When I was young I had a wonderful babysitter named Mrs. Johnston. She was a feisty, sometimes a bit ribald, older woman who always treated me more like an adult than a child. I loved her for that. We remained friends even when I grew up; I never tired of hearing her stories of playing with a big band. (She even played for USO dances.) She was the essence of cool.
One of my favorite sayings of hers was “get out there and blow off the stink.” She used this expression when she believed I was lolling about the house too much and needed some fresh air and exercise.
Tonight Gary and I are attending a Continentals dance. There won’t be a band, but there will be CDs and lots of dancing. With too many cookies under my belt and a New Year’s Eve marathon just around the corner, my lungs, legs, and feet need a good workout.
It’s always kinda sad to take down the holiday decorations, but it also feels good to get things cleaned up and back to normal. For us, that means dancing several times a week and perhaps a bit less butter and sugar. :-)
Sunday, December 26, 2010
The Best and Worst of 2010
Another year has passed, 365 days nearly gone by and the earth has just about completed one more revolution around our average-sized sun in the unfashionable corner of the universe we call home. It's been another big dance year for Kelly and I; another year of discoveries and lessons, many pleasant and some not so much. Last night after the hubbub of the Yule festivities died down, Kelly and I took a deep breath and enjoyed the peacefulness of our own kitchen for a little bit and as we relaxed the subject of the year gone by naturally came to the fore. Auld Lang Syne always catalyzes a million lists. Probably the most common are the litany of resolutions that most of us voice but never effort. It's easy to swear you'll lose fifty pounds, read all the classics, and start volunteering at local charities but, for most of us, sometime around January eighth we start to realize passing on the pound cake, slugging through Melville, and spending every weekend shoulder-to-the-wheel isn't nearly as easy or fun as it'd sounded while basking in the glow of a saucer of bubbly.
Possibly more popular is the best/worst list. While cruising the TV listings I've noticed one or two 'Best and Worst of 2010' shows cropping up. I feel a little like a 12-stepper for admitting these shows attract me. Not because I sit back nodding in agreement with the self-appointed experts and their assessment of the worth and quality of the various-and-sundry of the year gone by. For me it's a bit more shaking my head and nay-saying the process of comparing disparate things and implying they can be judged against one another. I mean, come on, how can there be a 'best news story of 2010' or a 'greatest sporting moment of the year'? It brings up that whole apples/oranges thing.
Yet, I'll admit, I'm just as list-bound as every other human being on the planet. Yes, I've made some resolutions and as I sit here at my keyboard I'm asking myself "what were the best and worst dance-related events of 2010?" I poured over the blog entries of the last three years only to realize that I haven't done a best/worst list since 2008. The first year of Blue Suede Souls is the only year I authored the list. Part of me wants to stay away from creating a new one. That halo-adorned fellow on my right shoulder is saying, "Dude, let it go." However, the horned gentleman on my left has already tallied up the possible contestants and began ranking them. Who should I listen to?
Best of 2010
10. New Old Venues - Through 2010 we had an opportunity to visit some classic venues that we hadn't had an opportunity to dance before. We visited The Blue Lantern Ballroom in New Carlisle, IN - one of the whistle stops visited by the big bands of the Chicago area back at the beginning of the 20th century. We also had an opportunity to dance at the Irvington Lodge as well as a Valentine dance at the Athenaeum here in Indianapolis.
9. The Moo - Speaking of reviving the old, there was a day when most men in the United States belonged to a fraternal order of some sort. The names range from the imagined sinister (the Masons) to the obscure (the Odd Fellows) to the religiously motivated (the Knights of Columbus) but most men belonged if not for the benefits of the organization, for the social aspects. In 2010, though our dance clubs, we've had the chance to dance at a couple Benevolent Order of Moose lodges in Indianapolis and we're planning on spending our New Year's Eve at one. In general the dance floors have been great (if sometimes small) and the people decent, hard working, and friendly.
8. Reunited - There was a time when I thought we might have taken our last lesson with Dance Masters (aka. Fred Astaire, South). We'd had some rather bad bumps in our relationship and I wondered if we could get back to where we started. When we worked out the issues and re-fashioned our relationship with the studio it felt a lot like coming home again.
7. Clave - In 2010 we decided to try to experience Latin dances within the culture that bred them so, we found Shayne and started learning the Clave. I'm here to say that the Clave is one of the hardest dances I've ever tried and that there's little I'm more proud of than having learned even the basic step of this dance. It bolstered my dance confidence even while it drove me crazy on more than one occasion.
6. Vintage Foxtrot - I'm addicted to anything from the 20's and 30's. I honestly believe in a previous life I had to have been of a certain age in both decades. Late in 2010 we started learning the vintage Foxtrot and I'll never go back to the ballroom variant. The genuine lightness of the vintage dance reminds me that this was a living dance that drew in pieces of other dances to give it vitality long before there were school figures and accepted patterns.
5. Rockabilly - Still, in my opinion, the most fun you can have on the dance floor.
4. Taking to the Air - In 2010 we learned our first aerials, the Number 9 and the Frog Hop. Since then we've started adding the Baby Doll Drop and the Death Drop to our arsenal. Suddenly I feel moderately young again.
3. Terry Lee and his Rockaboogie Band - I'm biased, I'll admit it, however I love a band that can show up and play their music wonderfully every time you see them. Terry and his band never seem to have an off night, their tunes don't drag or race out of control, they're on key, and they're alive. Terry's personable and accessible and he always seems to be up, having fun doing what he does which is nothing short of rocking the joint.
2. Dancing through the Pain - In 2010 I had the misfortune of having to close down the place I worked. I kept a job with the company (that I'm still trying to adjust into) however, I witnessed a lot of good people lose their livelihoods as the economy continued its slow-motion train wreck. Through the misery the two things I could rely on was the understanding of my wife and being able to blow off steam on the dance floor. Dance carried America through the Great Depression and it carried me through mine.
