References[edit]

Citations
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Pabon, Jorge. "Physical Graffiti... The History of Hip Hop
Dance". DaveyD.com. Archived from the original on May 28, 2010. Retrieved July
31, 2009.
2. Jump up^ Schloss 2009, p. 153.
3. ^ Jump up to:
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b
"Breakdancing, Present at the Creation". NPR.org. October 14,
2002. Archived from the original on November 28, 2010. Retrieved September 8,
2009. "'When you're dealing with the b-boys and b-girls, you can take it... straight
back to the Godfather of Soul,' says DJ Afrika Bambaataa, who owns a place in the
same musical lineage, as the Godfather of Hip Hop. He says that the song "Get on
the Good Foot" inspired crowds to imitate the singer's dance moves."
4. Jump up^ Whitburn, Joel (2005). Top R&B/Hip-Hop Singles: 1942-2004.
Menomonee Falls: Record Research. p. 85. ISBN 0898201608.
5. Jump up^ Chang 2006, p. 20. "Toprockin's structure and form fuse dance forms
and influences from uprocking, tap, lindy hop, James Brown's "good foot," salsa,
Afro-Cuban, and various African and Native American dances."
6. Jump up^ Schloss 2009, p. 14.
7. Jump up^ Chang 2005, p. 138.
8. Jump up^ Chang 2006, p. 21. "The structure was different from b-boying/b-girling
since dancers in b-boy/b-girl battles took turns dancing, while uprocking was done
with partners."
9. Jump up^ Hess, Mickey, ed. (2007). Icons of hip hop: an encyclopedia of the
movement, music, and culture 1. Westport: Greenwood Press.
p. xxi.ISBN 0313339031. "Jamaican American DJ Kool Herc creates the beak beat
by isolating the most exciting instrumental break in a record and looping that section
so that the break played continuously."
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Chang 2006, p. 19. "DJ Kool Herc, originally from Jamaica, is
credited with extending these breaks by using two turntables, a mixer and two of the
same records. As DJs could re-cue these beats from one turntable to the other,
finally, the dancers were able to enjoy more than just a few seconds of a break! Kool
Herc also coined the terms 'b-boy' and 'b-girl' which stood for 'break boys' and 'break
girls.' At one of Kool Herc's jams, he might have addressed the dancers just before
playing the break beats by saying, 'B-Boys are you ready?! B-Girls are you ready?!'
The tension started to mount and the air was thick with anticipation. The b-boys and
b-girls knew this was their time to 'go off!'."
11. Jump up^ Chang 2006, p. 20. "Early influences on b-boying and b-girling also
included martial arts films from the 1970s."
12. ^ Jump up to:
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Chang 2006, p. 24.
13. Jump up^ Nelson, Tom (2009). 1000 Novelty & Fad Dances. Bloomington:
AuthorHouse. pp. 3233. ISBN 1438926383.
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Garofoli, Wendy (April 1, 2008). "Urban Legend".Dance
Spirit. Archived from the original on May 28, 2010. Retrieved October 27, 2009.
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Freeman, Santiago (July 1, 2009). "Planet
Funk".Dance Spirit. Archived from the original on May 28, 2010. Retrieved
November 23, 2010.
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Seibert, Brian (October 26, 2004). "Breaking Down". Village Voice.
Archived from the original on December 5, 2012. Retrieved December 5, 2012.
"Although much hip-hop history is murky and contested, the legendary status of
these men is clear. It's the hip-hop label that's questionable. Campbell grew up in
Los Angeles. Solomon started out in Fresno, and later moved to L.A. "One thing that
came out of the conferences," says Harris, "is that the West Coast faction said they
were not part of hip-hop. They got swallowed up by hip-hop"an East Coast term
and movement "when they had never heard of it." Their moves pre-dated hip-hop,
at least in its popularized form, and they prefer the term "funk styles." This concern
with definitions and labels is partly a belated response to the international
"breakdancing" fad of the early '80s, when the mainstream media and Hollywood
latched onto a variety of regional and individual styles, collapsing them into a single
trend."
