Moments of Zen: War Child Emmanuel Jal at Sydney Opera House


Our good friend at Moments of Zen put together this write up on Emmanuel Jal‘s Sydney Opera House Showcase.

Full Article Here

The Sydney Opera House just wrapped up their Dangerous Ideas series, and I attended an event on child soldiers featuring activist/hip hop artist Emmanuel Jal and author/journalist Kate Adie called “War: Keep Out of Reach of Children.” The panel discussion, chaired by Mark Colvin, explored the historical use of child soldiers with Emmanuel describing his experiences with the Sudanese war and the hardships he overcame. Unfortunately, children are often exploited during war and Kate Adie’s candid contribution to the discussion was beyond informative – I appreciated her unique perspective, including her view that media coverage on war is “absolutely sanitized.”

At only 8 years old, Emmanuel began training to “kill as many Arabs + Muslims as possible.” After years of fighting, British aid worker Emma McCune adopted and smuggled him (and other child soldiers) into Kenya. Unfortunately, she passed away in a car accident and Emmanuel was faced with more hardships. I am inspired by his strength and for sharing his story with the world, despite all the emotional and physical trauma he has endured. During the question period I asked Emmanuel how hip hop has helped him in his healing process and for him, music is “food for his soul” and through this outlet, as well as his Christian faith, he has overcome the anger and bitterness he has carried around with him – something that many conscious hip hop fans can also attest to. He finds comfort through his music and uses this as a forum to educate the world about war and poverty and how we can help people out of this situation.

Emmanuel’s charity Gua Africa has projects in Sudan and Kenya that focus on the very issue of overcoming negative effects of war through education for children and young adults. Also, his book “War Child“(which I got autographed :) ) and his award-winning documentary by the same name, tells Emmanuel’s harrowing story and how the lives of these children can be improved. The documentary War Child is screening this Friday, October 7th at The Basement in Sydney, followed by an exclusive performance with DJ Silvastone, Sista Savage, Macc-Too, Future of Rap, Mxc Wol and Dark $ Paid featuring Culture Crew.

As a Tamil from Sri Lanka, the plight of child soldiers strikes a particular chord with me and I’m going to try my very best to make it out to The Basement on Friday to check out the documentary and see Emmanuel perform live – I appreciate his realness and how it translates into his music. If you live in Sydney, I encourage you to hit up The Basement on Friday night and feel free to check out Jal’s TED Talk and a Riz Khan feature on Al Jazeera below.  Peace. Literally.

Emmanuel Jal Live in Sydney This Friday at The Basement

Straightup, Top Shelf and African Film Festival are excited to announce the Sydney debut of world renowned African hip-hop artist, peace activist and novelist, Emmanuel Jal (South Sudan).

“the potential of a young Bob Marley” Peter Gabriel

Tickets at the The Basement or online:
http://admin.moshtix.com.au/event.aspx?id=49919&caller=CAL&noadd=true&skin

Early bird ticket buyers get entry to screening of the film “Warchild”, the story of child soldier, Emmanuel Jal.

“Arguably the most important line up of African hip hop ever seen in Australia.”

Emmanuel Jal will be playing with DJ Silvastone (UK) plus Sista Savage, Macc-Too, Future of Rap, Mxc Wol and Dark $ Paid featuring Culture Crew.

Emmanuel Jal
In the war-torn region of Southern Sudan, Emmanuel Jal was born into the life of a child solider on an unknown date in the early 1980s. Through unbelievable struggles, Emmanuel managed to survive and emerge as a recording artist, achieving worldwide acclaim for his unique style of hip hop, “Gospel Rap”, with its message of peace and reconciliation born out of his personal experiences. His latest single, We Want Peace feat. Alicia Keys, from his upcoming album, See Me Mama is heavily influenced by this background.