1. Freedom - Through 2010 I think the one thing we learned that will give us the most joy is that dance is freedom. Yes, there are steps to learn and you can even go in for patterns if you want, but in the end you're the artist and the dance floor is your pallet. This isn't paint by numbers, folks. You own your dance and you should do it in a way that makes you happy. If you want to toss tango into your WCS, do it. If you want to dance fast rumbas, dance them. Do whatever the music moves you to do.
Worst of 2010
5. Dancesport (Heartland Dancers) - There's a saying about corporations: the company's culture mimics that of its executives. This means if the executives are unethical, cruel, and egotistical the culture of the company will be…guess what? The same is true of dance clubs. So, when the reaction to our showing up at a Heartland Dancers event was a look down the nose and whispered comments about what sort of shoes we wore, well we knew it wasn't the club for us.
4. No Show - I'm a staunch supporter of local dance venues, big and small. I think that it's important to go out and dance at as many local venues as possible because your patronage makes it possible to have these venues. So, in August, when we went to Mike's Dance Barn to attend the Car Show and Rockabilly Dance that they'd advertized only to find no show and now dance, it a little more than disappointing. We travel over an hour one way to support this venue and to have them simply not show up kind of shook our confidence. I'm not saying that we've stopped supporting the Dance Barn or any other local venue - however when we see an advertisement for one of these functions at the Dance Barn, we're more likely to ask ourselves if we believe it'll really come off or if we'll be sitting in an empty parking lot again.
3. Still with the Manners - Three years after the first Best/Worst list and this one still makes the five worst features of dance. Unfortunately, it seems poor manners have spread from the clods who don't understand how to dance socially and now its invading the gallery. This year we've been seated with people who have moved to a new table after we sat down (without an explanation - but they did move to another EMPTY table so it wasn't to join friends), had our seats usurped by a moron who then had the nerve to ask us to move our stuff, and had another person both badger us to sell tickets for their dance club and flash her ring under our noses asking us how much we thought it cost.
2. Indiana Roof Ballroom's Free-for-All Policy - In the past month there's been an unfortunate trend at the Indiana Roof. Lately the staff has been adding tables to accommodate all who want to attend an event. This is fine if the event in question is a concert but when you're taking away space on the dance floor AT A DANCE so that you can squeeze the admittance fees out of two dozen more patrons, well you've lost sight of the purpose. The quality of the floor at the Roof has steadily declined in parallel with the decline in management's ability to use common sense. I hope the trend doesn't continue, it'd be a shame to see the great old venue go into a new sort of decline.
1. The Demise of the Indy Boogie Dancers - The Indy Boogies quickly became our favorite club both for their music selection and their laid back approach to dance however in 2010 the economy and declining membership took their toll on the club and in October it closed its doors. A faint glimmer of hope lies in the fact the club did have a Christmas dance and we'll keep our fingers crossed that they will return in 2011 both reinvigorated and refreshed.
Possibly more popular is the best/worst list. While cruising the TV listings I've noticed one or two 'Best and Worst of 2010' shows cropping up. I feel a little like a 12-stepper for admitting these shows attract me. Not because I sit back nodding in agreement with the self-appointed experts and their assessment of the worth and quality of the various-and-sundry of the year gone by. For me it's a bit more shaking my head and nay-saying the process of comparing disparate things and implying they can be judged against one another. I mean, come on, how can there be a 'best news story of 2010' or a 'greatest sporting moment of the year'? It brings up that whole apples/oranges thing.
Yet, I'll admit, I'm just as list-bound as every other human being on the planet. Yes, I've made some resolutions and as I sit here at my keyboard I'm asking myself "what were the best and worst dance-related events of 2010?" I poured over the blog entries of the last three years only to realize that I haven't done a best/worst list since 2008. The first year of Blue Suede Souls is the only year I authored the list. Part of me wants to stay away from creating a new one. That halo-adorned fellow on my right shoulder is saying, "Dude, let it go." However, the horned gentleman on my left has already tallied up the possible contestants and began ranking them. Who should I listen to?
Best of 2010
10. New Old Venues - Through 2010 we had an opportunity to visit some classic venues that we hadn't had an opportunity to dance before. We visited The Blue Lantern Ballroom in New Carlisle, IN - one of the whistle stops visited by the big bands of the Chicago area back at the beginning of the 20th century. We also had an opportunity to dance at the Irvington Lodge as well as a Valentine dance at the Athenaeum here in Indianapolis.
9. The Moo - Speaking of reviving the old, there was a day when most men in the United States belonged to a fraternal order of some sort. The names range from the imagined sinister (the Masons) to the obscure (the Odd Fellows) to the religiously motivated (the Knights of Columbus) but most men belonged if not for the benefits of the organization, for the social aspects. In 2010, though our dance clubs, we've had the chance to dance at a couple Benevolent Order of Moose lodges in Indianapolis and we're planning on spending our New Year's Eve at one. In general the dance floors have been great (if sometimes small) and the people decent, hard working, and friendly.
8. Reunited - There was a time when I thought we might have taken our last lesson with Dance Masters (aka. Fred Astaire, South). We'd had some rather bad bumps in our relationship and I wondered if we could get back to where we started. When we worked out the issues and re-fashioned our relationship with the studio it felt a lot like coming home again.
7. Clave - In 2010 we decided to try to experience Latin dances within the culture that bred them so, we found Shayne and started learning the Clave. I'm here to say that the Clave is one of the hardest dances I've ever tried and that there's little I'm more proud of than having learned even the basic step of this dance. It bolstered my dance confidence even while it drove me crazy on more than one occasion.