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Klopman, Alan (January 1, 2007). "Interview with Popin Pete &
Mr. Wiggles at Monsters of Hip Hop July 79, 2006, Orlando, Fl.".Dance. Archived
from the original on May 28, 2010. Retrieved July 31, 2009.
18. Jump up^ Rivera 2003, p. 72. "With the barrage of media attention it received, even
terminology started changing. 'Breakdancing' became the catch-all term to describe
what originally had been referred to as 'burning', 'going off', 'breaking', 'b-boying',
and 'b-girling.' Dance styles that originated in the West Coast such as popping and
locking were also grouped under the term 'breakdance.'"
19. Jump up^ Chang 2006, pp. 1819. "Although dance forms associate with hip-hop
did develop in New York City, half of them (that is, popping and locking) were
created on the West Coast as part of a different cultural movement. Much of the
media coverage in the 1980s grouped these dance forms together with New York's
native dance forms (b-boying/b-girling and uprocking) labeling them all
"breakdancing". As a result, the West Coast "funk" culture and movement were
overlooked..."
20. Jump up^ Pagett 2008, p. 48.
21. Jump up^ Fela Kuti - Cross Examination (concert performance). Berlin, Germany.
1978. Event occurs at 09:20. Retrieved March 28, 2013.
22. Jump up^ Pagett 2008, p. 33.
23. Jump up^ Kugelberg 2007, p. 17.
24. Jump up^ Brown, Lauren (February 18, 2009). "Hip to the Game Dance World vs.
Music Industry, The Battle for Hip Hops Legacy". Movmnt. Archived from the
original on May 28, 2010. Retrieved July 30, 2009.
25. Jump up^ Chang 2005, p. 90.
26. Jump up^ Schloss 2009, p. 37.
27. Jump up^ Tony Cox (September 20, 2006). "Born in the Bronx: Mambo and Hip-
Hop". NPR.org (Podcast). News & Notes from NPR News. Archived from the
original on November 23, 2010. Retrieved November 23, 2010. "Well, [Blacks and
Puerto Ricans] lived, you know, they lived side-by-side. You know, previous to this
there had been a gang era and people didn't get around so much because it was
dangerous. You know, the kids didn't travel outside of their neighborhood so much.
But largely thanks to people like Kool Herc and Afrika Bambaataa, who started
holding jams and inviting people from all over and trying to establish peace in the
communities, people began to come together... The earliest and first B-boys were
black. When Latinos started breaking they were emulating what they saw, you know,
the black people doing."
28. ^ Jump up to:
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b
Schloss 2009, p. 16.
29. Jump up^ Rivera 2003, p. 75. "...Puerto Ricans had been and were still key in the
development of the b-boy/b-girl dance styles; most of the better known breaking
crews (Rock Steady Crew, the Furious Rockers, Dynamic Rockers, New York City
Breakers) were primarily Puerto Rican."
30. Jump up^ Cook, Dave. "Crazy Legs Speaks". DaveyD.com. Archived from the
original on May 28, 2010. Retrieved September 6, 2009.
31. Jump up^ Chang 2005, pp. 117, 136137.
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DJ Hooch 2011, p. 20.
33. Jump up^ Chang 2006, p. 20. "The transition between top and floor rockin' was also
important and became known as the 'drop.'"
34. Jump up^ DJ Hooch 2011, p. 27.
35. Jump up^ Weisbard, Eric, ed. (October 2007). That's the Joint!: The Hip-Hop
Studies Reader. Durham: Duke University Press Books. p. 259.ISBN 0822340410.
"Uprockers or "Rockers" battle throughout the duration of a complete songfrom
beginning to the end while in a line formation called the "Apache Line". The Apache
Line allows two opposing dancers or Crews (dance groups) to face each other and
execute their Burn gestures towards one another."
