Posts tagged with "dance"

Stomp illustration by Kaelen Felix for 360 Magazine

Stomp Wars Virtual Homecoming Experience

Stomp Wars, the celebrated national stepping competition and cultural institution, insisted the show must go on for 2020, and that’s exactly what’s going to happen!

In order to engage, rally, and uplift students, the Stomp Wars program announces a historic first with the launch of The Stomp Wars HBCU-KNOW Virtual Homecoming Experience on September 26 – October 28. The event will be powered by The Thurgood Marshall College Fund and broadcast live from stompwars.com, with a live simulcast on Facebook and YouTube. The Top 2 Step Team Winners will go on to compete in the World Of Dance Championships.

Now on the event’s 13th year, on-air personality Rock-T returns as the host. In this latest installment of the program, The Collegiate Edition will celebrate the HBCU community by showcasing incredible stepping by the Greek organizations Divine 9, HBCU-KNOW Battle of the Bands, HBCU-KNOW Cheerleaders, HBCU-KNOW Majorettes, and more.

Since its inception, Stomp Wars has consistently inspired generations to graduate high school and pursue higher education. To date, more than 10,000 students have been galvanized by the event as the initiative rewrites the rules and brings us one step closer to the eradication of social injustice and systemic racism. For 2020, the core messageTomorrow can be better than today will be transmitted to the online audience.

Check out the impactful message for yourself by watching the virtual Stomp Wars.

About Rock-T:

Rocky Turner is an American Radio-TV Personality, Host, DJ, Producer, Sports Announcer, Author, and entrepreneur. Known to listeners as Rock-T and currently a member of the phenomenally successful Rickey Smiley Morning Show, Rock-T reaches 7 million listeners daily through this nationally syndicated show with markets that include Chicago, Dallas, Houston, Atlanta, Detroit, Miami, Philadelphia, and Orlando. He is also a member of the wildly popular TV show, Dish Nation and Rickey Smiley For Real.

Rock-T is also the founder and creator of Stomp Wars, the most successful stomping competition in the country. As Rock-T’s vision for these disenfranchised youngsters continued to grow and expand, as did the reach of the event. Today, Stomp Wars is not only an annual sell-out on the campus of the University of Texas Arlington, it is also a hit with thriving teens across the country teaching students about the power of perseverance and diligence.

Follow Rock-T: Instagram | Facebook | Twitter | Website

Netflix – Cuties

By Cassandra Yany

One of Netflix’s newest films, Cuties, has garnered much attention and backlash since its Sep. 9 release on the streaming platform. The coming-of-age film depicts a young girl as she tries to navigate her life as a pre-teen growing up in a Muslim family living in Paris.

Many critics have spoken out against the film, which currently holds the no. 7 spot in Netflix’s ‘Top 10,’ for its depiction of 11-year-old girls dancing and behaving in an indecent manner. According to the New York Times, the movie was first deemed controversial in the U.S. in August when Netflix released the promotional artwork. The original marketing for the film displayed an image of four young girls in skimpy dance costumes posing provocatively.

This, along with the trailer, prompted opposers to start petitions online and call for the removal of the film from Netflix’s catalog. Netflix apologized and changed the artwork for the film to a more innocent photo of the same four characters walking down the street with shopping bags, donning bras and underwear over their clothes.

Last week’s release of the film has sparked conversation once again amongst parents, politicians and others, causing #CancelNetflix to trend on Twitter. Lina Nealon, the Director of Corporate and Strategic Initiatives at the National Center on Sexual Exploitation has spoken out against the film saying “While we commend Director Maïmouna Doucouré for exposing the very real threats to young girls having unfettered access to social media and the internet, we cannot condone the hypersexualization and exploitation of the young actresses themselves in order to make her point.” She called for Netflix to cut the “sexually-exploitive” scenes from the film, or remove the film from the platform altogether.

On Friday, Hawaii Rep. Tulse Gabbard tweeted, “@Netflix child porn ‘Cuties’ will certainly whet the appetite of pedophiles & help fuel the child sex trafficking trade. 1 in 4 victims of trafficking are children… Netflix you are now complicit.”

Texas Sen. Ted Cruz penned a letter to Attorney General William P. Barr Friday calling for the Department of Justice to start an investigation into the production and distribution of the film to “determine whether Netflix, any of its executives, or anyone involved in the making of ‘Cuties’ violated any federal laws against the production and distribution of child pornography.”

Cruz wrote that “the film routinely fetishizes and sexualizes these pre-adolescent girls as they perform dances simulating sexual conduct in revealing clothing, including at least one scene with partial nudity” falsely claiming that there’s a scene exposing a “minor’s bare breast.” The Associated Press reported that one of Cruz’s representatives, Lauren Aronson, said that the senator has not seen the film.

According to the Washington Times, some critics are even calling on the Obama’s— who have a production deal with Netflix— to take action against the film. Deadline stated that “The reality appears to have been lost in the storm, and the truth is very few of the people reacting so strongly will have actually seen the film.”

Netflix told USA TODAY “‘Cuties’ is a social commentary against the sexualization of young children. It’s an award winning film and a powerful story about the pressure young girls face on social media and from society more generally growing up— and we’d encourage anyone who cares about these important issues to watch the movie.”

Director Maïmouna Doucouré defends the film, saying that it works to shed light on these issues so they can be fixed. Cuties first premiered at the 2020 Sundance Film Festival on Jan. 23, where it won the Directing Jury Award for the dramatic film category. According to the New York Times, the movie did not stir up much conversation in France after its theatrical release (as Mignnonnes in French) in August.

Deadline reports that Doucouré did not see the promotional material prior to when it was circulated on the internet. She said that she received death threats as the outrage grew over these images. She told the news site that the film is not apologetic about the hypersexualization of children, but instead is her “…personal story as well as the story of many children who have to navigate between a liberal western culture and a conservative culture at home.”

