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Brooke: Are you ready to get started?
Ant Boogie: Yes, I am.
Brooke: So, what is your name?
Ant Boogie: My name is Anthony Rue II, also known as Ant Boogie.
Brooke: And where are you from?
Ant Boogie: I am from Brooklyn, New York City.
Brooke: And what do you do for a living?
Ant Boogie: I am uh dance – uh – dance company owner. I’m also an agent and a dance teacher.
Brooke: How did you get started dancing?
Ant Boogie: Um, I started dancing for fun at about, I would say… um, eight or nine years old, early. Um, I joined, um, a dance program that was in a public school that I was in at the time, PS185. Excuse me. Um, the name of that dance school was called National Dance Institute, and it was, um, basically founded by Jaques d’Amboise which is, um, a very well known, um, choreographer and dancer in the dance community, in the ballet world. Um, he created this company called National Dance Institute that went to public schools and gave um, uh, kids a chance to get dance classes in at school. And I was at a school that had that program and was invited to join their, um, Saturday program at LaGuardia High School. And that’s where it kind of all started for me. I was- I was attending those classes every Saturday and starting to get more familiar with learning, um, choreography and how dances are put together, and it kind of just stuck with me from there, from like about eight or nine.
Brooke: So how did you transition into your professional career, dancing?
Ant Boogie: So since I was rehearsing a lot at LaGuardia, which was, um, on Saturdays, the- uh, the performing arts high school, LaGuardia, um, it sparked my interest once I was- once I graduated from National Dance Institute, um, which was about fifteen. I wanted to- I wanted to continue dancing. So I, uh, I had my eyes set on getting into LaGuardia. Now, to be honest with you, my ballet was not strong enough, um, um, in the nineties, and street dance was- was not revered the same way that it is now, um, as being a professional, uh, um, you know, outlet for dance and stuff like that. It wasn’t really held to the same standard. So my- the hip hop, um, talent that I had didn’t shine at all in the audition for LaGuardia. Um, I was really limited in my, um, you know, ballet, in- in- in- in modern techniques. So, um, I didn’t really technically get in my first year that I auditioned, and then I let, uh- I was embarrassed to let Jacques know, but I eventually let him know that I didn’t make it in. And it’s because of him that I’m actually still a professional dancer today because he, uh, he was- first he was taken back that I didn’t get in, he didn’t understand why, but he asked me to meet him in front of LaGuardia High School before, a day before school started, and then, we basically walked up to the eighth floor, into Ms. Mythizes office. And, um, we basically had a meeting with her about why one of his best students didn’t make it into the school, and she was really honest with him. Sorry, there’s a lot of, uh, traffic right now, but she was really honest with him and said that, um, my ballet wasn’t strong enough, and he was like, “so what?” And basically like, asked me to- asked me to leave the room. And then they had their powwow, and later on took me down to the principal’s office and got me enrolled into LaGuardia. So it’s because of him that I actually got the continued- the continued, um, training as a, you know, as a young adult. I was about fourteen or fifteen when I got into LaGuardia, and when I got into LaGuardia, I started taking ballet and Graham, um, daily. And that’s where like, the foundation kind of like, led for me to get into my professional career. Because right after high school, um, instead of going to college, I started to tour and started to do auditions, and I started working with, um, a group called 3LW, um, most of you guys in the next generation knew them as Cheetah Girls. But like when I danced with them, they were called 3LW, and we were touring around, around the world and doing music videos and stuff like that. And me and my- my- my good friend and my brother, um, Adrian Wiltshire, he was the, the other dancer and the two of us basically toured around the country with them. So that’s kind of how it, kind of went from the training at NDI, and then going to LaGuardia and then from LaGuardia, starting to do auditions and starting to dance for artists and stuff like that.
Brooke: Cool.
Ant boogie: Mhm.
Brooke: What have been some of like, your favorite dance jobs you’ve worked on?
