Bingo boys how to dance video
Bingoboys Featuring Princessa – How To Dance (1991, CD)
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| 1 | How To Dance (Extended Radio Version) | 4:37 | |
| 2 | How To Dance (Ambient NY Mix) | 5:54 | |
| 3 | How To Dance (Tribal Club Mix) | 6:19 | |
| 4 | How To Dance (Ambient NY Underground) | 6:41 | |
| 5 | How To Dance (DMC Mix) Remix – Mike Gray* Remix – Mike Gray* | 5:58 |
- Phonographic Copyright ℗ – Atlantic Recording Corporation
- Copyright © – Atlantic Recording Corporation
- Phonographic Copyright ℗ – WEA International Inc.
- Copyright © – WEA International Inc.
- Made By – WEA Manufacturing Inc.
- Pressed By – Specialty Records Corporation
- Produced For – Mad-Mix-Production
- Produced At – Electric Lady Studios
- Produced At – I.
N.S. Studios
- Produced At – Sorcerer Sound
- Produced At – Unique Recording
- Produced At – Popart Studios
- Remixed At – Electric Lady Studios
- Remixed At – I.N.S. Studios
- Remixed At – Sorcerer Sound
- Remixed At – Unique Recording
- Remixed At – Popart Studios
- Published By – Beat To Beat Publishing Inc.
- Co-producer, Mixed By – Markus Moser
- Engineer [Mix] – Jim "Bonzai" Lyon*
- Executive-Producer – Joey Carvello
- Producer – Martin Neumayer
- Programmed By – Helmut Wolfgruber, Klaus Biedermann, Paulie Pfab*
- Programmed By [Additional] – Eric Kupper
- Rap, Featuring – Princessa (2)
- Remix – Markus Moser (tracks: 1 to 4)
- Written-By – Bingoboys
Published by Beat To Beat Publishing Inc., ASCAP. Co-produced and mixed, remixed for MAD-MIX-Production. Studios: Electric Lady, I.N.S., Sorcerer Sound, Unique (New York), Popart (Franzensdorf).
DMC Mix remixed for Disco Mix Club.
℗ © 1991 Atlantic Recording Corporation for the United States and WEA International Inc. for the world outside of the United States. Printed in U.S.A. Made in USA by WEA Manufacturing Inc.
Track 5: Contains uncredited samples of "C + C Music Factory.
Taken from the Atlantic album #82240 "The Best Of BingoBoys".
Cat# 86083-2 appears on back inlay & disc, 7 86083-2 appears on sides of back inlay.
- Barcode (Text): 0 7567-86083-2 2
- Barcode (String): 075678608322
- Matrix / Runout: 3 86083-2 SRC=01
- Matrix / Runout (Mother/Stamper Code): M2S1
Recently Edited | How To Dance (12", 33 ⅓ RPM, Single, Stereo) | Atlantic | 0-86083 | US | 1990 | |
Recently Edited | How To Dance (Cassette, Maxi-Single) | Atlantic | 4-86083 | US | 1990 | |
| How To Dance (2×12", Promo, 33 ⅓ RPM, Color Labels) | Atlantic | DMD 1613 | US | 1990 | ||
| How To Dance (2×12", Promo, 33 ⅓ RPM) | Atlantic | DMD 1613 | US | 1990 | ||
| How To Dance (Cassette, Single) | Atlantic | 7 4-87756 | US | 1990 |
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Bingoboys Feat.
Princessa: How to Dance (Music Video 1991)- Music Video
- 19911991
- 4m
YOUR RATING
Bingoboys performs in the music video "How to Dance" from the album "The Best of Bingoboys" recorded for Atlantic Records. The video begins several couples watching a black and white how-to-... Read allBingoboys performs in the music video "How to Dance" from the album "The Best of Bingoboys" recorded for Atlantic Records. The video begins several couples watching a black and white how-to-dance video on television. Princessa raps while wearing a red jacket over a black shirt. T... Read allBingoboys performs in the music video "How to Dance" from the album "The Best of Bingoboys" recorded for Atlantic Records. The video begins several couples watching a black and white how-to-dance video on television. Princessa raps while wearing a red jacket over a black shirt.
The Bingoboys serve as DJs throughout the video.
YOUR RATING
- Paul Graves
- Matthias Schweger
- Stars
- Bingoboys
- Klaus Biedermann
- Paul Pfab
- Paul Graves
- Matthias Schweger
- Stars
- Bingoboys
- Klaus Biedermann
- Paul Pfab
- Awards
- 1 nomination
Photos
Top cast
Bingoboys
- Bingoboys
Klaus Biedermann
- Klaus Biedermann
Paul Pfab
- Paul Pfab
Princessa
- Princessa
Helmut Wolfgruber
- Helmut Wolfgruber
- Paul Graves
- Matthias Schweger
- All cast & crew
- Production, box office & more at IMDbPro
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Being a bacha bazi: real stories of the dancing boys of Afghanistan
It is still considered prestigious in Afghanistan to have a "dancing boy" and other kinds of pleasures in one's house. Sexual slavery is prohibited by law, but who dares object to the former field commander? Three real stories
Bacha-bazi (translated from Persian as “playing with boys”) is a form of sexual slavery involving boys aged 9–10 to perform dances in women's clothing and perform other services in front of clients. After reaching the age of 16-18, bacha-bazi are released and they can lead a normal life.
