thinkyou're filming these guys to take theirmoves on amou say yeah we learned realquick don't bring the camera therewe brought the camera yeah very early inour training you know to see what theydo wrong because we were the youngesttoo and there were all the generationyou might know buzzer City attack ohthat's the older generation they battledrock four screw in the 90syeah so control so Cujo and there wasthe older generation and we look up tothem and but we didn't get like help youknow so oh we got this ourself you knowhe was looking me and I was looking himand then we see the older generation andwhat what's the difference between himand you you knowyeah that's how we learn you know thenbring the camera and see what we dowrong yeah that's how we stop we werethe youngest and our first battle wasalso about a six month in her making inthe first round we won against all theguys yeah keep going you know you'regood we're goodthat next round we battle younger guysthe nose and the smoker so yeah thenyeah and then it's like man we need topractice was a good wake-up call andthen we from then on we startedpracticing every day you know some dayseight hours yeah our parents didn'tbelieve that we we practice eight hoursthey thought we're doing somethingcriminal you know yeah exactlywe would do kind of the same thing canyou practice eight hours yeah but it'sjust like you get totally immersed intothat that world and you just wanna youhave a focus to get better I thinkeventually my parents realize we're notdoing anything bad yeah like and theysaw us getting better at it so it's likeoh they're obviously like practicingthis so yeah like all right whatever andwe we also stole my parents camera youknow you didn't have their camera andthey used it only for a special whenfamily came to visit us you know so wejust took it and then practice and thensometimes they would see the tape youknow we just buy a new tape put it inand then record yeah take the tape outso they see but we were like crazyaddicted to practice man yeah not evenjust battling just practice you know tolearn the move to yeah you know we werethere first and we left there the lastyou know people were coming and goingand we're still there yeah yeah yeah Imean I was the same way just alwayspracticing always practicing definitelythat's like my favorite part notbreaking for sure is just like gettinggetting down playing like your favoritemusic and just practicing coming up withsome new movies training some new stufftraining old stuff you know it's that'sthat I feel like that's where the realcreativity comes in when you're outbattling whenperforming and stuff it's just kind ofshowing off you do what you know yeahyou're just I think if you practicedwell and then it's the performance inthe battle is gonna go it's gonna gowell because you did you did thehomework but the the real work is reallywhen you're practicing and trying tofigure no you know how I prepares forbattlesI never prepared full set oh no like Inever practiced full sets in practiceyeah because then if I'm gonna just dothe same solar what I did in practiceit's gonna be boring it's not gonna havethat fire feeling whatever you know so Ialways put like practice only half setokay yeah and then practice I do onlyhave sets and then I maybe just add somepower moves just to so I have thecondition the cardio but in the battle Iwould mix my small set together you knowlike I put three sets in one yeah sothen you know so it's always new it'salways fresh and you can alwaysimprovise it freestyle it and yeah youknow depends of the music moment andeverything you know I used to make fullsets and it just got really boring to meto do that so what I started doinginstead is practicing those full setsand then when I go to battleI just don't think about them I justtotally try to just focus on you knowthe battle focus on the music focus onmy opponent and just let it happen and Iyou know I practice a lot of freestylingtoo so it's like I know that thematerial I have this you know the set ofmoves I put together I know that it'sgood and if I don't do it perfectly Iknow how to freestyle out of it and soon it gives me confidence to just go outthere and basically with a clear mindand just let it happen and I think thatthat's a way better way of breaking yesbefore I would go out and go okay I needa pre-plan everything and it distancesyou from everything from the moment fromthe music from the battle DJand it's just I don't think that's agood way to do it yeah I but I wasalways trying to figure out a good wayto mix you know because there's a lot ofcreativity in the combinations that youput together that you pre-plan I alwayswanted to be able to still showcase thatbut I don't want it to look sodisjointed yeah and so the yeah the waythat I figured out how to do that is tojust make some sets and be content withnot doing that and by practicing them somany times and then you just kind offorget itit just kind of happens or like piece ofmemory and yeah it's almost exactly it'slike I mean like with martial arts a lotof times you'll train like a combinationlike a kick punch combination you knowhit hit to the body hit to the head orwhatever and you train that so manytimes going you actually are fightingyou might not do the full combinationyou'll do like one two part of it youmight do it twice in a row you mightlink this combination to that one justbecause you see the opportunities andyou you have to improvise you improviseto make it happen and so I I took a lotfrom thatyeah very good yeah and so since I'vestarted doing that I feel like it'shelped me a lot but then for example Iwanted to say some bash beam for examplethat meets in German for example when westarted performing like performancesshows right it's a much easier than forus right so because then we prepare asolo for the show to the music you knowso you can be much more confidence in aperformance yeah yeah yeah because weare if you think about it in a battleyou are in so many uncomfortable yesinaudible but somehow you practice to becomfortable you know and in aperformance you're fully comfortable youknow yeah so you can shine much easier Ihope if you go like to a quarry yourworld people struggle and are nervousyou know yeah I never understood in thebeginning why are you guys nervous manwe've been practicing this I don't knowhow long yeahyou know I think it's just because thereyou're in front of a bunch of people youdon't know and you're like you knowyou're out in front of everybody andjust doing what you want to do andthere's a little bit of fear that theymight not like what you're doing but youjust gotta go man who caresyou really care yeah you have to do yourthing with you just got it you cannotchange it anymore you know what yeah init and really at the end of the day ifthat whole crowd says you suck like doyou really care yeah yeah it probablystings a little bit but then you go likemen I don't give a fuck about these yeahthat's the best thing when you dosomething you love you know yes I'mbetter because what other people thinkyou know what I mean yeah I I take thesame approach with like judges too youknow like when you're actually battlingand the judges vote against you or votefor you really like really I look at itas they're just they're they're a crowdmember and they're just saying you thattheir opinion of you was either you wantor you lost but I I really think that ifyou enjoy what you did then youshouldn't really worry too much aboutthat I mean you could obviously like tolisten to what they have to say becausethey might have some insight intosomething you maybe didn't know aboutyour own dancing um and that's alwaysgood to do but at the end of the day ifyou enjoy what you do I don't think youshould let anything holding me hold youback so like the way the way I alwaysput it was like if my mom was a judgeand she was like you suck I'd probablybe like okay maybe I gotta practice welllike if some random dude that I don'teven know it's like oh I thought youlost and I honestly thought I won I'd belike okay well whatever you don'tyeah it's mean was totally different inthe beginning you know I when I wasyoung I was getting mad when I left thejudges men you have no idea and but thatcomes with maturity you know if you loseand you take it easyyeah but yeah yeah I would get mad tooeventually you get to the point whereit's like win or lose it doesn't reallymatter that much like cuz again it'sjust three people three or five peopleyou know judging on this thing and theyjust said you want are you lostI mean I'm one battle is that I thoughtI lost and I was like I want I rememberI there's a couple of them where I waslike dude I walked to the judges I waslike dude you got this wrong and I gavemy prize money to the other guy cuz Iwas like dude I didn't win and I'm notjust cuz these dudes say that I wantthat's correct I'm not gonna keep themoney because I thought you you knowthis dude one or this crew one so I justgave it to them there I've done thatlike a couple times that I can think ofprobably two or three times it's crazyman but it's just cuz you know I don'tbreak to like make to get money oranything it's like I just want I justwant to do it and I like battling butthe competition part of it I don'treally care that much about it it's it'sfun to win but I don't like I don't likewinning when I don't think I'm that'scrazy man that you gave money you know Inever heard that beforeI mean I know people and I used to beone of those yes I needed to win moneyto pay rent and yeah you know what Imean so because I didn't do performancesie back in the days I battles was moreimportant to me than performances youknow K so and I needed to win thatbattle too yeah you know to pay somestuff up and then years later I judgedcompetition and in the final I judge andagainst one guy and he told man yeah youknow it came to me like what okay Iunderstand but man I need the money manI need to pay bills and there was I saidman I was to say like you you can neverrely on winning palace to pay yourperson I thinkyeah I I I mean there was times when Iwas I could be I could have been in thatsituation but I was like what I need todo is actually cook his job so I got ajob instead of like I mean there'd betimes where I I needed some quick moneyor something and so we would go and dosome street shows and stuff so that wasgood to kind of and that's always beenmy back-up plan in a way if like youknow the world blew up or something andI don't have any moneyI'd go do a street show I know that I'dsurvive for at least one day yeah cuz Icould do I could at least do somewindmills and someone might give me alike but ya know I was always like okayI need to just go get a job to actuallypay ya there's been times when I neededto win again but I I really hated theidea of like needing to win - yeah andand well and also - I was always scaredof the idea that you know I might bewinning and don't deserve the win and soI was it always made me feel like crapto even think of that situation in thismoment I with the time I learned tounderstand that you know it's in soccerfor example you take the ball and put itin the net that's a goal that's a pointyeah but in art it's hard to to give apoint here or here you know it's anopinion if those charges think you wantyou know it's it's their opinion evenyou did maybe just a baby freeze and theguy did the baby freeze - 90 baby freezeyou know and they liked your form bitbetter maybe you know yeah so it's it'shard to judge art you know it's veryhard so that's my yeah that thatactually is a good segue to a question Ihave because now breaking is becomingkind of more of a mainstream sporteventually getting into the Olympics yousee like big sponsored events andstuff and my fear is that we are doingthis but don't have a solid way ofjudging it because it is an art and youknow I think the way that we've alwaysjudged it makes sense for the smallcommunity that we have as b-boys butlike when it comes to the mainstreamstage where there's like lots of moneylots of sponsors involved if you thinkabout white yea H and you know comparingit to you know soccer for instance orlike basketball or any kind of sportthat's on a huge main main stage that Idon't think the judging system we haveright now is is gonna cut it becausewhat's gonna happen is a sponsor isgonna look at it and be like ok why didthis guy win over that guy and you go ohbecause these three judges said so okaywell what exactly made them say that youknow he's got you know 50 years in thegame and he thought that his backspinwas better than this guy's windmill andthen the sponsors gonna be like no thatdoesn't make any senseI'm out look for me it's how I comparedhow I compared breaking to mix martialarts right you remember mixed martialarts in the beginning yeah nineties itwas like a karate guy versus of wrestleryeah jujitsu guy was kickboxer you knowthere was like we had Shawn versus likeyeah and that is a Wild West that'sbreaking I would say most of the timethat's that's it right because there isall right now but it's been four yearsthat you have a guy that does more likefoundation style or a guy that does moreblow up style or a Power Move guy or mixguy you know but a complete mixedmartial artist is somebody that can dolike kickboxing wrestling jujitsu takeone toe karate whatever you know andthat should be with be born into menlike if you want to be an Olympicchampion you cannot justroll around and do Foundation and thefries and that's it you cannot beOlympic champion with only that you haveto have all the elements you know inbreaking and you have to put it on alevel you know so everybody understandsotherwise it's gonna be like you saidyou know people will not understand ityou know yeah I think with mixed martialarts it's a good example of this becauseyeah back in the day it was just thesestyles versus each other and eventuallyit evolved people were seeing thatcertain styles were just dominatingevery everything and so then it evolvedto where now the fighter isn't just thisone style he takes a little piece ofthis other style and it makes thembetter but and so like eventually yousaw everybody now doing that same thingall taking out different pieces of it sonow you see guys that I mean basicallyand I'm not like a an authority on thisor anything but like in general likeusually a good fighter would have somegood striking some good grappling andsome good crown stuff and so and thatwould make them somewhat effectiveagainst anybody and that's what that'sthe type that's a style that flew to youknow to the to the top of it mixedmartial arts in I mean Zee right let'stake Conor McGregor right he's astand-up guyyeah southpaw very effective yeah but hehad to learn takedown defense grapplingyou know he had to learn because youguys would do that yeah you know he'sgot to but now or maybe the last coupleyearsthere is people like young people theycome up with the full game they don'tstart they don't come from karate orfrom rest oh yeah they come and traineverything right away there is MMA gymsand like from 2:00 to 3:00 it'swrestling from 5:00 to 6:00 iskickboxing from 7:00 to 8:00 is MuayThai and then jujitsu from 9:00 to 10:00you know and they train all at the sametime so it's a complete fighter thatshould be with be going man yeah seelike a standard that would be a standardwith mixed martial artsI see how it makes sensedo it because it's the most effectiveway of fighting and like having thisbroad range of ability to combat againstall these different things it makessense for fighting but like withbreaking I think there's an argument tobe made that you're not you're notnecessarily you know the the the full Iguess how do you say maybe like fullpackage of b-boy one who has like everysingle Power Move every single likefootwork move every single whatever Ithink there's an argument to be madethat somebody who maybe doesn't do thatbut has a strong certain part of youknow one of those styles and can beeffective against them because there's alot of creativity and artistry thatcomes in with it and that's what you'rereally being that that's what you'rethat's that's the main way of I guesswinning a battle I guess is what I'msaying like cuz in fighting you getpunched in the face and you get knockedout or you get yes submitted you lose sothe best way to get to that is to beable to defend against it and go andattack that way right but in breakingthere's not like there's not a there'snot like a I guess a relation tofighting in that way because you don'tnecessarily need to do a specific powermove or whatever to win a battle orwhatever yeah I mean we don't have to do5-1 and our flare