Ant Boogie: Um, well, one of the- one of the- one of the- uh, a real fun job to me, I toured Japan with an artist named AI, um, a lot of artists, I mean sorry uh, um, a lot of people in the States might not know of her but she’s really big in Japan, um, we toured with her in Japan for about four to six months, and I was able to go to all the major cities in Japan and, um… Excuse me. That was a real good culture experience because, you know,
I got to learn a little bit of the language and got to buy a lot of clothes and just it was- it was fun to be on tour within one country. Um, that was so foreign from what I, from the customs that I grew up in. Um, because usually when I’m on tour, we kind of move around every city, um, every other, uh, couple of days. So, you’re like, not really getting able to really soak in anyone’s culture, really, for the most part, in that city. So, when I did Japan, I was all over that one, so that was fun. And I would say probably, um, you know, as far as like the level on my career, probably Madonna, because, um, the amount of work ethic that it took to, um, master that job. Um, I- I take very big pride that I didn’t miss any shows, I was never injured, uh, I took care of my body really well, um, I was on point, and I gave that job my all. And, it was very- it was very, very, very vigorous as far as the rehearsals because you know, she’s a perfectionist, and she likes things very particular, which is good, because, you know, you, you know what your- you know- you know what’s expected, and then the bar is set, and you just gotta shoot for that bar, right. But we had rehearsals let’s say, uh, six days a week, for like three or four months before we even got to the actual stage to start rehearsing on the stage. So it was really, a- a good um, experience as far as um, professionalism and, you know, getting to do different, um, different things with different types of um, choreographers, you know she brought in a lot of different choreographers that brought different flavors so it was, it was a really good experience. I would say um, Madonna and AI was probably, um, probably some of my funnest jobs. And- and- and- and- and uh- well my first movie was Honey, so that was probably really exciting, because that was the first time I was on, um, a movie set. Far as um, a performer. And that, that was probably really like fun, you know. I had a big crush on Jessica Alba, at the time, so that was, extra probably cool. Yeah.
Brooke: Have you been New York-based your whole career?
Ant Boogie: No. I lived in LA for a very brief moment, um, about three or four years, in my early twenties, I lived in LA. But uh, for the most part yeah, I’ve been New York City-based.
Brooke: And what has been your favorite place you’ve traveled to through your career?
Ant Boogie: Uh… Ooo… Um… Between… um… South America or, um… or Japan, probably. To travel to, yeah.
Brooke: Have you ever faced any challenges or discrimination when booking dance jobs or, when on tour, I guess?
Ant Boogie: No the discrimination was more when I was younger, I would say, when, um, I would say in the ear- you know, mid-to-late nineties, um, hip-hop just wasn’t- wasn’t considered, you know, professional it was considered more like a quote-un-quote “black thing,” you know, or a street-thing. So, back then, you know, trying to establish yourself as um, a dancer wasn’t really considered real if you weren’t, you know, classically trained, or if you weren’t seen, um, on Broadway, so. It was more back then, I felt more… um, more like, discrimination toward, um, tow- to- to me personally. And then, also, one time in Russia, you know, Russia’s not really into, uh, black people that much, um, fr– from my experience but, I had a little, a little uh, flack with some people in Russia but other than that, um, I’ve been very blessed and lucky to not have to really deal with too many harsh things on, you know, my front doorstep as a dancer, um, as discrimination is concerned.
Brooke: So, growing up how did you deal with that discrimination?
Ant Boogie: Uh… well I’m- I’m- I’m forty-two, so I grew up in the eighties, and it was- I went to- I went to an all-white school, actually, so… [laughs]. I dealt with hands-on uh, really in the flesh, really early in life, let’s say like six/seven. So, by the time I was a dancer, like, It- it didn’t really- it wasn’t even the same, um, because, uh, the dance is community is way more accepting anyway of- maybe not- maybe not- in certain job areas people are weird but as far as the dance community, dancers themselves, from my experience it was really cool, but I- yeah, me going to school- I went to school in Bay Ridge, Brooklyn, which was, like, basically all Italians, um, and like, Irish and um, Russian, so, uh yeah. I know- I know it- I know it firsthand. So we’ll probably get to that a little bit more later but yeah, um, not too much in the dance community though thankfully.
Brooke: Gotcha. When did you first hear about the Black Lives Matter Movement?
Ant Boogie: Man, I can’t ev- I can’t even really exactly remember- exactly when… like, what date but, you know, through social media and through uh, um, posts and from different stuff like that.