Cuties was Doucouré’s feature directorial debut. Similar to the film’s main character, Amy, Doucouré is of Senegalese descent and grew up in a Muslim culture in Paris. In an interview at Sundance, she said she first had the idea for the movie after attending a neighborhood gathering in Paris where she saw a group of 11-year-old girls doing a stage performance of a “sensual” dance. She was shocked to see girls that age dance like that in short clothing. “We can’t continue to close our eyes about that,” she told the interviewer.

Doucouré researched for a year and a half, meeting with hundreds of pre-teens who told her their stories. She learned about their ideas of femininity, and how their self image is affected by the emphasis of social media in today’s society. According to IndieWire, the young actresses’ parents were on board with the project to spread awareness of the issue, and there was a psychologist working with the girls throughout filming who is still helping them throughout the release process.

The film is centered around Amy, an 11-year-old girl who has recently moved to a housing development in a poor suburb of Paris with her Senegalese, observant Muslim family. She looks out for her brothers, takes care of responsibilities around the house, and is in the process of being taught how to ‘be a woman’ by  her aunt.

One day after prayer, Amy walks by the laundry room and sees a girl her age dancing to music playing from her phone. In a subsequent scene, Amy is seen trying to straighten her hair with a clothing iron, burning part of it off as a result. 

Amy learns that her father, who is still in Senegal, has taken a second wife and will be coming to Paris soon to have the wedding. Her mother, Mariam, tries to hide her reaction to the news, but Amy sees her grow upset and take her frustrations out on herself. This is where Amy’s behavior begins to shift; she starts to reject her culture and identity, and instead tries to conform to fit in with the other girls at school. 

At school, Amy is teased for her clothes and lack of fashion sense, so she begins to wear her younger brother’s t-shirt to match the crop tops that her classmates wear. After seeing a group of girls her age dancing after school, Amy steals her cousin’s iPhone to learn how to dance, herself. She comes across their social media accounts and begins taking selfies, imitating what she sees on their profiles. 

Amy finds herself a spot in the girls’ friend group and dance troupe, and as a result, begins to neglect her responsibilities at home. Amy starts to show more self expression, wearing her hair natural rather than pulling it back. She also begins to explore the internet more, finding videos of almost-naked women dancing rather suggestively and moving their bodies in ways that an 11-year-old probably shouldn’t be watching. 

Taking what she found online, Amy practices dancing with her friends and teaches them how to twerk. This is where the movie begins to make viewers slightly uneasy. It was jarring to see these young, innocent girls tainted by this inappropriate content and doing dance moves that they didn’t understand the implications of. It appears that this was the intention of director Doucouré, as she stated in an interview with Netflix that the film is “…a mirror of today’s society; a mirror sometimes difficult to look into and accept but still so true.”

Some of the scenes, frankly, are very disturbing to watch. These include the girls dancing provocatively for two older male workers at a laser tag facility so that they wouldn’t get in trouble for sneaking in, as well as Amy beginning to undress for her cousin once he found she had stolen his iPhone in an attempt to smooth over the situation. Perhaps the most disturbing scene is when Amy takes a picture of her genitals to post on her social media profile so that people at school would think she’s mature. While there was no nudity shown in this scene, the implied action was horrifying to watch. 

At the end of the film, Amy performs with her dance troupe at a local competition. Dressed in revealing outfits, they dance immodestly in front of a crowd of people who quickly seem unsettled. (This is the scene from which the original promotional photos were taken.) Toward the end of the song, Amy freezes as she begins to think about her mom, then runs off the stage crying. She goes home where she asks her mom not to attend her father’s wedding. Her mom continues to get ready for the event, but tells Amy that she doesn’t have to go.

Instead of going to the wedding, Amy steps outside and begins jumping rope. This scene depicts a mixture of her two identities: she is wearing jeans and a crop top with her hair down, but is surrounded by people of her culture dressed in traditional garments. After suppressing her family’s background for a majority of the movie, Amy is finally able to find the balance where her multiple cultures intersect in order to be her honest self. 

After watching Cuties, it is evident that it is not meant to promote this behavior among young girls, but instead provide commentary on what is happening today and warn the adults who see the movie. The harsh reality is that more pre-adolescents are exposed to this type of content than we think. Any child who has access to a smart device and social platforms have the potential to see a video not meant for them. Take TikTok for example: racy dances to Cardi B and Meg Thee Stallion’s “WAP,” as well as a recent trend where women make “thirst traps” to Beyoncé’s “Rocket” are some of the most popular videos on the app right now. Young TikTok users can easily see creators on their For You Page enjoying themselves while engaging in these trends, causing the young viewer to want to do the same.

When speaking to Deadline, Doucouré said, “What happens is young girls see images of women being objectified, and the more the woman becomes an object, the more followers and like she has— they see that as a role model and try to imitate these women, but they’re not old enough to know what they’re doing.” In a separate interview, she posed the question, “Isn’t the objectification of a woman’s body that we often see in our Western culture not another kind of oppression?”

Overall, Cuties shows the dangers of uncensored media for young children and displays how impressionable they can be. It also shows the journey of Amy’s self-discovery and learning how to blend her multiple cultures in order to shape her identity. Unfortunately, the risqué nature of the film overshadows the storyline and the message is lost for a number of audience members.

In various articles, Doucouré is quoted discussing the meaning of the film in the broad context of femininity and what it means for young girls to enter womanhood in this digital age. During her aforementioned interview with Netflix, she stated “The real question of Cuties is can we, as women, truly choose who we want to be, beyond the role models that are imposed upon us by society?”

Becky Hill – The Art of Rave

Today, Becky Hill released the third episode of her podcast, The Art of Rave. Over the course of the series Becky discusses rave culture with some of its legendary pioneers, including DJ Zinc, Andy C, Pete Tong, Sister Bliss, Groove Armada, Fabio & Grooverider and more.

In episode three of The Art of Rave Becky and Roni Size cover a wide range of topics including: how the ‘Size’ in Roni Size came from “a dating game vibe”; the 90s Bristol music scene, the evolution of Reprazent and their groundbreaking ‘live’ sound, winning a Mercury Music Prize, why Roni’s first record was released under someone’s else name, how Margaret Thatcher killed the free party (with the criminal Justice and Public Order Act in 1994), ‘digital reggae’ and David Rodigan, how the rave scene has moved on and ravers’ dancing has moved on with it (from “giraffes” to mosh pits).