We Want Peace Video

Gua Video

Warchild Video

Emmanuel has released three studio albums to date: Gua, Ceasefire and Warchild. selling hundreds of thousands of copies world wide. He is the only musician to have performed at the UN General Assembly receiving no less than three standing ovations. As well as having performed at Live 8, WOMAD UK, V Festival and Nelson Mandela’s 90th Birthday celebrations.

“I was enormously impressed meeting Emmanuel Jal. He is an extraordinary artist, led by the heart. A man on a mission who I am sure will eventually affect an enormous number of people in Africa at first, and then around the world. I felt I was meeting a man with the potential of a young Bob Marley. There is a generosity and compassion in his approach to the world that is an inspiration to me, and I am sure will be to many others.” Peter Gabriel

DJ Silvastone

In 2005 Silvastone began to tour overseas with Emmanuel Jal doing shows such as The African Hip Hop summit and the MTV EMAs. His production style is wide, ranging from Hip Hop to House and R&B to Indie. The producers that have most influenced Silvastone are Rodney Jerkins, Timbaland, Quincy Jones, and Wookie.

A few years on and Silvastone’s production has grown immensely, DJ-ing on radio stations and clubs in and around London. He had a residency in a number of clubs in Brighton. However it did not stop there for Mr. Stone, as he has travelled the world DJ-ing internationally, in Ghana, Nigeria, New York, New Orleans and LA. Recently working with Sway on his MOBO winning album, The Signature LP as well as with Blak twang on his album “Speaking From Experience”.

In a nutshell: Silvastone is one of the best up and coming Dj/producers in the UK.

Salaam!!!
Gua!!!
Peace!!!!

We hope you can make it down on the night as it will be amazing!

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NY Times: 'The Heritage of Kraftwerk on Funk & Techno, Dec 4 09


By MIKE RUBIN
Published: December 4, 2009

IT was at a party in 1970 that Ralf Hütter first glimpsed the potential power of the Man Machine. Kraftwerk, the avant-garde musical group he had founded that year with Florian Schneider in Düsseldorf, Germany, was playing a concert at the opening of an art gallery, a typical gig at the time. Trying to channel the energy of the Detroit bands it admired, like the Stooges and MC5, the duo had augmented its usual arsenal of Mr. Schneider’s flute and Mr. Hütter’s electric organ with a tape recorder and a little drum machine, and they were whipping the crowd into a frenzy with loops of feedback and a flurry of synthetic beats.

As the show climaxed, Mr. Hütter recalled: “I pressed some keys down on my keyboard, putting some weight down on the keys, and we left the stage. The audience at the party was so wild, they kept dancing to the machine.”

Thus began a careerlong obsession with the fusion of man and technology. It would take four more years (and three largely instrumental records of electro-acoustic improvisation) before Kraftwerk heralded the coming of electronic pop on its landmark 1974 album “Autobahn,” and another four years before the members proclaimed themselves automatons on “The Robots,” the band’s de facto theme song from 1978’s “The Man-Machine” album. But even in 1970 the hum of what Mr. Hütter calls electrodynamics was buzzing in his veins.

“This rhythm, industrial rhythm, that’s what inspires me,” Mr. Hütter, 63, said. “It’s in the nature of the machines. Machines are funky.”

Few bands have done more to promote that once incongruous concept than Kraftwerk. Though its image shifted over the years from conservatory longhairs to Weimar-era dandies to stylized mannequin machines, it consistently provided a blueprint for the circuitry of modern pop music. David Bowie, an early adapter, channeled the band’s chilly vibes for his late ’70s “Berlin Trilogy,” and in the early 1980s synth pop groups like Human League and Depeche Mode followed suit.

Kraftwerk also became the unlikely godfather of American hip-hop and black electronic dance music, inspiring pioneers in the South Bronx and Detroit. Today Kraftwerk’s resonance can be heard in works as varied as Radiohead and the Auto-Tuned hip-hop of Kanye West and T-Pain.