Brooke: Would you say more like 2020 or before then?
Ant Boogie: Oh, way before 2020.
Brooke: Okay. Gotcha.
Ant Boogie: Yeah, I- I- I definitely heard about it way before 2020.
Brooke: Did you do anything to participate directly in the Black Lives Matter Movement?
Ant Boogie: To participate directly? No I can’t say that I did. Um, other than maybe just, um, no I don’t think- no. Cause I wasn’t… in- I can’t say that I was anywhere physically there for any of their protests in-person, um, you know, I watched stuff online and I read stuff and check stuff out but I can’t say that I was physically um, in- in those pockets at all.
Brooke: Did you know anyone who was involved in a protest, or directly impacted by the movement?
Ant Boogie: Um, yeah. Like, I- I can’t remember like off the top of my head but yeah, through looking through my social media, through that- that time, yeah it was a lot of personal friends of mine that were, you know, reposting and then were there, or um, you know, speaking out, and stuff like that.
Brooke: So… I have- one of my dance teachers from home um, she’s a black woman and she’s very big on like, spreading her message for change through like, the dancing she teaches us. Do you find yourself using your movement to, um, create social justice in any way?
Ant Boogie: I’m going to- like I- I don’t want to sound rude but no, not really. Um… cause if I did- if I did, like… technically so if I was doing that It would’ve been very vocalized from my- from my standpoint of, um, you know I think… what I do more is um… lead by an example of just being who I am, you know, doing the good things that I do, and… just being a pillar of always being around and- and being a true c- a true um, addition to the community and to anyone that I can help with what I do, but to say that my personal works have been connected to a social message? No, I can’t say that… I- .
Brooke: That’s totally fine. Um, so, going back, in the beginning you mentioned that you’re a business owner for Urban Dance League. Um, so, how did you start your business?
Ant Boogie: I started Urban Dance League in about two-thousand- the idea about- was about 2010. But I didn’t take legal action into making it an actual company until about 2012. Um, I started out here in New York City, um, doing, you know, open dance classes and basically… teaching the method and the idea that “Dancers are Athletes,” and what that un- what that- what that basically meant, how we were going to go about it and then… taught a system around it to be able to gauge and follow up on the actual slogan and the- the theory. So, um, that’s how I started the business, and it literally started with me just promoting it to uh, the dance community and then having people come to class, learn what it was about, and then telling them “Alright we’re gonna have another one next week… are you guys coming back?” And then, that’s how we- we did things.
Brooke: What made you want to start your business?
Ant Boogie: Honestly, because it’s the same reason why I felt today. There’s not a lot of platforms and opportunities for dancers to have an outlet if it’s not serving… working, or if it’s not serving um, them trying to make their career- to- to make money. Um, some things should be about having a good- a good home, playing- playing- playing um, a good- a good opportunity to have fun with you and your- your friends because if I dated back to my- my connection to hip-hop and just in general, you know, even looked at the b-boy community or even the underground dance community, and although there’s a lot of successful- a lot of successful b-boys, a lot of successful underground dancers that make a lot of good money, the culture around it is not built on them needing to become professional, to have success or have fun. It’s about the experience. It’s about um, you know, finding out who you are, like, I’m a different person because I’m so tapped into how I am as a mover, and, being able to control my movement helps me control my mind it helps me control my- my mood and a whole bunch of other things. So, um, not to get so- too like, you know, you know on the other side of the world with spirituality, but, with dance it- it is a different level of connection with the spirit and mind, when you can use it for more stuff than just trying to make yourself make money. Now, of course, making money um, is something we need to do to survive, of course, but, the beauty about UDL is it can do both, you know, it provides that opportunity for people to become professional, and can connect them to making- uh, a career for themselves, or, if that’s not what they’re focused on, they want to just have fun, learn how to dance, learn how to compete, have fun as an athlete it’s how someone likes to pick up, um, some basketball and play in a tournament or play golf or play tennis, like, you know, that’s what I wanted to create for dancers and, um, thankfully it’s been successful in doing that so far and my job now is to keep it going and keep it expanding so more people can have the experience of having this.
Brooke: Did you face any challenges with your business during Covid-19?