As with all Becky’s guests on The Art of RaveRoni Size brings along records that mean or say something to him, whether that’s because they’re by an artist that influenced him, remind him of a specific place or time, or feature a beat that defined his sound. These records are:Under Me Sleng Teng” by Wayne Smith, “Pressure Dub” by Ability ii, “Rhythm Takes Control” by Unique 3 and “Wicked Ones” by 3 Way Split with DJ Easygroove.

Meanwhile, Becky selects the Roni Size (& Reprazent) record that exemplifies why she handpicked him as a guest for the series: “Brown Paper Bag.”

While Becky Hill has an irrefutable aptitude for writing chart smashing pop music, her roots are firmly ensconced in electronic music. The Art of Rave provides the perfect platform for Becky to delve deep into the dance music scene she is so passionate about.

Episode 3 of Becky Hill’s The Art of Rave podcast is available here.

FOLLOW BECKY HILL: Instagram | Twitter | Facebook

Ballerina illustration done by Mina Tocalini of 360 MAGAZINE.

SF Ballet Release Film

San Francisco Ballet announces the premiere of Dance of Dreams, a new dance film directed by Benjamin Millepied, featuring San Francisco Ballet dancers performing choreography by Justin Peck, Dwight Rhoden, Janie Taylor, and Christopher Wheeldon. Filmed in iconic San Francisco locations including the Palace of Fine Arts and the Golden Gate National Recreation Area, the new six-minute film is set to “Scène D’Amour” by Bernard Hermann from Vertigo, Alfred Hitchcock’s San Francisco–based thriller film from 1958, played by members of SF Ballet Orchestra. “The connection of this company to the people of San Francisco is so strong. It’s a die-hard audience,” says director Benjamin Millepied. “Dance of Dreams is a moment of dancing, a moment of reconnecting dancers to the city and the thing they love most.” Click here to see the film trailer. “Here in San Francisco, we’re still sheltering in place and I wanted to explore new work under these circumstances. Dance of Dreams celebrates San Francisco, while giving our dancers the freedom to move outdoors in some of the most beautiful landscapes in the Bay Area, and with choreography by some of the finest choreographers of our time,” says SF Ballet Artistic Director Helgi Tomasson. “Benjamin [Millepied] felt like a natural fit to direct this project. I am thrilled to be able to work with him in a capacity that integrates his background in film and cinematography with dance.” 

Dance of Dreams offers a glimpse of San Francisco as the city enters its fifth month of shelter-in-place restrictions. The film is choreographed for six dancers, including solos for Principal Dancers Joseph Walsh and Frances Chung, choreographed by Peck and Taylor, respectively; and pas de deux for Soloists Ellen Rose Hummel and Daniel Deivison-Oliveira, choreographed by Rhoden, and Soloist Madison Keesler and Principal Dancer Benjamin Freemantle, choreographed by Wheeldon. SF Ballet Orchestra Music Director Martin West mixed and mastered the recording, which incorporates more than 150 tracks recorded remotely by more than 60 musicians from the Orchestra. With this project, the Company enters an era of unprecedented digital engagement via uncharted territories, grappling with what is lost while ushering in new future possibilities. Millepied and all of the choreographers generously donated their time, working remotely from their respective locales.

The film begins with Joseph Walsh on the grounds of the iconic San Francisco Art Institute in movements that suggest a yearning for what the past and future hold: community, connection, and love. Shifting to an evening scene beside the Golden Gate Bridge, San Francisco’s foggy weather greets Hummel and Deivison-Oliveira, leading to Chung in solitude against the rugged shores of Sausalito. Among the swells and sonorities of Hermann’s “Scène D’Amour,” the film ends at the Palace of Fine Arts, a location featured in the film Vertigo. Keesler and Freemantle offer a closing pas de deux—an ode to perseverance through challenging times.

Social distancing rules were observed during the filming process, and the pas de deux are danced by dancers who have been sheltered in place together. Dance of Dreams will be available to the public at 12 noon U.S. PDT on August 13, 2020 on SF Ballet @ Home, YouTube, Facebook, and IGTV.

Millepied and Tomasson’s professional relationship began two decades ago at New York City Ballet (NYCB), when Millepied danced a principal role in Tomasson’s Prism as part of NYCB’s 2000 Diamond Project IV. Millepied began choreographing while at New York City Ballet and created his first work for SF Ballet—set to John Adams’ “The Chairman Dances”—in 2017. He is now Artistic Director of L.A. Dance Project, and his career has expanded to include filmmaking; he founded The Amoveo Company, a multimedia production company, in 2012. For Dance of Dreams, Millepied selected the music and settings; Tomasson invited the participation of the four choreographers whose work the film features.

Director Benjamin Millepied is a choreographer, filmmaker, and artistic director distinguished by his career as a dancer at New York City Ballet and his growing body of creative work. Born in Bordeaux, France, Millepied trained with his mother, Catherine Flori; at the Conservatoire National de Lyon; and at the School of American Ballet before becoming a principal dancer with New York City Ballet. His choreography is performed by New York City Ballet, Paris Opera Ballet, San Francisco Ballet, American Ballet Theatre, Berlin Staatsoper, Mariinsky Ballet, among many others, and was featured in Darren Aronofsky’s award-winning film Black Swan, in which he also starred. Millepied founded the L.A. Dance Project in 2012. In 2013, he was appointed director of Paris Opera Ballet, where he was the subject of the documentary film Reset. He returned to Los Angeles in 2016 to focus on L.A. Dance Project and his own choreography and filmmaking. Among many awards and honors, Millepied was made a Chevalier of the Order of Arts and Letters by the French Ministry of Culture. 