“Kraftwerk were a huge influence on the early hip-hop scene, and they basically invented electro, which has had a huge influence on contemporary R&B and pop,” the techno artist Moby said. “Kraftwerk are to contemporary electronic music what the Beatles and the Rolling Stones are to contemporary rock music.”

Yet 35 years after “Autobahn” Kraftwerk remains relatively anonymous, thanks largely to a carefully crafted cloak of secrecy, one that an hourlong phone conversation last month with Mr. Hütter from Kraftwerk’s Kling Klang Studio outside Düsseldorf failed to penetrate significantly. On topics ranging from the band’s creative hibernation of the last quarter-century (only two albums of new material since 1981’s “Computer World”) to Mr. Schneider’s departure from the group late last year, Mr. Hütter was pleasant but revealed little. “It’s important for me that the music speak for itself,” he said.

This month the music should do just that with the release of “The Catalogue” (Astralwerks/EMI), a boxed set of newly remastered versions of the band’s last eight albums, beginning with “Autobahn” and including all of the records with the so-called classic Kraftwerk lineup: Mr. Hütter, Mr. Schneider and the electronic percussionists Wolfgang Flur and Karl Bartos. (Five of the remastered albums are also available individually.) Like Mr. Hütter’s infrequent interviews, “The Catalogue” doesn’t divulge much that fans don’t already know. There are no liner notes, no unreleased tracks, no digital mini-documentaries, just some additional photos and revised album graphics.

The music, however, is much more generous. The remasters render Kraftwerk’s glistening, icy textures even more shimmering and crystalline, the repetition more entrancing. “Autobahn,” for example, welds a bouncy Beach Boys harmony to the hypnotic 4/4 motorik beat pioneered by the German band Neu! (whose Klaus Dinger and Michael Rother were part of an early Kraftwerk lineup) to create a 22-minute synthesizer symphony evoking a pleasant highway drive. (A three-minute edit of the song reached No. 25 on Billboard’s singles chart in 1975, the group’s only hit in the United States.)

“For the first time, I think the music sounds the way we always heard it and produced it in our Kling Klang Studio,” Mr. Hütter said.

After “Autobahn,” albums like “Radio-Activity” (1976) and “Trans-Europe Express” (1977) further refined the group’s experimental pop sensibility. Borrowing from the German tradition of sprechgesang, or spoken singing, Mr. Hütter’s flat, affectless voice — sometimes treated with a vocoder to further dehumanize it — is an odd match for the band’s lilting music-box melodies. “What I try to do on the synthesizers,” Mr. Hütter said, “is sing with my fingers.”

But for some critics the group’s synthetic songs just didn’t compute. “Fun plus dinky doesn’t make funky no matter who’s dancing to what program,” Robert Christgau wrote of “Computer World” in The Village Voice. “Funk has blood in it.”

Such distinctions didn’t seem to matter to club crowds: New York’s downtown scene embraced the group. François Kevorkian, a D.J. at underground clubs in the late ’70s and early ’80s, would use Kraftwerk to blend tracks by Fela Kuti and Babatunde Olatunji into his sets. “What was really remarkable was that their music was getting played just as much at Paradise Garage as it was getting played at the Mudd Club, and there were very, very few records that had that ability to cross over between all the different scenes,” said Mr. Kevorkian, who would later work with the band on its “Electric Cafe” album. “Kraftwerk was, like, universal.”

Kraftwerk had long been a staple of the D.J. sets of Afrika Bambaataa in the South Bronx, and in 1982 he and the producer Arthur Baker decided to combine the melody from “Trans-Europe Express” (which Mr. Baker had noticed kids playing on boom boxes in a Long Island City, Queens, park) and the rhythm pattern of “Numbers” (which Mr. Baker had seen wow customers at a Brooklyn record store). The result was the pioneering 12-inch single “Planet Rock” by Afrika Bambaataa and the Soulsonic Force.