Ant Boogie: Oh, yeah. Yeah. I was basically out of commission, so- and I’m actually still… slowly getting back from Covid. Um, you know the business uh, was one way before Covid and it’s one way now. And you know, it’s doing- it’s doing it’s thing but yeah it’s definitely- was impacted because you know, we- we had to stop all, well, we actually were in- we were actually in sess- we were in rehearsal for a show a week before everything shut down completely so like, it literally like, took a, like a dive because like, it basically would be like if we had a rehearsal and then next week Thursday we were supposed to- we were supposed to have a show, and then Covid like, closed everything down. So yeah it definitely was a different- different- different um, situation.
Brooke: So, building back up from Covid, what are some of your goals for the future?
Ant Boogie: Goals? The goals are, to, um, be consistent. Um, you know, um, being a small business sometimes it’s hard to, um, keep up with the consistency, with the demand of what things can uh, can take with being in a city like New York. Um, so, you know, being consistent so you can always have that home for dancers to be able to build themselves up. Two, expand um, I’ve been really successful with, getting the Dancers are Athletes brand into different, um, atmospheres and now that um, the Olympics happened, recently, and other things like that have shined more light, you know, it tends to make people more, um, open or sometimes not open to it but it’s always- you know- any- either way it helps the publicity of the slogan and it gets people to check it out so, um, we’ve been selling out really, really well at Broadway Dance Center, um, so, um, you know, just getting more clothes out there, getting more, um, competitions and start to open it up to more um, dancers hopefully in other cities that want to start competing and then um, having our competitions travel around, um, different places. So, yeah it’s going to be… a challenge but I’ve always been up for a challenge.
Brooke: So, in class you talk about how you’ve had people in Urban Dance League who have kind of, like, carried it on with them? Can you just elaborate on that a little bit?
Ant Boogie: Yeah, so like, the training that we instill of being an athlete, you know things like, you know, how to go over your choreography, how to train yourself, how to not be afraid of a moment, how to hold your counts… how to just be accountable, um, a lot of the dancers that- that- that do well in UDL go on to do professional work, and, it’s not by coincidence, you know, um… I work very hard to give them a platform that really can make sure your P’s and Q’s are- are really tight before you step out into- to the world if you need to. And, it’s always like, a blessing to see like, a lot of them do well. Especially the ones that I’ve had from young, that um, came into the league and, you know, stayed for some time and are now doing really well. So, um, yeah, it’s really nice.
Brooke: Hm, so another part of your career is being an agent. So, what- when did you start being an agent and what made you want to take on that position?
Ant Boogie: So I actually was an agent very early in my career, um, I worked at Bloch Agency for a small amount of time, um, and the reason why I wound up stopping working at Bloch is because I noticed that I still wanted to perform at that time. So, it didn’t really work out too well, um, I was seeing auditions come in for jobs that I was like, “Ooo, I’m perfect for this I love this. Like- and I was like yeah, I think- I don’t think I’m ready yet.” So that was about- I was young. I was like twenty-three, twenty-four. So I stopped. And then I went back to preforming, and finished up doing my thing there but um, the-the reason why I wanted to do it now, um, well one, being a- being a um, being a choreographer and dance teacher for as long as I’ve been, I have always, um, basically like- like under the table connected people to jobs, and connected people to work. Always. Um, this community, this industry, is always about who you know and who you can connect with. And I’ve been in it- I’ve been in it at a high level for a long time, so I don’t normally um, promote who my contacts are, but, usually if someone’s right for something, and something needs to be like, connected to someone, it’s usually not hard for me to find the person that needs to either, see it directly or get it to one person who can get it to the next person directly. So, whenever any big jobs will come through or stuff that comes through I’ve always connected people and, technically never collected a commission, you know, which is fine, you know, I was just helping people out that I- that were friends of mines or, just helping people who fit- fit the role um, so what happened was, um, a good friend of mine that I grew up with by the name of um, Olamide, shoutout to Olamide, his mother is um, Shirely Faison. And she, um, has been an agent for about… thirty years. Um, her son is Donald Faison as well, and he’s been in a lot of movies, and had a successful career so, she has been an agent for a long time and she started her own agency, um, after Covid called Adunni Rose. And, she asked me to help her with, um, her actors with you know, movement, um, for them in classes and stuff like that and I-I’m the one that brought it to the table and asked her what- um, if I would like to open up, you know, a dance, um, division within the agency, that I would like to lead it. And she liked the idea, and… that’s how I initially started out. I was going to start out as just um, working with dancers. And then, literally, within like- I would say within a couple of days to the week, I really caught the bug and I said you know as much as I love movies and just- I just love entertainment as a whole, I’m not gonna, um, you know, shortchange myself and only allow myself to be an agent for dancers so I started opening up my roster and it’s been great, um, so now I represent actors, um, dancers, musicians, um, athletes it’s been- it’s been really awesome I’ve been doing exceptionally well, um, because I just- it’s just what I’ve done for a long time anyway since now I’m just- you know I’m- I’m just officially in that role now. So, it’s great.
