I remember going for the first time to a place called The Roxy in New York because you can see people breakdancing there. That’s the only reason I went! It’s amazing, kids are still doing that.

Chris Frantz’s recollection frames The Roxy as a magnet for a specific, living street culture—breakdancing—rather than as a generic nightlife destination. The insistence that it was “the only reason” he went underscores how compelling and novel the form felt to an observer from the rock/new-wave world, and it hints at the porous boundaries between downtown music scenes and early hip-hop culture in New York. His closing remark—“kids are still doing that”—turns a personal memory into a comment on cultural durability: a dance born in a particular moment continues to be transmitted, practiced, and reinvented by new generations.