6. Vintage Foxtrot - I'm addicted to anything from the 20's and 30's. I honestly believe in a previous life I had to have been of a certain age in both decades. Late in 2010 we started learning the vintage Foxtrot and I'll never go back to the ballroom variant. The genuine lightness of the vintage dance reminds me that this was a living dance that drew in pieces of other dances to give it vitality long before there were school figures and accepted patterns.
5. Rockabilly - Still, in my opinion, the most fun you can have on the dance floor.
4. Taking to the Air - In 2010 we learned our first aerials, the Number 9 and the Frog Hop. Since then we've started adding the Baby Doll Drop and the Death Drop to our arsenal. Suddenly I feel moderately young again.
3. Terry Lee and his Rockaboogie Band - I'm biased, I'll admit it, however I love a band that can show up and play their music wonderfully every time you see them. Terry and his band never seem to have an off night, their tunes don't drag or race out of control, they're on key, and they're alive. Terry's personable and accessible and he always seems to be up, having fun doing what he does which is nothing short of rocking the joint.
2. Dancing through the Pain - In 2010 I had the misfortune of having to close down the place I worked. I kept a job with the company (that I'm still trying to adjust into) however, I witnessed a lot of good people lose their livelihoods as the economy continued its slow-motion train wreck. Through the misery the two things I could rely on was the understanding of my wife and being able to blow off steam on the dance floor. Dance carried America through the Great Depression and it carried me through mine.
1. Freedom - Through 2010 I think the one thing we learned that will give us the most joy is that dance is freedom. Yes, there are steps to learn and you can even go in for patterns if you want, but in the end you're the artist and the dance floor is your pallet. This isn't paint by numbers, folks. You own your dance and you should do it in a way that makes you happy. If you want to toss tango into your WCS, do it. If you want to dance fast rumbas, dance them. Do whatever the music moves you to do.
Worst of 2010
5. Dancesport (Heartland Dancers) - There's a saying about corporations: the company's culture mimics that of its executives. This means if the executives are unethical, cruel, and egotistical the culture of the company will be…guess what? The same is true of dance clubs. So, when the reaction to our showing up at a Heartland Dancers event was a look down the nose and whispered comments about what sort of shoes we wore, well we knew it wasn't the club for us.
4. No Show - I'm a staunch supporter of local dance venues, big and small. I think that it's important to go out and dance at as many local venues as possible because your patronage makes it possible to have these venues. So, in August, when we went to Mike's Dance Barn to attend the Car Show and Rockabilly Dance that they'd advertized only to find no show and now dance, it a little more than disappointing. We travel over an hour one way to support this venue and to have them simply not show up kind of shook our confidence. I'm not saying that we've stopped supporting the Dance Barn or any other local venue - however when we see an advertisement for one of these functions at the Dance Barn, we're more likely to ask ourselves if we believe it'll really come off or if we'll be sitting in an empty parking lot again.
3. Still with the Manners - Three years after the first Best/Worst list and this one still makes the five worst features of dance. Unfortunately, it seems poor manners have spread from the clods who don't understand how to dance socially and now its invading the gallery. This year we've been seated with people who have moved to a new table after we sat down (without an explanation - but they did move to another EMPTY table so it wasn't to join friends), had our seats usurped by a moron who then had the nerve to ask us to move our stuff, and had another person both badger us to sell tickets for their dance club and flash her ring under our noses asking us how much we thought it cost.
2. Indiana Roof Ballroom's Free-for-All Policy - In the past month there's been an unfortunate trend at the Indiana Roof. Lately the staff has been adding tables to accommodate all who want to attend an event. This is fine if the event in question is a concert but when you're taking away space on the dance floor AT A DANCE so that you can squeeze the admittance fees out of two dozen more patrons, well you've lost sight of the purpose. The quality of the floor at the Roof has steadily declined in parallel with the decline in management's ability to use common sense. I hope the trend doesn't continue, it'd be a shame to see the great old venue go into a new sort of decline.
1. The Demise of the Indy Boogie Dancers - The Indy Boogies quickly became our favorite club both for their music selection and their laid back approach to dance however in 2010 the economy and declining membership took their toll on the club and in October it closed its doors. A faint glimmer of hope lies in the fact the club did have a Christmas dance and we'll keep our fingers crossed that they will return in 2011 both reinvigorated and refreshed.
Monday, December 20, 2010
The Dance of Life
Saturday morning I was about to write a fun, frivolous post about holiday dance attire; I had collected a Goldilocks assortment of outfits that were too short, too fancy, too tight, too casual…and just right.
Then I got a call from a close friend telling me her mother had died. I forgot all about the post. I even forgot about the holiday dance Gary and I had planned to attend the day of her mother’s calling. When I did remember I wondered if we should go dancing after such a serious and sad event. We could have made the dance if we’d wanted to, even if we stayed until the very end of the calling. And I knew my friend would want time alone after a grueling day.
As it turned out we didn’t go…we were both too worn out emotionally. But we had a nice practice on our own dance floor, just Gary and me. And I’m so glad we did. Dancing is a celebration of life and of our relationship.
I don’t want to think about losing my own parents, but my mother has already told me not to stop dancing after she is gone. She said she would want us to remember her in every step, twirl, and flourish, and that she would be right there with me in spirit. Hopefully that sad day is far into the future, as I believe my mom has many, many more dances left.
At the funeral home I saw a photo of my friend’s parents dancing at her wedding; her mother looked happy, free, and full of joy.
Here’s to you, Lillian…and the best egg dip on the planet.
Sunday, December 12, 2010
The Boogies Return!
Down but not out, The Brickyard Boogie Dance Club arose from the ashes and put on a fabulous holiday dance yesterday.