so yeah and 90s youknow but at least have some basic powermoves you know because that part ofbreaking you know if people say if youdon't do food work you know the b-boyhey if you don't do windmill backspinhead spin thank you another b-boy - yeahthey were here before cc's you know whatI mean but I know what you mean withlike artistry and just own style youknow and everythingMaina for example yeah you know so yeahyeah like Meno for instance he's does alot of like footwork and flowy type ofminutes not a lot of powernot a lot of top rods not a lot of Imean that's kind of really the onlystudy he doesn't do a lot of freezeseither and then compared to let me picksomebody someone who's missing one finalhuh let's bc one final did you see thatwho was in kazakhstan guy Ohk2 lost something khailayes yeah yeah that guy is really goodyou know you know I could see how it wasclose I think actually men will probablythought he lost too and that's why Icalled him out four more rounds um Imean I thought it was pretty close if Iwas a judge I probably would have votedKilla koyla me to it you know I'm notjudging because I personally justthought that he he had brought more tothe table and had unique style hesuppresses doing was a lot of uniquefreezes and stuff and he came out everywrong with some new stuff easily youknow yeah he's a pretty well-roundedb-boy but I would say he still airs onyou know more of like a thread type ofstyle and um like a freeze type of styleI'm trying to think of a b-boy thatwould be like very very well-rounded andthat's it like um he's better soon hehas power I think which flips yes theless food work yeah okay so let's gowith him yeah so him versus menace sosomeone who's well rounded versussomeone who's very specialized I couldsee how it could go either way with thatto those and that's also one round hedepends what round but you know let'slet's say they both throw their likedopest around though rightyou know Meno does some crazy likeloop-d-loopspin around thing one mean the flowingwaves yeah and it's a really dope roundin their little zoo duck comes outdoesn't flip does power moves us somefreezes does some footwork hits a solidroundI think there's an argument to be madethat either one of them would have wonyou know it's awesome depends on themusic but I think this was mixed martialarts he probably would have been like ohthe new well-rounded guy would win youknow but you know such distancesometimes in MMA you know and thenjudges take it yeah decided wrong but Iguess I guess if you in mixed martialarts if you had a guy who's very good atmultiple styles versus one guy who'smaybe just good at let's say kickboxingyeah you know I mean this is a hard topredict example or anything but I wouldsay you probably would put your money onthe guy who's more well-rounded justbecause he can like attack from multipleanglesright and he could get this got theother guy into a situation that that guycannot defend in whereas the other guyis banking on being able to like keephim in his in his world where he's thebest right whereas in breaking I feellike the guy who's very specialized hecan still like blow you up the samething that the gut the guy who is verywell-rounded can still blow you up andso the the moves are just as effectivein a way you know what I mean and thestrategy is a little bit differentbecause this guy doesn't need to keepyou in his pocket anymore he just needsto perform and kill it right and thisguy needs to do basically the same thingkeep it in his pocket and do what he'sgood at you know visually better yeahthat's been important but yeah what'sgonna make it look visually better isthe music you know the music I thinkthat's breaking what plays a big factorthat's the biggest compared to MMA ohyeah yeah really breaking is hard toobut compared to any I think it's theclosest thing sports wise to comparebreaking with MMA I would say a decisionyou cannot compare with soccer orfootball there's not really a goodthere's a sport I can think of thateveryone compares to the things that Ithink make the most senseis somewhere between mixed martial artsand skateboarding or like something likethat there's a sports 3 the reason I saylike sporting because in a lot of thathas to do with like they'll they'll makeup a trick knee and go like this is whatI'm gonna do it's like yeah it's it'sjust like making up your own breakingyeah you know but then skateboardingkind of it doesn't quite match upbecause then you see okayhe's he says oh I'm gonna do thistricking and they judge you on how wellyou hit that trick but in breakingyou're not telling any judge what you'regonna do you're gonna surprise them andprobably surprise them with the movethat they've never seen beforeyeah and so you have this surprisefactor too so it's really hard to youknow nowadays I I miss the exchangesometimes in battles you know yeah yeahback in the days when I talked to stormyou know they they would do like andthat's how I grew up you know mm-hmm Iconsider him the only master linebreaking it I never took his class orsomething but I took his locking classyeah but I I learned from him just bylistening you know okay andconversations with him yeah I justremember him you do like a six-step youcan go like no you try like Big Brotherand T you can learn so much and I canlisten for days to him you know yeahwhen he talks III don't talk man I justlisten and then I ask something you knowbut how I grew up with bounces exchangeyou know for example he tells me like hehas somebody do flare windmill babyfreeze and then he goes footwork andthen ends it nice you know I have to gothere and I have to do flare windowflare windmill turtle and then go in afreeze and then go up and you know whatI did better and then he has to come andbring it never that's how we yeah youknow a burden that's like exchange youknow ace yeahyeah on the podcast like a couple weeksago a couple of months ago actually umhe and he told me a story about when hehe doesn't call it battle but I wouldsay it probably was a battle between himand storm mm-hmm when storm was visitingand I guess they just went they you knowbattle like 30-something rounds orwhatever and it was like that they werejust exchanging like they would just oneup each other each time and it wasn'tlike they weren't you know you knowtalking smack to each other it was theywere respecting each other and he wouldbe like oh that was dope let me show youthat I can do now did it do to do andhe'd go oh that's cool too and then thisis how I would do that boom and so theyjust went back and forth for 30 roundsit may seem I mean that's that's crazybut it's also like back then it was likepractice you know yeah each other youexchange and you know but when youbattle inside for like ladies generationyeah and when the people start talkingwhen they're unsecured and then they seethat they're losing I have to talk tohim that so he messes up and you knowwhat I I hear that I made this rule withshit-talking is I'm not gonna sayanything unless they say it but if theydo talk I'm gonna say the wildest thingso that they feel terrible and sobecause like I don't know I've alwaysbeen good at like talking shit to peoplebecause I just I have a lot of friendsthat we would do that to in battles it'sit's you know I always try to be veryrespectful but as soon as somebody sayssomething I'm like okay I got I can makeand I usually don't make fun of theirbreaking I usually just make I don'tlike that part of breaking I think Ithink it's I think it's kind of it'sit's taking the focus off of yourdancing and putting it more on your likemind games which I don't you know I meanI guess this in a way that's kind of howgreat how battling is but I don't know Iand I don't like I don't think it's trueand I to to what it should beyeah but like I said if somebody's gonnatake a shot at me I'm like well I'm 32 Igot I got nothing better to do let mejust talk yeah of course maybe you haveto defend yourself yeah but man my bestmemory of call outs is I had a crewmember back in 2003 yeah thing aroundTroy Kehoe was his name and somebodycalled him out you know because he wastalking smack and he said yeah come onokay now you you know give me 10 minutes[Laughter]because he was flexible he didn't wantto get the injury you know he needed towarm up and then what yeah man give me10 mins how did he call you is he likeno no another guy called my friend outyou know my friend said give me tenminutes and then he he lost one time helost a battle and then he calls out boomyou know their friend you know it's funto get called up as long as like it'snot it's not fun when there's like beefsomeone's trying to like cause sometrouble I think that gets kind of crazybecause in but you usually just turnsinto a fight which I really don't likein breaking there's like there's reallyno room for violencethat's why you break right yeah so wedon't touch each other there's been alot of times where there's likedefinitely my old crew flexible Flav wewould get into some crazy battles cuzyou know some crew would be beefing withus and so then we'd get into a newget crazy crazy cut everything escalatedand people with ok crew it start pushingeach other and then it's like you knowas soon as that happens it's like ohthis is gonna turn into a ok crew bellsyes we got many colors in crew bad okand we are like my crew and me we arelike produce most of them don't danceregularly ok but we still like brothersyou know yeah but back then we crewbelts we belt like almost a lot of crewsalmost many crews here yeah we go tofriends would bail like whoever is onthe opposite side you know we go to yesAmerica or Germany whatever whoever isacross us and they do something that wedo better we go inside and show way yeahyeah and then it starts so so actuallythis is something that probably gotdeleted from because we didn't recordbut you were talking about we first cameto America in 2007 for freestyle sessionin 10 with my whole crew yeah and westayed the machete hostel on HollywoodBoulevardeverybody talks about yeah it's funnycuz like outside of Hollywood people areprobably like oh Hollywood's is greatdude it's like freaking bums pooping onthe streets and stuff it's all bad crazyHollywood yeah but yeah there's a lot ofshit was crazy em and to come herefreestyle session we grew up with thosetapes yeah yeah and so then once youwere here it was probably a big likeculture shock huh yeah that was thefirst time you came to America secondtime I came first time was 2003 in SanDiego okay it was like there is like aheap of community company called cultureshock yeah you know if you know and thatwas in the soup Switzerland cultureshock oh and we came to San Diego toperform at the culture of showcase ohthat's cool okay then back then I bailedactually I bailed rainin yeah raininganda long time yeah he's in Vegas Vegas andall Cutshaw peoples of San Diego and myfriend that was a b-boy he didn't findthe way to the circle you know so I wasthere aloneand I bet like three four B voice oh youknow but I did like my thing you know Idid like already elbow one and a halfand I need some car plates you knowbecause men in Europe I never starteddancing like on the street you know wehad a nice youth center we had nice woodfloor yeah you know so I came to shitcarpet oh man no it's been no 90s yeahthat was the first time it was a goodexperience and then second time my wecame with my crew 2007 please let's Ishouldn't ten when did you decide tolive herewe came in 2010-11 new year when it wasvery cold in Switzerland we came to LAit was nice weather so my brother me wecame here to to practice and see how isthe industry because we take alsohip-hop classes also hip-hop and we sawhow how it is they industry you know andwe see b-boys here and they poke chopmovies and commercials and stuff likeman we can do some good stuff here youknow we decided to move here okay I wantto move here since a long time but 2014was the time to move yeah make yourbrother 2015 I don't know if I felt himit was like a seven to smoke in that fitExpo in convention center yeah that'sright he did surprising he doesn'treally battle that often so yeah we washaving fun man I like to start becauseIII I could see like yeah yeah he'shaving fun you know it's not like tryingto kill that other guy in a bell youknowyeahthat's good like when there is a bigdifference if you have a funny style butthere is I I always watch the skills youknow if you have a funny character or aserious character you watch how itmatches with the level of the skills youknow yeah and I said she has a level ofskills and he is having fun you know hedoesn't take it too serious you know hedoesn't need to take it too serious towin around you know so that's why I likeit and I remember him like his style islike kind of goofy and then him as aperson he's like more like serious and Ithink that my style as a breaker is moreserious and my personality is probablymore goofy than him swiss-styleI always ask people can you tell that meand him our brothers buy our styleno it's yeah I think if you look closeenough you can tell because we do a lotof the same moves it's just he doesn'twe do them differently from and but weyou know we learned from the same peoplewe you know practice like every daytogetherso it's weird how our Styles divergedlike that but I don't know yes moreflexible right he's he's more flexiblethan me and I think I'm more like flowythan him yeah and so and then I probablydo more power moves than him he doesmore freezes than me but that's maybethe main differences I mean my brothermy brother does everything more than me[Laughter]yeah so I guess in terms of like breakbreaking for you now are you still intocompeting or you just I haven't battledin many years okay yeah I belt I thinkmaybe once or twice since I moved toAmerica oh reallyyeah because I didn't move for battlingyeah yeah you know for the industry andeven my like last serious bad that weyou know with my crew and everything wasleft year 2011 yeah because I had like acrazy surgery I tore my biceps andtriceps ligament oh yeah I miss my armsyou know and that was a thing how do youdo a thousand 90s on that arm a lot ofphysical therapy and yeah but in it wasactually in June it's gonna be ten yearsago that I thought I'm gonna stopdancing yeah I'm gonna work a regularjob and that's it for me I lived a goodlife and I enjoyed my hobby for manyyears and that's it that's why I enjoynow what I don't have to practice setsor you know that I don't prepare forsocial I just have fun you know yeah youknow I don't mind doing competitionsonce in a while because it keeps itkeeps me like I don't know I guess itkeeps your both sides of the brainworking yeah yeah but for the most partI just break to like you know relievestress and it's like a meditation for meyou know cuz training yeah it make itmake it forces me to stretch my mycreative brain you know so like when Igo to a practice a lot of times I'm justI try to go into my own world and justmake up whatever I can and it's hardit's hard to think about all the likeyou know whatever stuff is going on inyour life when you're so focused on justyeah cuz you can't really dance well ifthere's something else on your mind youknow and a lot of times you feel like Idance better when there is somethingthat was on my mind because it's like itmay it makes me try harder to like focuson the music and everything you try toget that out of yeah excited you bygetting this out of you focus here yeahand then verse writer yeah well in a lotof times it's because you go like Igotta focus on this and if I don't I'mgonna think of something crappy oh Idon't wanna think about that let me justdo thisit's like kind of a nicely practice yesbefore I started talking to you and youalways practice for yourself and do yaknow yeah I think in I yeah and a lot oftimes I just focus on that and then youknow if someone wants to talk to me orwhatever I'll talk about like most ofthe time I don't really go too far outof my way to like talk to people I meancuz I used to just practice alone Iwasn't living in Sacramento and inOakland I would just go to the gym andpractice by myself like maybe once ortwice a week I'd go practice with someother people but most of the time I'djust be by myself where do you get themotivation from to practice by yourselfI think it's just I like creating stuffokay and so you can practice like hardstuff just to create I mean I'llpractice hard stuff sometimes but yeahit'll be it'll be a lot of timesit lets me I don't have any otherdistractions anymore so it's like I cango okay I really want to get this moveso I can practice you know what I needto do and then I can like