Drake: Assassination Vacation Tour

PRODUCTION PROFILE

DRAKE: ASSASSINATION VACATION TOUR

The residing king of hip-hop and his production crew return to the continent with the challenge of piecing together an ambitious production on other side of the Atlantic. TPi’s Stew Hume was on site at Birmingham’s Resorts World Arena to get in inside story.

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Last year, USA Today published an article proclaiming rap and hiphop had dethroned rock music as the most popular genre in America, according to the Nielsen Music year-end report. A recurring name was Drake, who has become the poster boy the modern hip-hop and rap in the past decade. The Canadian native has set the standard for contemporary hip-hop stars in his music and his ambitious touring productions. The artist’s previous European outing, Boy Meets World, was met with adoration by fans and critics and even made it to the cover of the March edition of TPi in 2017. Two years later, TPi was backstage to chat with some familiar faces about Drake’s latest in-the-round production, Assassination Vacation.

Live, Drake made use of the performance real estate at hand with a stage completely coated in LED, as well as a 4-side flown video screen. The content-heavy show enabled show’s creatives to transport audiences into various worlds with the ringleader - Drake - offering the endless energy required to run to all corners of the stage as he worked through his dynamic back catalogue.

Production Manager, Christopher Roberts earned his stripes back in the day with the likes of Van Halen and Aerosmith, but for the last few years, Roberts has been working with a plethora of hip-hop acts. Splitting his time between Drake as well as running with the guys from Arcade Fire. “I joined the camp back in 2014 during the Drake Vs Lil Wayne run in America,” stated Roberts. “I had been asked a number of times before to work with Drake but I always had conflicts. But in 2014 everything aligned, and I’ve been with them ever since.

“This tour is a carbon copy of the one we put together Stateside,” stated the, explaining that originally, they had been unsure whether this tour would be taken overseas. However, when the green light was given for the European run, it was up to Roberts to pull all the pieces together. “At the end of 2018 we had deconstructed everything, so before the new

year I had to start calling around to try and put the jigsaw back together.” He explained it was a trying process to recreate every element down to the smallest detail. “It’s an ambitious show to put back together,” he stated, enlightening TPi with some of the barriers he came across. “Take the video department. We have an 18-man crew just to deal with all the LED, the cameras and the content. There were a lot of finickity moments with people calling me up saying, ‘oh by the way, we also did this on the last run’, which would see me going to the suppliers to check if we could cater to that request.” After a few months of planning, the PM and crew reformed at Fly By Nite Studios and the show was successfully put back together.

The majority of suppliers remained from the US run with Tait providing staging and automation, PRG providing video, lighting and rigging, Eighth Day Sound supplying audio and Strictly FX handling special effects and lasers. Also, on the vendor list was Verity Studios, which supplied a fleet of drones as well as Gear Factory providing a flying car – yes, you read that correctly. Finally, with tyres firmly on the ground were Beat The Street, that supplied busses for the run alongside Fly By Nite, which provided transport for the tour, while Eat Your Heart Out fed the troops.

Moments after praising the companies on his supplier roster, Roberts was eager to complement the men and women who make up the wider Drake touring production. “We’ve always had really good people in this touring family,” commented the Production Manager. “I’ve got most of the key members back from previous runs and they are all outstanding!”

AUDIO Once again taking the lead in Drake’s audio department were Demetrius Moore and Sean Sturge who reclaimed their respective roles as FOH Engineer and Monitor Engineer.

Moore, who has been at the helm of Drake’s live sound since 2010, picked up the story: “I was on the first Lil Wayne tour where Drake was the

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featured artist,” reminisced Moore. “Then when he went out on his own I joined the tour as a system engineer, eventually taking the throne as FOH Engineer.”

Although Drake has always had b-stage elements where he is performing in front of the PA, this was the first time Moore had taken him into a full 360 in-the-round production. “When we first started looking into the design of this show, there was only one place we could hang the PA – in the four corners,” began Moore. The brand of choice was Adamson, which had been a long-time favourite of Moore’s. “I first came across Adamson in 2012 when the E15 was still a prototype with my predecessor,” he said. “I remember he played a Dr Dre track and both of us were floored by the high-end and how clear and natural it sounded.” Moore finally got a shot behind the reins of the PA in 2015 for Drake’s own OVO Festival. “I wanted to have a PA that would knock everyone’s socks off,” which he confirmed it did to great effect.