Choreographer Justin Peck is Resident Choreographer and Artistic Advisor with New York City Ballet (NYCB). Peck joined NYCB in 2006 and was promoted to Soloist in 2013. He began choreographing in 2009 at the New York Choreographic Institute. In 2014, after the creation of Everywhere We Go, Peck was appointed Resident Choreographer of NYCB. He also served as a member of NYCB’s interim artistic team from December 2017 until his appointment as Artistic Advisor in February 2019. He has created more than 30 ballets, which have been performed by Paris Opera Ballet, San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, L.A. Dance Project, Dutch National Ballet, The Joffrey Ballet, Houston Ballet, and Pennsylvania Ballet. In 2014, Peck was the subject of the documentary Ballet 422, which followed him as he created Paz de la Jolla, NYCB’s 422nd original dance. Peck choreographed the 2018 Broadway revival of Carousel, for which he was awarded the 2018 Tony Award for Best Choreography. In addition, Peck choreographed the feature film Red Sparrow, and will be creating new choreography for the upcoming film remake of West Side Story, directed by Steven Spielberg. His Rodeo: Four Dance Episodes won the Bessie Award for Outstanding Production in 2015. Peck created his first work for SF Ballet, In the Countenance of Kings, in 2017. His second work for the Company—Hurry Up, We’re Dreaming—was created for the 2018 Unbound: A.

Choreographer Dwight Rhoden is founding artistic director and resident choreographer of Complexions Contemporary Ballet. Born in Dayton, Ohio, he performed with Dayton Contemporary Dance Company, Les Ballets Jazz De Montréal, and as a principal dancer with Alvin Ailey American Dance Theater. He has choreographed for New York City Ballet, Alvin Ailey American Dance Theater, Aspen Santa Fe Ballet, BalletMet, Colorado Ballet, Dance Theatre of Harlem, Dayton Contemporary Dance Company, The Joffrey Ballet, Miami City Ballet, Pennsylvania Ballet, Philadanco, Pittsburgh Ballet Theater, The Washington Ballet, Ballet Nice Mediterranean, Rome Opera Ballet, and Tulsa Ballet, among others. Rhoden has directed and choreographed for television, film, and theater, including So You Think You Can Dance, Cirque du Soleil, world tours for Prince and Lenny Kravitz, and the feature film One Last Dance. Rhoden was nominated for a Benois de la Danse Award for his The Great Gatsby for the Mariinsky Ballet. He’s been an artist in residence at USC Kaufman, Boston Conservatory, The Juilliard School, New York University, and Southern Methodist University. Honors include a New York Foundation for the Arts award, induction in the NYFA Hall of Fame, the Choo-San Goh Award for Choreography, and an Honorary Doctorate from Boston Conservatory. Rhoden created LET’S BEGIN AT THE END, his first work for SF Ballet, for Unbound: A Festival of New Works in 2018.

Choreographer Janie Taylor is a dancer and stager with L.A. Dance Project and a former principal dancer with New York City Ballet. Born in Houston, she trained in Texas and Louisiana before attending the School of American Ballet in New York, where she received the Mae L. Wien Award. She joined New York City Ballet in 1998, and was promoted to soloist in 2001 and principal dancer in 2005. Taylor appeared in the 2000 feature film Center Stage. Since retiring from the New York City Ballet in 2014, she has staged ballets on companies around the world. She has also started a career in design, creating costumes for New York City Ballet and L.A. Dance Project. In 2016, she joined L.A. Dance Project as a dancer and rehearsal director. 

Choreographer Christopher Wheeldon, OBE, trained at The Royal Ballet School and danced with The Royal Ballet and New York City Ballet (NYCB). Wheeldon was named NYCB’s first resident choreographer in 2001 and has since created works for many of the world’s major ballet companies. He founded Morphoses/The Wheeldon Company in 2007. Wheeldon now serves as artistic associate of The Royal Ballet, where choreography credits include Alice’s Adventures in Wonderland and The Winter’s Tale. He choreographed Dance of the Hours for Ponchielli’s La Gioconda and Richard Eyre’s Carmen for the Metropolitan Opera, as well as a special excerpt for the London 2012 Olympics Closing Ceremony, ballet sequences for the film Center Stage, and the Broadway musical Sweet Smell of Success. In 2014, Wheeldon directed and choreographed the musical An American in Paris, for which he won the Tony Award for Best Choreography and Outer Critics Circle Award for Best Choreography and Direction. Other recent credits include a reimagination of The Nutcracker for The Joffrey Ballet, a gala presentation of Lerner & Loewe’s Brigadoon starring Kelli O’Hara and Patrick Wilson at New York City Center, the premiere of Corybantic Games with The Royal Ballet, and productions of Alice’s Adventures in Wonderland in Tokyo, The Winter’s Tale with The Bolshoi Ballet, and a re-staged version of Cinderella for the English National Ballet at The Royal Albert Hall. Among Wheeldon’s awards are two Olivier awards for Aeternum and Polyphonia, and two Benois de la Danse awards for Cinderella and The Winter’s Tale, as well as the Martin E. Segal Award, American Choreography Award, a Dance Magazine Award, multiple London Critics’ Circle Awards, and the Léonide Massine Prize for new choreography. In 2016, Wheeldon was named an OBE and made an Honorary Fellow of American Academy of Arts and Sciences. 

San Francisco Ballet, long recognized for pushing boundaries in dance, has enjoyed a long and rich tradition of artistic “firsts” since its founding in 1933, including performing the first American productions of Swan Lake and Nutcracker, as well as the first 20th-century American Coppélia. SF Ballet is one of the three largest ballet companies in the United States and currently presents more than 100 performances annually, both locally and internationally. The mission of SF Ballet is to share its joy of dance with the widest possible audience—in its community and worldwide—and to provide the highest caliber of dance training in its School. Under the direction of Helgi Tomasson, the Company has achieved an international reputation as one of the preeminent ballet companies in the world.

Follow San Francisco Ballet: Facebook | Instagram | Twitter | YouTube

CamelPhat × Yannis Philippakis

Multi-platinum producers CamelPhat and Foals’ front man Yannis Philippakis have released the visual for their latest collaboration “Hypercolour.” Watch here.