36. Jump up^ Chang 2006, p. 21. "There were also the 'Apache Lines' where one crew
stood in a line facing the opposing crew and challenged each other simultaneously."
37. Jump up^ Guzman-Sanchez 2012, p. 129. "The Apache Line was basically two
opposing lineups of dancers standing face-to-face doing the step toward each other.
This simple shuffle step was done in a repeated manner.
38. Jump up^ Guzman-Sanchez 2012, p. 138. "Even the Burns (thrusting motion to
disrespect your opponent) and Jerks (dropping down) terminology became
synonymous with B-Boy slang.
39. Jump up^ Guzman-Sanchez 2012, pp. 3335.
40. ^ Jump up to:
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Guzman-Sanchez 2012, p. 41.
41. Jump up^ "The Lockers". TheLockersDance.com. Retrieved August 28, 2010.
42. ^ Jump up to:
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b
Neil Conan (February 9, 2010). "How 'Soul Train' Got America
Dancing". NPR.org (Podcast). Talk of the Nation from NPR News. Archived from the
original on November 14, 2011. Retrieved November 28, 2011.
43. Jump up^ Agpawa, Marirose (August 10, 2009). "Just dance: Vegas hosts
international competitions". The Rebel Yell. Archived from the original on May 28,
2010. Retrieved August 15, 2009.
44. ^ Jump up to:
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Chang 2006, p. 22.
45. Jump up^ Chang 2006, p. 23. "Dancers in Los Angeles also distorted the name by
calling it "pop-locking", while in France it was called "The Smurf".
46. Jump up^ Pope, Gregory; Higgins, James. "The term locking, robot & poplocking
and how do they connect?". LockerLegends.net. Archived from the original on
December 9, 2012. Retrieved December 9, 2012.
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Chang 2006, p. 23. "Sam's creation, popping, also became known
as the unauthorized umbrella title to various forms within the dance. past and
present. Some of these forms include Boogaloo, strut, dime stop, wave, tick, twisto-
flex, and slides."
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Allen, Stephen (July 23, 2010). "Turf Dancing Makes Comeback in
Oakland Where It All Started". Oakland Local. Archived from the original on
November 1, 2011. Retrieved November 1, 2011.
49. Jump up^ Croft, Clare (April 10, 2005). "Hip-Hop's Dynamic New Stage". The
Washington Post. Archived from the original on May 28, 2010. Retrieved October
11, 2009.
50. Jump up^ Hunt, Darnell; Ramon, Ana-Christina, eds. (2010). Black Los Angeles:
American Dreams and Racial Realities. New York City: NYU Press.
p. 121. ISBN 081473734X.
51. Jump up^ Hubela, Geo (July 1, 2012). "2 Tips for Hip-Hop Teachers Tutting and
Toning". Dance Studio Life. Retrieved February 7, 2013.
52. ^ Jump up to:
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b
Davis, Chris (June 2013). "Jookin - Is it the New Ballet?".Memphis
Magazine. Archived from the original on February 8, 2014. Retrieved February 8,
2014.
53. Jump up^ Macaulay, Alastair (April 3, 2013). "Hip-Hop Meets Ballet in One Mans
Body". The New York Times. Archived from the original on February 9, 2014.
Retrieved February 9, 2014.
54. ^ Jump up to:
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b
Harss, Marina (August 2014). "Mesmerizing Moves". Dance.
Archived from the original on September 22, 2013. Retrieved September 28, 2013.
"Jookin is an integral part of the African-American culture of the city. Developed in
Memphis in the 1980s, jookinand other related forms like the gangsta walk,
buckin, and choppinis a localized derivation of hip-hop dance. Memphis hip-hop
has a particular sound, with rat-a-tat-rhythms, and a bit of a soul-funk lilt. A little
southern-ness and a basement-like quality, a homemade feel, is how [Charles "Lil
Buck" Riley] describes it. The dance originated as a kind of walking step with a
strong rhythmic bounce punctuated by staccato lifting of the knees, like walking on
hot coals. As it evolved, the gliding footwork was added, as well as the popping and
waving, and, finally, the icing on the cake: Dancers started using the tips of their
sneakers to balance on pointe."