“I’m trying to remember a record that created that much mayhem on the dance floor when it first came out, and I can’t,” Mr. Kevorkian said of the reaction to “Planet Rock.” Most early hip-hop songs were slow, “from 90 beats per minute to 110,” Mr. Bambaataa said. “We went to 130 beats per minute, and from that came Latin freestyle, Miami bass and all that.”

“All that” encompassed an entirely new genre, electro, which paved an alternate route for hip-hop. It’s hard to imagine the productions of Timbaland or the Neptunes without the innovations of “Planet Rock,” and its repercussions can still be heard the world over, from Bay Area hyphy to Brazilian baile funk.

The roots of techno wind their way back to Düsseldorf too. In Detroit the radio D.J. Charles Johnson — better known as the Electrifying Mojo — built a fervent following on the urban contemporary station WGPR-FM in the late ’70s and early ’80s by ignoring the rigid formatting of other local stations. He had fished a copy of “Autobahn” out of the discard bin at a previous station and soon acquired a copy of “Trans-Europe Express.” “It was the most hypnotic, funkiest, electronic fusion energy I’d ever heard,” Mr. Johnson said. Kraftwerk became a staple of Mojo’s show “The Midnight Funk Association.” When “Computer World” came out, Mr. Johnson played almost every song on the album each night, making a lasting impression on a generation of musicians.

“Before I heard ‘The Robots’ I wasn’t really using sequencers and I was playing everything by hand, so it sounded really organic, really flowing, really loose,” the Detroit D.J. and producer Juan Atkins said. “That really made me research getting into sequencing, to give everything that real tight robotic feel.”

Over the next several years Mr. Atkins, along with his high school friends Derrick May and Kevin Saunderson, would become the pioneers of techno, which Mr. May once famously described as being “like George Clinton and Kraftwerk caught in an elevator with only a sequencer to keep them company.”

Techno would eventually explode internationally in 1988, with raves in London and trance in Goa, India. Back in Detroit, “Computer World” would assume the status of a sacred text. Kraftwerk was “considered like gods,” said Carl Craig, a Detroit techno producer. “Black people could relate to it because it was like James Brown. It was just this kind of relentless groove.” Mad Mike Banks, founder of the Detroit techno collective Underground Resistance, said he considered the song “Numbers,” from “Computer World,” the “secret code of electronic funk.”

“That track hit home in Detroit so hard,” Mr. Banks said. “They had just created the perfect urban music because it was controlled chaos, and that’s exactly what we live in.”

For Kraftwerk it’s a civic connection that has come full circle. In the last decade Mr. Hütter has developed relationships with some Detroit artists he inspired, including Mr. Banks. It seems to be a kind of “brotherhood, like Düsseldorf and Detroit,” Mr. Hütter said, saying he’s fascinated “that this music from two industrial centers of the world, with different cultures and different history, suddenly there’s an inspiration and a flow going back and forth. It’s fantastic.

“All this positive energy, this feedback coming back to me, is charging our battery, and now we’re full of energy. It keeps my Ralf robot going.”

Indeed, compared with Kraftwerk’s near invisibility throughout most of the ’80s and ’90s, the last few years have seen a relative flurry of Kraftwerk activity. Laptops have allowed the group to take its Kling Klang Studio on the road, so it has been touring regularly, adding 3-D graphics to the live show this year. Now that “The Catalogue” is completed, Mr. Hütter has promised a new Kraftwerk album soon, which would mark the band’s first recording without Mr. Schneider. If Mr. Hütter has any reservations about working without his musical partner of four decades, he kept them to himself; perhaps robots are incapable of showing emotion?

“There’s so much to do,” Mr. Hütter said. “I feel like we are just starting.”