When the initial planning for Assassination Vacation began, there was only one PA Moore wanted to bring out. “After the stage was mapped out, one of the first things on the design was the PA.” Moore worked closely with Adamson’s Director of R&D, Benoit Cabot, as well as Product Manager and Senior Applications Engineer, Brian Fraser, during the prep of the show. “It was one of those rare cases wherein the speaker designers and the audio engineers got to work together to find the best solution to produce this system,” commented Moore, reflecting positively about the development of this impressive audio setup.

While walking the perimeter of the stage - which Moore affectionately referred to as the boxing ring – it was impossible not to notice the lack of subs on the floor. The entire system was flown overhead. “During rehearsals we began to see designs come through which had the whole stage coated in LED,” stated the FOH Engineer. As the screens weren’t blow-through this raised an interesting question over sub placement, he said.

The decision to fly them in the air proved a happy accident, producing a low-end delivery which was unrivalled by any previous tour. While developing the idea of flying the subs, Moore and the rest of the Adamson team used Blueprint AV system design and simulation software only to discover flying the low end gave them better coverage than they would have achieved with a traditional ground stack setup. “Normally when you go to a show and you have the subs on the floor, the first few rows get pounded by low end,” commented Moore. “When you fly the subs, you’re able to create a consistent low end throughout the arena. We didn’t know it was going to work but after this tour I would love to fly subs in every show we do.” Without the Adamson and its E119, the flown sub arrangement just would not have been possible, the engineer claimed. “There isn’t a sub that sounds this good which you can fly!”

All 4 hangs consisted of 18 E15s 3-way, true line source enclosures, 4 side hangs of 12 ASE S10 two-way, full range cabinets below 4 ASE S10s, and 4 ASE 270° hangs featuring 15 ASE E15s on top 4 ASE S10s. While 10 Adamson IS7p point-source front fills were required for any given date thanks to the array’s extensive coverage. “We’ve essentially got a stadium’s worth of gear out on this arena run,” stated Chris Fischer, Eighth Day Sound’s System Tech. The sheer number of cabinets going into the air made Fischer particularly glad they’re using Adamson. “It’s a nice-sounding system, and the rigging is just incredible – it goes up and comes down so easily,” he said. “It’s just one move and the cart’s off.”

Moving away from the PA, Moore discussed his DiGiCo SD7 set up. For this run, the Engineer had updated to Quantum engines. Having first come across the new engine at NAMM, Moore was keen to bring this new development into his control set up. “DiGiCo has always been our console of choice for Drake,” enthused the Engineer. “I really like DiGiCo desks because of their consistency. With every new software version, their workflow always stays the same.” In terms of the new Quantum engine, the main changes Moore had made to his setup centred around the reconfiguration of his MADI FX. “As we go from tour to tour, it’s always a case of growth – that’s the best way I can describe it. Between myself, Sean on monitors, and Drake, we all work together to make the show as solid a possible.”

The engineer went on to describe his style of mixing Drake. “A live show should be an experience. I don’t want to just recreate the record. I personally see it as mixing and orchestra with all the dynamics and lows and highs.” Essential to Moore’s live set up was his UAD plug-ins, all triggered by Ableton Live. Among his favoured effects were TC Electronics for delay with drum effects using the AMS RMX16.

Another trick up his sleeve was a quad panner, which he used to provide some movement to the live audio. “It’s an idea we developed on the last tour,” stated the Engineer. “On that run I had a speaker behind me which I

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Lighting Director, Manny Conde; Production Manager, Christopher Roberts; Video Director, Johnny Hayes; Monitor Engineer, Sean Sturge.

wanted to fire music back and forth from. This time round I have configured it to affect all four hangs, so we can move sound around the arena.”

Moving the conversation to the stage, TPi met Sean Sturge in his bunker to talk through his monitor setup. Like Moore, Sturge has also been a longtime DiGiCo user, opting for an SD5 for this run. After changing over from the 32-bit cards on his DiGiCo, the Engineer dubbed it a “very noticeable difference from the last tour, especially when it comes to the drums.” He added: “I like to use the analogy of switching from an Astra to a Ferrari. Both will get you there but one will be much faster!” he exclaimed. It’s not the only features which made DiGiCo an essential part of Drake’s audio fabric, though. “No matter where we are in the world, Drake always finds guest vocalists he wants to bring up to perform. The convenience of the DiGiCo is that you can put guest artists in a pre-mute so they can listen to where they sit in the mix in the IEMS before hitting the stage. I think the pre-mute is one of my most used elements of the desk throughout the run.”