Gary and I were afraid they might try and change the format too much… the Boogies are a bop/swing club and we worried they might try to compete with other dance clubs in town. We were very glad to see the Boogies are still the Boogies…lots of swing of all varieties, with a sprinkling of other dances mixed in. This time the sprinkling was a bit more liberal…more Texas two step, cha chas, rumbas, waltzes, night club...there were even a few foxtrots.
We both liked it. Hopefully the slightly amended selection will keep ‘em coming.
And Ron still played, as Gary says, the traditional first swing. It’s the same song. Every time. But that’s OK. The song gives us both a warm feeling. It felt really good to be back on the floor with, in our opinion, the best dance club in town…where the music is funky, the people polite and non-critical, and the most fabulous cookies ever, except for Gary’s.
Gary and I were afraid they might try and change the format too much… the Boogies are a bop/swing club and we worried they might try to compete with other dance clubs in town. We were very glad to see the Boogies are still the Boogies…lots of swing of all varieties, with a sprinkling of other dances mixed in. This time the sprinkling was a bit more liberal…more Texas two step, cha chas, rumbas, waltzes, night club...there were even a few foxtrots.
We both liked it. Hopefully the slightly amended selection will keep ‘em coming.
And Ron still played, as Gary says, the traditional first swing. It’s the same song. Every time. But that’s OK. The song gives us both a warm feeling. It felt really good to be back on the floor with, in our opinion, the best dance club in town…where the music is funky, the people polite and non-critical, and the most fabulous cookies ever, except for Gary’s.
Monday, December 6, 2010
Yule Vintage Postcards
I have not lost my love of vintage postcards. :-) Here are some holiday dancing ones for the season:
Sunday, November 28, 2010
The Way It Used To Be
I love fancy places to dance like the Indianapolis Roof. I love dancing at our club events. But there’s a whiff of artificialness to them, because most attendees “know” how to dance.
That isn’t the way it used to be. People grew up dancing; mom taught her son a few steps, girls got together and practiced the latest craze, and couples danced the night away at supper clubs. At a formal dance, some were better than others, but most everyone knew enough to get up and swing or sway.
Thankfully, those hallowed halls of yesterday are not all lost. Gary and I traveled back in time last Saturday evening to Raleigh, Indiana. We attended a dance in their Community Club, a place that has held a Saturday night dance since…1944. The place isn’t fancy from the outside, a long, low warehouse looking building and a simple sign that you’d miss if you didn’t know exactly where it was.
I felt like Dorothy going from black and white to color when I stepped inside: a fat holiday tree sat on one side, a plastic lighted crèche at the front. Vintage records, strings of lights, and old fashioned tinsel criss-crossed the ceiling. A mass of holly hung from the disco ball. And if you think there’s going to be a “but” you’d be wrong…the wood floor was immaculate and the band was good…surprisingly so for such a small town.
Best of all the people were friendly and understandably proud of their club. Dancing ability ran the gambit, but all were having fun. No one judged anyone else. I wish it wasn’t so far away, but we’ll be back.
Ahhhhhhhhhhhhhhhhhhhhhh.
Tuesday, November 23, 2010
Dichotomy
This past weekend turned out to be one of extremes. We danced at two different venues to two different bands and I left both events with somewhat mixed feelings.
Saturday we went to see The Original Salty Dogs, a Purdue University spawned Dixieland Jazz Band, at the Robin Run Retirement Village. Now, when I heard about the venue I had suspicions about our ability to actually dance but it turned out okay. We were in a basement-level activity room with linoleum floors and an actual stage. The turnout was less than fifty people, all spread around various tables and unanimously there for the music. About three songs into the set the band scrubbed off a danceable tune and Kelly and I did our WCS.
Now, let me say that I don't object to being watched while I dance. Some people feel really self-conscious when they feel that they're being observed but I'm not one of those people. I figure that I'm there to have fun and though it's nice to be admired, I really could give a flying hoot whether onlookers think I'm a great dancer or a freak (in fact there are times I kind of like the freak designation). I hadn't prepared myself for becoming a commented part of the afternoon's entertainment. The song came to an end and then the leader of the band made a point of thanking 'Fred and Ginger' for their dancing. That was fine, I mean we were the only ones dancing and we were bound to be noticed not only by the audience but also by the band. I'm okay with being in the spotlight a little bit…but then the band leader proceeded to bring the subject up every time we danced. End result, I think we danced four numbers over the afternoon's time. We did, however, get many compliments which salves being made the center of attention. The question that sticks with me, though, is whether we were being called out because we were good dancers or if the guy figured we were stealing his limelight? I guess I'll never know and it really doesn't matter, in the end we had a good time.
Sunday we headed to the Indiana Roof Ballroom for the last dance of the 2010 Big Band Series and effectively the end of the Roof's 2010 dance season. I always wondered why the Roof doesn't have a December holiday dance. They've got the perfect space for it - large and grand, the kind of place that decorates beautifully. I suppose they rent their space out to various companies for holiday functions, I don't know.
Sunday the Russ Morgan Orchestra played the Roof. They're a really good band even if they have a gap in their tempo. The Orchestra tends to play fast swings, rumbas, and cha cha's and then kind of draggy foxtrots and waltzes. The end result was that we spent a lot of time plying our newly learned vintage foxtrot which also means I spent a lot of time feeling very awkward. I can say that I'm proud of our getting out on the floor and dancing a style we're not as comfortable performing. We did the basic step a whole lot but we maneuvered around and even avoided some of the senior-clots that tend to form around the edges of the floor.