A visual manifestation of the track’s theme ‘hypercolour,’ the psychedelic video has been directed by Yannis Philippakis along with Kit Monteith, and features Yannis himself. The track has already garnered almost 2 million streams and has received tastemaker support from the likes of Annie Mac (who named the track as her ‘Hottest Record In The World’) as well as Pete Tong, Mista Jam and Nick Grimshaw.

Needing little introduction, from playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals’ trajectory has been remarkable. They’ve earned critical acclaim winning Best Band at the BRIT Awards last year as well as NME and Q Award wins. Not stopping there, the band have also been nominated for an Ivor Novello and have been nominated three times for a Mercury Prize earning fan devotion with anthems such as “My Number,” “Inhaler,” and “The Runner.”

Liverpool duo CamelPhat (Dave Whelan and Mike Di Scala) have firmly established themselves as one of the most in-demand dance acts around. Making their mark with their 2017 Grammy nominated hit “Cola,” the duo have continued to release huge hits such as “Breathe,” “Panic Room” with Au/Ra, “Rabbit Hole,”and “Be Someone” alongside Jake Bugg. The pair have been hailed as the ‘hottest dance acts in the world’ and have consistently been supported by industry heavyweights including Annie Mac, Zane Lowe, Danny Howard and Pete Tong. The pair are also firm favorites on the festival circuit playing some of the world’s biggest events such as Glastonbury, Coachella, Reading & Leeds, Creamfields, Warehouse Project, and Parklife. This summer the pair were confirmed to headline their own residency every Wednesday at Ushuaia, Ibiza and are set to announce a huge UK headline tour in the next coming weeks.

“Hypercolour” sees two musical powerhouses of the British music scene come together to create what is set to be one of 2020’s biggest crossover hits.

FOLLOW CAMELPHAT: Instagram | Spotify | Facebook

FOLLOW YANNIS PHILIPPAKIS: Instagram | Twitter

FOLLOW FOALS: Website | Instagram | Twitter | Spotify

Jean Button illustrated by Mina Tocalini for 360 MAGAZINE.

Hollister Back-to-School

Hollister Co., a division of Abercrombie & Fitch Co. (NYSE: ANF), and the global teen brand celebrating the spirit of an endless summer, is partnering with TikTok stars Charli and Dixie D’Amelio and Noah Pugliano for its new back-to-school campaign – leveraging the platform that has rapidly grown in popularity among its teen audience.

Charli, Dixie and Noah will serve as the brand’s “Jeanealogists”, together with science educator and television personality Bill Nye. The trio’s “experiments” in Hollister’s Jean Lab, led by Bill Nye, determined the science behind the brand’s perfect denim fits. This content will be featured across Hollister’s social channels and in store. Every aspect of the jean fits were tested and approved by Charli, Dixie and Noah, alongside other teens, to ensure they make teens as comfortable and confident as possible through features like smoothing pockets, curvy fit styles, new soft stretch fabrics and more.

“The ‘jeanealogy’ experience was amazing for us because Hollister has always been one of our favorite brands. We’ve been buying their denim for years and even borrowing each other’s. We loved being able to perfect our favorite denim and share it with everyone else,” said Charli and Dixie. Charli and Dixie’s favorite jean fits, which they hand-selected and marked with their official “stamps of approval,” will be featured in stores and online starting today, July 16.

As part of the partnership, Charli, Dixie and Noah are also launching the #MoreHappyDenimDance – a TikTok challenge choreographed by Charli that encourages users to celebrate comfort, and to share their “happy dance” when they slip into the perfect pair of Hollister jeans. Hollister fans who participate in the challenge will have the chance to be selected for a virtual meet-and-greet with Charli and Dixie.

“We are thrilled to partner with Charli, Dixie, Noah and Bill, as they combine the excitement of TikTok with the nostalgia that our teens love,” said Kristin Scott, President, Global Brands at Abercrombie & Fitch Co. “This is the start of a longer-term relationship with Charli and Dixie, both of whom share our passion to spread positivity and build confidence among teens – especially during the uncertainty that surrounds this year’s back-to-school season. Additionally, as one of Hollister’s original brand agents in 2017, we are excited to have Noah on board for an even more robust partnership.”

Throughout the fall, Charli and Dixie will also be participating in various Hollister digital activations, in-store shopping events, and more. For more information on Hollister’s back-to-school campaign visit www.hollisterco.com, and follow the brand on Instagram and TikTok to learn more about the #MoreHappyDenimDance challenge.

SAFE HARBOR STATEMENT UNDER THE PRIVATE SECURITIES LITIGATION REFORM ACT OF 1995

A&F cautions that any forward-looking statements (as such term is defined in the Private Securities Litigation Reform Act of 1995) contained herein or made by management or spokespeople of A&F involve risks and uncertainties, and are subject to change based on various important factors, many of which may be beyond the Company’s control. Words such as “estimate,” “project,” “plan,” “believe,” “expect,” “anticipate,” “intend,” and similar expressions may identify forward-looking statements. Except as may be required by applicable law, we assume no obligation to publicly update or revise our forward-looking statements. Risks and uncertainties related to the duration and impact of the COVID-19 pandemic on the Company and the factors disclosed in “ITEM 1A. RISK FACTORS” of A&F’s Annual Report on Form 10-K for the fiscal year ended February 1, 2020, in some cases have affected, and in the future could affect, the company’s financial performance and could cause actual results for fiscal 2020 and beyond to differ materially from those expressed or implied in any of the forward-looking statements included in this press release or otherwise made by management.

The quintessential retail brand of the global teen consumer, Hollister Co. believes in liberating the spirit of an endless summer inside everyone. At Hollister, summer isn’t just a season, it’s a state of mind. Hollister creates a carefree style designed to make all teens feel celebrated and comfortable in their own skin, so they can live in a summer mindset all year long, whatever the season.

Hollister is a division of Abercrombie & Fitch Co. (NYSE: ANF) and is sold through approximately 540 stores worldwide and www.hollisterco.com globally. 

