_ January Dance Forum Articles

January, 1998 Forum
	Hi Lindy Hoppers!!! The Forum in January
	You are visitor to jitterbuzz.com since April 1, 1997. Archive of Dance Forum Articles From January, 1998 This is the archive of DANCE FORUM articles which appeared during 1998 This is the place to review and savor all of those interesting articles written by our erudite readers. We would also like to acknowledge Gay and Dave Shepardson who actually do the mechanics of the website and put up with my eternal nagging about getting the stuff up. Click on the name of the article to read it. No more scrolling! Heartfelt Thanks (Ellen Werther) Top 5 Dance Events of 1997! (Sue Fedor) The Mr. Moto Films (Sue Fedor) More on 78 RPM Records (Jennifer Larsen) Power Lifting (Rachel Blacketer) BIRTHDAYS Birthdays and Aerials (Jennifer Comar) Mary Pat's New Years Resolutions (Mary Pat Cooney) Indigo Swing in Colorado Springs (Erin Parker) Los Angeles and San Francisco (Iver Cooper) Top 4 Lindy Events (Cameron Sellers) The Rachel Page (Rachel Blacketer) The Grafonola (Tricia Reneau) Voice of Betty Boop, Olive Oyl Dies (Sue Fedor) Notes from Mike and Diane (Diane Carroad and Mike Mandel) Wild Week in Seattle (Ray Keaney) A Benefit for the Forest Glen Ballroom Preservation! (Donna Barker) Lennart and Josie Will be Visiting (Debra Sternberg) Inscrutable Mr. Moto Films (Iver Cooper) The Coconut Club in LA (Buck Smolow) Hula Monsters at the Roots Cafe (Ken Delaney) Savoy Swing Club T-Shirts (Savoy Swing Club) Mary Pat's Tap Class (Mary Pat Cooney) Future of the Spanish Ballroom (Jenny Manlove) Future of the Spanish Ballroom (II) (Debra Sternberg) Jazz Dance Teaching Technique (Mary Pat Cooney) Marsalis to Students: Get Swinging! (Sue Fedor) Tragedy at America (Debra Sternberg) Aerial Origins (Iver Cooper) Jitterbug Stroll (Iver Cooper) Swing Class From Hell (Mary Pat Cooney) WHIP VS. SWING OUT (Debra Sternberg) Sing, Sing Sing (Leonard Koenick) What Goes Around Comes Around, But it Usually Costs More (Jenny Manlove) Swing Music in Austin TX (Mike Fischer) Mark Your Calendars (Jennifer Comar) Frankie's Birthday Greeting (Susi Nonn) Swingtime in....Cleveland? (Sue Fedor) Save Glen Echo Website (Tracy Gill) Safety First! (Ellen Engle) Teenagers in Swing Heaven (Mary Pat Cooney) Big Dance at UVA (Matthew Hickey) -OR- Go back to the Home Page THE ARTICLES Heartfelt Thanks By: Ellen Werther HEARTFELT THANKS. As I am writing this, I am looking at the beautiful card I got in the mail yesterday "with love from your dance pals, whose hearts are with you at this difficult time." You are all such a wonderful group of people--I HOPE more than "dance pals." I can only hope that if any of you are ever in need (pray not) I can be there for you. I don't want to single anyone out, but I have to say, I would not have made it without the support of Michael Mandel and Diane Carroad, who called on several occassions while I was in New Jersey. And Carole too. Thank you so much. Michael Henry wrote on the card "Although I spent only a short time with your mother last Easter Sunday, I would have loved to have gotten to know her better...Love" Well Michael, she thought you and (Mark and Wendy) were great too. She loved the Fly Cats. And she, a dancer herself (she won Charleston and Jitterbug contests) was proud of all of us for keeping up the tradiition. And she would have wanted her daughter to get back out there. So, I will see you all soon. ps, My only regret is she never got to see me jam. The next one's for you mom. Anyone who wants to call can reach me at 703 931-1742 (home) or the shop 703 644-3004 or e-mail me at heartsdesi@aol.com. I know this is long, but thanks for reading. And thanks again. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Top 5 Dance Events of 1997! By: Sue Fedor Let's start a new Dancer's Forum topic....Top 5 Dance Events of 1997! Everyone is sure to have a different list. Here's ours (after much discussion....) 5. The Frederick Air Show Hangar Dance. This was less of a dance memory and more of an overall atmosphere. It was an opportunity to dance with good friends, show off to total strangers and see what had to be the most unique fireworks display I've ever seen. Fireworks trailed and were dropped from a moving plane. It was the first WWII era event I ever attended that featured Nazis. They kept to themselves out on the tarmac. Kleinpeter tells me that the dances in England commonly feature both Nazis and Allies--from every country--as well as pretend prostitutes, spies, and other assorted ne'er do wells. 4. The Ryan & Jenny workshop at Avalon. Leave it to us to put a workshop on the list...but this was the first time ever, in an instructional setting, that we ever got directions to do something and have it work out perfectly the first time we tried. We'll be working on this swing out until we die. 3. Our excursion to CLEVELAND with Ken & Donna and Frankie Manning for the Ain't Misbehavin' Weekend. We got to meet Paulette Brockington and I got a heavenly dance with Alan Rocoff. We also got to meet every single lindy hopper in the midwest. We now have people to call in Cleveland, Cincinnati and Ann Arbor next time we're in the area. We got to spend lots of quality time with Frankie--hearing some stories and having some good laughs. 2. Spending the Thursday before the Virginia State Open with Frankie Manning as he visited the Duke Ellington School for the Arts. Not only did he put on a wonderful lesson with the kids (some of the fastest learners I ever saw), we got to chat and reminisce about old school days with Frankie---when we weren't groaning at Tom Koerner's bad jokes. This is tied with watching Frankie dance with Emily Belt to the accompaniment of the Tom Cunningham Orchestra's rendition of "Shiny Stockings". 1. Of course, number one would have to be our Amateur Classic Lindy Division performance on Saturday night of the Virginia State Open. A performance, that upon review of the video tape, really didn't deserve second place, but a strange confluence of planets, energy, and who knows what else catapulted us into second place and the Indians into the baseball playoffs. Had I known this, I would have played the lottery too. The best part about this was that many of our friends were there to see and support us--including a few folks from C-SPAN (not CNN, you fools!), where Steve works. He's becoming quite legendary at work. [Editor's Note: On Monday, January 5, you can look back over the year with our retrospective of significant articles from both the Dance Forum and Dance Reviews, and pick your own top five events. Check out the website on Monday!] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" The Mr. Moto Films By: Sue Fedor I've managed to find the citation, albeit an unimpressive, unscholarly, and second hand one. The following quote can be found in Swing Era New York: The Jazz Photographs of Charles Peterson, edited by W. Royal Stokes (page 31, Chapter: Harlem) "Not caught in execution by photographer Peterson were some of the more acrobatic 'air steps,' which typically entailed flips and the trajectory of the woman over the head of her partner. Some of these moves were similar to--and probably in part inspired by--the jujitsu throws that were being depicted in the popular film of that time, e.g., in the Mr. Moto series (the initial feature of which was released in 1937)." And to think, we missed the 60th anniversary. Mr. Stokes goes on to wax poetic about the Savoy dancers: "Mention should be made of the spirit of intense competition among many of these extroverts, as the combined efforts of dancers, band, and onlookers worked the Savoy Ballroom up to fever pitch." It takes a village to Lindy too, I guess. Harlem's Savoy Ballroom is a sacred place to most Lindy fanatics, made even more so by its demise. Like all good things gone, it becomes legendary. Good historians serve to put these legendary places into their proper context. During my quest for the ju jitsu citation, I re-read the 'Savoy Ballroom' chapter of Jazz Dance: The Story of American Vernacular Dance by Marshall and Jean Stearns. This book, by the way, was one of the reasons why Norma Miller was moved to write Swingin' at the Savoy because, while the Stearn's portray a fairly comprehensive history of the origins of Lindy Hop, they leave the dance right around World War II. That aside... The best night for dancing at the Savoy Ballroom was Sunday, when the floor was much less crowded than on Saturday nights (Fridays were reserved for social clubs and fraternities). Monday was "Ladies Night", Tuesday was "Dancer's Night", and Thursday was "Kitchen Mechanics Night" with reduced prices. Sundays were the nights when celebrities liked to frequent the ballroom. The northeast corner of the Savoy was known as "Cat's Corner" and only those who met with the approval of the regular dancers, George "Shorty" Snowden and George "Twist Mouth" Ganaway and later, Herbert "Whitey" White, the main bouncer at the Savoy, could dance in this space. "Invaders" were dismissed with well targeted Charleston kicks. [Contrary to popular belief, this is NOT intentionally the case at Glen Echo. The only kicks that reach my shins are the not-so-well targeted ones.] What we call the "jam" actually started out as a tradition among the Cat's Corner dancers that began when "King" Leon James (on the cover of Time Magazine in 1937 and featured in A Day at the Races) would enter the ballroom. When he reached Cat's Corner, all of the "approved" dancers would begin their routines, from the newest couple all the way up to "King" James. One rule: no one could copy anyone else's steps exactly---or else. Another rule: no dancing immediately after "King" James' routine--out of respect for the master. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" More on 78 RPM Records From: Jennifer Larsen Hello! I hope you had a merry xmas - it sounds it. I thought of you two during my sojourn in Connecticut - and now especially after reading about your 78 adventure. My dad has literally thousands of '78s that he has been collecting since he was a teenager, along with a Victrola XVI (that's the upright kind with cabinets). Our usual Christmas treat is to dig through a select pile and play for about an hour. I wish I'd written down some of our finds this year for you - one of his "prides and joys" is the Oscar Levant recording of Gershwin's Rhapsody, but the collection runs the gamut from the tiny one-sided recordings of "Take your Girlie to the Movies" to Tommy Dorsey, Benny Goodman, early Sinatra, and Enrico Caruso. I keep telling him he needs to inventory - but it would be a mammoth task!! Maybe someday if I get an extended vacation.... ---Jenn Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Power Lifting By: Rachel Blacketer Dear Frank and Carole, Hey! How are you two? I trust you'll be ringing in the new year in style at Glen Echo! Please promise me you'll be careful on the way back; the roads can be severe that time of New Year's Eve, as I'm sure your mothers at one time told you, too. :) I am writing to express my fears on a different, yet similarly dangerous topic, and to ask your advice on it. I went to Sons of Hermann as usual, and had an absolute blast!! (I even got to be the instructor's example girl tonight, which thrilled me to death.) Anyway, we had a TON of new people tonight (isn't that wonderful?) who wanted to learn Lindy, or already knew a few steps. This is cool, yes, but what is not cool is looking over and finding a guy madly slinging girls around, with the girls' heads mere inches from the unforgiving hardwood floor. I don't know what it is, but it's like many first-timers just decide to skip learning the steps, and head straight to lifts and throws. From what I understand, this kind of reckless behavior has caused many a swing club to ban lifts altogether, or even to shut down. Sons became a real circus tonight, with people who had extremely little idea what they were doing throwing other people around carelessly, like there was some kind of invisible net or something that the rest of us didn't see. I don't know y'all, lifts and throws look most excellent on a well-experienced and careful couple, but they make beginners look nothing better than third-graders on a playground. I was absolutely scared for some of these girls, as I personally have known someone who is paralyzed from a STUPID, senseless, needless trick like that. What is it going to take? This one I need your advice for: I danced with a guy tonight who was turning me and throwing me out extremely hard (rough is more like it). It pulled my back out again tonight (I threw my back out last year, and yes, I did just turn 20 :)) because of the rough treatment. What do you say to someone like that? Do you just stop dancing? Feign a heart attack? Contract instant amnesia and forget how to Lindy altogether? I don't want to offend, but would also prefer independence from my heating pad. :) [P.S. Mr. Smooth Tom would have had a hey-day with this guy's form. "Angel up here--Devil down here. Angel up here--Devil down here. Quit bouncing!"] Well, I feel better! Hopefully y'all will have some ideas on how to handle guys like this. Just think, one week and I'll be swinging with the Brits. Happy New Year!!! Your Friend in Swing, ---Rachel [Editor's Note: We advised Rachel to read "On Rough Leading" (by Debra Sternberg) as it appeared in the Dance Forum on April 1, 1997. On Monday, January 5, you can look back over the year with our retrospective of significant articles from both the Dance Forum and Dance reviews] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" BIRTHDAYS I used to do an exercise in my Introductory Statistics classes about birthdays. Assuming that birthdays are distributed randomly --- the probability of being born on any given day is (1/365) --- it turns out that in any sizable group, say 15 or more, the probability of finding two people with the same birthday (not necessarily year) exceeds 85%. This also seems to work out for co-workers and casual acquaintances. I can remember that in my old office, there were four people with my birthday. When we celebrate birthdays at Vienna Grille, it is not uncommon that two or more people are honored. On the other hand, I have never even had a date with someone who a birthday within a month of mine, much less a relationship. On Christmas day, of the ten or so people gathered, none could recall even dating someone with a birthday reasonably close to theirs. Our search via the newsletter has produced two such instances (we mail to about 300 people). This is an unusual phenomenon, but we will not rush to any conclusions, although we are getting a lot of astrology comments, since one theory holds that people of the same sign would be incompatible. Here are our two counterexamples: From: Tymflyz I dated a guy during most of last year whose two previous partners (one was his former wife of 12 years) had the same birthday as mine (Jan. 15)! The odds of this are way out there... And not only that, but his mother was a Capricorn woman as well... Pretty spooky, huh? Unfortunately it didn't last, so I'm on the lookout for a grown-up boy who can dance. If you know anyone tall, witty and datable, please send him my way! [Editor's note: In support of my first assertion, Carole's birthday is also January 15] From: Carolyn Biczel Frank, You wanted to know of any couples having the same birthday - Tom's parents have the same birthday. I forget exactly when it is, but I think it is coming up within the next couple months. They were not born in the same year though. I think they are about 7 years apart. They just had their 40th wedding anniversary this past summer. ---Carolyn Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Birthdays and Aerials By: Jennifer Comar Hi Frank and Carole- I've finally been catching up with all of my e-mail reading and I just finished reading Rachel Blackletter's article on power lifting in your 1/2/98 swing forum. She's absolutely right about beginners looking foolish throwing each other around. I danced for about a year before I began working on aerials; I had no need to learn them until I made the decision to push my dancing in a performance, rather than a social, direction. A lot of the new kids up here have been telling me that they want to take aerials class with Natalie Gomes at Chelsea Piers, (she was my first teacher), and I always ask them what they want to do with them once they learn them. Do they have a steady partner they can work with, do they want to perform or compete? I try to explain to them that aerials are the icing on the cake. Who cares if you can do a perfect around the back, (aka: kip, lindy frog, etc.), if you can't do a swing out correctly? And, furthermore, what's the rush? There seems to be this general feeling among the newer folks that they have to hurry up and catch up with this whole swing thing, or else they'll miss it. The problem is, they are plowing through the basics, and once they reach a more advanced level, they are no fun to dance with because they never learned how to lead/follow back down at the basic level. Again, what is the rush? You have the rest of your life to get good at this stuff! Don't sweat the basics - I keep that "Dizzy's Desiderata" next to my desk , and one of the more relevant lines is : keep interested in the basics, they are the fount of all innovation. But back to those aerials. Don't forget that when Whitey's Lindy Hoppers filmed the "Hellzapoppin'" clip they had been living, working, traveling and dancing together as a group for more than 5 years. And they did that for a living, and practiced every day. When we work aerials in the Big Apple Lindy Hoppers, we use mats and belts because we want to practice them safely, and we don't want to lose any of our members to some foolish injury. Our coach, Karen Goldstein has been with the group for the last 7 years, and she's the first one to pull out the safety equipment. Besides, I know from experience, it is no fun to hurt yourself. I spent months in physical therapy last year after bruising a ligament during an aerial. You also have to know what you're capable of doing. If you were never a very gymnastic person, you will not become one on the dance floor. But, if you take the time to learn them correctly, have a good partner, (or group to work with), they can be a lot of fun. I'll be the first to admit that I enjoy being thrown around by a strong guy, but only if we both know what we're doing! As for the birthday thing- My parents' birthdays are one day, five years apart, (Pisces), and they have been together for 33+ years. But, I did once date somebody whose birthday was the day before mine, and although it wasn't a total disaster, I would think twice about dating another Cancerian. I'm moody enough as it is. I have never met anyone with my same birthday, although a few of my friends have parents whose wedding anniversary falls on the same day, but I'm not sure if that's at all relevant to your point. Your friend in NYC, ---Jennifer PS: a note for Rachel on the rough leaders - that's a hard one. I usually try to tell them nicely that they don't need to throw me around so much, but sometimes if you adapt your following so that you can use their lead to your advantage, it works out. My problem is the vise grip - My hands are constantly bruised from guys who hold on too tight, and I actually walked out of a dance because the guy was pressing his thumb right on the already bruised spot and I was in agony. So guys - watch that grip! Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Mary Pat's New Years Resolutions From: Mary Pat Cooney HAPPY NEW YEAR! My New Year's Resolution is to get out and dance more often! The only dancing I did this week was one dance with my friend Ruth at a jam at a New Year's day party featuring many of my favorite musicians. A house full of live music is pretty hard to beat. Look for me on Tuesdays more often, now that I live only 10 minutes from the Grill! love, Mary Pat Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Indigo Swing in Colorado Springs By: Erin Parker Indigo Swing is headlining at the Colorado Music Hall in Colorado Springs, Colorado, February 15th. This is a first for the Springs. It will be a huge event with an awesomely huge dance floor. Everyone is hugely excited. Tickets are available at TOONS MUSIC (802 N. Nevada Ave. 719-632-8410). The Colorado Music Hall is at 2475 E. Pikes Peak Ave. 719-447-9797) [Editor's Note: check out the article by Erin on Colorado Springs in The Travel Guide. Also, Check out the review of Indigo Swing in Bill Lehman's Record Review] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Los Angeles and San Francisco By: Iver Cooper Dear Frank: As promised here is my report on the Lindy Hop scene in Los Angeles and San Francisco during the XMAS holiday season. It was not the best time to visit; only a few groups were meeting. I was advised that in L.A., the best groups for Lindy Hop were the Rhino Room (Weds., Huntington Beach) and Music City (Thurs., Fountain Valley). However, neither venue was hosting a dance during my holiday. Fortunately, the Derby was going full steam ahead despite the season. The Derby is located on Los Feliz Blvd., very close to beautiful Griffith Park; a trip to the park during the day may help cleanse the spirit in readiness for a night at the Derby. The Derby is associated with an Italian restaurant, and there are other dining spots in the area. The Derby hosts a class from 8-9, and general dancing from 9-12+. The class is beginning East Coast Swing on Sunday, Wednesday, and Thursday; intermediate ECS on Tuesday, and beginning Lindy Hop on Monday. I was warned that the Monday Lindy Hop there was Dean Collins Lindy (much more upright, smoother, etc.), and that "the music didn't really swing." My local informant thought I would have a better chance of finding the Ryan Francois-style Lindy on Wednesday night, in view of both the band, and the fact that the regular Wed. dance at the Rhino Room was not meeting (so Lindy addicts might descend on the Derby). Anyway, a trip to Disneyland on Monday left me with little energy for dancing, so Wednesday night was my night of dancploration. The dance floor at the Derby is of moderate size, larger than our Vienna Grille, but no competition for our Glen Echo. Curiously, the music was piped in (presumably from the restaurant), so there was no direct interaction between the dancers and the band (on the other hand, the band didn't take up valuable floor space, either). Not surprisingly, given the lesson, the crowd was predominantly doing ECS, but by 11 or so there were 5-10 couples doing Lindy. I didn't see any St. Louis Shag or Balboa, which disappointed me. On the other hand, I didn't see any WCS, even during slow numbers. At one point, a local asked me about dancing in D.C. I said that until recently, WCS had been dominant, but that Lindy Hop was now probably equally popular. She then asked me, "what is West Coast Swing?" Given that I was ON the West Coast at the time (just fishies if you head much further out), I found this a rather surreal moment. Also an uncomfortable one, as I know very little WCS, and am therefore not the best person to ask to explain what is different. I tried anyway. I guess that the ECS and WCS crowds in LA don't mix much. The jam session was a little different from that in D.C.; the couples usually danced one or two phrases of music, instead of the 4-6 that I consider to be the D.C. norm; on the other hand, couples sometimes returned to the floor for a second routine during the jam. Also, fewer couples did acrobatics. In San Francisco, at the recommendation of Rob van Haaren, who I met in London at Swing Jam, I went to the Tuesday night dance at the Top of the Mark (a penthouse bar in the Mark Hopkins Hotel). The Top of the Mark is 19 floors up, and has windows on all sides, so it enjoys a beautiful view of San Francisco. I wish I could be as rapturous about the dance floor. While wood, it was quite small (half that of Vienna Grille), and crowd densities were worse than Glen Echo on a Deanna Bogart night. I was soon wishing for leg armor. Curiously, the crowd density did not diminish as the evening progressed; the beginners left but their places were taken up by more experienced dancers. I left at midnight, so I don't know what happened after that. Despite the crowding, there were perhaps a dozen couples doing (somewhat cramped) Lindy Hop. The dancers were friendly; I was invited to a private New Years'Eve dance party, but I regretfully declined (didn't feel I could abandon my wife for two nights the same week in the same city, and especially not on NYE. And I didn't think she'd want to go dancing.) The band was great; Lavay Smith and Her Red-Hot Skillet Lickers. [Editor's Note: Check out the review of Lavay Smith in Bill Lehman's Record Review] As you know, back home I tend toward the informal in dance attire (yeah, that's another way of saying T-shirts rather than zoot suits is my style). However, being in strange cities, I opted for the "dressy casual" route, and found it to be a wise choice. On a non-dance note, I will mention that our relatives were full of foreboding as to the effect El Nino would have on our holiday. Our crystal ball was somewhat clouded; we heard two news stories on El Nino before we left, and one made it sound like El Nino was the disaster of the century, while the other sneered that El Nino was being blamed for everything from not getting a part in a movie to milk spoiling. Anyway, it had a positive effect--the air was clearer than it has been in decades (people called in because they were frightened by something strange looming on the horizon; it was a mountain that was suddenly unshrouded by smog), and a negative one--the waters around Catalina Island were stirred up so badly that the fish and coral were obscured, and the glassbottom boat tours were all cancelled. Regards, ---Iver [Editor's Note: Check out all the other articles on Los Angeles and San Francisco in The Travel Guide] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Top 5 Lindy Events By: Cameron Sellers Here are my top four lindy events for the year: Virginia State Open. No contest. Here's why Frankie Manning. Need I say more. But here are some other reasons: Tom and Debra's Hustle routine Steve and Sue's Jeep Jockey Jump Routine Carolyn B. and Eric's Roll Em Routine and.... All the free dinners at Liz's house before we practiced. Tom and Deb's classes moving from Dancers to Chevy Chase Ballroom. (I saved lots of MONEY!) Lindy Hopping in Phoenix. The people were nice, the bands were great, the venues were perfect, and the females were willing to dance with me! That Cold Monday night in January, 1997 because I decided that I would try to learn that thing called the Lindy Hop. ---Cameron [Editor's Note: Cameron seems to be shy by one event...] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" The Rachel Page By: Rachel Blacketer Heya Frank and Carole, Well, here it is, the night before my departure! I'm very excited, and have all my swing outfits neatly packed. :) It's what's important, you know. :) Claire Colbert sent me another message yesterday offering an opportunity for me to take one of Ron's special classes. Apparently, he's quite good, and this is an invitation-only kind of thing. Claire has been absolutely super duper nice to me. I can't wait to meet her! Thanx for putting me in contact with her, she's been a real gem. I PROMISE I'll be careful and have lots of fun. I hope you guys have a great January, and I'll talk to you when I get back. By the way, looks like I might be seeing y'all pretty soon. Ben can tell you all about it... Your Friend in Swing, ---Rachel B. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" The Grafonola By: Tricia Reneau I hought I'd let you know I'm now the proud owner of a Columbia Grafonola. Do you know much about them? It's in excellent shape, came with a vial full of needles, and a stack of records which I'm still going through (so far, only a few musical treasures). I found this item last September in Chandler, Oklahoma and had to haul it back to D.C., which is why I drove home for Christmas instead of flying. When I got stranded in Murfreesboro, Tennessee (car breakdown), I ran across an exact match--how unlikely is that, I wonder? Anyway, I'm wondering when these were made, etc. I fear I paid a premium ($380), but Jennifer Comar says most she's seen have been in the $600 range. If you can enlighten me, let me know. By the way, what with the old year gone and a new one beginning, I'd just like to thank you and tell you how much I appreciate all the fine work you've done getting the website up and communication flowing. It certainly has made for some interesting discussion. I don't think any of us have the energy to do what you do, and we certainly benefit from all that energy and hard work. I did, actually, already stumble upon your 1997 in Retrospective. Some of those articles seemed to appear so long ago--it's hard to believe "Frank's Lindy Week in Review" has been around less than a year. We ought to have a first anniversary party!! (Any excuse for a party is a valid one, y'know). [Editor's Note: I did some research on the Grafonola. Yesterday at Ellicott City, I talked with a man who sells and repairs mechanical record players. He had a table model Grafonola offered at $475 (you could knock it down a peg or two). This was a table model with an oil painting on the lid. The "Head" of the tone arm is clear glass and has "Grafonola" printed in black. Also, the "Grafonola" name is on the inside of the cover in gold script. It has a speed (pitch) adjustment that will take it up to 80rpm so that you can play old one-sided Edison discs (they are about a quarter of an inch thick and recorded on one side. I am unclear which model you have, because there was also a cabinet model. In excellent condition, these are offered at $500+ depending the artistry in the cabinet (some have elaborate veneer work) From a technical standpoint, the RCA Victrola is thought to produce clearer sound with less damage to records, although the Grafonola with a heavier tracking force seems to win at volume hands down. If you get 78 rpm records to play, you should replace the steel needle (or stylus) with cactus needles to minimize record decay. The stylus literally grinds away the high tones. Most places that deal in mechanical record players can get you cactus needles. They were the first affectation adopted by "audiophiles."] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Voice of Betty Boop, Olive Oyl Dies By: Sue Fedor This, just off the AP Wire...since so many of us are fans, I thought I'd pass this along Thursday, January 8, 1998; 1:33 p.m. EST NEW YORK (AP)-- Mae Questel, who provided the loopy, childlike voice of cartoon characters Betty Boop and Olive Oyl, has died at 89. Ms. Questel, who died Sunday at her home, was a veteran of stage, screen and vaudeville. She played Woody Allen's intrusive, omnipresent mother in "New York Stories." Born in the Bronx, Ms. Questel was discovered at 17 when she was signed to perform on the vaudeville circuit. She did imitations of popular performers such as Maurice Chevalier, Marlene Dietrich and Rudy Vallee. When animator Max Fleischer heard one of Ms. Questel's performances, he signed her to take over the squeaky voice of Betty Boop. The sound was actually modeled on the voice of another actress, Helen Kane, who created a sensation on Broadway in 1928 with a "boop-boop-a-doop" rendition of the hit song "I Wanna Be Loved by You." During her eight years as the voice of Betty Boop, Ms. Questel was in more than 150 cartoon shorts. Her recording of "On the Good Ship Lollipop" -- in Betty Boop's voice-- sold more than 2 million copies. The Betty Boop character was retired in 1939, but Ms. Questel returned to the character when Betty appeared in the 1988 movie "Who Framed Roger Rabbit." In 1933, Ms. Questel created the voices of Olive Oyl and Sweet Pea for the "Popeye" cartoons. Among her Broadway plays were "Dr. Social" in 1948 and "Enter Laughing" in 1963. In addition to "New York Stories," Ms. Questel appeared in the film version of "Funny Girl" in 1968. She is survived by a son and three granddaughters. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Notes from Mike and Diane By: Diane Carroad and Mike Mandel Michael and I would like to thank Ellen Werther for her kind words at a very difficult time -- and you for posting this. We know she is dancing as much as possible these days, esp since her mother would certainly approve. For those who asked where to send contributions in memory of Elain Werther, Ellen suggests: The Institute of Judeo-Christian Studies at Seton Hall Univerity, So. Orange Avenue, S. Orange, NJ; or St. Barnabas Foundation (helps the poor) on Old Short Hills Rd., Livingston, NJ; or HANDS, Inc., 2 Webster St., No. Arlington, NJ 07031, an organization for the disabled which Mrs. Werther helped to found. Ellen would be glad to provide more info on these. She welcomes phone calls, dance requests, and company during this time (even if you don't buy the vintage wear!). By the way, Frank, our neighbor taped us THE FIFTIES off the History Channel... we're still on the first hour but enjoying it immensely! Any great dancing to look forward to? If you hear when Ch. 22 will rebroadcast the lindy history special with F. Manning, pls do let us know. We're also looking forward to hearing more info about the meeting on Feb 3 at the Clara Barton House (?) to support dance at Glen Echo. Time? An address for letters? Thank you, Michael Mandel and Diane Carroad Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Wild Week in Seattle From: Ray Keaney I was in Seattle at Wild Week so I can't give you a review of any of the local NYE events. Since typing is not my strong skill, I'll review Wild Week orally for anyone who inquires. In a nutshell, I highly recommend it as a very fun and eye opening dance week. But a warning to the rabid, it's NOT a Lindy Hop event, although there was a Swedish couple (Kenneth and Helena Norbelie) teaching daily and some Lindy dancing available nightly. Otherwise, if you enjoy 6-count swing, foxtrot, one-step, waltz, zydeco, salsa and night club 2 step, as well as meeting very warm and talented people, its a great week. The camp was organized and run by people who obviously understood dancers needs, and the food was always tasty, plentiful and varied. Unfortunately, they announced that this was the last Wild Week. Hopefully, something as good or better will emerge from those that worked so hard to put it togethter the last 9 years. Happy New Year. --- Ray Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" A Benefit for the Forest Glen Ballroom Preservation! By: Donna Barker A Waltz Ball with music by Alexander Mitchell and Friends will be held on February 8, 1998 from 2:30 - 6 pm at the beautiful ballroom at the Seminary in Forest Glen, MD. If you have never seen this amazingly gorgeous, vaulted ballroom, you should take this opportunity before it is (maybe) lost to deterioration. Dancers are encouraged to dress up and bring refreshments to share! Drinks will be provided. This ball is a benefit for the Save Our Seminary group which is lobbying for access and acquisition of the Seminary grounds from the Army (who have neglected the maintenance of these historic buildings to the demise of some irreplaceable architecture). Cost is $10 per person and includes an introductory waltz lesson from 2:30-3 pm followed by dancing from 3 - 6 pm. We will also have information and tours of the grounds for interested dancers (during the two breaks) and opportunity for dancers to print and mail supporting letters for saving the Seminary to their Congressmen. Visit the SOS web site: it has a complete history of the Seminary, LOADS of pictures, and information about how you can help. This may be our last public dance in this exquisite ballroom -- please come! ---Donna Barker Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Lennart and Josie Will be Visiting By: Debra Sternberg Well kids, this winter seems to be shaping up for some unexpected Lindy fun! This news flash just in: Lennart Westerlund of the Rhythm Hot Shots will be touring the country with Josie Say, a Los Angeles-area Lindy Hopper, teaching classes from Washington State to Washington, DC! That's right, we're going to have Lennart and Josie as special guests at our intermediate classes on Sunday and Monday night, Feburary 8 and 9. We do not usually accept drop-ins, but we will be [doing so]on these two nights only for our special teachers! All of you know of Lennart and his tenure with Sweden's Rhythm Hot Shots. One of the founding members, Lennart also is responsible for the H�rrang camp in Sweden. You've seen tapes of him dancing everywhere, and he's helped define Savoy-style Lindy for the world. Josie is a new talent from the LA area. She has competed in the 1997 World Lindy Championship in Sweden, been a featured Lindy Hopper in the 1996 and '97 Rose Bowl Parades, along with the TV pilot "Swing TV," and has danced at Disneyland. She teaches and studies other related forms of dance too. So please join us on Sunday, February 8 at America and Monday, February 9 at Chevy Chase Ballroom, from 8 - 9 pm. The Intermediate class will be open to all for $15 each night. Stick around and join us for the open dancing from 9 - 11 pm, when you can pay DJ Mark Bernstein (a man who can't do the Charleston to save his life!) his customary $5. Please email me directly with any questions, at 103046.2145@CompuServe.com. Much love, ---Auntie Deb Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Inscrutable Mr. Moto Films By: Iver Cooper Dear Frank: A week ago, it was suggested that the idea for aerials could have come from the Mr. Moto films. [Editor's note: Sue Fedor sent in the following quote from Swing Era New York: The Jazz Photographs of Charles Peterson, edited by W. Royal Stokes (page 31, Chapter: Harlem): "Not caught in execution by photographer Peterson were some of the more acrobatic 'air steps,' which typically entailed flips and the trajectory of the woman over the head of her partner. Some of these moves were similar to--and probably in part inspired by--the jujitsu throws that were being depicted in the popular film of that time, e.g., in the Mr. Moto series (the initial feature of which was released in 1937)."] I never saw any of them, so I have no idea which martial arts moves were depicted (and hence which aerials or drops they could have inspired). But I checked Leonard Maltin's Movie and Video Guide, and found that the first Mr. Moto film indeed appeared in 1937 (THINK FAST, MR. MOTO). Therefore, if they were an influence, they were a relatively late one, beginniing well after aerials had first appeared. I don't know if there were any martial arts move in the Charlie Chan movies, but those first appeared in 1929 (and there was apparently some sort of screen appearance as early as 1926). Regards, ---Iver Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" The Coconut Club in LA By: Buck Smolow Merv Griffin is opening a new swing club on Wilshire in LA. It is called the Coconut Club and seats 500 for dinner. The interiors were designed by a set designer rather than a decorator so it is lavish. They start with a Latin band from 7-9:30 and then the big bands come on. Supposedly a huge dance floor and they WANT people to dance. In Merv's words "SWING IS BACK and we want people to dance and dance. I want this to be the best swing club in america. The kids have rediscovered the fun of touching while dancing and we are right here riding the curve with them." I think the club opens this week and perhaps one of our "Far Away" readers will send us a report. ---Buck Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Hula Monsters at the Roots Cafe By: Ken Delaney The HULA MONSTERS with The Swingin' Swamis will be appearing at the Roots Cafe on Saturday, January 24, 1998 at 8 PM The Washington Post called the Hula Monsters "the best swing/country/Hawaiian band in the world," but even that generous description misses some of what this Mid-Atlantic quintet does. A typical set by the Hula Monsters includes swing, rockabilly, Hawaiian, blues, Tin Pan Alley and honky-tonk. The current line-up includes jazz guitarist Tom Mitchell (Dan Hicks and the Acoustic Warriors), Western-swing steel guitarist/dobroist Dave Giegerich (Bill Harrell and the Virginians), hillbilly guitarist/ukelelist Mark Noone (The Slickee Boys), stand-up bassist Moe Nelson (Tracy Schwarz and Swamp Opera) and jazz drummer Ben Holmes.Together, they are masters of pre-Beatles American roots music. The Swingin' Swamis open. The Roots Cafe is a concert/dance series co-sponsored by The Society for the Preservation of American Roots Music and St. John's Church. We have shows at St. John's Church (at 27th & St. Paul Streets in Baltimore's Charles Village) on the second and fourth Saturday of each month during the school year. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Savoy Swing Club T-Shirts By: Savoy Swing Club Yes, we have t-shirts. Very nice design! Check out the Savoy Swing Club Website for a picture and order information. Thanks, Rob, Savoy Swing Club, Seattle Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Mary Pat's Tap Class By: Mary Pat Cooney I am teaching a New Beginner's Rhythm Tap class on Thursday nights at Knock On Wood Tap Studio in Takoma/DC, starting Thursday, January 29, 1998. It's a sixteen week session for $165, or you can pay by the class at $12 per. Rumor has it some swing dancing friends will be taking this class, so if you've been thinking about trying some tap, now would be a great time. I use a lot of swing music in class, and I promise to have fun while making you work hard... Make your feet fly! Call the studio at 202-723-7593 for more information. ---Mary Pat Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Future of the Spanish Ballroom (I) By: Jenny Manlove The future of the Glen Echo Spanish Ballroom is uncertain. Please reserve February 3rd (Tuesday) at 6:30 to show up to a public meeting, hosted by the National Park Service, that will include a presentation of multiple options for Glen Echo Park. Apparently, some of the options may include getting rid of the ballroom altogether, and privatizing the ballroom for use by groups other than the current dance community. Our big first push will be to get a LARGE group of people to show up to that meeting. Please consider coming if you are interested in the future of the ballroom. The format of the February 3 public meeting is what they are calling 'cafeteria style'. There will be a number of 'stations' in the hall with the options displayed and flip charts available for recording public comments and ideas. Each station will be staffed by a park service person who has been involved with the internal process to date. ---Jenny Manlove Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Future of the Spanish Ballroom (II) By: Debra Sternberg May I take this opportunity to talk about Glen Echo and the Spanish Ballroom for a moment? As many of you have heard, the future of the park and ballroom are in question at this time. We had a WSDC meeting last night and are starting work on our plan of action. One thing we all know is: COMMUNITY SUPPORT IS VITAL!!! Please take a moment to read the following message from the WSDC based on information we received last night. IMPORTANT NOTICE ABOUT GLEN ECHO As many of you know, the National Park Service is developing a management plan for Glen Echo Park. The results of this management plan could affect the current use of the Ballroom. The continued use of the Spanish Ballroom for dancing is NOT guaranteed. We need to let the park service know that we value this national treasure. The first milestone in this procedure is February 3. At that time, the park service will have a "cafeteria" style meeting at which the several different options for management of park will be presented. There will be a number of "stations" in the hall with the options displayed and flip charts available for recording public comments and ideas. Each station will be staffed by a park service person who has been involved with the internal process to date. Here's how you can help: Show up at the meeting and make your views known. We're hoping that the dance community will come in droves to give a very visual message to the park service. The meeting will be held on Tuesday, February 3 at 6:00 PM, at the Clara Barton Recreation Center, 7425 MacArthur Boulevard, Cabin John -- just down the road from the Ballroom, towards Great Falls. If you can't make it to the meeting, call that day. Say that you wanted to come to the meeting but were unable to. Tell them that you want to be put on the mailing list to be kept apprised of developments. The phone number is (703) 285-1924. Write the park service. Tell them your personal history and experience with the park (you wanted to see where your parents met; you live in some other country or state, but always make sure that you come to the ballroom when you're in town; you've taken lessons at Glen Echo; you rode the carousel when you were a child ....). You get the picture. Make it very personal. You don't want to lose this national living history treasure. Send your letter to Superintendent Audrey Calhoun, George Washington Memorial Parkway, Turkey Run Headquarters, McLean, VA 22101. Send the letter to your congressional representative also. Spread the word. Make sure that anyone you know that's visited the park knows about these developments. Ask them to participate. (Janice is getting her mother to call all of her family and friends who used to take the Trolley Car to Glen Echo.) And a special note to out-of-towners. It's extremely important that you let the park service know that you want to keep this national treasure for it's intended purpose -- dancing (not exhibits or company picnics). We know that the Ballroom has been visited by people from all over the world. Please write. If you wish to continue dancing at Glen Echo it's important that you make your views known now. The Washington Swing Dance Committee looks forward to seeing you on February 3rd. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Jazz Dance Technique From: Mary Pat Cooney Dear Frank and Carole, Your readers may be interested in this commentary on Jazz Dance which has many elements which should transfer over to Lindy Hop. The article is by Bob Boross who has given his personal approval for the use of his words. We thank him sincerely for that. You may find out more about him and more of his articles at the Jazz Dance Homepage" HOW DO YOU TEACH JAZZ DANCE? by Bob Boross Nat Horne, the noted teacher of jazz dance, begins his classes with the declaration "Jazz is a feeling!" It's not the latest step on a video, or the standard competition choreographic pattern of switch splits and double turn-split-down to the floor. At its core, jazz is the joyous feeling of release that radiates outward from a person's soul. It is personal expression, and although a group of people may hear and react to the same jazz song, their movements most likely will be individual and unique. This quality of personal indentification is what makes jazz special, and is exactly the thing that is lacking in so much of what we today call "jazz dance." Music and lifestyles in today's society really don't encourage individuality. The teaching of jazz dance has been overwhelmed by the straight beat of pop music, and the total dependence on repetition to achieve a technically proficient body instrument. The result is that we have a dance population that looks good doing movement that they have envisioned is jazz dance, but really is ignorant of the inner spark that lights the jazz flame in the soul. We assume poses, but we aren't connected, we don't "feel." Don't believe it? Just ask a group of young dancers to "move to the music" - improvise. Most likely you will see a rehash of classroom steps, or a nonplussed dancer who sheepishly grins and nervously stands still - like a fish out of water. They plead "Tell me what to do!" Luckily, there are dancers, teachers, and choreographers working today who are connected to the feeling of jazz, and are using that as the basis of their artistic expression. One such choreographer is Jeannie Hill. If you have attended any of Gus Giordano's Jazz Dance Congresses, no doubt you were impressed by the Jump Rhythm Jazz Project, composed of Jeannie and founder Billy Siegenfeld. This bubbly duo has interpreted the classic strains of jazz composers like Ellington, Basie, Parker, and others in concert dances that explore the physical embodiment of jazz music, as well as excite and entertain their audience. Illinois State University was fortunate in recently having Jeannie Hill as a guest artist, teaching classes in classic jazz dance and choreographing the concertpiece "Ya Dig?" So how does Hill educate her dancers about jazz dance? How does she start the process of getting them to look inside themselves for feeling, rather than assuming feeling? Her first method is to use jazz music. Real jazz music. Music that swings, with sections of improvisation. Then, rather than starting her class facing the mirror and delivering a series of commands for the dancers to execute, she simply has them "walk." Anywhere in the room, in any direction - but just walk in time to the jazz beat. Get used to this new feeling of rebound in the swing jazz beat that you may never have felt before. And look at the other people as you pass them. Smile, laugh, play off of each other - react . Physically say whatever the music makes you feel at the moment. Some dancers quickly