adjust my handposition or whatever when I'm with abunch of people there's always like it'smore playful to me where there's like alittle bit of I need to perform I needto you know react to what they're doingtoo so it's it's always it's more of anexchange kind of environment going on bymyself it's just I'm only doing what I'mdoingyou focus on yourself yeah it's I have Ihave a lot of fun doing thatyeah it's probably my favorite part ofbreaking actually my favorite part ispracticing with my crewmen uh-huh yeahbecause like everybody like pushes eachother you know yeah and we don't have toworry about practicing anything soanybody else could practice that orthat's how it goes you know we push eachother you know oh um okay well dudewe've been going for like 56 minutes ohshoot probably wrap this show up there'sa lot I can still talk to youI don't want to go too long probablyyeah well is there anything else youwant to say before we close the showwhere can people find you here oh yeahit's the old one it works pretty wellthough and I got that tooOh yep go for a - it's not there yeah noI I bought this because I told myself Ineed to start filming myself breakingmore yeah because I seriously had likeno footage of myself because I neverreally filmed myself cuz ya know it'sjust I don't it's just not something Inormally do so I bought that to filmmyself in itmaybe you filmed for like a couple weeksand then I just got sick of it and so Idon't I don't really use it and thenwhen I started this show like oh I gotan extra camera now so I have the DJIpocket Pro no pocket and the small DJIfits with the camera and everything okayand I used it a couple times yeahokay it does also have white you andeverything okay but I know minutes Irecord with my phone most of the thingsmy phone doesn't have any space in itbecause I have a ton of music in thereso it's like but you can put an extra SDcard no I have extra I got I'm likereally into music oh you to beat I makeyeah I make music and then I just listento lots of music I guns I love you knowman I seriously can talk that's anotherman I mean for now yeah I like jasmineyou do yeah yeahsince everybody calls me ill jazz inAmerica I know but for me I don't knowman I think I like martial arts I alwaysliked like Jackie Chan Bruce Lee Johnyang and then music wise I always likedStevie Wonder Tupacoh yeah yeah that was like my LL Cool Jyeah you know and thenhe was dope sports-wise and human isMuhammad Ali's Muhammad Ali okay thoseare your influences this is mycombination of what I yeah and butbefore that GodI've always loved Jackie Chan cuz I gotjust mr. past he doesn't give off man Ithink he's gonna be appreciated morewhen he dies oh yeah dude he's alreadyappreciated yeah God that guy but manhis legacy I feel like man needs he samewith Bruce Lee yeah yeah you know uh youknow because Bruce Lee's kind of youknow I think we made mixed martial artsbecause the idea of it kind of it wasalready around but it wasn't mainstreamby any means but he just kind of that'sthat was what he was all about was thisis or the I guess it wasn't called mixedmartial arts at that time but it wasjust like the idea of pulling pieces ofevery martial art that makes you betterthat was he kind of brought it to themainstream yeah but I think Jean VanDamme is the best fine Johnson what'sthat freakin movie kickboxers was itbreaking oh yeah breaking he was likeeach he's like that's his first stepinto Hollywood it was like I mean thatmovie sucks but yeah I never owned it Ithere was a bunch of b-boys I knew backin the day that would say you'd ask himwhat their favorite movie was andthey're like breaking and I was likebreaking and beats me they would saybreak in do you like themlike it's like a parody of hip-hop likeit's so freakin goofy I mean I don'tknow I just wanted to make some moneyman I don't see some producers they sawsome kids seeing something where theycan make money okay throw some moneymoney back yeah it's it I mean all I cansee is I don't wanna hate on it but it'sso over-the-top goofy they're like Ican't get me how many movies are thereof this breaking one day there's onlytwo or to break into electric Boogaloo Ithink that's it there might be a thirdone I don't know I honestly watch themonce and I was like what am I doing withmy life I need I need to go practicewhat am i watching this crap and I grewup with Battle of teir VHS tapesyeah yeah right that that was the stuffI'd rather watch it's not all the year Iwatched one of the old freecell saysyeah yeah when you could only get theVHS tapes it wasn't any YouTube so therewas like a man fuck VHS man I still havea lot of VHS tapes yeah my god all rightso I switch on it okay I got I've got abunch here I think um yeah like Lords ofthe floor I have and they're the oldstyle elements video there used to belike absolutely made b-boys sessionGermany it was kind of like PC one manoh yeah yeah there was like b-boys allover the world one was swamp battlesyeah that was cool but battle of tier 96man it's my first yes yes it's very goodit's still good yeah yeah and I missquad versus Tyson effect I was a swisscrew it's the only time is Swiss crewone rest in peace - nice kid he wasright here yeah he did like that's I dosometimes the head spin with ball andpeace yeah yeah and me and my brothermet him and we were very youngyeah and his crew came to our city totrain with buzzcity attack and he wasthe only guy approachingus you know yeah and he was pushing usand yeah you know like teachers likedhow to do better head spin and you knowmoves just like the only guy talking tous even we were just kids you know yeahand then we from Tenali wow man you arethis guy and you talked to us and wasthere another seamless crew that wasreally popular back then that went tobattle of the year they didn't win but Ithink they got third place or somethingI don't remember yeah scrambling feetscrambling feet yeah yeah yeah that'shis crew yeah that's nice kid with toughkid he joined them too from badLafayette they bailed South Africa Ithink so I should actually go to thefinal and battle flying steps yeah thatwould have been a crazy battle and whenhe came to freestyle sessions Easterbreak yeah instant breaks man is nowhe's like pushing the community in Baselyou know in our city and they put usyoung kids and like a community centerwith dance you know can yeah it's it'sthere's good things you know okay wellyeah peace well before we do that isthere what's your like Instagram orwhere can people like talk my so Grammyselect my name yes I change a Instagramand anywhere else you want to give anyshoutouts shout-out to my crewRoughnecks and shout out all my friendsthat know me andall right thank you guys Robinson sorrythis show sucks and I don't know how topress the record but it's red it'srecording I know at least I got thatright the second timeall right let's everybody eight[Music][Music]you[Music]
BBoy Ace, a west coast pioneer in Hip Hop, sits down to discuss his origins, work ethic, and thoughts on the culture of hip hop and breakin'. Follow @Instagram: noiseofthebrokeboysTwitter: BrokeBoysNoiseListen to the Audio on all Podcast platforms. All The Links Here: https://linktr.ee/NoiseOfTheBrokeBoysA broke degenerate hooligan documents conversations about being a Bboy, Breakin', Hip Hop, Dance, Art, Music, Creativity, Innovation, and the slow subtle crumble of society in audio form.----more----[Music]this episode of noise of the broke boysis brought to you by outside have youdeveloped a fear of the Sun because youstay inside all day commenting onYouTube videos or maybe you've developedan addiction to posting about howawesome your life is on social mediabetween your day job as an overpricedthrift store clothes model and sidehustle selling your new rap mixtape talkto your doctor to see if outside isright for you five out of five peoplethat have tried going outside have seenpositive results ranging from but notlimited to talking to actual peoplefeeling Sun on their skin moving theirbodies and not caring about the latestcelebrity gossip happiness is justaround the corner and through a doortalk to your doctor about going outsidesome participants going outsidesufferance of your injuries and evendeath from but not limited to hit by buscoronavirus being eaten by wolvesthe Californio them from tencel arekilling and kidnapped by terrace and nowonto the show[Music]in today's episode I talked to the WestCoast pioneer innovator and franklylegendary b-boy and hip-hop figure myfriend and influence b-boy ace pleaseenjoy the episode hello everybodywelcome to the show today I have the manthe myth the legend the teacher thepioneer the father the fiance futurehusband and b-boy he's been dancingsince the beginning of time so very longtime 91 yeah how long since 1991 1991well man you know what's interesting isthat I was talking to someone recentlywas that breaking kind of started aroundlike mid 70s right is that about whatyou think yeah that's that's at leastwhat I've heard so you've been breakingfor probably more than half of thelifetime of hip-hop that's like reallycrazy to even think of that it's such ayoung dance such a young culture that ina hundred years when it's still aroundpeople are gonna look back and go likewhat was happening in the beginningbecause it was like there's so muchfluctuation in and that this era righthere is like really what helped kind ofdefine it to be whatever it ends upbecoming well the thing that'sinteresting to me now is because there'sbeen absent flows to where it starts topstarts stops but from 91 on it's beenconsistent mhm it's been going there'sthere's been no stop yeah so it's gainedas MoMA as much momentum as there's everbeen and it's been a consistent thing sosince this time that that I began youknow and there were some started youknow who it was going a littlebefore I started but it's you know manyhave stopped but the whole thing is keptgoing so that that's a beautiful part ofpop that yeah yeah yeahfor me you know I got started I had nointerest in dance I didn't startoriginally as a b-boy interesting Ioriginally started as a house dancerWest Coast Oh a West Coast house yeahwhich is different from the house thathouse now yeah yeah that that is knownit's like a mixture of New Jack with alot more yeah upper body movement I seeso you know there was there was New Jackand like that was fun mm-hmmbut for me I didn't really have aninterest in doing that my brother was areally good at New Jack he was littleyeah and he tried to show me and Icouldn't do it like a lot like you knowlike I struggled even with somethingthat was less complicated okay but Ididn't have an interest in it so I waslike I'm cool on it yeah no big dealI want no part of it then the person whoended up being my teacher I and crazilyyou know it's crazy to say but to thisday one of the greatest dancers I'veever seenAaron L Coloma Oh from Palm Springs okayhe was a house dancer yeah he used topop when he was little and he went intoNew Jack and then he went into house andsuper talented and he saw my brother whowas really good at New Jack and hewanted to teach little kids to be to begreat house dancers yeah yeah yeah sohis intent was to teach my brother andso that's how I met him and I broughthim to my house to teach my brother yeahand while he was waiting for my brotherhe was just moving and that was thecraziest thing I ever saw yeah life likeit was literally like poetry in motionhmm I was tripping how old are you atthat time oka hot 16 some along thoselines I believe I was a sophomore inhigh school okay second half and I sawhim move and I just couldn't believethat somebody can move like that yeahlike I had never really seen anythinglike that and seeing it in person is acompletely different experience hmmso I was bugged out and I just kind ofknew that that's what I wanted to dothat's cool yeah it was it was harassedhim I literally harassed him for acouple weeks thank you to teach meWow and he wouldn't because he told mehe said do you understand like you can'tdo new jackand that's like basic arithmetic yeahhouse is far more complicated so it'skind of like doing pre-algebra yeah yeahhe's like you want to jump steps youwant to go straight to precalculus yeahalgebra whatever it is without evenknowing basic arrhythmia don't even knowhow a plus sign yeah you can't even justmake your lower body coordinate muchless upper body and lower bodysynchronized beautiful movements okaybut I was undeterred okay it was I sawit and from there like I just knew I hadto have it okay and so I just kept afterit yep I kept bugging him and finallyone day all right all rightI'm gonna teach you one step you'regonna learn that step and then you cometo me with that step and I'm gonna teachyou another step and I was like dealokay deal that's a good deal yeahbut I had to work for that one step yeahyeah and but he but he realized I wasnot going to stop mm-hm andfrom there it was a rap I I was 24/7with itwake up move act is practicing try andtrying to coordinate this uncoordinatedbody of mine yeahdirt at school during nutrition duringlunch after school at practice at hishouse before bed it was crazy I was amaniacyeah I was a maniac but I wanted to be Iwanted to move like he moved and I knewI was far off I was I was not you know Iwas realistic about where I was at himwhere he was at but I wanted to getthereyes quick as possible so I was 24/7 withit soothing yeah to the point where heliterally had to pull me aside at somepoint and tell me that you know yourmother your mother misses you yeah yeahyeah yeah love that love yourdetermination but you gotta sleepsometimes the guys are getting a littlea little annoyed that you'd never stopyeah and I was hurt I was hurt yeah likeI literally avoided didn't see him for awhile taking different routes to classreally yeah yeah yeah and literally wasthat like after a week we cross pathsand he kind of cut me off and was like aman like where you been like and he'slike don't take it that way you knowlike we're not saying stop you know theguys you know just just take a couplebreathe you know like breathe for ya youknow but yeah it's so that began my longjourney at the beginning I was gettingpretty good at house you know after agood little whileand then we went up to an event calledFilipino weekend up in Delano just pastBakersfieldyeah and that's you know the the groupwe were with was boys and style bis andso we were going up there and you knowwe were going to meet with the rest ofthe group and we're under the assumptionthat a group the soul brothers which isfamous house moved from LA we're gonnabe there and you know wanted to battlethem yeah yeah and they end up never endup showing up our cuz one of the crewmembers cousins from San Jose a groupcalled dangerous image came down andlike they were gonna be with us yeah andthey were a choreography group okaythat also braked because San Jose wasbig into braking amount of time and weall got bored and somehow it ended upbeing a battle between dangerous imageoh and you guys and B is okay except forthey braked him we didn't so you knowthey were they were really good yeah andthat the main guy from their group was awalks guy mm-hmmthis guy Alan hmm and he did walks evenhe was really good he notmerry-go-rounds and all that but he hadreally good walks yeah yeah hence theinspiration yeah when we started thevery next day we stopped Houston and webe started breaking is that quick it wasan instant like - it was like watchingmagic you know like really that thepower precision grace of you knowhigh-level break-in yeah it was like wowlike okay that that that is you know itwas inspiringso yeah we you knowwe started break-in Aaron L was breakingbut he was popping uh and you know andhe used to do that back in the days andsince he was such a good dancer and socoordinated he picked up like oh he wasan amazing popper like amazing but yeahthat that became our road and since ourmain inspiration from the opposition wasa walks guy mmm bis became a walks yeahwe we did spins we did you know all thespins but we care deeply about walksyeah that's that's kind of crazy becauselike definitely you guys like it it'slike walks and for people who don't knowwalks it's like the float how do youexplain yeah well that that you're onyour hands you're walking on your handslegs are off the ground and you're kindof going in let's ignore loading yeahit's like a pocket of air is underneathyour body and you're just walking aroundon your hands and there's so manyvariations of it but yeah yeah and youguys innovated those moves which iscrazy that like I guess before you evenbreak you saw someone else like kind ofwell I mean