Breakdance Battle
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Korea 2005 Freestyle Session Breakdance SE 2:2 Battles
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Freestyle Session Korea 2005 presented by Nike and Cartel Creative…
Bboy 2 on 2 Battles w/ Pokemon, Massive Monkees, Havikoro, Rivers, Expressions, Maximum Crew, Drifterz, Jinjo, Project Soul, 20th Century Bboys, Super CRew USA, Morning of Owl and more…
Poppin 1 on 1 Battles w/ akaKIN, Kyo, Poppin J, Gun, Poppin Hyujin, Queen J, Bora and Cyborg Taeyoun Witness the future of bboy battles…taking place in the Olympic Stadium in Seoul Korea with over 3000 spec… More >>
Korea 2005 Freestyle Session Breakdance SE 2:2 Battles
One Flew Over the Transformer’s Nest: or, What Michael Bay could learn from Randle P. McMurphy
By Steven BoonePressPlay contributor
Have you ever been subject to someone in a position of authority who denied you a basic adult right, as if you were a child?
Of course you have. It’s a universal frustration we’ve all experienced at one point or another. in One Flew Over the Cuckoos Nest, a guy named Charlie Cheswick wants his cigarettes. He’s a voluntary patient at a mental institution in 1963, and the ward supervisor, Nurse Ratched (Louise Fletcher), serenely refuses to let him have his smokes. She’s been punishing him in this manner for a while now, and he’s nearly fed up. Adding fuel to the fire, fellow patient McMurphy (Jack Nicholson) asks other ward mates to let Cheswick bum a smoke.
Cheswick loses it. “I don’t want his cigarettes, or his, or his, or his….” he turns his fury back to the nurse. “I want my cigarettes, Nurse Ratched! What gives you the damn right to keep our cigarettes piled up on your desk and to squeeze out a pack only when you feel like it, huh?” He’s in a rage of understandable frustration (and nicotine withdrawal), but Nurse Ratched exploits the situation by remaining inhumanly calm, making him look like the unreasonable crazy man that violence-prone attendants standing nearby are all too happy to believe he is.
“That’s just wrong,” said a young man standing next to me, staring up at the movie and shaking his head. “Give that dude his cigarettes.” We were gathered at an outdoor screening in midtown Manhattan, part of Bryant Park’s summer movie series. on the giant screen, Charley Cheswick, played by the great character actor Sydney Lassick, continued to throw a tantrum (“I ain’t no little kid! I want something done! I want something doooonne!”) until McMurphy rushed over to the nurses’ station, put his fist through its thin plate glass window, and grabbed a carton of Lucky Strikes. the crowd, at least a thousand strong, erupted in applause. McMurphy shoved the carton into Cheswick‘s arms, but it was too late. Attendants dragged him away. Nurse Ratched won this round. Boooo.
There would be a lot more applause, catcalls and dismayed head-shaking from this Bryant Park movie crowd, which was Standing Room only that night. One Flew Over the Cuckoo’s Nest, an allegorical drama adapted from Ken Kesey’s novel, played like a non-stop thrill ride. Originally released in 1975, it’s the most thrilling summer movie of 2011.
The park was packed, in part, because the movie was free. HBO, apparently out of the kindness of its corporate heart, shows free classic films in Bryant Park every summer since the early 90s. but what struck me was how the place stayed packed, standing room only, for the film’s duration. I was standing alongside the great lawn in the middle of the park, where I could see the multitude staring up, barely blinking—and, at times, crying, grinning madly in unconscious pantomime of Jack’s ridiculously charismatic smile; or resting a head on the shoulder of a loved one. One Flew Over the Cuckoo’s nest doesn’t let you look away. how does it do this?
Surely, Michael Bay knows. he didn’t direct Cuckoo’s Nest. Milos Forman did that when Bay was 10 years old, playing with toy cars and army men. Bay’s new film Transformers: dark of the Moon apes a basic understanding of why people flock to the big commercial movies. We don’t seek escape so much as communion. in theaters, strangers come together as at church, to experience something that spells out what fears, strengths, joys and frustrations we have in common. You can’t get an “amen” in your living room. the Transformers movies genuflect toward this phenomenon by building their tale around an Everyman hero who overcomes everyday humiliation and adversity in the manner of Buster Keaton or Peter Parker. the plots may be about an endless battle on earth between good shape-shifting robots (The Autobots) and evil ones (The Decepticons), but the heart of the franchise is likable Sam (Shia Leboeuf). Previously, Sam struggled to get out from under his loving but suffocating parents and maintain a relationship with an affectionate love doll (Megan Fox). this time he faces the same struggles while going through a mortifying recession-era job search and tending an even more affectionate love doll (Rosie Alice Huntington-Whiteley). What young soul, in Cairo or Austin, can’t relate?