For IEMs, Sturge used the Sennheiser G4 packs and receivers along with the Jerry Harvey Roxannes. “They’re the only IEMs which can handle the SPL Drake requires,” enthused Moore. Sennheiser was also the brand of choice for microphones with Drake using the 9000 series. “We’ve been using them for the past three world tours,” he interjected. “We used to have him on the 5200s but one day Sennheiser brought us the 9000 to have a listen to. That night we tried it on a guest artist and loved it so much we just kept it with us. It’s been with us since that day.”

VISUAL The look of the Assassination Vacation Tour was certainly striking. With an abundance of LED, the creatives were able to transform the performance space into a variety of environments, from a swimming pool to the basketball court. At the helm of this latest stage rendition was Tour Director Steve Kidd who was also part of the previous Boy Meets World production. This time round, Kidd joined forces with Creative Director, Willo Perron and Lighting Designer, Jesse Blevins.

Greeting TPi at Lighting FOH and walking us through the visual elements for the show was touring Lighting Director, Manny Conde. Having been brought on the road at the beginning of the US tour Conde had originally split his time between Lighting and disguise programming. “Prior to the start of the European leg, knowing there would be a lot of new crewmembers, I spent about a month at home where I took everything I had and started putting all the pieces back together,” stated Conde. “I also did a few weeks of previs in LA before going into PRG to prep the tour.”

Conde outlined some of the major changes in the lighting rig for this tour. “We are now using Robe BMFLs on the catwalk that leads from the band riser to generate shutter cuts down that runway.” In Conde’s theatrical mind-set, he thought it was “cleaner and more balanced.” A selection of GLP impression X4 Bars, both on the floor and in the grid inside the video banner also contributed to the lighting rig. “One of the main looks I’m using the X4s for is to cross focus on the stage when we have dancers. They provide more fill light for the stage, meaning each dancer is picked up more easily by the audience and the cameras.” Another noteworthy inclusion on the rig was a set of 120 Robe Spikies under the video banner with a selection of Solaris Flares which were deployed on the automated ‘chandelier’, hung within the rectangle video wall.

Ground lighting interacted with the Blacktrax system used to follow Drake around the stage. “This time round we have used Martin by Harman MAC Quantum Washes,” he commented. “They have a slightly bigger output and they hit Drake better in a more balanced way.”

Handling the BlackTrax on site for the tour was Sam Augustus and Sjors Schlicher who oversaw the tracking system throughout the show. Drake wore small motion detectors that tracked his movements and fed them back to BlackTrax sensors installed on the stage which, in turn, interacted with the Martin by Harman MAC Quantums on the side of the stage.

“We worked alongside Drake’s team to provide a 12-camera BlackTrax system to integrate with the prominent visual aspects of the show, Notch and disguise,” commented BlackTrax Assistant Product Manager, Will

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The Strictly FX crew; FOH Engineer, Demetrius Moore.

McDaniel. “All key lighting used to spotlight Drake also used the BlackTrax real-time tracking system. It was a once in a lifetime opportunity to work with such an internationally known artist. Hailing from the 6ix [Toronto], Drake originates form and champions the very city our BlackTrax head office is located.”

At FOH, Conde controlled the show via an MA Lighting grandMA2. “There are always a lot of last-minute surprises with Drake,” stated the LD, while explained in day-to-day responsibilities behind the MA. “Although 70-80% of the show is timecoded, every now and then we’ll switch out a song which means I’m still doing a lot of manual cues or putting up a new look for some guest artist’s moment. It certainly keeps me on my toes.”

Aiding Conde day to day was Lighting Crew Chief Chris Davis along with his team consisting of; Jamie Gorman, Alex Hughes, Dai Mitchell, Dave Baxter, Bart Buckalew, Scott Naef and Tess Minor.