pick up and free themselves to interact, while others are hindered by their self consciousness. Hill's next device is to divide the measure into four beats, and then have the dancers hit a pose on either the first, second, third, or fourth beat. No particular pose, just do whatever you feel at that moment. Let the music fill you, feel it, and react. This is done first in the walking pattern, and then with all dancers in a tight circle facing inward. By this time the dancers are laughing and actually enjoying making up new physical accents on the spot. Personalities are starting to emerge, with some dancers making up angular dance poses, while others opt for comical exaggerations. Then dancers begin to simultaneously notice unique accents by others, and find joy in reacting and urging each other on. Individuality is encouraged. Her class then progresses into some more traditional technique exercises (plies, tendus, extensions, etc), but always tempered by the swing beat of jazz music. And the exercises are executed not in 1-2-3-4 counts, but with syncopated accents that encourage the dancer to display rhythmic awareness as well as technique. The dancer must soak up the jazz beat, and let the technical exercises flow from a body that derives its impulse to move first from feeling and understanding of rhythm. In this way, the dancer enjoys the music and the connection to what Hill calls the "joy factor." The dancer responds by taking charge of the exercise more so than in standard classes where dancers merely repeat de facto movements. In Hill's class, the dancer finds the personal connection to the movement, instilled by the dancer's tapping into their own feelings and reactions, that drives the technique exercise and gives it a new sense of purpose. The movement is self motivated, with the result that each dancer may execute the technique exercise slightly different. One person may hit a musical accent by adding a tiny side contraction. Another may lift a shoulder and close one eye. Why? Because that's how the music makes her feel at that moment. Now, if there are problems with dancers executing movements in a technical fashion, Hill will stop and make the proper correction. But the important factor is the allowance for and encouragement of individuality of expression. And feeling the music. Even in basic technique exercises, she has allowed for and encouraged the use of improvisation so that the dancer can add something of their own, developing personal style and the ability to feel and react. And one occurence is apparent - throughout all of the exercises, everyone is smiling. They are experiencing the "joy factor," becoming sensitive to what jazz is all about while bettering their technique. Hill synthesizes the rhythmic and technical aspects of her class with a final combination. She draws from everyday movements like walking and running as well as "dance" movements like double turns and developpes. But what is most apparent is her use of the body as a rhythmic percussion instrument. The rhythms of the music are reflected and physicalized within her body as razor sharp whips of the arms, popping shoulders, and flick kicks that crackle with intensity. Her feet patter and skip across the floor as she lays down the rhythm not with counts but by scat singing the accents and then requesting that the dancers do the same. Or her movements may become syrupy smooth, oozing through a sixteen countlayout that commands the viewer's attention by matching the timing of the anticipated ending with the end of the musical phrase. She transmits the tension inherent at the final moment of imbalance at the conclusion of the layout to the audience by contrasting the smooth physical dynamic against the bopping musical accompaniment. Always, the feeling of jazz music drives the movements, which are developed through a process of improvisation. And flourishes of individual style within the movement are encouraged through the dancer's own sense of improvisation and feeling. The class ends on a note of exuberance and exhiliaration that one feels after experiencing a truly special event. Jeannie Hill's movement embodies many of the defining factors of jazz - improvisation, individuality, sponteneity, rhythm. And her class is designed specifically to address and develop those qualities in her students. It is an approach, unlike so much of today's classes, that rightly deserves to called "jazz dance." And it is an approach that carries over into the choreographic world of concert jazz dance. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Marsalis to Students: Get Swinging From: Sue Fedor Off the AP Wire (must be a slow news day...) Friday, January 9, 1998; 7:31 a.m. EST NEW YORK (AP) -- Wynton Marsalis told high school jazz band teachers it's time to shake off their shyness and get in the swing. "Jazz is dance music," Marsalis said Wednesday at Lincoln Center at a seminar for the International Association of Jazz Educators. "It is up to us to communicate the feeling of dance music." "I can tell before a high school band starts playing whether they're going to be swinging or not, when the conductor counts the kickoff. Some of you stood around at the dances when you were in high school. You're never to old to overcome that. You could use this as an opportunity to hook your swing up. You got to be swinging to play this music." Marsalis talked and demonstrated for more than two hours, conducting and playing trumpet as the Harlingen High School Jazz Ensemble from Harlingen, Texas, played Duke Ellington's "Old King Dooji." [Dooji is Harlem slang for Marijuana] He gave instructions to the musicians, too: "Saxophones, you got to be cheeky when you play jazz music. Bounce off the rhythm. You're not bouncing enough. It is too polite. "I want to hear my brass toddle." Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Tragedy at America By: Debra Sternberg Hey, kids. Some of you may have heard this, but here's the semi-official word: We've been kicked out of America on Friday nights, with our last night being Friday January 30! The suits in New York say their numbers are down overall over last year, and that's good enough reason for them to end the most unusual placement of a swing dance I've come across yet. We're pretty disappointed, although not devastated. Tom has spoken with the president of the corporation in NYC and he says he'll come down to check it out himself, hopefully on the 30th; of course we hope that he'll see what a wonderful is going on out there in Tysons Corner and keep it going. But as things stand right now, our last night at America is January 30. Some people have expressed interest in writing letters or whatever. I don't know that that would help, but it might not hurt! If you care to, address your correspondence to: Michael Weinstein, President Ark Corporation 85 Fifth Avenue, 14th floor New York, New York 10003 Thanks, kids! ---Auntie Deb Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Aerial Origins By: Iver Cooper Sue and I were talking about where aerials and drops came from at Vienna Grille last week, and I mentioned to her that some folk dances featured acrobatics of one sort or another. The extent to which those who developed Lindy Hop would have been exposed to European folk dances is uncertain to me, although Harlem of the period 1910-1935 was a diverse neighborhood. Bob Boross of Western Kentucky University has written about the history of jazz dance. He mentions (citing Stearns) William Henry Lane (1825-1852), who lived in the Five Points District of Manhattan. His dancing was said to be a combination of Irish jig dancing and African rhythm. For the moment, let me at least review what they COULD have seen. Russia and Ukraine: no aerials/drops for the ladies, but the gents get to do eagle splits, squats with leg thrusts (prisyadkas), coffee grinders (leg circles in a squat position),and more. There are two man figures in which one flips or throws the other. The Hutzul people of the Ukraine do a figure called Gvizda (in the dance Arkan) in which every other man in a circle slides his legs toward the center, presses them together to form a star (Gvizda=star), and then fishflips out. (I did this figure in my nearly forgotten youth, when I danced with a Ukrainian group). Romania: In Cluj-Napoca, Transylvania, in 1980, I saw a couple do a figure in which the man and woman were side by side, the man did a kick forward, and then fish flipped. Hungary: In the Paloc region in NE Hungary, there is a couple dance figure which is somewhat like a "toss away". For that matter, a St. Louis Shag type "falling off the log" is done in the Legenyes (lad's dance) from the Kalotaszegi region (now politically part of Romania). That's not really an aerial or drop, but I couldn't resist mentioning it. Poland: In the Oberek, there are many kneels and leg pivots for the man (some of you may have seen me throw these into my Lindy routine at a recent jam session at Glen Echo), combining them with a Lindy lockup (suggested to me by Ryan Francois). For the woman, the Oberek from Opoczyn features a move in which she does a flying jump (parallel to the floor) and is caught and spun about by the man. Another dance, Jacok, has the woman jump off the floor, bringing her feet underneath her and bending her knees, while the man pivots so she circles about him. In Krakowiak, there is a move in which one partner squats with one leg extended while the other partner circles (and thereby spins) the squatter (this is the move I taught Frank and Carole). Germany: In Zillertaller Laendler, there is a pretzel move which begins with the woman kneeling. Also, the dance ends with the woman jumping up and locking her arms, the man holding her above him. In Kreuz Konig, a two couple dance, a flying wing is formed in which the woman are on the outside and let their legs fly out to one side. This dance was created in the 20s. England: In one of the Morris dances, there is a