Or so Bay seems to think. It’s clear that the director assumes we’ve developed some kind of relationship with Sam over the years. all Bay heroes are the kind of simple, red-blooded American boys that McMurphy encouraged virginal Billy Bibbit (Brad Dourif) to be in Cuckoo’s Nest, the kind who “oughta be out in a convertible bird-dogging chicks and banging beaver.” Except that Sam’s coming of age across three deafening Transformers movies has been like watching American Graffiti staged during the Battle of Fallujah. Despite Bay’s clear intention to bring us all together, there is no communion to be found here. all of the Transformers films are oppressive wonders, but I was impressed by how Bay left me so little with which to dull my pain this time around.
Granted, the entire series is nonsensically plotted and crammed with the kind of humor shared between Marines sitting in adjoining latrine stalls, so what was I expecting? Bay has, from the start of his career, demonstrated that his attention span lasts about .000005 seconds. the man has no concept of suspense or accumulation of detail. but the previous entries at least had a few majestic one-off images and fragments of montage that suggested that Bay’s connection to Steven Spielberg transcended the simple executive producer/director relationship. the shots of rollerblading Decepticons or somersaulting tanks in Bay’s work grooved like Spielberg in pure showman mode. but Dark of the Moon says: Enough of that shit. it is one clanking, crowded, homely image after another, in what is supposed to be a simulation of three dimensions but looks more like one of those faux-holographic Jesus cards you find in religious bookstores. Vehicles perform a lot of gymnastics that defy physics here, but this Real-D thingamajig makes them seem more toy-like than even CGI can guarantee. one potentially astonishing shot of soldiers free-falling in winged flying suits looks like a bunch of dolls dangling on fishing wire. Transformers: dark of the Moon cost $150,000,000.
But the real horror in Dark of the Moon is the way it expresses a newfound ambition in Bay, one that surpasses even Armageddon and Pearl Harbor in devouring history, space and time. here Bay recruits for his purposes CGI effigies of John F. Kennedy, Richard Nixon, Obama; flesh-and-blood master thespians Frances McDormand, John Malkovich and John Turturro; the real Apollo astronaut Buzz Aldrin, Fox News crusader bill O’Reilly, NASA and, as usual, a large swath of the military industrial complex. Megan Fox, the franchise’s signature eye candy, is not in this one because, according to gossip, Spielberg fired her for comparing Bay to Hitler in a press interview. Dark of the Moon tells me the comparison is apt, but only in the sense that Bay has a truly amazing ability to bend armies to his infantile will. Sitting in the dark, staring up at Dark of the Moon through flimsy Real-D glasses, I felt as if we were all being jumped by a vicious street gang or recruited for terrorism. the theater became a cattle car to certain doom. Michael Bay will be President of the United States one day, you mark my words. or at least governor of California.
If we last that long, that is. Dark of the Moon seems to herald a definite end of the American empire, delivering, amidst a third-act frenzy of rockets and robot breakdance-fighting, one-liners that cut deep. “We are all working for the Decepticons now,” says Patrick Dempsey, as a slimy tycoon who sells us all out to the rogue Transformers, Lex Luthor-style. like Avatar and the Star Wars prequels, this flick somehow critiques megalomania and totalitarianism while making vigorous, sweaty love to them. We are all working for the Decepticons now, and with Nurse Ratcheds like Bay denying us our cigarette while pretending to want only what’s best for us, 1975 seems like a lost planet.
Steven Boone is a film critic and video essayist for Fandor and Roger Ebert’s Far Flung Correspondents. he writes a column on street life for Capital new York and blogs at Big Media Vandalism. You can follow him on Twitter.
I’m not sure what came first: my nostalgia or horrible mainstream film. It’s a chicken/egg situation. 