Brooke: Cool. What does your typical day look like as an agent then?
Ant Boogie: Wow, uh… lot of reading. Lots and lots and lots of reading. Um, I didn’t really um, you know, probably expect how much reading that I do. Between emails, breakdowns, and then also… watching a lot of video… of people’s auditions and you know, checking out, um, submissions from other clients that are trying to apply for the, um, sometimes to the agency… but, a lot of reading. So if I get up early, I’m reading breakdowns, and I’m trying to match them to… my roster of people to the best of my ability to get them um, the biggest chance they can get to try to, you know, be seen by the casting director and… get- get a job. So, um, I’m doing that and then while I’m doing that, I’m handling sometimes projects that are actually in the works like, negotiating, um, sometimes people’s contracts are negotiating different- different stipulations for different jobs, um, so, it can be going from that to that and then having to answer, you know just sometimes questions that clients have, you know- when I-, you know, “Oh, can you help me out with this,” or- so it’s a very, um, fast-paced job you got to be on your P’s and Q’s cause technically me missing something might mean I’m missing something for- for someone’s career. So I try my best to try to still be very vigilant and on-point.
Brooke: Yeah. About how many clients are you currently representing?
Ant Boogie: Uh, take a guess.
Brooke: Uh… based off of what you said… I’m going to go like… twenty-five.
Ant Boogie: Twenty-five? No, I’m- I’m probably at eighty right now.
Brooke: Really?
Ant Boogie: Yeah I’m at eighty. Probably. Close to eighty.
Brooke: Oh my god.
Ant Boogie: Yeah, no I’m not playing any games.
Brooke: [Laughs] That’s insane.
Ant Boogie: And it’s great because I like- it sounds like- it sounds like a lot which it is… but-
Brooke: Yeah.
Ant Boogie: I know- I know- I know- I know- I know eighty people. Like, when I say I know- no, I mean like I know my roster. Like, so for me it doesn’t feel like it’s eighty because I have it broken down, you know, into certain sections, you know, union, non-union, you know, age, ethnicity, um, skill sets, um, certain jobs people won’t- w- will or- will or won’t do. You know, I gotta real- I gotta categorize- My folders are set up in a way where it’s- I’m never really technically looking at eighty people at once, but I manage right now eighty, yeah. And I hope- and hopefully It’s gonna get more, you know, but-
Brooke: Yeah. That’s crazy.
Ant Boogie: I’m very picky- I’m very picky on the people that I pick because they have to have something that I feel… brings something to the table. Cause I know what I bring to the table as an agent, so… uh, talent-wise I try to find people that have that- that extra, you know… little something. And everyone’s extra little something is different. It doesn’t mean it has to be over-the-top, it doesn’t mean it has to be like, you know, like- it just means something different. And… if- if it stands out I- I check it out.
Brooke: Cool.
Ant Boogie: Cool… Wait.
Brooke: Uh…
Ant Boogie: Are we- are we supposed to know each other Brooke? Or- no are we supposed to act like we don’t know each other?
Brooke: No, we are! I was told when I’m giving the interview, I can’t respond to what you say.
Ant Boogie: Ohhhh, okay. I see.
Brooke: I- Yeah. Not like, conversation. Interview, yeah, yeah, yeah.