NY Times: ‘The Heritage of Kraftwerk on Funk & Techno, Dec 4 09


By MIKE RUBIN
Published: December 4, 2009

IT was at a party in 1970 that Ralf Hütter first glimpsed the potential power of the Man Machine. Kraftwerk, the avant-garde musical group he had founded that year with Florian Schneider in Düsseldorf, Germany, was playing a concert at the opening of an art gallery, a typical gig at the time. Trying to channel the energy of the Detroit bands it admired, like the Stooges and MC5, the duo had augmented its usual arsenal of Mr. Schneider’s flute and Mr. Hütter’s electric organ with a tape recorder and a little drum machine, and they were whipping the crowd into a frenzy with loops of feedback and a flurry of synthetic beats.

As the show climaxed, Mr. Hütter recalled: “I pressed some keys down on my keyboard, putting some weight down on the keys, and we left the stage. The audience at the party was so wild, they kept dancing to the machine.”

Thus began a careerlong obsession with the fusion of man and technology. It would take four more years (and three largely instrumental records of electro-acoustic improvisation) before Kraftwerk heralded the coming of electronic pop on its landmark 1974 album “Autobahn,” and another four years before the members proclaimed themselves automatons on “The Robots,” the band’s de facto theme song from 1978’s “The Man-Machine” album. But even in 1970 the hum of what Mr. Hütter calls electrodynamics was buzzing in his veins.

“This rhythm, industrial rhythm, that’s what inspires me,” Mr. Hütter, 63, said. “It’s in the nature of the machines. Machines are funky.”

Few bands have done more to promote that once incongruous concept than Kraftwerk. Though its image shifted over the years from conservatory longhairs to Weimar-era dandies to stylized mannequin machines, it consistently provided a blueprint for the circuitry of modern pop music. David Bowie, an early adapter, channeled the band’s chilly vibes for his late ’70s “Berlin Trilogy,” and in the early 1980s synth pop groups like Human League and Depeche Mode followed suit.

Kraftwerk also became the unlikely godfather of American hip-hop and black electronic dance music, inspiring pioneers in the South Bronx and Detroit. Today Kraftwerk’s resonance can be heard in works as varied as Radiohead and the Auto-Tuned hip-hop of Kanye West and T-Pain.

“Kraftwerk were a huge influence on the early hip-hop scene, and they basically invented electro, which has had a huge influence on contemporary R&B and pop,” the techno artist Moby said. “Kraftwerk are to contemporary electronic music what the Beatles and the Rolling Stones are to contemporary rock music.”

Yet 35 years after “Autobahn” Kraftwerk remains relatively anonymous, thanks largely to a carefully crafted cloak of secrecy, one that an hourlong phone conversation last month with Mr. Hütter from Kraftwerk’s Kling Klang Studio outside Düsseldorf failed to penetrate significantly. On topics ranging from the band’s creative hibernation of the last quarter-century (only two albums of new material since 1981’s “Computer World”) to Mr. Schneider’s departure from the group late last year, Mr. Hütter was pleasant but revealed little. “It’s important for me that the music speak for itself,” he said.

This month the music should do just that with the release of “The Catalogue” (Astralwerks/EMI), a boxed set of newly remastered versions of the band’s last eight albums, beginning with “Autobahn” and including all of the records with the so-called classic Kraftwerk lineup: Mr. Hütter, Mr. Schneider and the electronic percussionists Wolfgang Flur and Karl Bartos. (Five of the remastered albums are also available individually.) Like Mr. Hütter’s infrequent interviews, “The Catalogue” doesn’t divulge much that fans don’t already know. There are no liner notes, no unreleased tracks, no digital mini-documentaries, just some additional photos and revised album graphics.

The music, however, is much more generous. The remasters render Kraftwerk’s glistening, icy textures even more shimmering and crystalline, the repetition more entrancing. “Autobahn,” for example, welds a bouncy Beach Boys harmony to the hypnotic 4/4 motorik beat pioneered by the German band Neu! (whose Klaus Dinger and Michael Rother were part of an early Kraftwerk lineup) to create a 22-minute synthesizer symphony evoking a pleasant highway drive. (A three-minute edit of the song reached No. 25 on Billboard’s singles chart in 1975, the group’s only hit in the United States.)