Brooke, sorry my message below got garbled. Thank you for your comments. I’m with you on the feeling that the 1970’s were a height of American mainstream commercial cinema, and this is not just nostalgia talking.
Ron, Transformers and Cuckoo’s Nest are not disparate at all. They’re both movies. And each is essentially a thrill ride. Cuckoo’s Nest comes with a more respectable pedigree—Ken Kesey novel as opposed to a line of Hasbro action figures—but its function as crowd-pleasing entertainment is undeniable. a downbeat ending does not an art film make.
My argument is that Cuckoo’s Nest is more thrilling and enthralling than Transformers: DOtM, at a fraction of the cost (even accounting for inflation). Cuckoo’s Nest grossed nearly as much as DOtM’s production budget. how? it has no CGI or 3-D. because, then as now, a good story and great storytelling are what draw audiences. the 1975 film is propulsively told; the 2011 flick is barely told at all but fired at us like a mortar round. though not a summer movie itself, Cuckoos Nest has in common with all the great summer movies since Jaws a solid investment in character. Human capital drives Star Wars, Rocky (speaking of mr. Winkler!), Titanic, Harry Potter… your comment represents the kind of cinematic segregation and shallow imagination that is killing the movies. Anything that goes up on the screen before a crowd of strangers is fit for comparison to anything else put before them.
See, you’ve even got me doing it. sorry, I meant Irwin Allen (TOWERING INFERNO, etc.), not Winkler.
Your association of these two very disparate films reads as a very random, nonsensical stretch. a better 70s comparison would have been to something by Irwin Winkler.
Thanks,Brooke, gla a y
What an excellent article. I am a huge fan of one Flew Over the Cuckoo’s Nest, and what an excellent film to suggest for contemporary director’s to look at. I haven’t even seen past the first Transformers because I’m tired of big Blockbusters with no heart. I think too many people these days think that because something is just so silly – those silly robots – that you can’t make something wonderful and thoughtful out of it. Television shows like Doctor Who and anything by Joss Whedon proves that no matter how potentially ridiculous or cheesy something is, it can also transcend it’s genre to become poignant and relevant.my husband and I are always saying the movies have never been braver than they were in the 1970s, and I find myself watching more and more older films or even more television than current films due to that little thing they seem to be lacking. Here’s to hoping that more film director’s will start to take chances again.
One Flew Over the Transformer’s Nest: or, What Michael Bay could learn from Randle P. McMurphy
Battles in Breakdance
Article by Carolina Drennan
Breakdance battles are very frequent nowadays. Breakers, b-boys and b-girls commonly join together to form a crew and several crews compete with each other in battle, it can likewise be two people who merely desire to battle it out. Battles basically indicate performing a dance off between the two crews or two people. a battle is merely just a showdown between crews to be able to show off their talent and capabilities. Battles have existed since the 1970s. Breakdance battles started in South Bronx of New York where Latino Americans used to battle it out against African-Americans. Nowadays, breakdance battles are a regular scene between crews. certain movies and tv shows utilize these breakdance battles as the major plot of show. whoever wins the battles, may it be a crew or an individual, will be recognized as the best in battle and will win accolades and reward from colleagues.
Any person who breaks can join a breakdance battle. before jumping into battle, listed here are are few ideas that may assist you win, or at least give a good fight. The first thing to do is practice your breakdancing moves and abilities. You need to be at par with your rival to be able to provide a good fight and to make the breakdance battle intriguing. Keep in mind to generate your own moves or alter the moves youfve seen and make them your own. try to practice your moves while facing the mirror. this will show you what you can enhance on and what moves youfre strong at. You can ask your mates to watch you and comment on your moves or on your routine. having somebody comment on your style and your moves will assist you enhance, they may be able to see what you donft. You can likewise do mini breakdance battles with your close friends so you know what can happen during the real battle. If you think a move is fragile, mimic it and make is reckless just to show how fragile the move is. Making fun of the moves and steps of others displays disrespect, this is very well accepted during battles. If you do all these, youfll be more than ready to battle it out.
Breakdance battles are a great method to see the moves of other crews and a fantastic method to keep breakers on their toes. These battles show off excellent talent and win or lose; youfll be able to take home a few brand new moves.