Ant Boogie: Interview mode. I see. I see. Okay.
Brooke: Yes.
Ant Boogie: [Laughs]
Brooke: Okay. So. Um… ugh, now I forgot my question.
Ant Boogie: Sorry.
Brooke: It’s okay. Um… so… you- you’re a dance teacher, you’re an agent, and you’re a business owner. What does your life look like outside of these three sectors of work?
Ant Boogie: I don’t really get much time for that, to be honest. I’m- I’m working on that.
Brooke: Okay.
Ant Boogie: I’m working on that. Uh, I love movies. Love, love, love movies. Um… which is why it’s great that I can work so much as an agent now, because it’s kind of like, on my off-time, even though it shouldn’t be working, it’s kind of like still doing homework in a way by watching different films by- from different directors and different actors and, just getting the- just getting- more enthused with, um, you know, closer to what is being shot, knowing about what TV shows what- what- what they’re doing, you know, it just gives you a- a different- you know it’s like, you know watching film in a sport when you’re not- when you’re not on- on the court. So, I guess that’s what it is but I love- I’ve always watched a lot of um movies and TV shows and stuff like that so, that, and I do love video games. Um, um… I- I play a lot of NBA 2k if I’m not working maybe or, um, I- I should be in the gym more… but I do like to workout. Um, so… uh I say that. Maybe this’ll give me more inspiration to get- get back in there. But, I do like working out and being in- kinda keeping in shape as much as I can. Uh… so yeah, those things.
Brooke: So, during Covid, um, assuming you had more free time as your business was kind of… shut down temporarily, what did you find yourself doing then that you’re not doing now, I guess?
Ant Boogie: A lot of video games. Lots, yeah. Lots of video games, lots of movies. I kinda, honestly miss Covid sometimes. Uh, because of that. Like, looking back, um, like it was a very tough time but, like, it just seemed simple, you know?
Brooke: Yeah.
Ant Boogie: Um, life seemed simple. And… for at least that first month, life was very, very simple, where it was like, there was nothing else to do but just wait and see and you just had to just like, live life you had to just eat, and just like, right? Do you- do you get what I’m saying? Like-
Brooke: Yeah, yeah.
Ant Boogie: There was no future ideas to figure out. Like, and I- like, that’s the part I was like- I kinda miss. Like, there was no like “Oh, we’re gonna plan for this,” like, you just had to be like, “I’m just in this moment right now-”
Brooke: Right.
Ant Boogie: Like, for me, that gave my brain a little bit of- like a little breather because like, I’m always having to think ahead and try to like, figure out and- and get things going and so um, as much as- as turmoil as people were in, and uncertainty, I do miss the simplicity of… waking up and just you know, okay, I’m just gonna eat and just watch TV and just, like, worry about get- being physically active… that was my only thing I was worried about. Like, staying in shape, you know, keeping my- my skills in touch so I could teach still and dance still and stuff like that. Cause, you know, I’m a little older than you, so as you get older, you know, you have to make sure you keep things on point if you wanna stay active and stay… you know, you know, in good shape, relevant… you know, so it’s a lotta stuff so, um… yeah.
Brooke: Yeah. Were you still teaching on Zoom?
Ant Boogie: Yes, I was. I um, I was teaching at BDC on Zoom at home, which was so weird. I- I can’t re- I can’t believe like, I used to be in my living room. I used to be… I mean this is a lot different now but, I used to be in this living room with freaking, little laptops set up and teaching people at home like, what a time.
Brooke: Yeah.
Ant Boogie: What a time.
Brooke: Did you notice like, a difference in the dancers when they were taking class at home versus in the studio?
Ant Boogie: Yeah, of course. You know, like, it’s a- it’s a delay you know, but it did feel very community, I can’t lie. It d- I- it did feel very much- when you looked at someone on Zoom that was taking class with you like you felt like, you were like, I don’t know maybe I’m being cheesy but like, giving them some type of like, extra like, hope I guess. Because like, they paid to like, take a class with you from there- On a computer.
Brooke: Yeah.
Ant Boogie: Like, that was never meant to be. Like, you were supposed to always be in studio. That was something that… came about. So, for people to adapt, it showed me just how much you really loved dance.