there were guys in the pastyou know like we didn't really know himtoo much except for when we startedbreak-in since there were no examples ofbreaking like we saw it in personmm-hmm and then when we wanted to startlearning we're you know just a fewbreak-in yeah you know beat Street likethose were our only examples of breakinbecause there was no YouTube there wasno footage it was what you saw in personother than those couple movies that wereon some VHS tapes you know and of coursethere were guys you know in B Street andbreak-in that that did you know somehigh-level walks you know there's buckfor of course oh you know here is hisTurtles he's super fast you know amazingbut not not a lot of and then of coursein break-inthere's handyman you know amazing youknow his amazing walks but that thoseare only a couple variations that wereshown on tape not the rest we were justgoing and figuring it out yeah and youknow hearing from some of the oh geezfor master movements you know giving usideas on things that they had done orseen or heard about you know so theywere kind of just giving us some inputtry this oh there's a walk like this allthere's you know but they couldn't do itthey were already done but that leasewere given us the ideas and kind of aframework of what you know just somethings to try and work on uh-huh andfrom there we were just working at ityou know like determined to get good atthat no yeah you know and then of courseit ended up leading you know afterseveral years to higher level walks I meand my brother were teaching the guysfrom 101 up in Pasadena and you knowthose were guys like brick Rand dabstones which at the time his name wasthere because you know they used to tagso okay and did you ever do it I wasnever in attacking oak I just straightinto Jane into dancing yeah I wentstraight from like sports into danceyeah you know but yeah you know so thoseguys you know we we taught those guysand then had the scene was just you knowgetting a little yeah so what inspired Iguess your creativity within that danceI mean I guess obviously going fromhousing to to breaking and I mean Iimagine a lot of a lot of that hadinfluenced your style I mean becausehousingor at least the housing from back thenwas very kind of kind of jumpy and rightwell yes I believe LOI well very flowybut you know and there was differentstyles in in house you know it was notsame movements there were guys that hada very rigid hard-hitting style therewas others they had flowing there therewas a lot of popping elements oh yeah init so so even in in the West Coast housethere there was a lot of different looksyeah you know that that kind ofdifferentiated each you know dancers ownparticular persona yeah you know and theway they moved so you know when westarted moving into break-in we were itwas mainly power based mm-hm we did somestyle but from what we had seen becauseour experience was very little and therewas no footage there was not a lot ofdifferentiation in style so I kind of wekind of did it just to say we had stylejust to kind of check that box but it itwasn't at least for myself I was nothighly inspired to do style because Ifelt like it was in a box from what Iwhat I had seen the experience it wasn'tuntil the tapes of storm and them thatkind of made their way over here thatlike the realization that oh you can doso much with it it's it really is justlike house yeah like it really is youknow style is really as far as your mindyour creativity your persona yeah yeahlike yeah levels personality silly sillythingsyeah that end up looking dope you knowlike there was just that thatrealization that oh like there's nolimits there's no like yeah like it'sdance just at different levels and yeaha different way but it's still dancejust just like house so from their styleit you know I was all about that youknow like it it became a very fun and anever-ending puzzle that to this day Iwork on yeah yeah it is a puzzle I meanwhat drove me to breaking actually issomething similar is that it there wasno limit you can come come into it andjust kind of have fun with it dowhatever you want make it work you knowreally like if you had a dumb idea tosee to try to make something work justroll around on the ground see make tryto make it work you know some of themost amazing steps that happen are byaccident definitely you know just fromthe attempt of something new you youprovide yourself with an opportunity todo something that you know maybe itworks and that's amazingor it doesn't work out but it turns outto be a better step yeah because it wassomething that your body justautomatically had that on a DNA levelyeah that you were not aware of you knowwith your own consciousness but on amore subatomic level yeah your bodyalready had it yeah in tow and was justready for you just for you to give itthe opportunity yeah I'm completelyconvinced that every move in braking wasfrom someone just falling down and goingoh let me try to control that and do thesame thing though but you know and justmake it look cool you know well wellyeah I mean it it you know it's aconstant thing to where you're trying tolike expand or go into neutral unchartedterritory yeah you know when we firststarted like you know for me the thingthat keeps me coming back is I know I'llnever have this bad boy figure it outyou know but it's so fun just becauseI'm I'm always searching for things likesomeNo you know like like as if I was abrand-new b-boy who it was firststepping onto the floor for the firsttime and I have that same thoughtprocess and what I love is the guys youknow Rob and Cujo and all the other guysyou know that that run in our circlehave a similar mind frame yeah of playmm-hmm you know like what we do is veryserious but we play like children youknow like it's it's something thatbrings joy that's something that we youknow approached like the first timewe're not afraid to give each otherinput or to to move in a weird positionyou know just because yeah there'ssomething exhilarating about about thatjust playing around and just planningyou know something pull one actuallytold me is that the reason he likes theword b-boy rather than somethingdifferent like be men or the adult orwhatever is that really you have yourown adult responsibilities but when youcome to break you are letting your innerchild to come out to play and that's whythe word b-boy or b-girl is moreappropriate than something like a B manor B woman just because you're lettingyour child come out and have fun and I Ithink anybody who is I don't want to saydoing it properly because not to demeananyone else but at least for myself tome that's doing it right yeah it isallowing yourself to be freeand I think when you you knowparticularly associate with childrenthere's a freedom that they have that asadults we lose many at least many loseon various levels they they lose theirfreedom they lose their they have thesepreconceived notions that oh well I'm anadult now yeah and so I need to respondthis way or I need to give thisI need to do you know and that's not thecase that you know you could absolutelybe a responsible person a caringindividual that handles all the variousresponsibilities of your day-to-day butstill be that child to still carry yourinner child in various parts of yourlife I mean I still I still watch animeand cartoons oh yeahto this day yeah yeah you know it's it'sa you know it's funny I had this thingwith my yeah I'd said the other day wewere watching something it had to dowith you know fairy tales type stuff inand for a second she seemeddisinterested I said okay you know let'sturn this off I'll watch this later andshe's like oh no don't be like thatshe's like it's just you know I'm not achild I didn't want I said well why doyou you know like why why do you have tolose your imagination just because we'rea certain age why why do you have togive up your imagination why do you haveto give these things up like we handleall the things we need to handle youknow like they're not hurting you thatthere is there is nothing wrong withhaving an imagination and creativity andholding on to that that childlike partyyourself and and I think it helps usconnect and you know even with our ownchildren you know why like I think ourchildren are more connected to us andlove us all the more because weunderstand them just you know on somelevel just a little bit different thanmaybe a Parenthood isn't holding on to apart there yeah their inner child yeahthis is like a subject that's prettydear to me because you know my mothershe's an artist and she's you know shewas working with a lot of people thatwere you know under they had a lot ofproblems drug abuse all sorts of stufflike that so she was running thisprogram where she would teach them artkind of as a therapy and they werefinding that when these people reallyhadn'tdone anything creative in their life fora long time and once they started doingthat creative these creative things itstarted like sparking up a change intheir life for the better so that theywere more willing to get their lifetogether and so it was like somethingthat they were just lacking as a humanin their life and so it made me reallythink that or believe that creativity isjust like this fundamental thing thatthat humans need and I mean and I thinkit's deeply connected with like play youknow this is our way we play well I meanlike of course people and is one thingyou know being able to play laughtermm-hmmyou know of course the scientificstudies you know yeah yeah how laughterand being able to tap into things thatbring us joy mm-hmm you know life ishard before you know particularly foradults a lot of responsibilities to beable to take a moment for yourself to beable to put all of that on pause and tobe able to let go of everything in tapinto something that is that fulfills youthat brings you fulfillment brings you ajoy you know and different people findit in different ways you know andcertainly you know dance does that forusbut yeah it's a it's an important thingto be able to find things that bring youmeaning that bring you joy that thatallow you to play and create you know inone form or fashion mm you know whenpeople talk about me and dance and youknow like I guess I still look fairlyyoung you know I'm 45 now but you knowmost that speak with me think I'm muchyounger and it's just because I thinkit's because I allow myself I make somefor myself you know there there's adifferent side different purpose whetherit be taking care of myself you knowdance has done a lot for me you know theway I take care of myself the way I eatsleep the way I you know take time forexercise stretching and and that's allfor my dance yeah you know so for medance has been you know a true blessingjust because I would have to find themotivations you know to somehow pull anddo those things on my own but you know Iwould have to generate it somewhere elsebecause for me my motivation for doingall of those things has to do with myperformance as a dancer and you knowit's funny I was talking about storm asyou know motivation one of the things Iliked is I'd seen him on many occasionsbut never spoke with them because he wasalways surrounded by so many people somany other dancers they had admirationfor him yeah because of course it'sdeserved but I never wanted to meet himin that way because even though I haveall the admiration in the world for howhe influenced me I don't think any oneis better than me I don't think I'mbetter than anyone else but I don'tthink anyone else is better than memm-hmmyou know we're humans yeah you know thatinspire each other but I didn't want himto see me that wayto where everyone's like tugging at hiscoattails yeah so so even though I hadopportunities I never spoke with him andthen one of the times at one of the freesaw sessions I had seen him with theguys from soul control with which arelike my little brothers Charles and Cujoand they were sitting and just talkingwith them and I was like amazing yeahbecause those are my guys and I couldjust sit down and talk uh-huh you knowand I got they introduced me to him andI had the opportunity tobe able to let him know that I reallyappreciated what he had done for mehelping me I inspired me and helped meto understand yeah that that it reallywas like dance you know and made stylefun about a week later he was up northfor an event up that way and Charles wasgoing up there to hang out with them andand kind of take care of him show himaround drives him and had invited me tocome I went up there and so from there Igot to be around him more and just talkyou know and with and humanized walkedwell yeah yeah not not just about dancejust about whatever oh yeah and you knowlike I think one of the things heappreciates is when people just treathim like a normal personyeah yeah like you know he understandsthat that he's had impact but he heknows he's a normal guy too you know andwants to have stimulating conversationwith people who who treat him just likeany other person and we had that youknow and to this day we do I was talkingwith him the other day and we'rechopping up over some other stuff youknow but we were able to build on thatand then when we finally danced togetherlike we we hadn't you know we just hungout and talked hmm philosophies onwhether it be life b-boying to dance theway we saw it and we saw things verymuch the same and then it wasn't untilthe very end of the weekend that we wereover at mega man's house and it was Ithink his lady's birthday and we were inall in the living room big wood flooryou know okay and we started off lockingand we were having fun that way and thenI said oh now I feel like breakingand we we started breaking he went outthe guys were going out he went out andthen there was a time I was gonna go Iwas gonna go out and I went out and Ithink he like he just wasn't he didn'tthink that I could I guess dance on thelevel I was dancing huhso I got up and he was about to go outand he kind of had like a uh like andthen he pushed somebody else out andthey went out instead and then it's likeand then he ran something through hismind and then of course right after thatperson finished she went out anddestroyed it yeah but me and him musthave went like 20-something around ohwowyeah like we were just having funYelp plane and and I didn't know it atthe time you know cuz I was just havingfun exchanging and it ended up becominga thing where a lot of the guys werewatching and meet me and storm wereexchanging to you know just playingand I remember Gerald rest in peace youknow one of our other Gerald caster lowhe had come in and said yo Charles wantsto go like like you know we're waitingon you guys and I was like oh storm wegot to go and storm had told generallike yo tell Charles we'll be out in alittle while and then he looked at mesaid yo ace let's keep goingand then we just kept going for or awhile longer and when we left you knowhe was like really happy you know I meanI knew I was happy but he was havinghe's like yo ace like I haven't dancedlike that in like I can't even tell youhow long you know and I was like get outof here bro like you know like you're ina different country like every week youknow surrounded by amazing dancersuh-huhno no no you know it's different youknow like people either are in likelooking like look at me like too high orthey're trying too hard to impress meyou know like instead like just six hesaid me and you we were just kind ofhaving a conversation you know and andthat's the whole thing about dance danceis a conversation you know like likehe's like you were doing somethingthat's giving me ideas and I was goingout and doing something then you weregetting ideas and he like he said youknow that that I haven't had that in areally long time yeah you know wheresomebody just had a conversation with meyou know and he said like for me thatthat just blew my mind and like I saidyou know we well we're kind of I don'tknow to me kind of like kindred spiritslike you know like we see things a lot alot the same way and you know I feelblessed that I have people like Robynpuja you know like we're all kind of inthat you know like I try to surroundmyself with people that are like-mindedyou know that you have thatopen-mindedness and and if they don't Itry to cultivate it yeah yeah you knowand help them to understand that becauseat least for myself that's where I foundthe real joy in dance is in the exchangein the conversation in being open-mindedto new ways of moving and takingsomething and flipping it yeah you knowon its side on its back on its headwhatever it might be you know cuzthere's no one way of looking at thisthing like you know and the beautifulpart is we will