figure in which one dancer leapfrogs over another. Croatia: Dancers form a circle with Men and Woman alternating, with a "back basket" hold. The dancers do a kind of buzz step and, when enough speed is attained, the woman let their legs fly out (radially). Brazil: I don't know too much about it, but Capoeira is essentially a martial arts practice disguised as a folk dance. It has lots of flying kicks. If you look at the photo gallery on the website, you will see some interesting acrobatics. One can well imagine blacks of Brazilian descent bringing Capoeira to NYC. [Editor's Note: one of our fashion books mentioned Brazil as a very likely source of the Zoot Suit as well] A local source for Capoeira is: Cobra Mansa; 5924 Georgia Ave. NW; (202) 723-5565 Greece: In the Tsamiko, a line dance, the leader is allowed to do acrobatics, and is supported by the second dancer in the line. (The third dancer keeps the basic step going for everyone else). Often, the lead and the second are connected by a kerchief, rather than by holding hands directly. Some of the moves include: (1) drop into a squat on the left foot, and spin around a couple of times with the right leg extended; (2) squat on both feet in an open position, while bending backwards, bringing the body parallel and close to the floor (ideally, this is done holding the scarf in one's teeth, and hanging down from it); and (3) a handstand on the right hand only. In Zembeikos, a solo dance, sometimes one man will jump into a straddle position on another. Macedonia: The woman don't do much, but the men drop to their knees and do knee turns. (Sometimes jumping off the floor from a full kneel, turning once in midair, and landing on their knees again.) La Volta: Most dance commentators mention the La Volta, a renaissance court dance in which the woman jumped into the Man's arms (like the prep for Round the block) and the man then turned a full circle before setting her down. It is described in dance manuals, and I believe I once saw a painting with an illustration of this move. The Waltz The real origin of the Waltz is rather obscure, but a dance of turns and glides, leaping and stomping appeared in various parts of Europe at the end of the 17th and beginning of the 18th century. In Italy it was the Volta, France has its Volte, Germany the Weller and Austria had its Landler. These were round dances but at the end of the dance itself there was a short period in which the circle would break up into couples who would whirl madly round and round and finish with a jump in the air. In the Landler the hopping gave way more to a gliding motion and that is why it is considered the forerunner of the Waltz. [Editor's Note: The film Groovy Movie, starring Tom K's favorite Jean Veloz, also mentions the impact of Waltz on Lindy] My candidate for the first documented aerial (although not the direct inspiration for Frankie) is the ancient Minoan sport (or religious ritual) of bull leaping, which can be dated back to the 16th century BC. This Website has information and a picture of said practice. I think that folk dances could have given swing dancers the idea that you could lift or drop (an unfortunate term, that) a partner. However, I do not recall seeing such common moves as the side cars, mop the floor, and the window shade in any folk dance. Perhaps a more likely source of ideas for Lindy aerials and drops would have been the theatre and the circus. Mock swordfights, villains carrying off heroines, tumbling, pyramids, etc., could all have been grist for the mill. With regard to the circus and a suggestion from Judy Pritchett) I found that, Christian Batchelor, (This Thing Called Swing) states, "The dancers started going to circuses, watching acrobats to get ideas for new steps. 'Two fellas in the show, the one guy laying down, and he picked the guy up with his feet on his stomach, did a flip backwards, so we decided that we can do that,' says Frankie." (pp. 190-1). Another inspiration was apparently Harold Nicholas. (Harold and Fayard Nicholas were a tap dance team that came to prominence in 1932. They were honored with the National Medal of Freedom in 1997) Frankie said that he had seen Harold Nicholas do a back flip, "so I did the same in the Apollo Theatre. I ran across the stage and ran up the wall and just did a back flip, just like that." (Batchelor, p. 191). I believe this is a reference to the routine Harold Nicholas did in the film Orchestra Wives, where he ran two steps up a wall, did a back flip, and landed in a split. According to their bio, the Nicholases drew inspiration from the circus themselves. So the circus is definitely a source for Lindy air steps, although it is still possible that athletics, folk dancing, ballroom dancing, etc. played a direct or indirect role. I guess we can ask Frank and Norma where the moves originated... but that would deny us the pleasures of speculating. Regards, Iver [Editor's Note: I showed this to Sue Fedor and she responded, "I think we should get Iver to teach Tom K. the pretzel where the woman begins on her knees. Somehow, I think this would be akin to nirvana for Tom."] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Jitterbug Stroll by: Iver Cooper Dear Frank and Carole: In DANCE REVIEWS, you aired the issue of which music to use for Jitterbug Stroll. Do we really have to choose? I like them both, for different reasons. Steve Mitchell's version is not only better for beginners (since he prompts the steps), it has kind of a "rap" quality to it that I find amusing (perhaps, given the dance, it would be better to compare it to scat singing). The "WoodChopper's Ball" music is more of a challenge. I wouldn't play them both the same evening (unless Ryan was visiting), but I would change the selection from week to week. While I'm on the subject of Jitterbug Stroll, let me mention that I spoke with Ryan and Jenny while they were here and confirmed that the proper way of doing the third figure (the Suzy Q) is by CROSSING on count 8. A significant fraction of the Vienna Grill crowd cross on 1. (The arms, I'm told, are free-style.) Since Ryan invented the dance, I would say that his version is authoritative. Ryan has a new choreography which he calls Swing Stroll. He taught it in London in August, but I am afraid that, after watching the first few minutes, I decided I needed a siesta more than a new routine. (I had stayed up to 4 a.m. the night before.) It was a nice routine, so I hope they eventually bring it here. Regards, Iver Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Swing Class From Hell By: Mary Pat Cooney Dear Carole and Frank, I have just taught the swing class from hell, and I hope that you will be amused to know it. Twenty teenagers, all of whom are experienced tap dancers. Of course, as teenagers, they know everything already. Then, add a dash of already knowing how to dance (and they do - but only alone!). They weren't even trying to be mean. But now I know why the company is named, "Tappers With Attitude." But all joking and tears (yes, mine!) aside, I commend Debra and Tom for getting out there and working with the kids. It's a very challenging job. Of course, college age kids are easier to work with than a crowd that ranges from age 9 to 16. But, even though they are full of all the hormones that some of us old fogies have lost, they are the future of swing - music and dancing. so please try to be patient with them on the dance floor, and encourage them to come back. And dance with them. So I won't have to. love, Mary Pat Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" WHIP VS. SWING OUT By: Debra Sternberg One little note of clafification: actually, Tom and I teach a whip as the basis of our Lindy, NOT a swing out. So no wonder they're different! The whip is characterized by both partners staying parallel to each other through all counts but "and 8," when both open out from each other. Also, the leader doesn't release the follower until about "5 and" or "5 and-3/4". It is a roundy style and because of that, I think it's rather smooth. We learned this style from the Jiving Lindy Hoppers 8 million years ago and find it appears in places all over the country although we don't see it in the Europeans very much. Even Steven Mitchell told me that was what he danced when he first learned. Now, the swing out is a little different. The lady will often run in on her "1-2," and is half-way around the circle on "3." She'll either back out or cross past the leader on "5-6" and is completely open and away from the leader usually somewhere around "4 and" or "5." It is a more angular style. As Frank footnoted, there is no right or wrong, just different. Good leaders and followers alike should strive to adapt themselves to their partners. When I dance with a leader who doesn't do me and Tom's style, it usually takes me a few basics on the floor to recognize what's being led and then follow that style. I also find that each style, whip or swing out, offers its own distinct advantages. I think our roundy whip is more graceful and better suited for faster music. The swing out offers more time for styling. Another goal to strive for, I think, is a variety of basic styles in your repertoire, so you're not just always doing one style. And don't forget one of my major harping points: with the advent of videos and the fact that the Lindy community is now world-wide, we are loosing our local styles and becoming one big homogenous group. Personally, I think that's REALLY too bad; you've all heard me tell the stories about my oldest sister who grew up doing Hand Dance here in DC. She says you could tell what part of the city someone was from by the way they danced, often what high school. And you could certainly tell the DC dancers from the Baltimore dancers, not to mention Philly! That thought always makes me breathe a nostalgic sigh--how nice for their to be so much local dancing that there were regional characteristics! So that's today's pontification. I had no idea I'd go on so long! Now drop and give me twenty whips! ---Auntie Deb Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Sing, Sing Sing By: Leonard Koenick Hey here's a thought. Last week I saw the new Woody Allen movie "Deconstructing Harry." Don't!! The opinions on this seems to be either very good or very bad. Mine is the latter. BUT ... There is a scene when "Harry" (Woody Allen) goes to hell in an elevator and is given a tour. During the entire scene the background music is Benny Goodman's 1938 Sing, Sing, Sing. So I was wondering: 1. Is Hell a place where the music is great but you can't dance? 