“For the first time, I think the music sounds the way we always heard it and produced it in our Kling Klang Studio,” Mr. Hütter said.

After “Autobahn,” albums like “Radio-Activity” (1976) and “Trans-Europe Express” (1977) further refined the group’s experimental pop sensibility. Borrowing from the German tradition of sprechgesang, or spoken singing, Mr. Hütter’s flat, affectless voice — sometimes treated with a vocoder to further dehumanize it — is an odd match for the band’s lilting music-box melodies. “What I try to do on the synthesizers,” Mr. Hütter said, “is sing with my fingers.”

But for some critics the group’s synthetic songs just didn’t compute. “Fun plus dinky doesn’t make funky no matter who’s dancing to what program,” Robert Christgau wrote of “Computer World” in The Village Voice. “Funk has blood in it.”

Such distinctions didn’t seem to matter to club crowds: New York’s downtown scene embraced the group. François Kevorkian, a D.J. at underground clubs in the late ’70s and early ’80s, would use Kraftwerk to blend tracks by Fela Kuti and Babatunde Olatunji into his sets. “What was really remarkable was that their music was getting played just as much at Paradise Garage as it was getting played at the Mudd Club, and there were very, very few records that had that ability to cross over between all the different scenes,” said Mr. Kevorkian, who would later work with the band on its “Electric Cafe” album. “Kraftwerk was, like, universal.”

Kraftwerk had long been a staple of the D.J. sets of Afrika Bambaataa in the South Bronx, and in 1982 he and the producer Arthur Baker decided to combine the melody from “Trans-Europe Express” (which Mr. Baker had noticed kids playing on boom boxes in a Long Island City, Queens, park) and the rhythm pattern of “Numbers” (which Mr. Baker had seen wow customers at a Brooklyn record store). The result was the pioneering 12-inch single “Planet Rock” by Afrika Bambaataa and the Soulsonic Force.

“I’m trying to remember a record that created that much mayhem on the dance floor when it first came out, and I can’t,” Mr. Kevorkian said of the reaction to “Planet Rock.” Most early hip-hop songs were slow, “from 90 beats per minute to 110,” Mr. Bambaataa said. “We went to 130 beats per minute, and from that came Latin freestyle, Miami bass and all that.”

“All that” encompassed an entirely new genre, electro, which paved an alternate route for hip-hop. It’s hard to imagine the productions of Timbaland or the Neptunes without the innovations of “Planet Rock,” and its repercussions can still be heard the world over, from Bay Area hyphy to Brazilian baile funk.

The roots of techno wind their way back to Düsseldorf too. In Detroit the radio D.J. Charles Johnson — better known as the Electrifying Mojo — built a fervent following on the urban contemporary station WGPR-FM in the late ’70s and early ’80s by ignoring the rigid formatting of other local stations. He had fished a copy of “Autobahn” out of the discard bin at a previous station and soon acquired a copy of “Trans-Europe Express.” “It was the most hypnotic, funkiest, electronic fusion energy I’d ever heard,” Mr. Johnson said. Kraftwerk became a staple of Mojo’s show “The Midnight Funk Association.” When “Computer World” came out, Mr. Johnson played almost every song on the album each night, making a lasting impression on a generation of musicians.

“Before I heard ‘The Robots’ I wasn’t really using sequencers and I was playing everything by hand, so it sounded really organic, really flowing, really loose,” the Detroit D.J. and producer Juan Atkins said. “That really made me research getting into sequencing, to give everything that real tight robotic feel.”

Over the next several years Mr. Atkins, along with his high school friends Derrick May and Kevin Saunderson, would become the pioneers of techno, which Mr. May once famously described as being “like George Clinton and Kraftwerk caught in an elevator with only a sequencer to keep them company.”