never have this thingfigured out and it's what keeps mecoming back yeah because when I come outto a dance floor when I go to a practicethere's an exhilaration that I have noidea what's gonna happen today yeah yeahand that's amazing uh-huh you know Ilike I gave up the preconceived notionoh this is what I'm gonna do this I havea few ideas like oh I want to try thistoday on that I just give it up becauseI found that when I go out withpreconceived notions that oh I'm gonnado this this this and this you think toomuchthat's what it becomes well I mean inthe end like we talked about thatsubatomic level how you go in and you'regonna do this move and it doesn't workout and sometimes it works out betteryeah because your body on a subatomiclevel new nope we're doing this yeahwhen you try to work against your bodywhen you work you know like your body'sgonna win and you could just come outall kinds of ugly you like you know likeat some level you have to give in towherever your body's at on that day likeoh I'm will work on this if it if yourbody says nope we're doing this insteadyou got you like you're best offtrusting because in the end your yourDNA knows better yeah for me like whatI've always done is and what I've beentrying to do a lot more is like when Itrain I'll train you know differentsequences of movements that I think workwell together but when I actually danceyou know perform or battle or whatever Itry to just not think of anything I justtry to focus on music try to focus onwhoever I'm battling or whatever I'mperforming at just focus on the momentand just let my body do whatever it'sgonna do because I've spent all the timein practice working through differentcombinations that I think makes sensethat I trust that my body's gonna knowwhen to do that or when not to do thatso if I just focus more on music andjust let let it happen it just feelsmore natural to me it probably looksmore natural to and then hopefully thosecombinations I have been practicing maketheir way out in some form and you knowI'm happy with that too so it soundslike that's maybe like what you do aswell yeah I mean I have ideas you knowlike I think it's it's it's at least formyself good to go out like okay I wantthese things to come out at some pointin time you know yeah like anda lot of the muscle memory will kick inyeah it is moving yeah you know ifyou've put together certain combinationsand certain movements you know they'regonna come together at some pointthey're gonna execute just becauseyou've done these different things butof course there's a spontaneity to ourdance and you know working in with musicand all that you know and of course Ifeel that music is important I feel likeI think there's some people that thatplay too hard to the music to where theystart to kind of lose themselves thatand when you hit him you know and and toeach their ownyeah every single beat you knowsometimes when people work every singlebeat then they they kind of lose I guessa certain moment like for me like I'm inthe flow of the music the way I dance Istay in the flow in the pocket of themusic and then I accent different partsthat I want really to stick out or standout and being in that wave the rest justgoing and flowing through the rest ofthe music you know and there are somepeople who are amazing hidden everyevery single beat for me I I see a lotof hit or miss with that though toosometimes it's a super amazing momentthat's etched in the history of timethat's enough well there's others thatit was like I kind of lost the messageoh yeah like they're trying too hard todo every single thing and it's like okayI don't they stay in the story you'reactually trying to portray now yeahbecause I mean at least for me I feellike when we're you know when I go outand the dancers that I seem to gravitatea little bit to a a little bit morethey're they're moving and they'retelling some sort of story you knowto make you know beginning a middle andan end you know and just for me the onesthat every single be every single timelike I said there there are somespectacular moments you know some roundsthat will always be remembered but thenthere's also some times that you areleft walking away soon I didn't reallyget what they were trying to tell me youknow just me you know that just the wayyou know I see it so so it's definitelya catch-22 and it's a difficult thing topull off and only a certain few arereally at least to me that that I'veseen that really pull that off and makeme say oh wow okay they're like thatthat they pull it off more times thannot yet they have a higher ratio youknow higher percentage of being able topull it off what what is one of the Iguess highlight moments that you've seenI guess in all your history of the dancewhat's something that stands out I meanobviously your story with battling stormis probably a highlight but what aboutother things maybe something that youmay be a battling with we were we weresharing you know yeah it was aconversation yeah of course that was ahot like you know like I've just had youknow with the moments there's there'sjust so many you know I mean just nojust sharin in the community seeing allthe different generations of dancers youknow come through and give their givetheir party inspire in their way andthen being able on our end to be able topartake in and share with them like asyou know whatever practice that I'm ator event if I see something that I feelcan be helpful to another dancer youknow I'll usually make my way over andjust kind of throw it out theresay you know like this is take it orleave it you know you don't youcertainly don't need to use this butthis is this is something that I seethat I think can help your dance but youknow like like I hope you don't takethat you know the wrong way yeahbecause we've always been a firmbeliever you know me and the guys havealways been firm believers in in helpingbring bring the next dancers or evenveterans like it doesn't matter likeI've had guys that have come to meyou know so many like you know and sayhey you know I know people look at uslike legends you know but like we wewant to grow to like you know what likedoesn't mean that that we don't want tolearn yeah you know and I knew what thatkind of meant like that they werelooking for help and for me like I'llhelp anybody who has a decent heart youknow so I my response has always beenlike well yeah of course like if we'renot learning and growing what are wedoing here you know like anyone whothinks they have this dance figured outyeah they're out of their mindyeah and they've stopped growing yeahyou know that that that's two things cuzthe moment you think you have anythingfigured out growth is done like there isno more growth the moment you think youhave it figured out you're wrong youdon't have it figured yeah because it'san endless thing but if for those whoare you know lucid or out of their mindenough to think that they do havefigured out and oh I'm on this level sothe growth is done like it you stop soso anyone who who has ever like a like Isaid I offer it up you know to to anyonejust really I'll walk over you know andoffer it up so if somebody were to askme you know in many who are consideredlegends of coursemany you know they've been my studentsyou know and others that have made theirlegend status on their own but just arestill on the path of growth if they'veever had a question or wanted to learnsomething I'm all for it you knowbecause yeah like we don'tlet's keep growing let's keep doing ityou know feel free to ask me anytimelike I love it you know it'sever-changing thing I mean hip-hop Iguess if you look at it throughout itshistory every couple years it's adifferent thing and so if you're not Iguess you know evolving with it you'realso you know you're losing yourself alittle bit you know kinda you know asfar as ever evolving it on some levelit's fads - oh yeah you know on somelevel things come and go so you knowit's cool to pay attention and to keepgrowing but if it's something that thatcalls to you - cuz in the end you stillhave to be true to who you are as anartist yeah so there's a lot of thingsthat I see that like look great but Idon't feel they're for meso I continue to grow in the ways thatmove me you know because if we'reconstantly worrying about what somebodyelse is doing and what's in right nowthen we're never really gonna findourselves you know like we're nevergonna find who we are as a dancer and tocontinue to build us like to buildyourself as an artist so but if so youknow it's good to pay attention becauseif you see something that says wow likeyes I want to use that and incorporatethat into my dance because I think thatthat will take what I want to do and youknow change you know take my art where Iwant it to goyou know like we talked about at one ofthe last practices a vision a vision foryour dance you know you may not be ableto do everything that you want to do butI think any any great artists has hadsome sort of vision for what they wantto do like some grand scheme like Ohlike that's kind of crazy you know andyou may not be able to do it now but ifyou have when you have that vision youknow you kind of start doing differentmovements and different exercises andstretches and whatever else whateverelse it might be to kind of work towardsthat goal you know to work towards thatvision you know and then of coursethere's a whole lot of play that comesalong that that will change your visionaround but but I feel like you know allthe great artists have to have some somesort of vision you know even if itchanges along the way you know to have avision and to work towards a vision youknow and not be to be cognizant ofwhat's around you but not consumed towhere you have to do what they do toknow like okay you know that's dope andI recognize that's dope but that's notyou know I'm gonna continue to do what Ido and take the parts that I really wantthat I feel will take me towards myvision yeah yeah the thing that me andVince do a lot is we'll see what otherpeople are doing you know what the fadreally is and rather than try to do thatwe'll go okay if someone does thatagainst me in a battle like what am Igonna do well ya know I mean I know youcan respond to it well especially ifyou're looking for battles you know theresponses to to questions you know oryeah to be able to respond and kind ofyou know in a battle you knowthis is what is generally out there yeahthis is gonna come and you have aresponse you know those are just goodbattle tactics to be able to have aresponse within what you did well yeahwhat I do yeah you know but but youalready have answers to the questionexactly you know so yeah those are thoseare things that are very important andthen of course like you said you knowand then things like battles and stufflike that that's a that's a wholedifferent you know it's its own elementand conversation and being able to Imean of course you have to do what youdo but be able to like even the way wepackage what we do you know ourmovements and and the packaging anddelivery of what we do can be the energyin which we do what we do it's verydifferent yeah you know like yeah youknow it but I think one of the importantthings is that it comes from a genuineplace you see a lot of actors you knowin the scene to where yeah it's that'snot really who they are it's not agenuine part of their dance actor I'venever heard someone say that but that'swhat it is yeah it's acting you know andthe ones who like are best at what theydo I think more times than not things docome from a genuine place yeah that'swhy it receives more credit like thennot because people can fill somethinggenuine behind their movements and atleast for the ones to me that that standout and over time like they still likenot just when in a jam and not just whenin an event but being admired being ableto be understood as a pioneer of whatthey do and to be like to drawinspiration from otherto where because they just see somethingthat is more genuine in in in theirmovements than the typical person whoexecutes things and wins that Jamthere's a lot of people who win gemsthat are not maybe and never really beremembered you know I'm sure there's somany people you know when you look backyou're like who won this gem who on thatJam and not remember them whereasthere's people like Rob Silla or a Cujoyeah that have lost more gems than theother one and you remember there but butthey will when when their name is talkedabout people know and are like wow likethat guy is amazing I'm glad you broughtthat up because I have the same thoughtabout it is because there's so manybattles I remember vividly because youknow either I was there I saw footageand I was like this is a crazy amazingbattle and I can't remember who won youknow that battle or who won the jam oranything about it other than the battleand who was in it I could tell youexactly what each person is wearing orwhatever in the battle but I'm like Ihave no idea if they even won the gym Idon't even know where the jam was youknow what I mean yeah and I could careless to be honest but that battle therewas crazy and it's cemented in my brainas like one of the coolest things I'veever seen you know and so it just goesto show you that the jam is not thedefining thing it's and the win andwinning a jam is not the defining thingit's it's like the moments that you'recreating the moments that you create theway you inspire and an hour inspire byothers and the way you inspire otherswith dancing from a genuine place youknow just yeah though though manydancers have come to me over the yearsand said oh what do you think I shouldwork on and what would you recommend forthis you know Ana's like okay you knowwe'll onewhat is your end goal are you looking towin a jam or are you looking to beremembered mmmyou know because those are twocompletely different things yeah yeahyou know and then I usually bring up theanalogy of things like Cujo and Rob andstuff like that you know and that thatwhen people bring up their name they'realways like people now automaticallyknow who they are yeah you know andthey're inspired and think like wow likeyeah he dances like nobody's businesslike I don't even know how he came upwith that you know whereas there's manyothers that that are amazingthey you know they are they execute youknow mm-hmm well maybe they just haven'tfound their Oh something that makes thatstands out but solely yeah it's wherethis belongs to this person like nonobody dances like this guy you knowwhen somebody tells me like Oh ace youknow like I don't know I don't think Idance like okay I suppose maybe becauseI don't think too much about my owndance I just enjoy the process always inprocess and you know and I just there'sa just a genuine joy in dance but whensomebody comes to me and says oh manlike yeah like when you dance like Iknow it's you like nobody dances likeyou I mean like you bring that brings mea joy and satisfaction because that's myend goal I don't know if I'm if I'mdoing it you know and on to what levelyou know but for me I want the freedomof being me I want you know when I danceI'm trying to just find me all the timeyeah you know and and it's a continualthing because we're ever-changing we'reever-growing you know like the me ofninety-one should not be the me of nowmm-hmmyou know I should be a different me soeven even when I go out and dance todayI'm searching for my truth today who ami today you know and just being open toif that'sdifferent you know I think for the mostpart it's going to there's gonna be afeel of who you are but but new aspectsof yourself yeah you know and I don'tknow for me that that's what II thought about creativity as an artistit's not to just hold on to you know tofind yourself but doesn't mean you haveto be the you of three years ago or lastweek or you know like that person wasamazing at that time love it cherish itand move on move on because you can'tever recreate those moments thosemoments were wonderful at that time butif you're stuck there you know it'snever gonna be the same you know you cando the same combination it's never gonnabe exactly the way it was at that momentin time on that day and you know andyeah I had to learn that a long time agotoo you know I had this some differentamazing moments you know that that justcame about and I tried to recreate themand worse worse sessions ever justbecause that moment had passed you knowand the moment I came to the realizationthat you gotta let go you know andunderstand that that was a beautifulmoment at that time but that is overyeah and and trust like we talked abouton a DNA level that whatever your bodyis telling you and wherever you're at atthat point