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@TakeThat @ Wembley Stadium, London – 30/06/2011
If you’re a Londoner and a take That fan I urge you to beg, steal or borrow to get to this show. I was one of the privileged ones who bagged a ticket to the opening night of the manband’s mammoth, record-breaking, eight-date run at Wembley Stadium in North West London, and what an epic night it was.
For those going to see the show, I’m issuing an obligatory *Spoiler Alert*
The sun shone over the iconic Wembley arch as the 90,000 capacity crowd packed in, some enjoying and some missing (sorry guys) the Pet Shop Boys’ support slot. at 8.15pm a countdown was heard and punters scrabbled for their seats to get in place for the main act. 5, 4, 3, 2, 1… *ear-shattering screams*
Fantastic four-piece
Gary’s ever-flawless vocal kicked in to open the set with Rule the World sparking the loud and enthusiastic audience singalong that didn’t let up until the end of the night (even though we were a bit put off by the delayed output speaker at the rear of the venue). Arms waved, hands clapped and spirits were high as the four gents (minus Robbie), dressed in smart shirt and waistcoat combo’s, sang the equally anthemic Greatest Day, Hold Up a Light and Patience beneath the huge arms of the half man structure ‘holding’ the top of the stage, and in front of the ‘Progress robot’.
A few raised platforms, some confetti and a hoard of masked dancers and flares later, Gary greeted the adoring crowd “oh my god, we’ve been dying to say this. good evening Wembley!” Mark urged a rendition of the national anthem, disappeared, and then returned into a kooky fairytale setting for Shine which saw him riding on a giant caterpillar in a feather headdress!
Solo Robbie
Everyone stood up as the first few notes of Let me Entertain You were played and Robbie, in a long black tailcoat, took to the stage “Hello London, remember me?! allow me to re-introduce myself, I’m Robbie f*cking Williams!” the atmosphere was massively buzzing at this point as was mr Williams, mouthing profanities in awe. Skating girls with RW flags brought us into fist-pumping Rock DJ and it got very, very loud.
What started as a sort of ode to Wembley, delved into a poem about super injunctions, taking drugs and other such shenanigans which suitably led into Come Undone, customised with the lyrics “England, I’m still your son”. ever the showman, a funny go at Bootylicious involved some dodgy Beyoncé dance imitation. Robbie then soared above the crowds on a platform singing Feel, which sounded gorgeous, but not as much so as the built-for-stadium-singing anthem that is Angels, made even more dramatic by the setting sun. Fireworks crashed and Robbie disappeared, leaving the audience hyped up and ready for more…
All together again
The Flood began this section of the night as the original five-piece appeared in full and more spectacles of the high production show ensued including: abseiling dancers, a waterfall wall, and the gradual movements of the Progress robot. SOS (which has got to be a contender for a single release) preceded Underground Machine (not really a great one for me) and the stomping track Kidz. Moving like they were still kids themselves, a breakdance battle commenced between Jason and 
Howard – they’ve still got it! Pretty Things took the pace down and lost the crowd’s attention slightly but it was soon reeled back in by an on-stage spat between Jason and Robbie about his ‘sacking’ in ’96!
One of my favourite parts of the night was the old school segment. a quick burst of Take That and Party and Do what U Like came with some running man dancing, then Gary took to the piano for a spine-tingling medley (I didn’t get to go to their concerts the first time around as an under 10 fan) A Million love Songs, Babe, Everything Changes and Back for Good which, I think, had the best singalong of the night under the then-illuminated Wembley arch. Pray was performed in full with the original synchronised head-swaying dance routine and I was transported back to the 90s again.
Moving into the final part of the night, current single Love love provided another stomping track as the band strutted around in flashing led-light jackets. “Summing up the last twenty years” was Never Forget with its Queen-like arms-in-the-air clapping and the amply-titled No Regrets. Relight my Fire brought energy levels back up with dancing and fire aplenty, and Lulu’s verse was taken on by Robbie! As the gloriously reunited manband took leave from the stadium floor they sang the final track of the show, Eight Letters.
I had an unforgettable night: my first in Wembley Stadium and my first take That gig in eighteen years of being a fan. in attempting to put my bias aside though, the guys put on a stunning show (taking advantage of their big budget), they looked and sounded great together, made sure there was a healthy dose of chat and humour in between songs, and delighted the audience with a wide spread of tracks from their twenty-year history. Robbie’s still my favourite…
I need to go again, anyone want to give me their ticket?
