How to dance bingo boys
Bingoboys Featuring Princessa – How To Dance (1990, Vinyl)
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A | How To Dance (Ambient NY Mix) | 5:53 | |
B1 | How To Dance (Tribal Club Mix) | 6:19 | |
B2 | How To Dance (Extended Radio Version) | 4:37 |
- Manufactured By – Atlantic Recording Corporation
- Record Company – Warner Communications
- Phonographic Copyright ℗ – Atlantic Recording Corporation
- Pressed By – Specialty Records Corporation
- Published By – Beat To Beat Publishing Inc.
- Engineer [Mix Engineer] – Jim Lyon*
- Producer [Produced By] – Martin Neumayer
- Programmed By – Bingoboys
- Programmed By [Additional Programming] – Eric Kupper
- Rap [Featuring] – Princessa (2)
- Remix – Markus Moser
- Written-By – Bingoboys
Beat to Beat Publishing Inc. ASCAP
Programmed by the Bingoboys: Klaus Biedermann, Paul Pfab, Helmut Wolfgruber
Remix for Mad-Mix Production
℗ 1980 Atlantic Recording Corp.
Mfg. by Atlantic Recording Corp., 75 Rockefeller Plaza, N.Y, N.Y. [W Logo] A Warner Communications Company
- Barcode: 7567-86083-0
- Matrix / Runout (Label side A): ST-DM-59816-SP
- Matrix / Runout (Label side B): DT-DM-59817/59815-SP
- Matrix / Runout (Runout, side A, etched / [stamped] (Variant 1)): [SRC Logo] ST-DM-59817-59816-1
- Matrix / Runout (Runout, side B, etched / [stamped] (Variant 1)): [SRC Logo] ST-DM-59817-59816-1
- Matrix / Runout (Runout, side A, etched / [stamped] (Variant 2)): ST-DM-59816-1 I - I [SRC Logo]
- Matrix / Runout (Runout, side B, etched / [stamped] (Variant 2)): [SRC Logo] ST-DM-59817̷̶̷-59816-1 I - I
- Matrix / Runout (Runout, side A, etched / [stamped] (Variant 3)): [SRC Logo] ST-DM-59816-1
- Matrix / Runout (Runout, side B, etched / [stamped] (Variant 3)): [SRC Logo] ST-DM-59817 (7 over crossed out 6)-59815-1
- Pressing Plant ID (Label Suffix): SP
- Pressing Plant ID (Runouts, Stamped): [SRC Logo]
- Rights Society: ASCAP
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 | ||
New Submission | How To Dance (12", 45 RPM, Single) | Atlantic | 7567-86002-0 | Europe | 1990 |
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Bingoboys Featuring Princessa – How To Dance (1991, Vinyl)
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A | How To Dance (Ambient NY Mix) | 5:53 | |
B1 | How To Dance (Tribal Club Mix) | 6:19 | |
B2 | How To Dance (Extended Radio Version) | 4:37 |
- Published By – Beat To Beat Publishing Inc.
- Produced For – Mad-Mix-Production
- Engineered At – Electric Lady Studios
- Engineered At – I.N.S. Studios
- Engineered At – Sorcerer Sound
- Engineered At – Unique Recording
- Engineered At – Popart Studios
- Pressed By – Record Service Alsdorf
- Made By – WEA Musik GmbH
- Phonographic Copyright ℗ – Atlantic Recording Corporation
- Phonographic Copyright ℗ – Warner Music International Inc.
- Copyright © – Atlantic Recording Corporation
- Copyright © – Warner Music International Inc.
- Record Company – Time Warner
- Record Company – Warner Communications
- Record Company – WEA International Inc.
- Engineer [Mix] – Jim "Bonzai" Lyon*
- Performer [Bingoboys] – Helmut Wolfgruber, Klaus Biedermann, Paul Pfab
- Producer – Martin Neumayer
- Programmed By – Bingoboys
- Programmed By [Additional] – Eric Kupper
- Rap, Featuring – Princessa (2)
- Remix – Markus Moser
- Written-By – Bingoboys
Cat# on labels: 7567-86083-0
Cat# on sleeve (includes price code): 7567-86083-0 LB
There is a similar version with different suffix LO.
Remix for MAD-MIX-Production
Publisher (A+B): Beat To Beat Publishing Inc. ASCAP
Studios: Electric Lady, I.N.S., Sorcerer Sound, Unique (New York), Popart (Franzendorf)
℗ © 1991 Atlantic Recording Corporation for the United States and Warner Music International Inc. for the world outside of the United States
Made in Germany by WEA Musik GmbH
A Warner Communications Company
- Barcode (As printed): 0 7567-86083-0 8
- Rights Society: GEMA/BIEM
- Label Code: LC 0121
- Matrix / Runout (Runout stamped side A): R / S Alsdorf 756 786083-0-A [Hand-etched 'X 2']
- Matrix / Runout (Runout stamped side B): R / S Alsdorf 756 786083-0-B [Hand-etched 'X 4']
- Price Code (On back cover, boxed): France: WE 231
- Other (No ink stamp on back sleeve): [Warner 'W' logo]
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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M.C.Miker"G" & Deejay Sven*
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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. nine0003
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.
nine0008Kamal
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. nine0003
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." nine0003
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." nine0003
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. nine0003
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.”
nine0008Javed
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. nine0003
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. nine0003
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. nine0003
"Dancing has become too risky after constant checks," Javed told members of the Australian organization. “Now I can only engage in prostitution.”
Learn more about the practice of bacha-bazi in the documentary "The Dancing Boys of Afghanistan" by Afghan journalist Najibullah Quraishi.
Such practices are not new even now. Thus, thousands of girls in West Africa are still enslaved to atone for the sins of their ancestors.
nine0008Board games | 220.lv
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