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360 Magazine, Good Girl

Good Girl – “Thirsty”

GOOD GIRL RETURNS WITH “THIRSTY” FT. MULATTO TRACK AND VIDEO

CLICK HERE TO WATCH

Today, Philadelphia-based R&B quartet Good Girl returns with the release of their new track and video, “Thirsty” featuring rising rapper, Mulatto via Starr Island/RCA Records. Click HERE to listen/watch.

“Thirsty” is produced by Grammy-nominated Kosine, who is one half of the producer duo Da Internz. The visual, which is an ode to OnlyFans, is directed by Jet Phynx.

Good Girl is Arielle, Bobbie, JL, and Megan.

Watch/Listen to “Thirsty” ft. Mulatto HERE

About Good Girl:

Good Girl is redefining what it means to be a “good girl”— as well as R&B as we know it. The Philadelphia-based quartet of Bobbie, Megan, Arielle, and JL have spent years honing their talents and building a considerable fanbase through their viral covers online.

All four members of Good Girl hail from the East Coast and met in various ways through dance, eventually convening in Philadelphia. Career inspiration struck when they performed a gig in the city, where they covered songs from musical inspirations like TLC and En Vogue.

They immediately got to work on building their group dynamic, regularly posting viral videos on Instagram of the four of them singing and dancing to classic R&B songs in their car. They eventually signed with RCA, heading out to Los Angeles to work on forthcoming EP that showcases their growth as artists and as human beings. “We’re really big on confidence and being true to yourself—girl power, black girl magic,” Bobbie enthuses. “We want everyone to be able to relate to our music, and for it to be timeless as well.”

L to R: Arielle (Yellow), Bobbie (Orange), JL (Red), Megan (Blue

Photo Credit: Shmaal

Keep Up With Good Girl: 

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Sparks Existential Threat visual

Sparks – “Existential Threat”

SPARKS TEAM UP WITH CYRIAK FOR “EXISTENTIAL THREAT” VIDEO

Sparks are excited to share the new video for the song “The Existential Threat,” from their new album A Steady Drip, Drip, Drip, which was released on CD, vinyl and cassette this past Friday, July 3. The video was created by the iconic animator Cyriak, known for his subversive and surreal work. “The incredibly manic and overwhelming nature of the existential threats that are facing all of us nowadays and our reaction to those threats, expressed musically and lyrically in our song ‘The Existential Threat’, are brilliantly demonstrated in the frightening and beautiful video for the song by Cyriak.” — Ron and Russell Mael, Sparks

WATCH “THE EXISTENTIAL THREAT” HERE

Speaking about the process Cyriak said: “When I was asked to make a music video for Sparks, I could hardly believe it. They sent me the whole of their new album to choose from, and there was this one song that immediately stood out – ‘The Existential Threat’. Not only did the music fit perfectly with my animation style, the subject of existential dread is something I have been fascinated by for as long as I can remember. It was like I could see the whole video inside my head as I listened to the song. “The brief was totally open, but I felt this track deserved more than just some crazy visuals. It has a psychology driving it, and a feeling that hangs over us all, especially in these modern times of information overload. Are these threats real, or imaginary? Are they just a paranoid delusion, or do we ignore them at our peril? It was great fun making this video, and I hope it makes people think about their inevitable impending death in a more light-hearted way.” The extraordinary A Steady Drip, Drip, Drip was released digitally on May 15 to universal acclaim.

“With A STEADY DRIP, DRIP, DRIP, Sparks have drawn on the many styles and many great moments in a multi-faceted career that began in their native Los Angeles in 1967, while retaining the unique identity. Whatever style they embrace, and they have embraced most – pop, rock, New Wave, synth-pop, disco, dance, electro, orchestral, opera – they always remain ineffably, irrefutably, inescapably, undeniably Sparks.” – LouderThanWar

“No band should by rights sound as sharp, melodic and funny more than 50 years into their career. But Sparks are no ordinary band.” – Q

“Sparks remain deftly untouchable” 9/10 – LineOfBestFit

“The Picassos of art rock.” – Associated Press

“a work of genius” – 9/10 Clash “A masterclass” – Northern Transmissions

“They’ve done it again” – ***** Record Collector

“Sparks. Only Sparks.” – **** FT Uncut 9/10 Mojo **** Q **** The Times **** Independent **** Daily Mirror **** Daily Telegraph ****

This next year should also see the eagerly awaited premiere of the musical Annette, the first English-language film from groundbreaking French director Leos Carax (Holy Motors, Pola X), written by Ron and Russell Mael and starring Adam Driver and Marion Cotillard. In addition, director Edgar Wright (Shaun of the Dead, Hot Fuzz, Baby Driver) is putting the finishing touches to his as-yet-untitled Sparks documentary, a long-in-the-making feature-length film celebrating this singular band.

CONNECT WITH SPARKS HERE

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San Francisco Ballet Streams Online

On June 30, San Francisco Ballet will stream its 2020 Opening Night Gala program – SPELLBOUND – to mark the end of a season that started with great hope and was suspended due to the COVID-19 pandemic. The program is being presented as a heartfelt message of appreciation to the nearly 3,000 San Francisco Ballet Critical Relief Fund donors, as well as annual fund supporters, and patrons who generously donated back their unused 2020 Season tickets. The stream will be available from 10 am until midnight U.S. Pacific Daylight Time on June 30 on SF Ballet @ Home, YouTube, Facebook, and IGTV. Viewers will also be able to contribute to the SF Ballet Critical Relief Fund and have their gift matched by a generous $1 million challenge grant put forward by the SF Ballet’s Board of Trustees.

A special intermission presentation featuring a new work created on Principal Dancer Yuan Yuan Tan will highlight the program. The 2020 Season marks the 25th anniversary season of Tan’s remarkable tenure with the Company. The piece, by SF Ballet’s Choreographer in Residence Yuri Possokhov, is a tribute to Yuan Yuan Tan’s mother.