55. Jump up^ Macaulay, Alastair (November 2, 2012). "On Point, in Their Jeans and
Sneakers". The New York Times. Archived from the original on February 7, 2014.
Retrieved February 7, 2014.
56. Jump up^ Hix, Lisa (October 16, 2005). "Clubland". San Francisco Chronicle.
Archived from the original on May 28, 2010.
57. ^ Jump up to:
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Ducker, Eric (June 12, 2009). "Jerky boys and girls: New Boyz,
Rej3ctz and more lead a new youth movement". Los Angeles Times. Archived
from the original on October 2, 2011. Retrieved December 20, 2010.
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Weiss, Jeff (August 5, 2009). "Were Jerkin (Starring the New
Boyz, J-Hawk and Pink Dollaz)". LA Weekly. Archived from the original on October
2, 2011. Retrieved December 20, 2010. "Calling themselves the New Boyz, they
failed in their first attempt to make a jerkin anthem (I Jerk), but the duo got it right
when Legacy produced Youre a Jerk, the song that is to jerkin what Chubby
Checker was to the Twist."
59. Jump up^ Weiss, Jeff (July 30, 2009). "Interscope signs Audio Push, attempts to
cash in on the jerkin' craze". Los Angeles Times. Archived from the original on
October 2, 2011. Retrieved December 20, 2010.
60. ^ Jump up to:
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Blanco, Alvin (April 20, 2011). "Rej3ctz Dance To Their Own Drum
In The New West". MTV.com. Archived from the original on July 26, 2012. Retrieved
July 26, 2012.
61. Jump up^ Shiri Nassim (producer) (2005). The Heart of Krump (DVD). Los Angeles:
Ardustry Home Entertainment, Krump Kings Inc.
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Pagget, Taisha (July 2004). "Getting Krumped". Dance 78 (7):
32.ISSN 0011-6009.
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d
Reld, Shaheem; Bella, Mark (April 23, 2004). "Krumping: If You
Look Like Bozo Having Spasms, You're Doing It Right". MTV.com. Archived from the
original on May 28, 2010. Retrieved July 30, 2009.
64. ^ Jump up to:
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b
Gleiberman, Owen (June 15, 2005). "Rize (2005)". Entertainment
Weekly. Archived from the original on October 3, 2011. Retrieved September 3,
2011.
65. ^ Jump up to:
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c
Wisner, Heather (2006). "From Street to Studio". Dance 80 (9):
7476. ISSN 0011-6009.
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Parker, Janine (August 8, 2009). "Hip-hop dance party at Jacob's
Pillow". The Boston Globe. Archived from the original on May 28, 2010. Retrieved
August 15, 2009.
67. ^ Jump up to:
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Sandra Garcia (host) Safi Thomas, Yvonne Chow (artistic
director and education director of the Hip-Hop Dance Conservatory) (May 20,
2011). The Hip Hop Dance Conservatory Repertory Company(Television
production). Bronx, New York: The Bronx Journal. Event occurs at 04:03. Retrieved
October 8, 2011.
68. ^ Jump up to:
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b
Durden, Moncell (Director) (2009). History and Concept of Hip-Hop
Dance (DVD). DLex Productions/Dancetime Publications. Event occurs at 31:44.
"The reason the term new style came about was because of a documentary in 1992
called Wreckin' Shop that heavily influenced dancers in Japan and in France.
Amazingly enough these two groups of dancers from two different countries began
to shorten this term and say 'we want to dance like the New York dancers... we're
going to do the New Style, meaning New York Styledancing like the kids dance in
New York. And that's where that came from."
69. ^ Jump up to:
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Werbrouck, Debbie (December 8, 2010). "From Fad to
Foundation". Dance Studio Life. Retrieved January 13, 2012.