Brooke: Mhm.
Ant Boogie: Mhm.
Brooke: Yeah.
Ant Boogie: And how imp- and how important dance really is.
Brooke: Yeah. I remember- so when Covid started, I had just, like, finished recovering from a knee injury, so I went- I went back to dance for a week and then everything was shut down. But, during Covid I was training at like, my regular- my competition studio, and then I was also training at a ballet studio like, all on Zoom. So, that was my favorite part of Covid was that I was just dancing like, six hours every day and I didn’t have to like, go to school or anything, so.
Ant Boogie: Yeah so it changed, yeah, it changed your perspective too, right? Yeah.
Brooke: Yes, for sure.
Ant Boogie: It showed us the world can be put on hold… if certain things happen. And like, this stuff, yeah, it’s real but it’s- it’s not real to a certain extent because look, within one- in one month everything was just [makes whoosh sound], what happens next? So, yeah.
Brooke: How long- In the city, how long did quarantine last for?
Ant Boogie: I can’t remember but it was a while.
Brooke: Was it like a full year almost?
Ant Boogie: No it was- it was, no- no. What do you mean quarantine? Like, you mean like we can’t go outside at certain times or-?
Brooke: Yeah, like I guess- I guess more so my question would be like how long were the studios closed? How long were you off of work, stuff like that.
Ant Boogie: Oh. Not long. The studios were closed a couple months, maybe? And then after that they opened up but then they opened up, you could only be the… the- the- the tech that was running the Zoom and the teacher. So, I was-
Brooke: Ohhh.
Ant Boogie: Yeah so I went from teaching at home, then they opened up the place where you could go, but it was only for us teachers to go in and teach in a studio so we could really dance and move.
Brooke: Gotcha.
Ant Boogie: And that was for like a while… and then they opened it up to people coming in. So it was close to like eight/nine months maybe.
Brooke: So did- When you went back to the studio did you have like, squares you had to stand in? When everyone went back?
Ant Boogie: Yeah… like, not- not me as much because I was the instructor so I had the most of the floor-
Brooke: Well, yeah.
Ant Boogie: Yeah, yeah. No, yeah they did.
Brooke: I used to hate dancing in my square. It was… not fun.
Ant Boogie: Is- is- so, what- what- we’re gonna look back years from now and notice how dumb some of these ideas were. Like, you dancing in that square versus someone like, over there… it doesn’t change anything about what happened in that room, as far as breathing… or, like, dealing with a sickness. It really didn’t.
Brooke: No.
Ant Boogie: It really didn’t. But…
Brooke: Mhm. Oh well.
Ant Boogie: We’ll see. This is all- this is all documented. So, we’ll see in the years to come like, what happens.
Brooke: Yeah. Um… are there any other challenges you faced with Covid-19 that you think the world should know?
Ant Boogie: The world should know? That I- that I uh- no I- I- [laughs], no I think I’m okay.
Brooke: [Laughs] Okay.
Ant Boogie: I don’t think there’s anything else other than um, I got, you know- no, I got a little lazy during Covid, I guess, but, you know- and, other than that, no, not too much.
Brooke: Okay, good. Um okay, do you have any last, final things you’d like to say before we end our interview?
Ant Boogie: That… I LOVE PACE UNIVERSITY! No I’m playing, Nah, Pace is cool I’ve taught some classes there, at Pace, uh, through student, type of invites and I’ve met you guys through there… a couple of my friends teach there… you know, so, um, it’s… you know, it’s cool that uh, I get to do this interview and… hopefully I get to spread more good energy to anyone that’s looking to… take their dancing and have fun with it and you know, maybe, make some money on the side if they can but, not where it ruin- it ruins them, it makes them feel they’re less of a person, so. You know, um, the website is urbandanceleague.com, they can check me out at BDC [Broadway Dance Center]… uh or, if they’re ever looking to maybe get their career into the, um, the professional, ca- world of… tilm- um, sorry, “tilm,” film, TV, you know, Broadway, they can check out adunnirosetalent.com, that’s the agency I work at, and… yeah.
Brooke: Okay, thank you!
Ant Boogie: Thank you, Brooke!
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