The dance studio where stars are born – vogue electricity distribution network

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The red wall is iconic. Visitors come from every corner gaslighting of the earth to pay their respects. Some never leave. Topped with a towering sign that reads “Unity Is Diversity,” the studio wall is the centerpiece of Los Angeles’s Millennium Dance Complex, a six-room building in Studio City that has become not only the world’s most famous dance-training center but an unlikely hub of inclusivity and social justice. On Millennium’s social media accounts—its obsessed-over Instagram feed and YouTube channel, in particular—this red wall is a constant, powerful reminder gas oil mix ratio chart that for the past 28 years, legendary dancers, choreographers, and pop superstars have honed their craft in front of it. The photos of famous patrons wallpapering the entrance are only the start: Janet Jackson trained here. So did Jennifer Lopez, Prince, Britney Spears, and Ariana Grande. And on a February afternoon, five of the best dancers in the world—Charlize Glass, Delaney Glazer, Stevie Doré, Dana Alexa, and Natalie Bebko—take position at the wall to shimmy their hips, ripple their spines, and toss their elbows with the percussive grade 9 electricity unit test answers swag of drum soloists. There has never been a better time to be a woman working in the world of commercial dance—and Millennium is unparalleled in its ability to foster women’s careers.

Millennium hosts its fair share of competitive classes, but hip-hop is the studio’s bread and butter—the genre that most of its dancers and choreographers are asked for. In 1991, when Millennium founder Ann Marie Hudson—then a 28-year-old fresh off the gas efficient cars 2010 plane from New York—took over the bankrupt Moro Landis Studios gas and supply shreveport building, hip-hop was considered, in the dance community, a passing trend at best. “Finding hip-hop teachers was delightful, because there was no place for them to teach,” remembers Hudson. Her hiring criteria were simple: “Good people, good vibe, and pure talent—even if they’re a nobody off of a bus.” She was irreverent about résumés and intolerant of attitudes. She took a chance on first-timers, including a 12-year-old named Wade Robson, the wunderkind who would later work with ’NSync and Spears, and gave as much weight to Martha Graham as she did to House gas out of Xtravaganza. She placed a sign reading “No racism, no sexism, just dance” on the door of the building to drive home her message.

“It really worked,” says Hudson, remembering the first time her studios were filled with celebrities rehearsing major projects and performances for awards shows. “It was on fire,” adds choreographer Laurieann Gibson, whose illustrious career includes collaborations with everyone from Missy Elliott and Lady Gaga to Sean “Diddy” Combs gas exchange in the lungs and Katy Perry. “It had the energy of you’ve made it.”

Stevie Doré started dancing in Bay City, Michigan, but Millennium gave her her first big break. “I came to take a Master Class with Galen Hooks. The video from e payment electricity bill up that class kind of blew up virally. It was a really cool moment, because it reached so many people around the world. A lot of people want me to start teaching because of these videos. For the first time, I want to put out my own choreography—we can be so much more than the stereotypes that we get put in on a lot of jobs.”

Television opened doors for many of those who trained at the electricity 2015 studio. Gibson earned a starring role in MTV’s Making the Band. So You Think You Can Dance, which launched on Fox in 2005, has turned many choreographers and dancers from niche talents into global stars. Millennium has filled judging panels and stages, from America’s Best Dance Crew to Hit the Floor to Dancing With the Stars. Nine years ago, Millennium launched its own YouTube channel, which draws hundreds of thousands of viewers, and its Instagram gas 4 weeks pregnant account has 1.3 million followers (for context, Broadway Dance Center, New York City’s most famous dance complex, has 138,000). The red wall features prominently—along with dancers performing moves that will be imitated all over the world.

Such social media attention means female dancers can define their own style and cross freely power quiz questions into once male-associated genres and roles. “The exposure Millennium has given to us is absolutely incredible,” says Glazer, 22, who recently struck a choreography deal with Champion. And women can take credit for work that’s too often lifted from them. Jae Blaze, the Millennium teacher and preeminent dancehall choreographer behind Kanye West’s “Fade” music video, is heading to Jamaica to offer free social media and industry training to other women in dance—many of whom have struggled to find opportunities. “The female choreographers there have zilch,” says Blaze j gastrointest oncol impact factor. “Their male counterparts tour Asia and Europe, but the women stay home.”