The bacha bazi business is booming in Afghanistan and neighboring Pakistan. Many men keep bacha bazi as a sign of wealth and status. The practice of bacha bazi is reflected in the novel The Kite Runner by writer Khaled Hosseini. And Will Everett, a journalist and social worker who lived in Afghanistan for several years and met with dozens of Bacha-Bazis, described their fate in the book We Will Live Tomorrow. After the publication of the book, the journalist told another story.
Kamal
More than 20 men sat in a stuffy room, some drinking, others smoking hashish, looking out into the street, waiting for the dancing boy. The 16-year-old Khazar youth was called the Chinese for his pronounced oriental features. He often performed at holidays, weddings, was the jealously guarded property of a wealthy Kabul businessman. And he promised to bring him in the evening.
The phone suddenly rang: a boy was arrested while dancing at a wedding.
Jokes ran among the guests about the reception the frail Chinese would receive in the Kabul prison. The evening threatened to be disrupted, but at the last minute a replacement was nevertheless found. Around midnight the host pulled back the curtain and the dancer appeared in the doorway. It was not a boy, but a 40-year-old man! His face was unrecognizable under bright make-up, sparkles and bells decorated his blue dress.
Everyone was silent for a moment, and then they started clapping their hands and playing music. Kamal circled in front of the audience, dancing to the beat of the song.
Kamal was 14 years old when his father died and his mother placed him in the care of a family friend. At that time, the troops of the Soviet Union left the country and a civil war began. Relatives fled to Pakistan, and the "friend" promised to take care of the boy.
“He was a man I knew and trusted,” Kamal says of the man he called his master. “I was his little prince. He held my hand in the street, told people that I was his adopted son.
He never hurt me. He was always gentle, never traded me with friends like some do. His wife took me in and helped me learn how to dance. I wasn't the prettiest of the boys, but I had something that most of them didn't have... I had a talent. And I was in demand."
In 1992, the Taliban seized power in the country. The owner of Kamal fled with his family to India, but did not take the boy. So it all ended: holidays, dance lessons, well-being. With the advent of the radicals, the Bacha-Bazi went underground - according to the laws of the Taliban, they were threatened with the death penalty. Like many young men, Kamal saw that there was nothing ahead. He has no skills, he only knows how to dance. Prostitution, a common alternative for many Bacha-Bazis, was not to Kamal's liking. Those were the dark years.
“I had to become a new person, someone who would not attract attention. A part of me had to die to not feel pain."
With the fall of the Taliban in 2001, the practice of bacha bazi revived.
Under the new government, many former field commanders were able to return to their former positions, resuming the tradition as a status and prestigious one.
A 2014 study by Hagar International found that one in ten Afghan boys interviewed had experienced some form of human trafficking, including the practice of bacha bazi.
The Bacha-Bazi themselves have a different attitude towards the situation. Many humble themselves under the power of circumstances, some try to please influential clients and thus enjoy their patronage in the future.
Sometimes the former owners help the boys when they grow up: find a job, give money. But more often grown up young people who have lost their sexual attractiveness in the eyes of clients are simply kicked out into the street.
Kamal, who now dances professionally at festivals and weddings, has contact with many abused children. Some of them are only 9 or 10 years old.
“It breaks the heart,” he says. “You look into their eyes and you see adults.”
Javed
There are many stories like Kamal's. Javed, 19, was kidnapped by a former jihad commander when he was 14. Four years later, the owner replaced him with a new bacha bazi, and gave the boy to another security official.
Javed says that he managed to escape because of the shooting at the wedding, where he was taken by the new owner to entertain the guests. The young man never left dancing - this is the only skill that allows him to earn a living without education and without help from the state as a bacha-bazi who was in slavery.
Now he performs at the parties of powerful men, where the evening often ends in solitude with visitors. Even now, when Javed is free, it is still difficult for him to leave the framework of the "profession".
Gul
Another bacha bazi, Gul, is 15 years old.
After two attempts to escape, which ended in a beating, and captivity in the police station, Gul was still able to free himself. However, his relatives did not wait for him, they left their house, fearing that it was here that the offended owner would come to look for his bacha-bazi.
Both boys were found by members of the Australian organization AFP. Gul's family was also searched for. Unlike many other victims, the boy was lucky: she was ready to take him back.
In Afghan society, with its gender segregation, having a bacha bazi in the home is not considered homosexual. In a country where there is no legal protection and social support, victims of violence may be lucky enough to escape their abusers, but not from the past. And even despite the fact that Justice Minister Abdul Basir Anwar, during a press conference in Kabul, announced the inclusion of this type of crime in the country's criminal code, nothing has changed fundamentally.
"Dancing has become too risky after constant checks," Javed told members of the Australian organization.