70. ^ Jump up to:
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Wisner, Heather (October 2007). "Crash Course: Hip
Hop". Dance81 (10): 8285. ISSN 0011-6009. "Despite their differences, the styles
are connected by the music, plus a low-slung center of gravity that comes from
African dance roots, and some shared basic steps. Many steps don't have specific
names; in class, teachers might speak generally of jumps and turns or use imagery
to evoke how a step-should look. Hip hop training relies less on specific exercises
than on strength training, flexibility, and learning to isolate and move body parts
independently from the rest of the body... A good way to approach freestyling,
Sparks says, is to pick out a single element in the musicthe horns, a snare drum
and use that as a movement guide... Focusing on the music helps you know what
accents to hit."
71. Jump up^ Hubela, Geo (August 1, 2012). "2 Tips for Hip-HopTeachers Bye-Bye,
Ballet". Dance Studio Life. Retrieved February 7, 2013. "In hip-hop, the posture is
rounded, hunched, and low. Much of the movement will be bending, dropping, and
pressing into the ground instead of being lifted. In ballet and jazz, the body is
elongated and stretched, and in hip-hop it is the opposite. Tell the dancers not to be
fooledstrength and force are necessary to make their movement look crisp and
sharp. Tell them to get down and earthy, taking their moves into the ground."
72. ^ Jump up to:
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Levinson, Lauren (July 2010). "Finding Your Groove". Dance
Spirit14 (6): 76. ISSN 1094-0588. "Classically trained dancers are inclined to stay
pulled up all the time, but that can make it hard to find your groove. Release your
technique by loosening your upper body and allowing your hips to sway. Of course
you can't do this during a ballet combo, but learning how makes you a better and
more versatile dancer. 'When technical dancers learn how to relax in other classes it
can help them enhance their movement when they perform in their own style,' says
Jamie Jackson, a hip-hop teacher at Broadway Dance Center."
73. Jump up^ Chang 2006, p. 20. "Although toprocking has developed an identifiable
structure, there is always room for individual creativity... The same is true of all
dance forms associate with hip hop and West Coast funk: as long as dancers
represent the root forms of the dances, the rest can be colored in with his or her own
flavors."
74. Jump up^ Greenaway, Kathryn (May 8, 2012). "Choreographer Steve Bolton, from
the street to the spotlight". Montreal Gazette. Archived from the original on May 22,
2012. Retrieved May 22, 2012.
75. Jump up^ "Buddha Stretch Faculty Bio". BroadwayDanceCenter.com. Archived
from the original on August 13, 2012. Retrieved August 13, 2012.
76. Jump up^ Jordan, Stephanie; Allen, Dave (1993). Parallel Lines: Media
Representations of Dance. London: John Libbey Publishing.
p. 68.ISBN 9780861963713. "Through her choice of Anthony Thomas, a black
American street dancer, as her choreographer, Janet Jackson secures a threefold
achievement: she satisfies the dictates of commercial pop music industry by creating
a dance image which is significantly different from her earlier work; she
demonstrates that, despite fame, she is still in touch with contemporary youth pop
culture and its fashions; and finally, she utilizes, not the dance traditions of the
Hollywood musical which, although often black in inspiration, remained very much
under the control of white choreographers, but the work of a black young man
whose training is outside the institutions of Western theatre and clearly an Afro-
American cultural expression of the late 1980s."
77. Jump up^ Robertson, Regina (February 2, 2012). "Throwback: The Running
Man". Essence. Archived from the original on August 14, 2010. Retrieved August 14,
2012.
78. Jump up^ "Fatima Robinsondirector, choreographer". StyleLikeU.com. Archived
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79. Jump up^ Bloom, Julie (November 26, 2006). "Supreme Commander". The New
York Times. Archived from the original on May 31, 2013. Retrieved May 31, 2013.