in timetrust it go with it as long as you feelyou're notimitating or copying somebody else youyou're kind of finding your way andfinding your truth for that day that'swhere the beauty lies kind of embracingthe view of right now and moving with itof course because I know buddy's justgonna change and being a completelydifferent person but you can finddefinitely new elements of yourself youknow if you're open to it and for methat that's what makes you knowbeing an artist so much fun it isfinding these new parts of yourself likeevery single day yeah yeah so if youwere to go back in time to the 91version of you and tell that version ofyou I guess some advice what would youdo what would that be oh god you know II'm not really sure about what I wouldtell myself back then because I'veenjoyed the process the whole way youannounced observe you know like you meanobserve myself of old or observe you nowgoing back in time to see the 91 versionof you would you say anything or no oryou just observe or just well you knowit that's a double-edged sword toobecause yeah it might change well youknow like for me I've enjoyed thejourney yeah the journey is fun it's allabout you know like it's all about thejourney like you know the beauty oftoday like I've had so many amazingmoments throughout my life but I thinkit's because I understand that I'm onlygiven today I don't like iived at thispoint just because I woke up everysingle morning and said well I stilllove it so I'm gonna do it like that'sitI've never in my wildest dreams wouldhave imagined that going on near 30years that I'm still you know 45 yearsold still busting still still breakingyou know stay still dance in period at45 you know when I was a teenager youknow 16 year old you know a 16 year oldkid started we thought somebody who youknow busted for nine years was like whoaat that he's so gee like that's coollike nine years yeah like in here yeahmore than tripled that yeah you know and[Music]yeah like that's it's just crazy to eventhink that that we would still be denserand andlevel like you know that that's you knowone of the things that me and storm weretalking about the other daywas the the joy of dancing still at highlevel having high expectations forourselves and saying I never ever wantold man props like I'm sorry I dancebecause when I dance you know like I dothe things I do I take pride in my dancelike I love the process but make nomistake about it when I'm on a dancefloor with other dancers I want them tounderstand that I'm a bad man yeah thatthat when I do things that I do thingsthat that they can't do even youngeryeah like you know doing walks clotheslike you know certain Power Movecombinations that I can do it 45 that itthat some of the younger cats can docats don't do walks like me and Cujoyeah yeah yeah they just don't it's it'snot the same the the west coastmerry-go-rounds Deadman's all thedifferent high level sky turtlescarousels whatever you want to call themlike all the different variations wewalk around that we glide around a roomwith our body fully extended we're nothopping in one place you know and I knowa lot of people they don't know theydon't understand you know and on somelevel yeah it's weird and arrogant butthe walks that are out there are on anelementary level in comparison to theway that me and Cujo dueled is like ohit's a lost art I think I mean a lot ofit absolutely it absolutely is andpeople will never understand it untiluntil they try it when they when theystart down the journey of doing it theway me and Cujo do it they understandthere they have a what that hell momentlife you knowone of the homies gastro fromGuadalajara he was down here in LosAngeles dude is so strong super superstrong has amazing walks the wayeveryone else does him mmmhoppy well you know no problem knock itout the box I started taking him undermy wingyou know Cujo was trying to show himselfand then he started showing up andwanting to practice with me in Seoul Itook him under my wing and started toteach him the way me and Cujo did do andlike I said can do it the way everyoneelse does it like nobody's business andhis can hold his body straight out likenobody's business very strong butlearning how to do it the right way theway we do it West Coast walks hestruggled struggled struggled struggledand he was like I'm so tired brothank god this is so hard bro like youknow like month you know good monthworking with him regularly strugglingyeah and finally he started to get it atthe end but this was like like a regularthing that I was working with himimparting my knowledge telling him don'tput your hand here and get your hipsover here faster do this you know alongwith all of his already previousknowledge and he struggled with it andhe's starting to finally get it at theend but then he had to go back toGuadalajara and I told him practicepractice practicebecause high level walks is not likeregular moves yeah like if I were toassociate it regular like most movesthat you get it it's like once you getit you get it it's kind of like aone-night stand with high-level walksthat's a marriage you're in a long-termcommitment you better keep at it becauseshe will get up and walk and leaveshe will leave you and I told him thisabout six months you know to a year likebetween there went to vacation you knowwhen on vacation in Mexico was downthere and got a lotta met up with himand his crew and he told me I'm so sorrybroI lost him like I didn't I didn't listento you I didn't practice them andthey're gone and so I told him okay youknow I'm gonna teach you again like youknow and we'll work at it this timestick with it I have to see his accountto see where he's at but it just showsit just it's an example of how just howdifficult high-level walks are the wayCujo and I do them really are and I takea lot of pride in that and I can stillmean Cujo both can do all of our walksyou know different combinations thatwe've done from the past we can still dothem at a high level in our 40s yeah andfor me I take a lot of you know like themoment I I can't dance the way I want todancethen maybe maybe I'm gonna stop I don'tknow like I haven't gotten at that pointyet yeah you know but but I don't wantold man props you know I don't wantsomebody to say oh man you should haveseen ace back in the days like oh likeyou can't you can't tell can't see youcan't see it now you know but he used tobe really good yeah you know the thingthat brings me most joy is when a dancerwho doesn't even know me comes over tome and says hey yeah like hey what'syour name like where are you from likedude you're really good and then when Itell them who I am and a little bit ofmy history for them to have that youknow more like like I love that you knowbecause those props from a really gooddancer you mean more oh I mean you knowmore times than not it's a really gooddancer you know somebody I say all thatguy's pretty good you know and then theymake their way over and reciprocate thatsame love and admiration saying hey whoare you like you know when you walk overto somebody that you just don't evenknow and say I kind of have to know whoyou are like I think highly enough ofyour dance that I want to know who youare and then you know then to find thehistory later you know like and then ofcourse the admiration is much deeperonce they find out like well you're thisperson you're a kudos teacher you'rethis person's teacher you're four howold are you yeah all 45 what you knowlike like for me that is yeah there's asatisfaction and enjoy because just asan artist I want whoever it is it givesme respect or respects what I do I wantit to be from a genuine place like ifit's not there I don't want it becausethen that will feed by motivation towork harder to get back to where I needto be yeah like you know and there's youknow like I understand there's good playpeople come from good places whenthey're being nice but there's alsosomething that handicaps the otherperson whether it be kids or girls orwhatever it might bemm-hmm the reason why we've got into thepeople who have gotten good it's becausethere's there's a need of wanting to beappreciated to be recognized to bevalidated by others that they admire youknow there's a hunger you know not tosay people don't fulfill their own cupby like you know being an artist butthey're I firmly believe that you knowand I think that that we all want to berecognized by others we admire you knowwe want to be validated and for thatperson say that dude is good you knowlike III really you know like what thatfor the person I admire admires what Ido yeah Wow like okay that's you knowand that feeds our hunger that feeds ourflame you know so whatever it is Ialways want it to come from a genuineplace you know and like I say meansstorm we're laughing about that likedude like I call it quits you know likeif I can't do what I do and and feelgood about my dance when I step on adance floor like I don't want anyonegiving me pity props I don't wantsomebody saying oh that was you knowpretty good good job don't do it walkawayyeah like oh you still got it yeah likeit's not that you still got it it's likeit never left it was always here and itgot better so that's that's what you'regoing foralways I'm looking to grow I'm lookingto be a factor I'm looking to inspireyou know myself and others you know likeand I think a lot of really greatartists have this about themselves tothat they are their own biggest criticyeah you know like yeah I know I like wetalked about having a vision you knowlike I know what I want to do and I youknow it's something that that's been adouble-edged sword because I've alwaysbeen hard on myself to I could dosomething incredible and it didn't workout the way I wanted to and I kind ofwalked away like walked out of thecircle like it wasn't amazing you knowwe're where others are like you knoweven pump you spoke about popo used totell me to he had to kind of help mewith that too yeah where he's like dudewhat are you doing like you didsomething amazing and you walked awaywith your head down like he's like don'tthat like you know play you know whetherwhat it would like nobody else knew thatyou messed up like in your own head youmight have messed up yeah but nobodyelse knew that I was like I'll tell youthat right now nobody else knew that theonly way they knew it is you walked awaywith youso that was you know that was somethingthat I'm good you break very preciselyto and so like I can imagine where youmeant to put your foot exactly in thisspot but you missed it by an inch andyou're like oh I messed up but literallyno one can tell that you didn't put itan inch backwards where it was supposedto be and you missed it so you'd get upand go like oh crap I messed that up andthen they're like I don't know that wascrazy disappointed and that's you knowthat that's kind of been my you know myblessing and my curse because becauseI'm always out there searching for myown perfection it it pushes me I striveyou know I've worked I've always been aworker like I said I had two left feetyou know people will see me they're likewhat what do you mean you know but thatwas terrible mm-hmm I was terrible Iworked for everything that I had I'veI've had to break down use trained usemy mind you know more than the averagedancer because I had to like I've alwayshad to break down yeah an understandingof a step a combination of power movebody positioning like where I should beat a certain point in time so when I'mable to t like one I could a teacherit's helped me to really be a goodteacher to others because I myself couldnot do without having a full grasp orunderstanding you understand theintricacies of making them move yeah andI you know I think you can make moveswork but I think for me where it's beena blessing too is you know I've beenable to continue to grow and find moreefficient ways of doing things because Ijust because I can do something doesn'tmean I feel like that's the only way andthat there's not a better way I'm alwayssearching to see if there's a better wayI'm always questioning myself like yeahI feel it this way but I'm open to thepossibilities that I can do it better orthat there is a better way you knowbecause where I where I did something atthat point in time yeah it was effectiveyou know but yeah there's more you knowand we found a bunch of new ways whetherit be power moves or style of saying youknow what if you put your foot downfaster here you put this knee down youknow like and then we tried we're likeyeah that does work like dope and thenjust a whole new range of possibilitiescome in constantly you know so yeah it'samazing man I love it well I think withthat being said we could probably inthis show we've been going for an hourand 15 minutes already kind of timeflies by right yeah well yeah man Iappreciate you having me on you knowlike just being able to speak about allthe possibilities and the culture andour artistry mm-hmm you know cuz cuzthat's what we are you know I I alwaysappreciate the opportunities for to justconversate ya know it's important tokind of spread the ideas that we allhave and just put it out into the worldand see what other people have to sayabout it and just you know I guess theZulu nation each one teach one is it'simportant it's important in hip-hop todo that well yeah it's it's going to youknow like we're only a moment in time weare just a piece of of all of this so ifwe keep it to ourselves where does allthat knowledge go after after we're doneafter we leave you know like like I saidwe're only promised today so even withsomebody who has good intentions ohmaybe later I'll get around to it youknow like they're not promised that timeso you know yeah being able to sharewith each other is a vital part of anysociety yeah and as we said this dancehip hop is still in its infancy in a wayand that it you know there's so muchhistory that's you know beyond us soit's good to get these ideas out now andjust because you know we don't knowwhere the scenes gonna go from here andI mean it's it's it's exciting to seewhat is in store for the future anddefinitely yeah so well thank you forcoming on do you have any last-minuteshoutouts or anything you want to say orany plugs or anything which oh well justyou know the guys you know my brotherswhether it be master movements soulcontrol you know my my variousinspirations around the world you knowmy teacher airnow Coloma you know likeforgiving me just an opportunity youknow and even when he sees me now youknow he says and you were like the lastperson I ever would have thought wouldhave made hey you know yeah an impactbut look II look at you after all theseyears you know but but nobody canmeasure your heart your desire your playyour you know and many of the greatdancers I see around the world startedwith similar themes to where it was hardfor them at the beginning but nobody canmeasure their heart so you know if youhave a want for something do it for youyou know in the end always do it for youand have fun doing it the whole waythrough don't let anyone tell you whatyou can ordo I had that from the very beginningand many others have also we can dowhatever we put our mind to and I won'thave fun along the way here to herealright thanks you guys for listening[Music][Music]you
iDance Adaptive Performing Arts Center is a non-profit organization providing students with instruction to use creative expression in the performing arts. Our Passion is our Technique.iDance APAC offers a diverse curriculum for students regardless of age, race, gender, ethnicity or disability. iDance provided community event entertainment and has received regional awards and recognition for community inclusion. Class are held throughout the week with performances scheduled throughout the year. iSing is an adult vocal performance group that welcomes all vocal abilities. iSing hopes to inspire wheelchair bound and vision impaired individuals to participate and share their love to be outspoken.The iFit Gym gives our families more opportunities to strengthen healthy habits to benefit individuals in the special needs population. Participants are seeing and feeling the benefits of being connected to fitness while having a lot of fun. The classes are full of laughter and energy when families bring friends to share the experience.In addition to our already existing dance, singing, acting, fitness and wellness programs, we will now be offering a Day program, Homemaker Personal Care (HPC) services and Respite Camps to individuals served by the Lucas County Board of Developmental Disabilities.For more information on our new services, contact Karen Medina at 419.309-1610 or email info@iConnectOH.org.