Techno would eventually explode internationally in 1988, with raves in London and trance in Goa, India. Back in Detroit, “Computer World” would assume the status of a sacred text. Kraftwerk was “considered like gods,” said Carl Craig, a Detroit techno producer. “Black people could relate to it because it was like James Brown. It was just this kind of relentless groove.” Mad Mike Banks, founder of the Detroit techno collective Underground Resistance, said he considered the song “Numbers,” from “Computer World,” the “secret code of electronic funk.”

“That track hit home in Detroit so hard,” Mr. Banks said. “They had just created the perfect urban music because it was controlled chaos, and that’s exactly what we live in.”

For Kraftwerk it’s a civic connection that has come full circle. In the last decade Mr. Hütter has developed relationships with some Detroit artists he inspired, including Mr. Banks. It seems to be a kind of “brotherhood, like Düsseldorf and Detroit,” Mr. Hütter said, saying he’s fascinated “that this music from two industrial centers of the world, with different cultures and different history, suddenly there’s an inspiration and a flow going back and forth. It’s fantastic.

“All this positive energy, this feedback coming back to me, is charging our battery, and now we’re full of energy. It keeps my Ralf robot going.”

Indeed, compared with Kraftwerk’s near invisibility throughout most of the ’80s and ’90s, the last few years have seen a relative flurry of Kraftwerk activity. Laptops have allowed the group to take its Kling Klang Studio on the road, so it has been touring regularly, adding 3-D graphics to the live show this year. Now that “The Catalogue” is completed, Mr. Hütter has promised a new Kraftwerk album soon, which would mark the band’s first recording without Mr. Schneider. If Mr. Hütter has any reservations about working without his musical partner of four decades, he kept them to himself; perhaps robots are incapable of showing emotion?

“There’s so much to do,” Mr. Hütter said. “I feel like we are just starting.”

The Final ‘Dropping Science’ B Boy Workshop, Sunday 18th Oct @ D2MG Studio


Final ‘Dropping Science’ B Boy Workshop

WHEN: Sun 18th Oct, 4pm-7pm (2 Hr WORKSHOP + 1 HOUR JAM SESSION/TIME FOR QUESTIONS & ADVICE)

WHERE: D2MG Dance Studio (Kent House Entry, Lv 8, 88 Liverpool ST Sydney)

WHAT: B BOY Workshop, Q & A + Jam Covering:

  1. Freestyling,
  2. Flow ideas,
  3. Top Rocking,
  4. Footwork,
  5. Backrock &,
  6. Stomach Rock Patterns.

COST: $25

INFO: Numbers limited so e-mail bboy_rusha@hotmail.com to register,

Continue reading

'Dropping Science' B Boy Workshop, Sunday 27th Sep @ D2MG Studio


 

BBoy Workship

 

 ‘Dropping Science’ B Boy Workshop @ D2MG studio with B Boy Rush

  1. Top Rock ideas
  2. Go down concepts
  3. Flow concepts
  4. Invading steps and movements
  5. Battling and Cipher mentality
  6. CC’s and changing direction ideas/concepts
  7. Back moves
  8. Drills
  9. Exercises to help create, flip and manipulate movements
  10. History and Terminology
  11. Musicality

The classes are for all levels!

There is a limit on the workshop so first in first serve!

To register please email trina at trina@d2mg.com

Continue reading

‘Dropping Science’ B Boy Workshop, Sunday 27th Sep @ D2MG Studio


 

BBoy Workship

 

 ‘Dropping Science’ B Boy Workshop @ D2MG studio with B Boy Rush

  1. Top Rock ideas
  2. Go down concepts
  3. Flow concepts
  4. Invading steps and movements
  5. Battling and Cipher mentality
  6. CC’s and changing direction ideas/concepts
  7. Back moves
  8. Drills
  9. Exercises to help create, flip and manipulate movements
  10. History and Terminology
  11. Musicality

The classes are for all levels!

There is a limit on the workshop so first in first serve!

To register please email trina at trina@d2mg.com

Continue reading