80. ^ Jump up to:
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b
Smith, Dinitia (October 8, 1990). "Color Them Funny: TV's New
Black Comedy Hit". New York Magazine 23 (39): 35. ISSN 0028-7369. "Opening
and closing the show are the Fly Girls, dancers clothed in brillant colors who erupt
on stage to a strong, sexy beat and who dance a blend of hip hop and jazz. 'A Fly
Girl,' says Rosie Perez, the show's choreographer, 'is, first, someone who looks
good. Second, she has the brains to complement it. She's got what's goin' on!'"
81. ^ Jump up to:
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b
"Dancing Away with Prepix". SeoulBeats.com. May 3, 2012.
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82. Jump up^ Krisanits, Tracy (March 2007). "Keeping Tabs". Dance Retailer News(5):
46. ISSN 1541-0307.
83. Jump up^ "About Us". MonstersofHipHop.com. Archived from the original on May
28, 2010. Retrieved August 1, 2009.
84. ^ Jump up to:
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b
Wisner, Heather (September 1, 2007). "How Funk Created a
Monster". Dance Studio Life. Retrieved January 22, 2012.
85. Jump up^ "Monsters of Hip Hop: The Show Hits Los Angeles; Directed by Tabitha
and Napoleon Dumo!" (Press release). PRLog. August 4, 2008. Retrieved January
22, 2012.
86. Jump up^ "Urban Dance Camp". UrbanDance.eu. Archived from the originalon May
1, 2013. Retrieved January 30, 2013.
87. Jump up^ Ruda, Barbara (August 21, 2009). "Lrrach der Nabel der urbanen
Tanzwelt". Badische Zzeitung. Archived from the original on January 30, 2013.
Retrieved January 30, 2013. (German)
88. Jump up^ "Artists & Crews 2012". UrbanDance.eu. Archived from the original on
May 1, 2013. Retrieved January 30, 2013.
89. Jump up^ "Kymberlee Jay launches street dance agency Superbad Talent off
Serious About Street Dance". AllStreetDance.co.uk. Archived from the original on
September 7, 2012. Retrieved September 7, 2012.
90. Jump up^ "About Us". ProDance.co.uk. Retrieved September 7, 2012.
91. Jump up^ Chang 2005, p. 189.
92. ^ Jump up to:
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b
Kugelberg 2007, p. 59.
93. Jump up^ "Festival de Cannes: Beat Street". Festival-Cannes.com. Retrieved
December 6, 2012.
94. Jump up^ Elflein, Dietmar (October 1998). "From Krauts with Attitudes to Turks with
Attitudes: Some Aspects of Hip-Hop History in Germany". Popular Music 17 (3):
255265. doi:10.1017/S0261143000008539.
95. Jump up^ Christian, Margena (January 21, 2008). "Where Are... SHABBA-DOO &
BOOGALOO SHRIMP?". Jet 113 (2): 22. ISSN 0021-5996.
96. Jump up^ "Mismatched Couples (1985)". HKMDB.com. Retrieved December 8,
2012.
97. ^ Jump up to:
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b
Calvin (October 18, 2010). "The Lady In Red: Bubbles". More Than
a Stance. Archived from the original on July 26, 2012. Retrieved June 26, 2012.
98. Jump up^ "Bouncing Cats Wins Award for Best Documentary".RedBullUSA.com.
September 21, 2010. Archived from the original on August 1, 2012. Retrieved
August 1, 2011.
99. Jump up^ Trinh, Vincent (October 26, 2011). "Saigon Electric, Vietnams First Hip-
Hop Movie". OneVietnam.org. Archived from the original on November 10, 2011.
Retrieved August 1, 2012.
100. Jump up^ Le, Anderson. "THE STORY OF SAIGON ELECTRIC: Believe In The
Power Of Dreams". IndieGoGo.com. Retrieved November 10, 2011.
101. Jump up^ Trinh, Vincent (October 26, 2011). "Saigon Electric, Vietnams First Hip-
Hop Movie". OneVietnam.org. Archived from the original on November 10, 2011.
Retrieved November 10, 2011.