My highlights:
- Patience
- Angels
- back for good
- Pray
- never Forget
What were your highlights?
Get closer to take That on MSN Xclusives
@TakeThat @ Wembley Stadium, London – 30/06/2011
Typhoon en Zwart Licht XL op New Attraction
GRONINGEN - Het Urban Arts festival new Attraction beleeft op zaterdag 9 juli aan de Kardingerplas de negende editie. Het evenement geldt als hét urban festival, met een breed aanbod aan muziek, sports, dans, street art en battles.
Er is live muziek van bands als Typhoon (met Band), Zwart Licht XL, de Grote Prijs-winnaar Kalibwoy, Caribbean Fever, het lokale Spotrockers, winnaar High Shool Music Competition please en de Zuid Afrikaanse band EJ Von Lyrik. Liefhebbers van de traditionele Microphone and Deejay optredens komen aan hun trekken met Fresku, Hef & Crooks, Aisha, Kleine Viezerik, Keizer en Negativ, Dope D.O.D. , Laco uit Suriname, Rass Motivated, Flow & co en Zware Jongenz.
Naast breakdance en streetdance acts laat MoyoTribe uit Den Haag Housedance tot leven komen, iLL Skill Squad uit Wageningen geeft breakdance met de combinatie van slapstick comedy een nieuwe beleving en Solid Ground Movement uit Amsterdam laat een HipHop theaterstuk zien. Met demo’s en optredens van Yentle, Ultimate Selection, Freestyle, Da Bombsquad en TUDC omvat het dansprogramma een enorme variatie aan dansstijlen.
De urban sport beleving wordt vorm gegeven door de freestyle show van ActBMX met Navid Saleki en Sietse van Berkel en de basketball freestylers van Luv 4 da Game. de freestyle soccer spelers Bjorn Boes en Nelson de Kok laten zien dat spelen met de bal inderdaad een kunst is. Daarnaast is er een internationale graffiti/street art line-up met onder anderen Lesgens uit Frankrijk, Ryker uit Belgie en Pesk uit Duitsland en Basic, Mega en Romeo uit Nederland.
Uiteraard ontbreekt battling niet aan de Kardingerplas. Vetes worden uitgevochten met een microfoon, achter de draaitafel en op de dansvloer. new Attraction geeft een draai aan de Beat, Mc, Dans, Freestyle Soccer en Graffiti/StreetArt battles door artiesten en sporters creatief uit te dagen met onderdelen waarmee ze buiten hun traditionele referentiekader treden. Naast de new Attraction battles zijn er voorrondes van de landelijke Punch-Out rapbattle en de stand-up en breakdance-battle Spin off.
Voor het eerst zijn er dit jaar twee eigen producties van de Urban Academy: Beatbox en Crossing Over. Beatbox is een mix van zang, rap en breakdance van jonge talentvolle artiesten. In Crossing Over laat de gelegenheidsformatie Jazz Gig samen met Raicho, Ferryflex, AB en Kidkizzle tracks horen zoals je ze nog niet eerder hebt gehoord.
Het feest begint om half een en duurt tot tien uur (meer op www.newattraction.com).
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Typhoon en Zwart Licht XL op New Attraction
Tanzperformance in der Von der Heydt-Kunsthalle
moved by art – streetdance meets streetart
Streetdance und Streetart sind Geschwister, nicht nur dem Namen nach. Beide sind Teil der Hip-Hop-Kultur, die in den 1970er Jahren in den Straßen von New York ihren Ursprung hat. Mittlerweile gehen beide auch unterschiedliche Wege, sind gewachsen und haben sich weiterentwickelt. Streetart ist längst nicht mehr „nur“ Graffiti, also das (meist heimliche) Sprühen an Häuserwände und U-Bahn-Züge. Und auch in der Kultur des Straßentanzes gab es Weiterentwicklungen und neue Ausformungen.Gemeinsam haben die beiden, dass sie zwischenzeitlich auch außerhalb ihrer eigentlichen Szene Aufmerksamkeit gefunden haben. Während die Streetart nunmehr zum wiederholten Male ihren Platz in der Von der Heydt-Kunsthalle in Wuppertal-Barmen gefunden hat, bringen Theater und Opernhäuser zunehmend auch Straßentanz auf die Bühne.