“Throughout all of my years working with Yuan Yuan as both a dancer and a choreographer, I’ve always admired the support of her parents,” says Possokhov. “First hearing stories from her childhood, then later meeting them and watching as they stood by her side at every performance and milestone, I realized what an integral role they played in the progression of her incredibly successful career as a ballerina. In choreographing this piece, I wanted to honor Yuan Yuan’s mother, so we can appreciate the steadfast dedication to her daughter’s journey. During the process, the movements evoked emotions and memories of my own mother, who also firmly stood by my side throughout my life.”

Held on January 16, 2020, the Gala’s twelve pieces include the world premiere performances of Val Caniparoli’s Foreshadow and Myles Thatcher’s 05:49, in addition to the SF Ballet premiere of the pas de deux from David Dawson’s Swan Lake (featuring departing Principal Dancers Sofiane Sylve and Carlo Di Lanno) and the SF Ballet premiere of Danielle Rowe’s For Pixie. Other highlights include Principal Dancer Esteban Hernandez and newly promoted Principal Dancer Max Cauthorn in Bournonville’s “Jockey Dance,” and newly promoted Principal Dancer Wona Park with Principal Dancer Wei Wang in Victor Gsovsky’s Grand Pas Classique. Tan is also highlighted alongside Vitor Luiz, in his final performance as a principal dancer with SF Ballet, in a pas de deux from Yuri Possokhov’s Bells. Osterweis Capital Management was the Presenting Sponsor of the Gala. Full programming is listed below.

SF Ballet @ Home is made possible through the generosity it has received from the community through the Critical Relief Fund. The recordings are produced under agreements with the San Francisco War Memorial and Performing Arts Center, American Guild of Musical Artists, American Federation of Musicians, and International Alliance of Theatrical Stage Employees.

About Yuan Yuan Tan

Yuan Yuan Tan’s remarkable 25-year career at SF Ballet has created not only some of the most prominent principal roles in the field of ballet, but also a path for her significant contribution to bridging the world of dance globally. Tan’s remarkable artistry and the inspiration she imparts on future generations of aspiring female performing artists continue to define the role of a prima ballerina today, reaching political and social realms. Nominated by San Francisco Mayor Ed Lee, Mayor Mark Farrell noted April 9, 2018 as “Yuan Yuan Tan Day” for the people of San Francisco and awarded her the year’s San Francisco Mayor Art Award. He said: “Her grace, skill, versatility and strength have helped her become the first Chinese prima ballerina in the United States and one of the greatest Chinese ballerinas of all time. She has gracefully served as cultural ambassador for San Francisco and the United States. We are immensely grateful for her contributions to our city’s cultural history.” Chelsea Clinton featured Tan in her 2018 children’s book She Persisted Around the World, alongside other female leaders in science, the arts, sports, and activism who are role models in their determination to break barriers and change the status quo.

Helgi Tomasson first noticed Yuan Yuan Tan at the Fifth International Ballet competition in Paris in 1992, where she took the gold medal in the junior division. She won the gold medal and the Nijinsky Award at the 1st Japan International Ballet and Modern Dance Competition the following year. Tan was invited by Tomasson to join SF Ballet in 1995 as soloist, and two years later was promoted to principal dancer, making her the youngest principal dancer in SF Ballet history at the time. Over the course of Tan’s exceptional 25-year career at SF Ballet, she has danced a remarkable repertory traversing works of preeminent choreographers including Frederick Ashton, George Balanchine, and Jerome Robbins; and has created leading principal roles including Helgi Tomasson’s 7 for Eight, Chi-Lin, and The Fifth Season; William Forsythe’s Pas/Parts 2016; Edwaard Liang’s The Infinite Ocean and Symphonic Dances; Mark Morris’ Sylvia; Yuri Possokhov’s RAkU, Firebird, and Diving Into the Lilacs; Liam Scarlett’s Fearful Symmetries and Hummingbird; and Christopher Wheeldon’s Bound To, Continuum, Ghosts, Number Nine, and Quaternary. Yuan Yuan Tan was featured as Queen of the Snow in the 2008 PBS Great Performances broadcast of Tomasson’s Nutcracker, co-produced by SF Ballet and KQED Public Television San Francisco, in association with thirteen/WNET New York.

Arguably the most notable ambassador to bridge dance between China and the United States, Tan facilitated SF Ballet’s historic first-ever tour to China in 2008 and still performs several times a year in her native country where she also frequently participates in teaching workshops, competitions, and other community programs to nurture new generations. Tan was the first Asian dancer appearing in the World Star Show in Prague. Her appearance on TEDxShanghai in 2016 titled “My Life as a Ballerina” was critically received and garnered her the reputation as the “irreplaceable pride of China on the global stage.” In 2004, Tan was featured on a cover of Time as a “Hero of Asia”; named one of the world’s most influential Chinese for her contribution to the arts by Hong Kong’s Phoenix TV in 2015; was honored with “You Bring Charm to the World” award from HKSTV in 2017; and in 2018, appeared on the Chinese cultural program The Reader.

Programming Details

Men’s Regiment from Stars & Stripes

Composer: John Philip Sousa, arranged by Hershy Kay

Choreographer: George Balanchine

Foreshadow (World Premiere)

Composer: Ludovico Einaudi

Choreographer: Val Caniparoli

Pas de Deux from Swan Lake (SF Ballet Premiere)

Composer: Peter Ilyich Tchaikovsky

Choreographer: David Dawson

“Jockey Dance” from From Siberia To Moscow (SF Ballet Premiere)

Composer: Carl Christian Møller

Choreographer: August Bournonville

For Pixie (SF Ballet Premiere)

Composer: Nina Simone

Choreographer: Danielle Rowe

Pas de Deux from Le Corsaire

Composer: Riccardo Drigo

Choreography: after Marius Petipa

Intermission Performance

Dedicated to… (World Premiere, June 30, 2020)

Director and Director of Photography: Erik Tomasson

Composer: Victor Osadchev

Choreographer: Yuri Possokhov

Editor: Hidetoshi Oneda

Costume Design: Original costumes for Yuri Possokhov’s Carmen, designed by Mark Zappone