The downside of Sunday in fact was the crowd and the way that the Roof managed the dance. Due to this being the last dance of the 2010 series it was busy and we wound up sitting at a different table than usual. This isn't a problem; I mean we were still on the floor which makes things easier when you dance a lot. Unfortunately, the luck of the draw put us with a less than pleasant couple as neighbors. Not only did they proselytize for helping them get enough buyers to bring the Guy Lombardo Orchestra to their event in Cincinnati by selling tickets at our clubs, they seemed incensed when we told them that the bylaws of our clubs forbid selling anything including tickets. Afterward they both implied we were immature while the female half, alternately, flashed her 50th anniversary ring remarking repeatedly on its carat weight. There seems to be a pervading trend toward rudeness in the ballroom community recently. I hate to be that guy who complains that people no longer have manners but I guess I am and I should own it.
Poor St. Louis
Unfortunate news for the Casa Loma, St. Louis was just rated as the 'Most Dangerous City in the US' by an NBC pole. Possibly a confirmation of this pole was part of our Halloween stay that I neglected to mention in my previous blog posting. On arrival we found that we'd left a couple of items at home and wanted to find a drug store where we could pick them up. We walked down to the desk and asked the clerk on duty if there was a drug store in walking distance. She told us that she wouldn't recommend walking anywhere in the vicinity of the hotel due to the danger of doing so. Something to be aware of if you choose the Casa Loma as a dance location.
Sunday, November 21, 2010
Friday, November 19, 2010
Dance with the One That Brung Ya'
I want to start this post with a disclaimer in the form of defining the very specific audience that I'm addressing. This post is not directed at those of you who are without a partner and who've entered dancing as a means of socializing and meeting people. It isn't aimed at singles for whom dance is a part of the romance of chance encounters. It isn't meant as an edict to people who enjoy changing partners throughout the course of an evening's dancing. Dance is about having fun and expressing yourself, and if changing up partners helps you do that then more power to you. Go out, swap often, and have a blast. Joy is joy and you should take it wherever you can get it.
It is directed at the small, vocal, minority that seems to believe there is only one right way to dance and that way is to constantly and frequently change partners. It is written on behalf of those of us who have a beloved partner; a partner whom no other can come close to equaling. It speaks for those of us who have a partner to whom we're committed. Frankly, this post is meant to reclaim the right of those I've describe to have an opinion which counts just as much as that belonging to the loud louts and self-proclaimed arbiters of 'good dance'.
A scourge has crept into the ballrooms and dancehalls of America. It's a sinister, undercurrent; a poisonous element that threatens the ability of many to enjoy the wondrous thing that is dancing. Worst of all, unlike many ills of today's society, this blight is not only acknowledged by many otherwise right-thinking dance enthusiasts - it is openly embraced and promulgated as the one and only right way to become a 'good' dancer. This stain on the dance community is openly promoted on websites, by instructors at dance studios, and through local dance clubs around the country. I speak of the baseless assertion you cannot be a 'good' dancer unless you change partners, doing your level best to rotate through every Tom, Dick, and Hildegard in the ballroom within the span of the night. I write to say the fanatic belief that dancing with as many different people as possible improves your dancing is not only based on false assumptions but that it amounts to (in my not-so-humble opinion) no less than an outright assault on a dancer's right to enjoy dance in their own way.
There is a basic assumption that troubles me. That assumption is that the reason you're dancing is to dance with many people. This assumption is what prompted my choice of titles for this blog post. The adage "Dance with the one that brung ya" has been co-opted by everything from sports to politics but when applied to the area from which it originated, its meaning is simple and clear. You should be committed and loyal to the person who brought you to the party. Literally, you should dance with them instead of flitting about with partners that seem momentarily more intriguing, know a few cunning dance tricks, or are brash enough to cut in on someone else's evening out. What part of being taken out for an evening of dancing necessitates being farmed out as some kind of dime-a-dance rental? What part of being true to the one you're with implies rudeness?
Truthfully, the practice of partner-changing regardless of arriving with a partner is an artifact of what I call Dance World - it's like Water World, drier but no less artificial. In the wild, you'd never go to a nightclub and pick the attractive young brunette who's with the burly football player, then go ask her to dance. Pardon my crudeness but you'd wind up wearing your ass for a hat. However, in a ballroom setting it's supposed to be 'normal' and refusing to accept this suspension of reality supposedly is a breach of etiquette or, worse, a comment on your lacking skills as a dancer.
You might think that last sentence is hyperbole. It sounds like a gross exaggeration, after all how could you being willing or unwilling to dance with people you don't really know be conflated with the inability to dance with anyone? Well, many clubs openly promote the idea that sticking with your partner is both a manners and a marker of ineptitude. I've clipped a few examples from the web and, in deference to their sense of superiority; I've decided to let them own their stupidity:
Rather than blame the few people who didn't wish to rotate partners, an accusation that seems to be a bit premature, why not consider some other possibilities. Twenty couples in a class is a lot. Think about it, that's forty people all learning something that's both physical and (I can only assume) totally new to them. This sets up, in the very least, a less than ideal learning environment. We can add to this the instructor's attitude regarding dedicated partners is apparent from the onset. It's very possible that it was just as apparent during the class sessions and that was the reason 'no one' finished the class in a 'very good frame of mind'. I also can't help but notice that the teacher specifically stated they didn't help those who didn't wish to change partners - if you ignore students, can you really be surprised when they don't perform as well? It seems a bit rich to chalk this up to the 'selfishness of human nature' unless we're speaking of the selfishness of an instructor who cannot bear the thought someone else's approach might be as valid as theirs. I'm also interested in the diagnosis that not wishing to trade partners while learning the basics of a dance is somehow a sign of the 'selfish side of human nature'. It seems like an interesting definition of selfishness, wanting to practice with the people you're going to be dancing with. Maybe it's a new definition that isn't in the dictionary. Frankly, it seems more selfish to hold onto a cherished opinion without regard for the feelings or points of view of others than it does to wish to learn with the partner you'll eventually dance with.