VIDEO Without doubt, a stand out moment of the show came courtesy of the stage which was completely coated in LED. In total 12m by 24m of YESTECH Magic stage was deployed on the surface and on the edge. Talking through the video elements of the tour was Johnny Hayes, Video Director. “What we’ve been able to create on this one really is outstanding,” enthused the Director. “During the show we have a selection of effects - from turning the show stage into a swimming pool with women swimming under the surface to creating a 3D scorpion that appears to come out of the stage.”

The backend to the system included an extensive disguise media server setup with 4 gx2 servers and 2 4x4pro servers. Overseeing the system each day was Luke Taylor, disguise Operator. “The pure power of disguise servers allows us to run high numbers of outputs and high-resolution outputs,” began Taylor, who explained why the disguise was the brand of choice for project. “The ability to have everything laid out in the 3D space and be able to see the show before actually having the setup in place was invaluable. Also, having Notch generative effects natively supported allowed us to use all the BlackTrax and automation data to manipulate content on the stage.” In the system, the gx2s ran all the LED which allowed Taylor and the team to run Notch generative content on the LED with the HDMI 2.0 output cards enabling 4K to be across the whole system. Meanwhile the 4x4 servers ran the projection as the number of outputs was so high (16 main and 16 backup outputs). The show itself was controlled by disguise’s Sockpuppet DMX via Art-Net from FOH by Conde. All the disguise servers also ran all the distribution of signal to all screens via a fiber network using lightware Fiber transmission and matrixing.

“The biggest challenge was taking a show that had already run a leg

in the US and recreating it in Europe,” commented Taylor. “Once the kinks were worked out it was really smooth. The support team at disguise were phenomenal being on call whenever we needed and even going as far as to create us a custom patch to fix any issues we had.”

Taylor gave his final thoughts on the tour: “This was a great project to be involved in with a great crew from both the US and European sides. It pushed the boundaries of the technology we have in this industry.”

As well as the extensive floor LED there was an abundance of video product in the roof with all four sides of the mother grid being coated in ROE CB5. “Essentially I’m cutting two shows at once,” commented Hayes. Each LED side of the mother grid was split in half with 2 IMAG feeds. “In total I’m working with around 10 cameras in this rig with 7 Sony 2500’s using a section of lenses including a Fujinon 99x long lens, a 14x Fujinon lenses and a 22x Canon Lense.” Also, at Hayes’ disposal were 3 Panasonic HE120 robo cams which he controlled while at his Grass Valley Karrera 2ME Switcher.

A notable highlight on the camera rig was a video tracking rig which ran up one of the sides of the stage. The system consisted of a Luna Remote System Junior 5C with a tower set up that could extend to 16ft. “Throughout the show it goes up and down the stage which greats a selection of great looks,” commented the Director. “Drake really understands the power of the camera. Throughout this tour and the previous American leg, we’ve really locked in the pressure points of each song to best use those tracking shots for the IMAG content.”

The Director outlined his workflow each night. “I suppose some people might think I’m making things more difficult by having two separate cuts for one surface,” he mused. “But my take is that it allows more of the show to be seen. For example, there will be times that I’ll have one cut stuck on a close up but then the other panel will be showing off the stage so those closer to the barriers can still experience the whole show.”

But he’s happy to make sure his approach is part of a natural progression. “For Europe I’ve had a whole new set of camera guys who have all come via PRG. We’re now a few shows in and we are at a stage where we can begin to enhance the show and really emphasise certain elements.” In fact, the Director continued to dish out compliments for his fellow 18-strong video team. “Although we had a lot of new guys on this run, they have all done incredibly well. Thankfully, one person we have got to keep on is our Engineer Lewis McMillan. He comes from PRG and is very knowledgeable – a young fella who knows more than he should,” he laughed.

Leading the charge for the European leg was Video Crew Chief, Ed Prescott. “I was given free reign by Chris Roberts and PRG, to hand pick all of the new 14 members of the 18 man department,” commented Prescott.

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“In a personality driven industry, and with such a large department, it was more important than ever to get a harmonious atmosphere in the video camp. I started with Luke Taylor on servers and went on to prioritise experienced camera ops to keep my director happy. He wasn’t disappointed.”

As well as the abundance of LED and camera equipment, the Drake production also had a selection of projectors used to stream content onto an Austrian drape which appeared at various points in the show. A total of 28 Panasonic PT-RZ31Ks were distributed behind the flown rig, set behind the LED sides.