The Girl With All the Ghosts by Alex Yuschik It’s her second-to-last Friday night at Six Resplendent Suns Funeral Palace and House of the Dead, and Go-Eun is getting terrible reception on her cell. Part of it’s because everyone’s on the network, but mostly it’s the ghosts, garden variety specters who unfold themselves into nine-story menaces, shadow-thin and barbed with carcinogens. Go-Eun would not have thought they could bring this many cell phone towers down running from fox mechs, but then again, she never thought she’d end up working the night shift at an inner-city funeral palace either. Episode 70 is a GLITTERSHIP ORIGINAL and part of the Summer 2018 issue! Support GlitterShip by picking up your copy here: http://www.glittership.com/buy/ Hello! Welcome to GlitterShip episode 70 for April 11, 2019. This is your host, Keffy, and I'm super excited to share this story and poem with you. Today we have a GlitterShip original by Alex Yuschik, "The Girl With All the Ghosts" and a poem, "Chrysalis" by Kendall Evans. Before we get started, a reminder that there's still a Tiptree Honor Book sale going on for the GlitterShip Year One and Year Two anthologies on gumroad! Just go to gumroad.com/keffy and use the coupon code “tiptree,” that’s t-i-p-t-r-e-e to get the ebooks for $5 each. Just as an aside, I apologize for all—[Finn barking loudly] Finn. I apologize for the dog noises—[More loud barking]—dog noises—[barking]—in this episode. If I put them outside of my room, they cry. If I put them in the backyard, they bark at the neighbor. And if I let them in my room [dog rustling and grumble barks] they don't understand why I'm not paying attention to them. Stories and poems by Kendall Evans have appeared in most of the major SF and fantasy magazines, including Asimov’s, Analog, Strange Horizons, Mythic Delirium Amazing Stories, Dreams & Nightmares, Weird Tales, Alien Worlds, Nebula Award Showcase, and numerous other magazines and anthologies. His novel in verse, The Rings of Ganymede, and his novella Bring me the Head of Philip K. Dick’s Simulacrum are both available from Alban Lake Books. Chrysalis by Kendall Evans I. The newborn starshipBathed in sunlight & starlightDries its gossamer wingsPreparing for the far reachTo the stars II. Festive-colored ribbonsSpiral. You and IDance around the MaypoleAt duskCirclingEying one anotherWhile we discussDarwinian logic III. Recombinant forms emergeFrom interstellar dustMutate & shift & mergeRuled by the coldest equationsAnd analogs of lust IV. I have watchedExotic robots hatchFrom ovoid metal shells& Peck at nuts & boltsUpon my parquet floors And our story is "The Girl With All the Ghosts" by Alex Yuschik, read by Faylita Hicks. Alex Yuschik is a PhD candidate in Mathematics at the University of Pittsburgh. Besides math and writing, Alex enjoys traveling, hanging out in as many cat cafes as humanly possible, and waking up before dawn to lift heavy things and then put them back down. Their short fiction has also appeared in Escape Pod and Luna Station Quarterly. Faylita Hicks (pronouns: she/her/they) is a black queer writer. She was a finalist in the 2018 PEN American Writing for Justice Fellowship and the 2018 Cosmonauts Avenue Annual Poetry Prize. Her debut book, HoodWitch, is forthcoming October 2019 with Acre Books. Her poetry and essays have appeared in or are forthcoming in Slate, Huffington Post, POETRY magazine, Kweli Journal, The Rumpus, The Cincinnati Review, Tahoma Literary Review, Prairie Schooner, Lunch Ticket, Matador Review, Glass Poetry, Pidgeonholes, Yes Poetry, American Poetry Journal, Ink and Nebula and others. She received her MFA in creative writing from Sierra Nevada College’s low-residency program and lives in San Marcos, Texas. She is at work on a memoir. The Girl With All the Ghosts by Alex Yuschik It’s her second-to-last Friday night at Six Resplendent Suns Funeral Palace and House of the Dead, and Go-Eun is getting terrible reception on her cell. Part of it’s because everyone’s on the network, but mostly it’s the ghosts, garden variety specters who unfold themselves into nine-story menaces, shadow-thin and barbed with carcinogens. Go-Eun would not have thought they could bring this many cell phone towers down running from fox mechs, but then again, she never thought she’d end up working the night shift at an inner-city funeral palace either. “Load.” Go-Eun taps her phone screen again. Honestly, most of it’s not so bad, the shelves of urns and silent hallways, the familiar and calculated snake of her path through the dim ossuary. The thirtieth through fiftieth floors make up her soon-to-be-former territory, and the clamor of light pollution keeps anywhere from getting too dark. Neapolitan swipes of pink-gold-cyan bleed through from neon nightclub signs and adorn the shelves in glimmer and flash, and aisle lights frame every niche in respectful and seemingly infinite ellipses, dot-dot-dots sealing in the city’s sleeping dead. Before one gets into the mechanics of proof, it is necessary to state a few definitions that will be useful later. The building is a magpie. Listen, and it carries noises up its sides, slipping them into windows like jewels: revelers from a nearby bar stumble loudly through the ladder of numbers in Baskin Robbins 31, a TGX-Mauve/F stretches its tiger mech joints in a hiss of pneumatics, and a couple breaks up or makes love or both too near an open window somewhere in the apartment complex next door. The building is covetous. Go-Eun never needed the Six Resplendent Suns employee pamphlet to know this, but it’s listed there as well. She taps her phone again. There’s an email from her boss, asking her to reconsider quitting. Go-Eun deletes it. That’s what breaking up is, another number that won’t reply, one more open question that their system of deduction isn’t complete enough to answer. It’s exactly why Jae-Yeon won’t text her back either. Finally, the page she’s been trying to refresh comes up. YES SO AWESOME I can’t believe they kissed!!! YOU ARE A LITERAL GODDESS UPDATE SOON “There was no edge without an end, and if this was their end, he thought, then so be it.” holy shit be still my brigadier-loving heart THIS FIC I AM RUINED best Brigie/SJ ever One thousand reviews. She high-fives an urn. For an eighty thousand word slash masterpiece she’s written in the small pauses of her life, not too shabby. And it’s almost enough to make her forget about the ghosts, the hallways that stretch on and on and on, the now-empty shelves where relatives used to leave flowers and other small offerings, until Six Resplendent Suns and every other Numerical Family in charge of an ossuary mandated mourning training. Most of the time it’s beautiful and silent, a second, stiller universe to mirror the riot outside. Sometimes it’s not. Go-Eun bows and enters, bows and leaves, thumb-typing a drabble about Seo-Joon waking up as she heads to FF, the twice-cursed floor, those two unspoken hungers grating against each other like teeth in gears that don’t line up. It’s a pity her new job at the construction company probably won’t let her be on her phone as much. She’s almost finished with the scene when she pauses. In the middle of the rows, a pale shape, unsteady, picks itself up from the wreckage of an urn. Most ghosts understand they’re dead. The body gives its two weeks’ notice to the soul and the connection is gradually severed, a proof ending in a neat white box, QED, or even that infuriating the rest is left as an exercise for the reader. Only the violent ends do this: the wide gaze of the war dead, the slow unraveling of conditional and consequent, and then a soft and tremulous oh. It’s a young man, maybe Go-Eun’s age, maybe a little more. He’s wearing pilot’s fatigues, but before her mind can race to pin a mech animal to him, he spots her. The first time she saw a ghost that was not in a training video, pamphlet, or out of control and tall as a building being subdued by a mech, it was in the F2nd bathroom and something kept playing with her hair. A girl dressed in white rose behind her in the mirror like a dark star, cracked lips daring Go-Eun to look at me. The boy’s not a tiger pilot— people like Jae-Yeon stand out miles away. Not tortoise or dragon mech either. No, with reflexes that fast, eyes that dark, the boy’s got to have been a fox pilot. Most of them specify banishment immediately after cremation in their wills because they don’t want to become the things they destroy. Maybe this one didn’t. Maybe he is exactly as unlucky as spending his afterlife on floor FF implies he must be. “You,” Go-Eun says, fighting the tremble out of her voice, “are not my problem anymore. I’m quitting.” She must not be very convincing, because the boy with rogue eyes and mouth full of knives smiles at her and vanishes. Before the ghost war, Go-Eun had two parents, a younger sister, and a house full of art. The father and sister vanished quickly, the art slowly. We can’t afford the rent anymore, her mother said after the funerals, but we need another month before we can move. The paintings were traded for old cabbage and limp fish, and their empty house became emptier. This was before Go-Eun took the Six Resplendent Suns job, before houses of the dead and funeral palaces knew they’d need people like Go-Eun. She enters in danger and leaves in safety. That’s why it pays so well. She will return when the rest of the ossuary guards are too scared to tread floors with F’s on them instead of numbers, and she will toss her badge and heavy keys to the dawn attendants for thirteen more days, her phone’s LED screen turning her into one more bright skull fading with the stars. When Go-Eun gets back to the Faintly Glimmering apartments, it is dawn and all the ghosts are quiet. She slugs down a strawberry milk in the kitchen as her mother gives her the once-over. “If I had spectral poisoning you’d see the teeth, Mom,” Go-Eun says. “Less than two weeks to go.” Star Gilded Hye-Kyeong deposits a kiss on her forehead. “I just want you to be safe, sweetheart.” Her mother works urban restoration projects. They never pay well, not as well as a job at a house of the dead, especially not Go-Eun’s. But when her mom’s team got additional funding from the city, Go-Eun turned in her letter of resignation. She’s not going to be able to fight off ghosts forever, and there are safer places to work. Go-Eun shucks the milk into the garbage and finishes a reply to a reader with an elaborate winking face. “I just feel like I’m giving up by leaving. Like I could help, but I’m choosing to run instead.” The water runs a few moments longer than it needs to. “We all do, honey. It’s part of living in this city.” Her mother is a skyscraper swaying against its ballast, the heavy weight above her head the only thing holding her still. This is all an exercise of translation, a change of variables between coordinate systems. When Hye-Kyeong says, “Six Resplendent Suns called earlier about your severance package.” what she means is: “This isn’t a game that you win.” Go-Eun says, “I’ll call them back.” What she means is: “Then why do I want to keep playing?” And she hates it, that she has to walk herself calmly through brushing her teeth and changing into an oversized t-shirt, that her hands tremble as she sheet masks before bed, feeling like a damp ghost and smelling like cherry blossoms. She writes the next chapter in her house slippers before barricading herself under the covers, hating that she can’t keep the shivers down once she shuts the blinds. It always takes until her phone runs out of battery, when she runs out of ideas for fics or her hands lack the strength to swipe out stories in which Seo-Joon and his mysterious Brigadier end up together and happy. In less than two weeks she won’t have to fall asleep with her face stuck to a notebook, with the last thing she sees ink in a pen waiting to be used, another form of hunger. Sometimes positive statements require proof by contradiction. The tenuous claim: Go-Eun is not afraid. To show this, suppose Go-Eun is afraid. Because secretly, her mother is right. It is now possible to prove some elementary results. Suppose there is a ghost loose in an ossuary and it is your job to catch them. You may take as long as you need to solve this problem or until you retire or are injured or someone notices. Points will be taken off if you are poisoned, and you are under no circumstances allowed to die. Here is a pencil. Go. The next day, Go-Eun doesn’t pack food. She gets a kids’ meal because it’s cheap and there’s a fast food place right next to the house of the dead. Also, she likes kids’ meals. They have Havoc Party toys in them now, and she would not be half the super-fan she is if she didn’t at least collect Seo-Joon and the Brigadier. On the way into work, she waves to the tiger mechs patrolling the building, another TGX-Mauve/F and four TGX-Granite/III’s, each of them five stories tall, high enough she can’t see who’s piloting them. Before Jae-Yeon hated her, they’d met after their shifts, one girl leaving her ghosts and the other her mech. Jae-Yeon had propped a hand on her pilot’s belt and asked cavalierly if she could buy Go-Eun a tea sometime. This led to more teas. She can reverse-outline their romance into a spindly ladder of deduction: that pivotal universal introduction to the final existential elimination. Maybe that’s why she excels at this job, she’s just that good at destroying things. She makes it through the start of the F floors, pausing on FF. Something cold and cruel passes over the back of her neck. A fact nestled in an absurdity: the hollow or sometimes shaded box at the end of proofs is colloquially referred to as the mathematician’s tombstone. Go-Eun’s hand tightens around her phone, but no one’s there. FF remains quiet in its combinatorial worship, ancestors suspended in waystations to sainthood. This is what Six Resplendent Suns promises, that this mess with skyscraper-tall specters is only temporary, that you too can assure your relatives’ continued divinity with prompt monthly rent payments and the proper clearances. By the time she’s halfway through the floor, she finishes chapter revisions. Her next update will be a break-up scene, because happiness is one of the lesser hungers of the body: it can’t last if you want the story to keep going. She knew this before Jae-Yeon, but it still surprised her. Footsteps follow her along aisles, wards and sparse mourning cards moved slightly out of place. This is how it starts, the small disturbances. She opens the kids’ meal, half in defiance, half because she’s hungry, and says her quiet prayer: in all things, I will outlast you. The fries are tinier than she remembered and this injustice truly must be some small god laughing at her, but at least the chicken nuggets are good. When Go-Eun outlined her plan to collect all the Havoc Party toys this morning, her mother said she had an unsophisticated palate. Go-Eun said of course she does, that’s why she writes amateur fiction. It’s not about taste; it’s about devotion. Something clatters behind her. It always comes for you from your shadow, the history you trail behind you in a string of dark theorems, assumptions, and implications. This you may use without proof. Go-Eun whips around just as the ghost lunges. The kids’ meal hits the ground and his teeth go right through her jacket, though the protective vest she’s wearing keeps them from breaking skin. What he doesn’t expect is the glimmer and the fade, the axiomatic crawl that shivers through him when her fist connects with the side of his face, two planes intersecting in a line of ice. He staggers back into the aisle, toxins dripping from his teeth like he’s been drinking machine oil, and watches her. The rips aren’t that bad, not this time. She brushes herself off, picks up her things, and pretends she doesn’t see his eyes following her hands as she assembles the toy from the kids’ meal. He pretends he’s not still shivering from her strike. She sews the jacket up in the staff room before she goes home, a hand hesitating over the emergency intercom. One call to the banishment department and he’s toast. This ghost isn’t her problem anymore. She’s already handed in the paperwork. Doesn’t her last week and a half on the job deserve to be easy? And she and the ghost must both be good liars, because he follows her for the rest of her shifts and she’s halfway home before she realizes she’s gotten the Brigadier. In proof, there is a technique called induction. The reader is shown how to handle an initial case and then a successor case; in short, given a set of objects and a desired property, a mathematician shows the property holds for the first object and then every object thereafter. The beauty of induction is that it traps the infinite within the finite. That is to say, as long as the structure of your proof is solid, you have created something that can run forever. During her last week, Go-Eun gets more kids’ meals and Havoc Party toys, but not Seo-Joon. Six Resplendent Suns drags its feet on termination paperwork and night after night she contemplates the emergency intercom and night after night never presses it. Because probably, it’ll be fine. The floor wards get more powerful as you descend— that is, the strength of the binding spells increases like pressure under an ocean. The pamphlet promises that escape is crushingly improbable, and surely the security of knowing one’s relative will never become the latest shade shredded by fox mechs is worth the exorbitant fees and more. The first time Go-Eun sees the ghost on F3 she nearly drops her kids’ meal. It’s not supposed to happen this fast. He’s not supposed to figure out how to get out this fast. This time he doesn’t attack. Instead, he tracks her hand as she pulls the toy out of the box, eyes so dark it’s almost impossible to tell the pupil from the iris. It takes her a moment to notice she’s finally gotten Seo-Joon. Go-Eun pauses for a moment, then holds the figurine out. “Truce?” The ghost wrinkles his nose. Yeah, she’s speaking extremely casually, but he also tried to bite her the last time, so whatever. Go-Eun shrugs and moves to put Seo-Joon in her bag because damn it, she worked hard for this, but