The recommended ratio seems interesting and I'm not sure if the author means dance one dance with your romantic partner to three or four with others or one dance with others and then the remaining three or four with your romantic partner. Assuming the former, lets do the math. Kelly and I are into fast dances - swings, rockabilly, and fast Latin dances. We're not the fittest of the fit but we're not wheezing octogenarians either, so we dance between 13 and 20 numbers in a night. So, let's divide that number by four for the worst case one out of four dances mentioned in the clipping. That means our romance amounts to 3 to 5 dances a night. Really, three dances with the woman I love is good? You're more accepting than I am. If we go with the latter case, the assumption is dancing 3 to 5 dances with someone else is actually sufficient to impact my dance skill? Really? Even accross the eight styles of dance I do (including two that nobody else does)? What if I dance with 3 to 5 bad dancers? Does that downgrade my ability? I'd like to see that assertion quantified. I also like the phrase 'actually become good dancers', it gives a window into the thinking that you can't possibly be a good dancer unless you hardly dance together. Somehow your unfamiliarity with your partner makes you better! Where else is that true? Only in Dance World.
This has to be my favorite because it's so unilateral in its authority. The only way you can ever learn to dance is to switch partners and if you don't, you can't dance. I respond in video form:
Tap dancers really need DPS. They don't understand that they can't dance because they don't change partners. It's obvious this is an example of horrid dancing. I don't understand why they try.
What an awful dancers 'Snake Hips' was. If he'd only had DPS' partner changing plan maybe the lack of skill shown in this clip could have been remedied.
Oh what a wreck! If DPS had choreographed Swan Lake and been able to make sure there was partner dancing and that the dancers switched partners, the ballet might have been something that would have stood the test of time!
Finally, according to the geniuses at DPS this has to be the worst dancer of all times. If Michael Jackson would have only obeyed their edicts he might have been renown for his dance skills. Too bad.
I find it ironic that DPS offers to teach wedding dancing…isn't that the art of dancing (sometimes just a single dance) with one person? Doesn't that violate the stone-hard rule that if you don't partner swap you can't dance? Maybe getting paid changes the rules. Hmm…oh well, I guess it must be tough to live by such prejudiced rules.
The final unraveling of the bias against commitment to a single partner can be taken from the worlds of sports as well as dance. The most lauded and admired denizens of both these realms are the professionals who make their living through their performances. They are consummate perfectionists, relying on executing flawlessly every time they undertake their profession. To obtain this level of perfection they don't swap partners. A quarterback doesn't change centers every other snap just so he can 'get used to how other people snap the ball'. The manager of a baseball team doesn't swap pitchers unless they're failing in striking out batters. Fred Astaire wasn't famous for dancing with lots of partners; he was famous for dancing with Ginger Rogers. When you watch the International Ballroom Competition, there isn't a judging category for dancing with multiple partners.
In short, assertions that the only way you can be a 'good' dancer (or, alternately, that you can dance at all) is by switching partners as often as possible isn't even supported by examples from Dance World. In fact there is no quantitative evidence there is any improvement in dance through partner swapping. The propriety of swapping partners is an opinion and like all opinions it isn't necessarily shared by everyone. To those of you who believe not swapping partners is rude I'd ask you to look at your own behavior - is interrupting someone else's enjoyment of an evening out with their loved one rude? Is it rude to make assumptions about their aptitude based on your opinions? Is it rude to insult and defame those people who don't swap partners because they don't conform to what you'd like to happen? To those of you who believe anyone who doesn't swap partners isn't a good dancer I'd ask how you became the sole judge of dance quality.
Everyone is allowed an opinion. Sure, you can disagree - frankly it'd be nice if you did so privately. Your opinion is no better (or worse) than anyone else's. Your interpretation of what makes a good dancer isn't the limit and yardstick. Dance is about having fun and if that couple who share every dance together are having fun they're getting what dance is all about. If the couple who swaps partners ever dance is having fun, they're getting what dance is about. The two aren't mutually exclusive.
It is directed at the small, vocal, minority that seems to believe there is only one right way to dance and that way is to constantly and frequently change partners. It is written on behalf of those of us who have a beloved partner; a partner whom no other can come close to equaling. It speaks for those of us who have a partner to whom we're committed. Frankly, this post is meant to reclaim the right of those I've describe to have an opinion which counts just as much as that belonging to the loud louts and self-proclaimed arbiters of 'good dance'.
A scourge has crept into the ballrooms and dancehalls of America. It's a sinister, undercurrent; a poisonous element that threatens the ability of many to enjoy the wondrous thing that is dancing. Worst of all, unlike many ills of today's society, this blight is not only acknowledged by many otherwise right-thinking dance enthusiasts - it is openly embraced and promulgated as the one and only right way to become a 'good' dancer. This stain on the dance community is openly promoted on websites, by instructors at dance studios, and through local dance clubs around the country. I speak of the baseless assertion you cannot be a 'good' dancer unless you change partners, doing your level best to rotate through every Tom, Dick, and Hildegard in the ballroom within the span of the night. I write to say the fanatic belief that dancing with as many different people as possible improves your dancing is not only based on false assumptions but that it amounts to (in my not-so-humble opinion) no less than an outright assault on a dancer's right to enjoy dance in their own way.
There is a basic assumption that troubles me. That assumption is that the reason you're dancing is to dance with many people. This assumption is what prompted my choice of titles for this blog post. The adage "Dance with the one that brung ya" has been co-opted by everything from sports to politics but when applied to the area from which it originated, its meaning is simple and clear. You should be committed and loyal to the person who brought you to the party. Literally, you should dance with them instead of flitting about with partners that seem momentarily more intriguing, know a few cunning dance tricks, or are brash enough to cut in on someone else's evening out. What part of being taken out for an evening of dancing necessitates being farmed out as some kind of dime-a-dance rental? What part of being true to the one you're with implies rudeness?