RIGGING / AUTOMATION Although the moveable drape was one of the main pieces of automation, a proliferation of Tait winches was deployed throughout the rig. “In terms of actual automation, there are very few moves,” commented LD Conde.

Collectively, 31 Tait Nav Hoists were installed into the overhead rigging and controlled by a Tait Navigator. “We have opted to deploy Nav Hoist everywhere on the rig, even though the only true bits of show automation are with the Austrian drop and the chandelier,” stated Conde. “It really comes down to convenience. Many of these shows on the European run are in venues for multiple days and after each performance we need to reset elements on the rig, such as pyro and projectors. Having everything on Tait’s Navigation systems means we can rest assured, after doing a servicing each day, the truss will return to the exact point.”

In total 16 Nav Hoists were fastened to the video border, 10 Nav Hoists lift trussing furnished with Verity Studio’s drone infrastructure and pyro effects, and 4 Nav Hoists move a lighting chandelier up/down in the centre of the rig.

Handling the automation in the rig for the tour was Sean Mullarkey

and Dan McLaughlin. Along with the various moments in the air, Tait also supplied a lift in for the stage which Drake used to enter at the top of the performance. Handling the overall rigging for the run was PRG. “We got a total of 5 riggers out with us with a total of 170 points,” commented PM Roberts. Leading the rigging team was Knuckles Dunn with the rest of his team consisting of Clay Coker, Paul Hicks, Dave Townsend and Toby William Tee.

SPECIAL EFFECTS Handled by Strictly FX and led by Crew Chief Ed Romack, the special effects team offered a selection of gags from CO 2 jets, pyrotechnics and lasers.

“This has been my first project with Drake,” began Romack, discussing the origins of the special effects design. “With the show being in-the-round, scale was always going to be key for us.”

You only have to look at Romack’s tech spec to get a sense of what he meant by “scale”, with an impressive 80 CO2 jets being deployed around the stage. “The idea was to create a design that matched the level Drake is at right now. When that first wall of Co2 surrounding the entire stage is revealed, it’s a massive moment - it really mirrors the calibre of artist he is!”

In total there were 1,700 individual shots within the show, despite being such an ever-present aspect of the show, one of the goals was to keep much of the special effects hidden from the audience. “All our effects are hidden from the audience, with many of them set behind the flown video walls,” stated Romack. “This means each effect has the greatest impact when they happen.”

For the tour, Strictly FX provided 8 crewmembers. “During the last tour I took on two roles as Crew Chief and shooting the show,” commented Romack. “This time I’ve brought on Dave Serrano as Pyro Shooter.” Serrano shot the various elements from the FireOne with all the other various

we put more in so you get more out.

more playback: up to four 4K lossless video streams at 60fps. more capture: 16 3G-SDI sources, or four 4K sources (2160p60). more network: two 25Gb/sec and two 10Gb/sec ethernet ports. more storage: 4TB of ultra-fast NVME SSD. more quality: 10-bit and HDR support is here. more information: high-res OLED front panel. same goosebumps.

the disguise vx 4 is here.www.disguise.one/vx-4

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elements run off an MA Lighting grandMA2. Discussing the laser set up for the tour was Rachel Spires, who was happy to be back in the Drake camp after being brought in on the tail end of the previous Boy Meets World tour. “The laser design for the show was created by Grant Sellers – one of the head designers at Strictly FX. So, my main responsibility is to maintain the design and ensure each element is working correctly each day.”

In total, Spires oversaw 10 Arctose Stella 30watt lasers, all of which were run via a Pangolin Beyond system. Throughout the show there were a selection of big laser looks but, for Spires, there was a highlight, so to speak. “We have this look where the lasers trace out the lines of a basketball court - it’s my biggest and most stressful moment in the show,” she laughed. “If either video or I screw up, everyone would notice.” And with the sea of mobile phone lights thrust into the air during the moment of the show, it’s easy to understand Spires’ apprehension. “During set up, the video department throws up the pattern of the court lines, which I then focus everything to. If our trim is the same, it takes around 30 minutes.” Finally, brought out on the Strictly FX rider were 6 Haze Base Pros and 6 Haze Base Classics.

DRONES For most artists a top of the line audio-visual tour on display would suffice but Drake is not your average performer. On his previous tour, the production brought out some of the latest winch technology to extend the visual stage show out into the audience with automated spheres creating a selection of shapes thought the show. This time round, the production also looked to the sky to increase the production value – this time with drones.