the ghost steps forward in a rush of frost and darkness. He spreads his hands as though to say, sorry, sorry, I know it’s all a terrible inconvenience, but yes, I do want the toy. Warily, she hands it over. When the weight transfers from her hands to his, Seo-Joon’s thereness shifts. It’s hard to explain if you haven’t done this before, but it becomes easier to talk about the figurine in a different domain than its native one. The ghost runs a hand along Seo-Joon’s face, then smiles in a pull of noxious lips and serrated teeth. Once, Jae-Yeon was bitten on duty. They kept her overnight in pilots’ medical, and Go-Eun sat outside the double doors to the clean rooms, overhearing every whisper about toxicity and keen bile until a surgeon told her Jae-Yeon was stable. In the weeks following her release there were phosphorous dreams, a winding purple-black scar, and Jae-Yeon murmuring some nights it feels like I’m split between existences and whenever I meet you in all the other elsewheres you terrify me. They fell apart slowly, a universe screaming back to its point of origin. “You have a name?” Go-Eun asks the ghost. He shrugs, but when they meander back to FF he kicks something out from below a shelf. It’s a shard of an urn, bearing in red the words Iridescently Codifying Byeong-Dal. “Cool.” Byeong-Dal shakes his head like this is the least cool thing he’s heard since he died, but he keeps turning the figure over and over, like it’s something that matters. He doesn’t look like your typical Havoc Party fan, but who knows. A tiger mech moves abruptly outside, and when Go-Eun looks back at him, Byeong-Dal’s gone. Go-Eun does not see him again that night, and no matter how much fanfic she writes on her shift, when her coworkers congratulate her during her retirement party her stomach aches. Not one of them mentions her ghost or even knows how quickly this is becoming a problem. “What if quitting doesn’t make me happy?” Her mother cooks in abrupt clatters of pots and utensils as they hash out the same argument, a tired deduction ad infinitum. The assumptions: Go-Eun came home late. Go-Eun always arrives on time except in emergencies. Conclusion: something must have gone wrong (obviously it has, there is a ghost loose and no one’s doing anything about it). “You have no weapons, no guarantees in that horrible building except your extreme good luck.” Her mother calmly checks the black bean noodles and clicks her tongue. “How could staying in a death trap make you happy?” “Sorry.” Go-Eun just wants to have dinner, not trot this out over side dishes. It’s her last stupid night at work, and when her phone buzzes with a new fanfic review she’s not sure if she’s disappointed or relieved Six Resplendent Suns hasn’t discovered her ghost yet. Idly, she clicks it. “I keep trying to tell you, you can’t have everything. Or you can ignore me because you’re too busy with your phone.” Her mother slams the refrigerator door and one of Go-Eun’s Havoc Party toys on the window sill falls into the sink. Hye-Kyeong plucks it out and swears. “Gods, you only did love useless things.” Go-Eun grabs her coat and leaves. When college still mattered, she was tutored by a grad student at SKY University who studied formal logic. They had bone-straight hair which they always wore in a ponytail and an impressive collection of blazers. In tutoring breaks, they told Go-Eun about their research. Do you know that mathematics is incomplete? They asked, balancing a mechanical pencil on a slender finger. It’s a major theorem: our system is a poor oracle, unable to divine the truth or falsehood of everything you hand it. Set theory is not adequate; it cannot answer its own most basic questions. It’s like when you finally realize how big the domain of discourse is, or how truly large infinity is, when you try to hold the universe in your head and something always escapes. Her tutor laughed. Yeah, that’s why I don’t study set theory anymore. I nearly drank myself to death. Why? Go-Eun said. It’s just math. They set their chin on their hand, spun the pencil with hooded eyes, and asked, is it? She’s half an hour too early for her shift so she stops by the fast food place for another kids’ meal (with extra fries, because they are tiny as shit). Go-Eun scrolls through her friends’ latest pictures as she climbs the ossuary stairs, and because apparently the universe is out to torture her today, Jae-Yeon’s changed her profile pic to her and her latest girlfriend, a mech repair specialist. The two of them sport identical necklaces, both winking with opposite eyes at the camera so they look a bit like a mirror in love with itself. Go-Eun has taken this same kind of photo with her other ex-girlfriends and ex-boyfriends, and all those pictures inhabit the same folder on her laptop, timelines extinguished. “Why does everything always fall apart in real life?” She fumes at Byeong-Dal on F0 and throws some fries at the ghost. He catches and eats them. “Like, why can’t I have it all?” He frowns, then opens his mouth like he’s about to say something when a fox mech careens too close to the building. There is a bright burst of ghastly light and neither the skyscraper’s steel skeleton nor its ballast prevent them from shaking when the explosion’s aftershocks hit them. Something shatters. Byeong-Dal’s eyes go wide a second before he vanishes, and Go-Eun pulls the distress signal just as the door to the stairs opens. Of all the heirs, it had to be Six Resplendent Suns Tae-Ha. He’s in his late twenties, tall and lithe in a way that makes him look like a living shadow, and his pocket square remains soldier-straight even with a bite-proof vest covering most of it. “Star-Gilded Go-Eun.” He nods. “I’m sorry to hand you a catastrophe on your last day, but here we are. Good hunting.” He takes off, greatcoat flapping. Go-Eun chases after him. “Mr. Six Resplendent Suns, if that blast really did knock over an urn then this is too dangerous for you to be here alone, even in a vest.” Tae-Ha smiles in a cutthroat kind of calculus. “Your concern is touching. Rest assured, I’m taking no risks with the chairman watching me this closely. And I am by no means alone.” Three banishers walk out of the stairwell in their pressed suits, guns drawn. “Banishers?” Go-Eun asks. “Already?” She is not adequate; she cannot answer her own most basic questions. “The threat is too great not to address immediately.” Tae-Ha coughs to cover up her too-casual address. “Please continue to exceed my expectations.” They head off. Go-Eun rushes down to Floor 37 where a dark shape waits for her. “Thank gods, you have to hide.” She’s shaking. “Banishers are here and they think you’re the escapee. Well, not like you’re not, but—” Except the shape isn’t Byeong-Dal, not the tall and silent fox pilot with sad eyes, but someone else made mad and hungry by quiescence and the veils of captivity. It smiles in a line of dripping teeth. Go-Eun runs for the stairs. The banishers are floors above her, so the wards will have to do. Her shoes skid down the stair treads, past 36 and 35, all the way to 32 where she slams the door shut, out of breath. For safety reasons, the employee pamphlet says, there is only one set of exits to each floor. It’s easier to close off that way, minimize the damage. The building is covetous, after all. A black puddle seeps under the door. This is what she’s most afraid of: that at the end of the story she, the banishers, and the ghosts are all the same shade of monster, something that talked to itself long enough to think it was a god. And then someone comes between her and the wild ghost: a familiar shape that punches through the newcomer with eerie precision, like he’s used to doing this in a mechanical body several stories taller and more vulpine. Howling, the ghost sinks its teeth into Byeong-Dal’s shoulder. His translucent skin darkens and he shakes, but he does not stop his sure and ponderous deconstruction of the rogue, not until it turns back into ash. He presents the remains to Go-Eun, weary but triumphant, his expression not unlike hers as she handed him plastic figurines all those nights before. “Thank you.” Go-Eun laughs, eyes bright. “But we have to—” The stairwell door opens. “Found it!” A woman in a black suit levels her weapon at Byeong-Dal. “Firing in three.” Byeong-Dal rises, venomous and horrible, between Go-Eun and the banishers. “No, don’t!” Go-Eun yells. But the banisher fires in a loud crack of sound, Go-Eun’s ears ring, and there’s nothing but smoke rising, dead air, and Jae-Yeon asking the same question all Go-Eun’s significant others have asked her, angrily, in tears, over texts or face-to-face: why don’t you want me anymore? On the ossuary floor is a small marble about the size of her thumbnail. It is cold when she touches it and looks wrong, too glassy or too opaque. There is no more Byeong-Dal. When Go-Eun holds the marble up to the hallway light, something in it flashes, like the hazy, indecipherable smile of a fox, like a toy, like the shell of an exploded sun. Like a boy, half-there, half-not. That has been her curse, her prayer, her promise: to outlast them all. But by all the gods, she is so damn sick of being miserable. For once it should end like it does in her stories. Her shadow trembles. She holds the tiny clouded sphere up to her bombed-out eyes, and before anyone can see what she’s doing, swallows it. Six Resplendent Suns Tae-Ha helps her up, compliments her skill in neutralizing one of the escapees, and offers her a new job as a banisher with an impressive litany of perks, a raise, and better hours. The three banishers look smug. Go-Eun excuses herself, declines the new job, and heads to the roof of another desiccated building, so awash in floodlights it makes her shadow look like an asterisk, a little glyph with her at the center. There is one more line coming off it than usual. “Well, I didn’t think this would happen. But since you’re here, uh,” Go-Eun says, bowing low to the figure on the newest spine of her many-legged star, “I, uh, hope you don’t mind hanging around a while.” Byeong-Dal stands a shadow’s length from her and holds his hands up to the night sky, tracing their wild, starry city with his fingers. He laughs, and for the first time since she met him his teeth are completely normal. “I thought I’d never see this again.” As she walks home, Go-Eun hums and pulls out her phone to work on a new fic. Halfway through a chapter, she stops. A result is only valid if it can be repeated. And if she can rescue one ghost— She begins an email to Tae-Ha titled About That Banishing Job and laughs when she sends it. She is the last hidden library, a catalogue of ghosts, and when she hits Save, nothing is lost. This completes the induction. The rest of the proof is left as an exercise for the reader. “Chrysalis” is copyright Kendall Evans 2019. “The Girl With All the Ghosts” is copyright Alex Yuschik 2019. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, leaving reviews on iTunes, or buying your own copy of the Summer 2018 issue at www.glittership.com/buy. You can also support us by picking up a free audiobook at www.audibletrial.com/glittership. Thanks for listening, and we’ll be back soon with a reprint of “Barbara in the Frame” by Emmalia Harrington.
Kate Murphy, CEO & Co-Founder of Play Magnus, on chess, Magnus Carlsen, Business Development & Wellness. Kate Murphy is CEO & Co-Founder of Play Magnus, a technology & Content Creation Company founded in 2013 - with a team consisting of World Chess Champion himself Magnus Carlsen. It consists of two apps, Play Magnus and Magnus trainer and they just merged with chess24. She is working on helping children become smarter and gain confidence by making chess available online. And together with Magnus Carlsen and their team they are making chess cool!! Under Kats watch the company is now valued at 34.6 million USD. Wow! They have 5 million downloads and 2 MILLION active users A MONTH!!! Kate Murphy can be called a serial entrepreneur and is originally from Canada but has been living in Norway for the past 7 years. Kate started her first company, a candle company when she was 12. At 23 she co-founded Canadas largest national dance convention, iDance, which is now in its 11th season running and features the stars from the So you think you can dance TV Show. And in 2010 she led the coordination of the British Olympic Activation during the Vancouver Games. When she came to Norway in 2012 she started Living Pretty Naturally, a natural beauty blog and webshop - which is still going strong. Next to being a business developer she is also a wellness queen and a yoga teacher teaching yoga twice a week. And she hosts different events focused on wellness. She is certain that if she did take care of her self the way she does with yoga, meditation eating healthy, she wouldn't manage do to as much as she manage to do. In the episode we get to learn a little bit about Magnus Carlsen, Chess, and Kate Murphy's Journey. We will touch a lot into the wellness part :)) www.livingprettynaturally.com www.playmagnus.com @playmagnus @livingprettynaturally www.chess24.com
iDance Adaptive Performing Arts and Fitness Center is a non-profit arts organization providing students with instruction to use creative expression in the performing arts. Our passion is our technique. iDance offers a diverse curriculum for students regardless of age, race, gender, ethnicity, or disability. Classes are held throughout the week and performances throughout the year.
Community Corner Karen Medina Interview on iDance
LovE&MusiC Guest DJ's: Every Sunday - 9AM (Spanish Time) www.proyectsound.com Guest DJ #3 :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ΣNIKMΔ “Purveyor of high-octane, infectious dance grooves & a feel-good ambiance.” The aforesaid is the way Enikma describes himself as a DJ. Born and raised on the island of Aruba in the Caribbean & after being exposed to the progressive movement in the mid 90’s, he got mesmerized by the broad spectrum that underground dance music has to offer. Thus he began collecting records. It was right after Y2K at a friend’s house back the Netherlands when this housecat’s passion for underground dance music compelled him to start spinning LPs. The musical pilgrimage began upon returning to his beloved native island back in 2003 when he started spinning for long hours as the resident DJ of the infamous after-hours club: The VIP Room. Subsequently major nightclubs, venues, radio stations & exclusive private parties on Aruba experienced his versatile sets. Enikma’s mixing sessions can be characterized as a fresh & crisp concoction of underground dance music blurring the lines between avant-garde house & throbbing techno. He is grateful to have shared the booth with local and international talents along the way. Along his journey he made some awesome friends and it is through this friendship that the No Tin House Party framily emerged: A tight knit group of friends hosting underground parties on the island united through the love for the music. Nowadays you can catch him on Saturday nights at The House of Music as the resident DJ during his iDance nights serving up his distinctive sound to the dance floor without being constrained by any specific genre, tempo or style. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Connect with him on: https://soundcloud.com/e-nikma https://www.facebook.com/Enikma-DJ-159127090782306/ https://www.instagram.com/enikma_dj/
LovE&MusiC Guest DJ's: Every Sunday - 9AM (Spanish Time) www.proyectsound.com Guest DJ #3 :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ΣNIKMΔ “Purveyor of high-octane, infectious dance grooves & a feel-good ambiance.” The aforesaid is the way Enikma describes himself as a DJ. Born and raised on the island of Aruba in the Caribbean & after being exposed to the progressive movement in the mid 90’s, he got mesmerized by the broad spectrum that underground dance music has to offer. Thus he began collecting records. It was right after Y2K at a friend’s house back the Netherlands when this housecat’s passion for underground dance music compelled him to start spinning LPs. The musical pilgrimage began upon returning to his beloved native island back in 2003 when he started spinning for long hours as the resident DJ of the infamous after-hours club: The VIP Room. Subsequently major nightclubs, venues, radio stations & exclusive private parties on Aruba experienced his versatile sets. Enikma’s mixing sessions can be characterized as a fresh & crisp concoction of underground dance music blurring the lines between avant-garde house & throbbing techno. He is grateful to have shared the booth with local and international talents along the way. Along his journey he made some awesome friends and it is through this friendship that the No Tin House Party framily emerged: A tight knit group of friends hosting underground parties on the island united through the love for the music. Nowadays you can catch him on Saturday nights at The House of Music as the resident DJ during his iDance nights serving up his distinctive sound to the dance floor without being constrained by any specific genre, tempo or style. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Connect with him on: https://soundcloud.com/e-nikma https://www.facebook.com/Enikma-DJ-159127090782306/ https://www.instagram.com/enikma_dj/
Gamin' Ride is a mobile, indoor-outdoor entertainment theater experience that brings the latest video games, movie, lighting and sound technology to residential and commercial clients alike. The truck goes to birthday parties, school functions and even corporate events. Led by a charismatic leader called the Game Guru, Gamin' Ride events also offer laser tag, water tag, sumo wrestling, iDance stations and bumper balls—all while promoting fun, family-oriented interaction. Gamin' Ride currently operates 11 franchise locations in seven states including New Jersey, New York, Utah, Missouri, Alabama, Maryland and Texas. It plans to open 40 units by the end of 2011 and have a total of 150 units operating over the next five years. We are meeting with Michael Falgares and franchisee Charles Fruscione.
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