Truthfully, the practice of partner-changing regardless of arriving with a partner is an artifact of what I call Dance World - it's like Water World, drier but no less artificial. In the wild, you'd never go to a nightclub and pick the attractive young brunette who's with the burly football player, then go ask her to dance. Pardon my crudeness but you'd wind up wearing your ass for a hat. However, in a ballroom setting it's supposed to be 'normal' and refusing to accept this suspension of reality supposedly is a breach of etiquette or, worse, a comment on your lacking skills as a dancer.
You might think that last sentence is hyperbole. It sounds like a gross exaggeration, after all how could you being willing or unwilling to dance with people you don't really know be conflated with the inability to dance with anyone? Well, many clubs openly promote the idea that sticking with your partner is both a manners and a marker of ineptitude. I've clipped a few examples from the web and, in deference to their sense of superiority; I've decided to let them own their stupidity:
"By the third week, I had two groups. Twenty non-coupled people rotated in a circle on one side of the room while ten couples stayed at the other end preferring not to switch. The morale was pathetic.
The absolute nadir occurred when several ladies of the non-switching couples began to ask me to give special attention to their partners. It seems their husband's leads and footwork were weak. Since all individual help occurs naturally as my assistant and I rotate through the Circle, none of the non-switchers were being helped with their leads.
Quite frankly, no one finished that course in a very good frame of mind. I was so disgusted I vowed that even if I had to ask people to leave the class and refund tuition, I would do so rather than have people refuse to switch. Most people do not mind "sharing", but if even one couple doesn't switch, then the selfish side of human nature is tempted to appear.
I concluded that for Group Classes to work, switching is necessary." - Houston SSQQ
Rather than blame the few people who didn't wish to rotate partners, an accusation that seems to be a bit premature, why not consider some other possibilities. Twenty couples in a class is a lot. Think about it, that's forty people all learning something that's both physical and (I can only assume) totally new to them. This sets up, in the very least, a less than ideal learning environment. We can add to this the instructor's attitude regarding dedicated partners is apparent from the onset. It's very possible that it was just as apparent during the class sessions and that was the reason 'no one' finished the class in a 'very good frame of mind'. I also can't help but notice that the teacher specifically stated they didn't help those who didn't wish to change partners - if you ignore students, can you really be surprised when they don't perform as well? It seems a bit rich to chalk this up to the 'selfishness of human nature' unless we're speaking of the selfishness of an instructor who cannot bear the thought someone else's approach might be as valid as theirs. I'm also interested in the diagnosis that not wishing to trade partners while learning the basics of a dance is somehow a sign of the 'selfish side of human nature'. It seems like an interesting definition of selfishness, wanting to practice with the people you're going to be dancing with. Maybe it's a new definition that isn't in the dictionary. Frankly, it seems more selfish to hold onto a cherished opinion without regard for the feelings or points of view of others than it does to wish to learn with the partner you'll eventually dance with.
"Dancing one-out-of-three or one-out-of-four partner changes with your romantic partner is a decent ratio for couples who want to spend more time dancing with each other during class and still actually become good dancers." - Art of Dance
The recommended ratio seems interesting and I'm not sure if the author means dance one dance with your romantic partner to three or four with others or one dance with others and then the remaining three or four with your romantic partner. Assuming the former, lets do the math. Kelly and I are into fast dances - swings, rockabilly, and fast Latin dances. We're not the fittest of the fit but we're not wheezing octogenarians either, so we dance between 13 and 20 numbers in a night. So, let's divide that number by four for the worst case one out of four dances mentioned in the clipping. That means our romance amounts to 3 to 5 dances a night. Really, three dances with the woman I love is good? You're more accepting than I am. If we go with the latter case, the assumption is dancing 3 to 5 dances with someone else is actually sufficient to impact my dance skill? Really? Even accross the eight styles of dance I do (including two that nobody else does)? What if I dance with 3 to 5 bad dancers? Does that downgrade my ability? I'd like to see that assertion quantified. I also like the phrase 'actually become good dancers', it gives a window into the thinking that you can't possibly be a good dancer unless you hardly dance together. Somehow your unfamiliarity with your partner makes you better! Where else is that true? Only in Dance World.
"I don't care if you don't change partners, if YOU don't care if you don't learn to dance." - DPS
This has to be my favorite because it's so unilateral in its authority. The only way you can ever learn to dance is to switch partners and if you don't, you can't dance. I respond in video form:
Tap dancers really need DPS. They don't understand that they can't dance because they don't change partners. It's obvious this is an example of horrid dancing. I don't understand why they try.
What an awful dancers 'Snake Hips' was. If he'd only had DPS' partner changing plan maybe the lack of skill shown in this clip could have been remedied.
Oh what a wreck! If DPS had choreographed Swan Lake and been able to make sure there was partner dancing and that the dancers switched partners, the ballet might have been something that would have stood the test of time!
Finally, according to the geniuses at DPS this has to be the worst dancer of all times. If Michael Jackson would have only obeyed their edicts he might have been renown for his dance skills. Too bad.
I find it ironic that DPS offers to teach wedding dancing…isn't that the art of dancing (sometimes just a single dance) with one person? Doesn't that violate the stone-hard rule that if you don't partner swap you can't dance? Maybe getting paid changes the rules. Hmm…oh well, I guess it must be tough to live by such prejudiced rules.
The final unraveling of the bias against commitment to a single partner can be taken from the worlds of sports as well as dance. The most lauded and admired denizens of both these realms are the professionals who make their living through their performances. They are consummate perfectionists, relying on executing flawlessly every time they undertake their profession. To obtain this level of perfection they don't swap partners. A quarterback doesn't change centers every other snap just so he can 'get used to how other people snap the ball'. The manager of a baseball team doesn't swap pitchers unless they're failing in striking out batters. Fred Astaire wasn't famous for dancing with lots of partners; he was famous for dancing with Ginger Rogers. When you watch the International Ballroom Competition, there isn't a judging category for dancing with multiple partners.