Bei „moved by art“ treffen sich die Geschwister wieder. Die drei Tänzer interpretieren nicht die Werke, sondern lassen sich von der Kunst um sie herum bewegen. Sie werden so für kurze Zeit ein lebender Teil dieser Ausstellung.
Die Tänzer:Farid M. Baroug (alias „Joker“)Joker stammt aus dem Iran und startete bereits 1982 auf den Straßen von Teheran mit dem Streetdance. Das war nicht nur verpönt, sondern auch offiziell nicht geduldet. Joker ging daher einige Jahre darauf zusammen mit seinem Freund Majid (alias Magic) in den Westen, um seine Kunst frei ausüben zu können. Er arbeitete seitdem als Solist und gründete seine erste Hip Hop-Crew Oldstreet. Später gründete Joker die Baroug Company, mit der er Choreografien (Dance to Freedom, Salam, Interpretationzz, Peter und der Wolf) u.a. für das tanzhaus nrw und die Deutsche Oper am Rhein erstellte und tanzte. Seit 20 Jahren lebt und arbeitet Joker als freier Choreograf, Tänzer und Tanzdozent in Düsseldorf.
Maren MeiringMaren Meiring begann ihre Tanzausbildung 1984 mit Klassischen Tanz. Später studierte sie Modernen Tanz und Klassischen Tanz an der Ballettakademie Leipzig unter der Leitung von Uwe Scholz. Sie ist als freie Tänzerin sowie als Dozentin u.a. an der Tanzakademie der Rheinischen Musikschule Köln tätig.
Albi GjikajDer 1987 in Albanien geborene Albi Gjikaj begann als 13-jähriger mit dem Breakdance. Mit 16 Jahren gewann er zum ersten Mal einen internationalen Preis beim Powermove in Holland. In der Folgezeit errang Albi zahlreiche Preise (Ruhrpottbattle; Mixery ko Battle; Ready to Rumble; National Battle of the Year). Er war Nord- und Westdeutscher Meister. Albi ist als Tänzer im Theater Oberhausen, dem Theater Wuppertal und in der Düsseldorfer Oper aufgetreten und tourt mit verschiedenen Stücken durch Deutschland.
Choreografie (zusammen mit den Tänzern):Tanja NierlingTanja Nierling studierte vier Jahre lang an der Tanzakademie der Hochschule der Künste Arnheim (Artez). Danach tanzte und unterrichtete sie mehrere Jahre in Madrid und New York. Vor rund 10 Jahren gründete sie in Düsseldorf eine Schule für Bühnentanz. Neben ihrer Arbeit als Tanzdozentin gehört ihre Leidenschaft der Choreografie von Tanztheaterstücken.
Karten10 € / erm. 5 €In der Von der Heydt-Kunsthalle und im Von der Heydt-Museum erhältlich
Adresse:Von der Heydt-KunsthalleGeschwister Scholl Platz 4-642275 Wuppertal-BarmenTel. 0202-563 6571
Tanzperformance in der Von der Heydt-Kunsthalle
Kaartverkoop Museumnacht Leiden
22-05-2011 13:22:11LEIDEN – Nog een maand en dan is het zover: op zaterdag 25 juni vindt de derde editie van Museumnacht Leiden plaats. Het programma is inmiddels rond. de kaartverkoop start op 30 mei. Het belooft een fantastische nacht te worden in Museum Boerhaave, Naturalis, Hortus botanicus Leiden, Rijksmuseum van Oudheden, Museum Volkenkunde, SieboldHuis, Museum de Lakenhal en Scheltema. Wetenschap wordt op een verrassende en unieke manier gepresenteerd in Museum Boerhaave. Ga in gesprek met Diederik Jekel (bekend van DWDD), luister naar de bijzondere onderzoeken van Ig-nobelprijswinnaars en ga los op de heerlijke covers van Balderdash. in Naturalis kun je kijken naar de dansperformance van Ill Skill Squad. Doe je liever zelf mee? Dan kan dat in een echte breakdance battle. Romantisch sterren kijken in Hortus botanicus Leiden hangt romantiek in de lucht. Dichters, vioolmuziek en romantisch sterren kijken. Maar ook muziek van jazzband Bruut!, dansles met je geliefde en romantische films. in Museum Volkenkunde is het een kwestie van overleven. Volg workshops in survival of leer de Haka. Ook kan er gedanst worden op de melodieen van DJ miss World afgewisseld met de strakke ritmes van percussieband Attaaya. Miss verkiezing in het Rijksmuseum van Oudheden stijg je tot Koninklijke hoogtes met Rapenburg Royal. Doe mee aan de miss Museumnacht verkiezing, gepresenteerd