Music: Victor Osadchev

Balcony Pas de Deux from Romeo & Juliet

Composer: Sergei Prokofiev

Choreographer: Helgi Tomasson

05:49 (World Premiere)

Composers: Ivan Pavlov and Annie Bandez

Choreographer: Myles Thatcher

Grand Pas Classique

Composer: D. F. E. Auber

Choreography: Victor Gsovsky

Pas de Deux from Hurry Up, We’re Dreaming

Composers: Anthony Gonzalez, Yann Gonzalez, and Justin Meldal-Johnsen

Choreographer: Justin Peck

Pas de Deux from Bells

Composer: Sergei Rachmaninoff

Choreographer: Yuri Possokhov

Finale from Diamonds

Composer: Peter Ilyich Tchaikovsky

Choreographer: George Balanchine

About San Francisco Ballet

San Francisco Ballet, long recognized for pushing boundaries in dance, has enjoyed a long and rich tradition of artistic “firsts” since its founding in 1933, including performing the first American productions of Swan Lake and Nutcracker, as well as the first 20th-century American Coppélia. SF Ballet is one of the three largest ballet companies in the United States and currently presents more than 100 performances annually, both locally and internationally. The mission of SF Ballet is to share its joy of dance with the widest possible audience—in its community and worldwide—and to provide the highest caliber of dance training in its School. Under the direction of Helgi Tomasson, the Company has achieved an international reputation as one of the preeminent ballet companies in the world.

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YAGP COMPETITION

Youth America Grand Prix (YAGP) – the world’s largest ballet scholarship organization – presents YAGP’s Pas de Deux Virtual Competition. Over 12,000 aspiring dancers – ages 9 to 19 – danced at YAGP’s 2020 regional auditions around the globe; 34 cities in 14 countries. The three highest-ranked Pas de Deux performances from each location will be showcased on YAGP’s social media channels Friday, June 26th through Sunday, June 28th. Internationally recognized members of the dance world – including Cynthia Harvey (ABT JKO School), Peter Stark (Boston Ballet II), and Amanda Bennet (Basel Theater) – will be watching and judging each variation. On Wednesday, July 1st these judges will announce the winners! In addition, each participant will be automatically reviewed for scholarships, job offers, and placements to the schools and companies represented on the jury.

Students will be representing schools in California, Indianapolis, Florida, New Jersey, New York, Arizona, Massachusetts, Missouri, District of Columbia, North Carolina, Colorado, Michigan, Texas, Washington, Pennsylvania, Wisconsin, as well as Toronto, Vancouver, and Calgary in Canada and countries Spain, Romania, Portugal, Italy, and Russia.

The Judges
Contemporary Category

Matthew Dibble – Repetiteur and Dancer, Twyla Tharp Dance

Karine Plantadit – Tony Award-nominated Dancer/Actress; Former dancer at Alvin Ailey American Dance Theater

John Selya – Former Dancer, Twyla Tharp Dance

Ashleigh Wilson – Former Soloist, SemperOper Dresden

Classical Category
Natalia Bashkatova – Former Principal Dancer, Bolshoi Theater; Performer, Cirque du Soleil

Amanda Bennett – Artistic Director, Ballet School of the Basel Theater

Cynthia Harvey – Artistic Director, American Ballet Theater, JKO School

Deborah Hess – Senior Faculty Member, Canada’s National Ballet School

Oliver Matz – Director, Zurich Dance Academy

Pascal Molat – Trainee Program Assistant, San Francisco Ballet School

Robert Parker – Artistic Director, Elmhurst Ballet School

Peter Stark – Associate Director Boston Ballet II and Head of the Men’s Program, Boston Ballet Academy

Dates

Contemporary Pas de Deux will be Friday, June 26 at 6 PM EST

Classical Pas de Deux Group 1 will be Saturday, June 27 at 6 PM EST

Classical Pas de Deux Group 2 will be Sunday, June 28 at 6 PM EST

To support dancers while they are staying at home, YAGP has also launched a new Virtual Scholarship Program and Free Online Classes. Every dancer who placed in the top 12, Classical Category, during the 2020 YAGP Semi-Finals was eligible to apply for scholarships to top dance institutions through YAGP.  For the first time in history, 18 of the world’s major dance schools awarded more than $200,000 in scholarships to 105 talented young dancers from 21 countries; 6 dancers were offered company trainee positions, 1 received a 2nd company professional contract – and it all happened online! With YAGP’s extensive global repertoire of alumni and affiliated dance professionals, free online classes are available for all dancers of any level. Teachers include Luca Masala (Artistic Director of Monaco’s Princess Grace Academy), Sasha De Sola (YAGP Alumna and Principal Dancer at San Francisco Ballet), Maria Khoreva (Mariinsky Ballet), Kathryn Morgan (Miami City Ballet), Skylar Brandt (American Ballet Theatre), Peter Stark (Boston Ballet), Oliver Matz (Zurich Dance Academy), Jason Beechey (Palucca School Dresden), and TONY-nominated Broadway performer Karine Plantadit (YAGP Judge and Emcee, former dancer with the Alvin Ailey American Dance Theater) teaching a special class on the Horton technique for ballet dancers. As the YAGP community practices social distancing, its social media channels (Instagram, Facebook, YouTube) are providing these daily classes at 12 pm EST, which will remain available on each channel permanently.

The Youth America Grand Prix (YAGP) is the world’s largest student ballet scholarship competition, and global dance network; connecting students, teachers, schools, companies, sponsors, dancers, choreographers, and audiences worldwide. Over 12,000 young dancers from more than 40 countries participate in YAGP’s competition, master classes, and educational events each season. Over the past 20 years, YAGP has facilitated more than $4 Million in scholarships to the world’s leading dance institutions. Over 450 YAGP alumni are currently dancing in 80 of the world’s leading dance companies, including American Ballet Theatre, Dutch National Ballet, Mariinsky Ballet, New York City Ballet, ParisOpera Ballet, Stuttgart Ballet, and many more. More information, at WWW.YAGP.ORG.