First of all, in one of the most photographed elements of the show, a yellow sports car is suddenly seen taking flight and gliding over the audience. “It’s certainly one of the highlights of the night,” commented Roberts. “The car has been built by a company called GearFactory. Essentially it’s filled with helium with motors on the side control.” But this was not the only moment in the show where the production made use of the air space - with Verity Studios also being on board to provide the production with a fleet of its Lucie micro drones for the tour.

Discussing the company’s involvement was Founder of Verity Studios,

Raffaello D’Andrea. “We were approached by Steve Kidd, Drake’s tour manager, who told us Drake wanted drones in his show, but he wanted something which had never been seen before. From there we started working on different concepts with the creative team.” The team ended up producing looks for two different songs in the artist’s set – Elevate and Look Alive. “For Elevate, they wanted something organic and ethereal,” commented D’Andrea. “We modelled the choreography after a swarm of bees which follows Drake as he goes from one end of the stage to the other. For Look Alive we came up with a concept of a wave of drones that undulates above Drake before transforming into a 3D cross.”

The number of Lucie micro drones which performed each night varied from venue to venue but in total there were 88 drones and the production disposal. The show was operated by a single drone operator, with assistance from stage hands to deploy the drones at the two moments in the show. “Unlike the remote-controlled flying Lamborghini, our Lucie micro drones flew their pre-programmed choreographies autonomously - no drone pilot required,” commented D’Andrea. “One of the technical challenges we had to overcome was finding a place for the drones to land. As Drake’s stage had no wings or stage lifts, we had to come up with a novel way for the drones to land offstage. We then came up with the solution of the drones landing in nets off the side of the stage, right by the audience. We’ve never done this before and it’s an example of how our clients push the limits of our technology and come up with new, innovative solutions to unique challenges.”

D’Andrea gave his final thoughts on the production. “People often describe technologies they’ve never seen before as ‘magic’. This is also how people talk about our drones when they see them live for the first time. By bringing robotics and AI to live events, we are creating magic. It’s spectacular to see a swarm of drones performing a perfectly synchronised aerial ballet without a single drone pilot in sight. Of course, what’s powering this performance is advanced technology, but when you sit in the audience, all you see is magic.”

LOGISTICS Side by side on the road with the production were were Beat the Street and Fly By Nite. “Drake is a great tour for us,” stated Beat The Street Ian

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unleash creativity enhance freedom

info@cast-blacktrax.com www.blacktrax.ca

Touring with

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Since 2018!

Massey. “We have worked with Drake for the last eight years, everybody on the tour is an absolute pleasure to work with.” The company supply a complete package of 10 sleeper coaches and ground transport for the tour. “Many of the drivers on this tour have been asked back time and time again, we are very proud of this and long may in continue!” concluded Massey.

Meanwhile, ensuring the ambitious stage show got from A to B was a fleet of over 30 FBN trucks. “We’ve handled Drake for the last few years,” stated Fly By Nite’s Matt Jackson. “It’s been on card for some time as these dates were rescheduled. I think that is one of Fly By Nite’s strengths that we are flexible and able to deal with changing dates and demands.

“Admittedly, this was a very low mileage run with the trucks being out for 2 months and doing no more the 2,500m,” commented Jackson with many of the dates being multiple dates in the dame venues. Despite playing multiple dates the fleet remained with the tour at each venue. “Some of the guys had additional roles on the show but it’s always good to keep them on site to deal with any issues.” This was also a benefit halfway through the six date residency in the O2 that was split in half by UB40 – another Fly By Nite show as it happens. “We had to load out half way through the O2 dates, again another reason for keeping both trucks and driver close by.”

NONSTOP With the show coming to an end and the artist’s wrapping up proceedings with his hit God’s Plan much to the pleasure of his enraptured audience. A production of this grandeur and ambitions really did seem to mirror the calibre of the artist. After the Birmingham date, the Drake family headed south to London to turn the ‘O2 into the O3’ for a 6-night run in the capital. TPi Photos: Theo Skudra from Tom Glass Pictures www.drakeofficial.com www.8thdaysound.com www.prg.com www.strictlyfx.com www.veritystudios.com www.gearfactor.com www.flybynite.co.uk www.beatthestreet.net

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