102. Jump up^ "Crew". SaigonElectric.com. Archived from the original on November 10,
2011. Retrieved November 10, 2011.
103. Jump up^ "Saigon Electric wins Best Film & Best Actress at Golden Kite
Awards". SaigonElectric.com. March 18, 2012. Archived from the original on August
1, 2012. Retrieved August 1, 2012.
104. Jump up^ Chang, Jeff (June 26, 2008). "So you think they can break-
dance?".Salon.com. Archived from the original on May 28, 2010. Retrieved August
28, 2009.
105. Jump up^ McMillian, Stephen (June 29, 2011). "Diary of an Ex-Soul Train Dancer:
Q&A with Shabba Doo of the Lockers". SoulTrain.com. Archived fromthe original on
November 10, 2011. Retrieved November 10, 2011.
106. Jump up^ Guzman-Sanchez 2012, p. 120.
107. Jump up^ Stelter, Brian (June 17, 2008). "After 38 Years, Soul Train Gets New
Owner". The New York Times. Archived from the original on November 2, 2011.
Retrieved November 18, 2011.
108. ^ Jump up to:
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b
Austen, Jake (2005). TV-a-go-go: Rock on TV from American
Bandstand to American Idol. Chicago: Chicago Review Press.
p. 101.ISBN 1556525729. "...as a rule, the dancers (known as the Soul Train Gang)
were the stars and the reason Soul Train had no competition. The dancers
auditioned at an open call in 1971, and since then the producers have maintained a
strong lineup of dancers via a referral system. 'We've found over the years that kids
who dance really well and groom themselves really well and have a sense of style
and behave well know other kids who can do the same thing,' Cornelius explained
on his 1996 twenty-fifth anniversary TV special."
109. Jump up^ Strauss, Neil (December 31, 1995). "You say 'Soul Train' is how old".The
New York Times. Retrieved January 19, 2012.
110. Jump up^ Mitchell, Gail (February 19, 2005). "Grammys Fete 'Train' Conductor
Cornelius". Billboard 117 (8): 28. ISSN 0006-2510.
111. Jump up^ Chase, Norman (2011). Who Was Who on TV 3. Bloomington: Xlibris
Corporation. p. 232. ISBN 1456824546.
112. Jump up^ Guzman-Sanchez 2012, p. 145.
113. Jump up^ "Remembering Michael Jackson (August 29, 1958 June 25,
2009)".SoulCulture.com. June 25, 2011. Retrieved July 15, 2011.
114. Jump up^ "Jeffrey Daniel joins judging panel of Nigerian Idol".AllStreetDance.co.uk.
Archived from the original on October 2, 2011. Retrieved July 15, 2011.
115. Jump up^ Guzman-Sanchez 2012, p. 121.
116. Jump up^ Jackson, Michael (2008). Thriller 25th Anniversary: The Book. ML
Publishing Group. ISBN 0976889196.
117. Jump up^ "'Bad' Choreographer Remembers Michael Jackson". NPR.org. June 26,
2009. Archived from the original on August 1, 2011. Retrieved August 1, 2011.
118. Jump up^ "'I taught Jacko how to Moonwalk'". ThisIsNottingham.co.uk. November
6, 2009. Archived from the original on August 1, 2011. Retrieved August 1, 2011.
119. Jump up^ Dondoneau, Dave (October 2, 2009). "Meet the man who taught MJ to
moonwalk". The Honolulu Advertiser. Archived from the original on August 1, 2011.
Retrieved August 1, 2011.
120. Jump up^ "Remembering Michael, Jeffrey Daniel". Time. June 26, 2009. Archived
from the original on December 5, 2012. Retrieved December 5, 2012.
121. Jump up^ Rohter, Larry (November 3, 1991). "A New Diversion for Those Who Stay
Up Late". The New York Times. Archived from the original on August 13, 2012.
Retrieved August 13, 2012.
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Devaud, Sebastien (Director) (2006). MTV Dance Crew (DVD) (in
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Feldberg, Sarah (July 30, 2009). "World Hip Hop Dance
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