door Gijs van Rhijn (winnaar van het Leids Cabaret Festival). Luister naar de ‘keizer mania’ van classicus Fik Meijer en muziek van Swoolish. in het SieboldHuis krijg je onder het genot van een hapje sushi kalligrafieles van de assistent van Ushi, meneer Hiromi Tojo. Muziek wordt gemaakt door een DJ en saxofonist. Speedrondleidingen Good or evil? Beleef in Museum de Lakenhal Het Laatste Oordeel van Lucas van Leyden in levende lijve. En maak een bijzondere speedrondleidingen langs de gelijknamige tentoonstelling. Loungen doe je in de museumtuin op de relaxte beats van een DJ. in het Scheltema kun je jouw eigen identiteit vastleggen op het doek. in een doorlopend programma kun je speelse zelfportretten en indrukwekkende graffitikunstwerken neer zetten. Dit alles onder de muzikale begeleiding van Naald en Kraak. Kaartverkoop en het actuele programma: www.museumnachtleiden.nl.Tweet
<a href="http://www.unityfm.nl/nieuws.php?id=16254tag:news.google.com,2005:cluster=http://www.unityfm.nl/nieuws.php?id=16254Sun, 22 May 2011 11:27:48 GMT 00:00″>Kaartverkoop Museumnacht Leiden
Sony Ericsson Reveals Winner of Battle Fingers Contest
London, UK (PRWEB) September 25, 2010
Sony Ericsson has revealed the winner of its Battle Fingers contest, having received thousands of entries through the Sony Ericsson YouTube channel.
The winner has been announced as Eliam Gutiérrez from Spain, who won with the following entry:http://www.youtube.com/watch?feature=player_embedded&eurl=http://www.sonyericsson.com/campaignframe2/youtube/x10.swf%3Flanguage%3Den_gb%26showWarning%3Dfalse%26authed%3Dfalse%26font%3Dstandard%26textDirection%3Dltr%26location%3D/%5b%5bDYNAMIC%5d%5d/9&v=ExEwYc-5M04
Eliam won the chance to appear in a brand new Breakadelics music video for their track Da Phunk, as well as a separate prize of a trip to this year’s B-boy Championships in London with a number of other winners.
To enter the Battle Fingers competition, entrants were given the opportunity to upload their own videos of themselves doing a finger dance on YouTube. Once all the entries had been recorded, they were compared by the YouTube community who could vote for their favourite video in a series of dance-offs.
The contest was conceived after the release of a new TV commercial for the Xperia™ X10 mini, which showed a human hand break-dancing on the Smartphone’s screen. This concept was derived to illustrate the touch screen qualities of the latest Sony Ericsson Android Smartphone.
Ben Padley, Head of Digital and CRM for Sony Ericsson, said: “We’re pleased at the positive response we received for the Battle Fingers competition. Sony Ericsson competitions attract fans from across the world, keen to win a host of great prizes, including the latest Xperia™ X10 mini.”
Sony Ericsson fans can enter regular competitions through the Sony Ericsson Facebook page, and also follow the Sony Ericsson Twitter page to stay up-to-date with the latest Sony Ericsson news.
Sony Ericsson creates innovative, sophisticated and inspirational phones and accessories, designed with each individual’s fun and entertainment in mind. Sony Ericsson seeks to help each user see things differently, to be at the centre of countless everyday moments and make them extraordinary, and to create an inspiring friend for everyone so that they can find beauty in the unexpected.
For more information, please visit www.sonyericsson.com.
Sony Ericsson Reveals Winner of Battle Fingers Contest
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My favorites- Jen Aniston Forces Justin Theroux To Breakdance For Ellen’s Amusement
- Aniston made Justin Theroux breakdance
- Justin Theroux: Jennifer Aniston Made Me Breakdance for Her Birthday
- Jennifer Aniston turns Justin Theroux into dancing monkey
- Watch Jennifer Aniston's boyfriend breakdance
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