2. Is Hell a place where Sing, Sing, Sing never stops? 2.1 Was this a subtle comment by Allen that the jams are too long? [Editor's Note: Leonard is the Chair of the Washington Swing Dance Committee] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" What Goes Around Comes Around, But it Usually Costs More By: Jennifer Manlove Ralph Lauren has just come out with a pair of authentic looking sailor pants, complete with lace-up back and buttons up the front. And they're selling them for $168?!! It just shows that buying vintage, with probably much sturdier fabric, is the way to go. ---Jen Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Swing Music in Austin TX By: Mike Fischer Dear Frank and Carole, I'm writing from Four on the Floor. We teach Lindy Hop and swing in Austin and San Antonio Texas. Our website covers the local scene with an events calendar and dance tips. In addition, we are hosting The Texas Swing Riot from Feb. 27th through March 1st. The Riot will include two days of workshops in Lindy Hop, Shim Sham, Charleston, and six count swing. We also have four bands scheduled to play across two nights of dancing. It should be a great event. f someone in DC has a free weekend, we'd love to have them come and visit! Thanks, Mike Four on the Floor Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Mark Your Calendars By: Jennifer Comar Hi Frank and Carole! It's that time again - next weekend, (1/30,1/31 and 2/1)is the Metropolitan Vintage Clothing and Textile show! Friday is $15, Sat. (12-6)and Sun.(12-5) are $5. Same place as before, (Metropolitan Pavilion, W 19th between 5th and 6th). ---Jennifer [Editor's Note: Check out our writeup of the last show in the Travel Guide] Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Frankie's Birthday Greeting By: Susi Nonn Frankie Manning's Birthday Celebration is only four months away and it is time to start composing creative greetings. As part of Swing Baltimore's 10th Anniversary and Frankie's 84th Birthday, I have asked if I could coordinate the birthday card. Different ideas have been tossed around ... and what I would like to see happen is two-fold. First an album of greetings, tributes, autographs, and pictures (84 pages) to be given to him. Second, 84 square feet of greetings displayed at his birthday dance. Frankie has given so much to the dance community, more than I or one individual could ever express - so I hope to collect tributes to him from all over the world, and I need help. First, to let everyone know of this project, and then if you would take a moment, to create your own greeting. With your greeting if you would include, on a separate piece of paper, your name, address, when and where you first met Frankie ... and if possible a picture. Greetings can be from individuals, couples, or dance organizations. Your original sheets will be mounted in a scrapbook (12"x12") with identification tags (and picture). Copies will be created and mounted on an 84 square foot frame and displayed during the week-end celebration. Someone suggested that the front of the album be a colage of 84 Lindy Hopper's faces. If you would like your face on the cover of Frankie's Birthday Album, please send a picture. Please send your birthday greeting to: Suzi Nonn 14317 Bonnett Lane Laurel, MD 20707 If you have any questions, please e-mail me at nonn@gl.umbc.edu or call 301-498-1813. And please forward this message to your dance friends. I do hope you will join me in this project of wishing Frankie a "Happy Birthday" on his 84th year. ---Suzi Nonn Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Swingtime in....Cleveland? By: Sue Fedor I guess Frankie's seeds took root! Have a dance with Frankie, all the Lindy hoppers in the woodwork come out, meet each other and decide to take their show around the city....apparently that's what is happening in Cleveland. Check it out! Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Save Glen Echo Website By: Tracy Gill Please tell your dancer, caller, and musician friends about this Save Glen Echo web site. We would like both local and far away dance organizations, people, or music groups to add a link to use on their Web Sites. It is important that the word be spread quickly because the Park Service's only public meeting is on February 3rd. Please visit the new Web Site of... The National Campaign to Save Glen Echo Park http://w4c.com/glen_echo_campaign/glen_echo.html Send feedback to the e-mail address listed at the Web Site. Ask your local dance organization to add a link to our Web Site. Spread the word. Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Safety First! By: Ellen Engle In last week's Dance Reviews, some unkind things were said about Kenneth and Helena Norbelie and the request for no flash photography or videotaping at Glen Echo on Sat, Jan 17th. Unfortunately, as happens frequently in our community, the feelings expressed in the review were based on rumor and assumptions, not on fact. The assumption that they were trying to protect their secrets is easily cast aside. If that was their motive, do you really think they would have allowed ANY type of recording? Remember, the request wasn't made until just before their second number. Many people did record their first one. In addition, the request specifically stated no FLASH photography, not no photography. Ok, so, if it wasn't to protect their secrets, what else could it be? I'd like to take a moment to fill people in on what really occured. The request was made for one reason and one reason only: SAFETY. Anyone who has taken Marc's and my aerial classes cannot doubt the emphasis we place on it while doing even the simplest aerial!!! Not being able to see is bad in any aerial, but it is more dangerous in moves where you are seperated from you partner in mid-air because in these cases, your partner cannot help you land. Add one more level of complexity by having to rotate while seperated in mid-air from your partner (which many of Kenneth and Helena's air steps include) and the consequences of not being able to see get exponentially higher! I can personally attest to the danger of being blinded by an ill-timed and ill-positioned flash bulb or bright light. When I first asked Kenneth and Helena if they minded being recorded, their immediate answer was that they didn't mind. They ammended this, however, to as long as there are no bright lights when doing aerials. (A recent unpleasant experience had made it necessary for them to state this). At no time, was there any desire to protect so-called secrets or any of the other negative assumptions asserted in the reviews last week. In fact, it was my judgement call to make the request for no videotaping. From where I stood on stage, I saw a couple of "hot spots" created from video cameras/accessory lights during the first number they danced. Knowing what type of air steps they would be likely to use during the next number, I felt it necessary to ask for no video-recording in addition to no flash photography in order to ensure their safety. I know some people were disappointed at not being able to capture their performance to watch again later. Beleive me, I'd like to have a copy of it, too! However, I feel that Kenneth and Helena's desire to go home uninjured after their performance has to take precedence over someone's desire to videotape/photograph it. After all, if we want world-class teachers and performers to keep coming to Washington, we can't afford to get a reputation as the place where people get hurt! Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Teenagers in Swing Heaven By: Mary Pat Cooney Dear All, I am pleased to report that a rematch between the drill sergeant of swing and the "Tappers with Attitude" was declared a successs by all concerned this afternoon. We had a very nice class today, where they put together inside turn, outside turn, cuddle, slide over the head into back taps with turn across the body changing hands behind the back - in that exact order, and repeat it without stopping. Oh, and no basics in between figures. And then they were also able to mix up the material and play with it on their own. That's after 2-1/4 hours of lesson time, in two sessions. Basic 6 count jitterbug. They also had some fun. And so did I. Who wants to help me teach them some Lindy fundamentals? Thanks to everyone who offered me sympathy! ---Mary Pat Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along" Big Dance at UVA By: Matthew S. Hickey Dear Frank and Carole, Not to be outdone by the Naval Academy, I am sending a notice of a dance that is going on at the University of Virginia in Charlottesville. No, I don't think we'll make the top ten (we are nearly two hours away!), but if there are any UVa grads around there (and being a Glen Echo regular when I'm there, I know there are), I thought a few people might be interested. The band is the Virginia Swing Jazz Orchestra, the venue is Newcomb Hall Ballroom at The University, and the date is Saturday, February 7th. The charge is $5, and it runs from 8:30 to 11:30 with a Lindy Hop lesson at 7:30pm. More details on this Website. Sincerely, ---Matthew Hickey Go back and read another article Go back to the Home Page Or, like that "Old Man Scribber", just keep "scrolling along"

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Archive of Dance Forum Articles From January, 1998