In short, assertions that the only way you can be a 'good' dancer (or, alternately, that you can dance at all) is by switching partners as often as possible isn't even supported by examples from Dance World. In fact there is no quantitative evidence there is any improvement in dance through partner swapping. The propriety of swapping partners is an opinion and like all opinions it isn't necessarily shared by everyone. To those of you who believe not swapping partners is rude I'd ask you to look at your own behavior - is interrupting someone else's enjoyment of an evening out with their loved one rude? Is it rude to make assumptions about their aptitude based on your opinions? Is it rude to insult and defame those people who don't swap partners because they don't conform to what you'd like to happen? To those of you who believe anyone who doesn't swap partners isn't a good dancer I'd ask how you became the sole judge of dance quality.
Everyone is allowed an opinion. Sure, you can disagree - frankly it'd be nice if you did so privately. Your opinion is no better (or worse) than anyone else's. Your interpretation of what makes a good dancer isn't the limit and yardstick. Dance is about having fun and if that couple who share every dance together are having fun they're getting what dance is all about. If the couple who swaps partners ever dance is having fun, they're getting what dance is about. The two aren't mutually exclusive.
Tuesday, November 16, 2010
The Continental
Once such dance is the Continental, described in all the eloquent obscurity typical to describing dances of this era by Streetswing.com as follows:
“The dance starts like a stately Minuet, where the man approaches the woman and bows and kisses her hand while doing the one step towards each other. As they come together, the Follower rest her head on the Leads shoulder and do a brief circular Foxtrot, while doing this the Lady lifts her head every other measure and gazes caringly at her partner...”But I haven’t come to praise or bury the Continental; I’ve come to say that we attended a gathering of the Continental Dance Club last night.
There are some really nice things about the Continental Club. They dance every Sunday at the same time and in the same place. That means no searching for an obscure ballroom or adjusting to a new dance floor that may or may not be to our liking. Secondly, they dance at the Starlight Ballroom which is mere minutes from our doorstep – a real bonus for a dancing on a Sunday night when I really want everything to be very easy. And, most important of all for us as dancers, they focus on a different sort of dancing than we normally do: waltz, foxtrot, and rumba.
Though I’m all for dancing the dances you love I'm also aware that as a dancer you've got to stretch yourself. If you learned to dance the rumba, you've got to dance it to maintain your skills - even if it isn't your very favorite dance. Kelly and I are swing dancers. We enjoy bouncy, fast paced tunes that get the blood flowing and the heart beating. Though we're quickly falling in love with the vintage foxtrot, we're still in that awkward stage - a sort of clumsy dance adolescence that only time and practice can cure. So, the slower pace and wide-open dance floor of the Continentals is well suited to our needs.
So, for the foreseeable future we'll be dancing to the tune of a one-man band playing old dancehall standards on a synth and navigating a crowd easily twice our age. You dance the number played for you, I guess.
Sunday, November 14, 2010
Cross Step Waltz
Gary and I had another lesson of vintage dancing with Rosie; we did some more on the foxtrot and started a new dance called the cross step waltz. It is based on a very old form of waltz, but Richard Powers has added his own style to it; he blends in swing and latin moves. It sounds crazy, but it works beautifully.
We love it. Here is a video of Richard dancing with his partner Angela Amarillas.
We love it. Here is a video of Richard dancing with his partner Angela Amarillas.
Wednesday, November 10, 2010
Counting Blessings
Yesterday Indy Dancers had their annual T-day party. There's something familiar about the environment of the Moose Club and the folding tables loaded up with mismatched dishes filled with homemade goodies. My Thanksgivings never were of the Martha Stewart variety. Mom didn't make soufflé or construct miniature pilgrim scenes from construction paper and pine boughs. There was cigarette smoke and cards and a lot of really good, blue-collar food and everyone, more or less, was happy for it. Of course the big difference between the family T-day celebration and the Indy Dancers event was that at eight o'clock the DJ threw on an up-tempo swing tune and everyone was expected to get out on the floor.
Let me say there is no worse combination than mashed potatoes with gravy and swing dancing. Marathon runners don't chow down before they start the race and there's a really good reason for that! It plays merry hell with your ability to perform. The triple-swing becomes the trypto-swing and that's not a good thing. Some people naturally waddle around the dance floor at half the tempo of the music, they don't need an added excuse. Last night I saw things being done to the WCS that have to be a crime in every dance-minded state in the union. I shudder to remember it.
Still, the evening was great fun and the food was excellent. We had a great time as always. When I sit down to the turkey dinner with my family I'll have one more thing to be thankful for. I'm thankful for the time I had with the Brickyard Boogie Dancers and for still having the Indy Dancers to provide opportunities to get out and dance. I'm thankful that I've had the opportunity to travel to so many great old venues and to hear some really good music in those hallowed halls. I'm thankful for the people who've taught me how to dance from Melissa to Shayne to Rosie and right down to all those who held dance clinics here and there along the road. I'm thankful that I found the courage to take this dance ride with all its highs and lows. But most of all I'm thankful I've been fortunate enough to have such a lovely and talented partner to share the trip with. With blessings like these a fellow's bound to start to feel like the proverbial golden boy!
Catch Up
They say that as you get older time gets away from you. Summer blends into fall and winter runs into spring and the year gets away from you before you've got the hang of it. I'd like to blame my lack of activity on the whirling calendar but that'd be disingenuous. There are tons of excuses for why I'm only just getting to writing about Halloween with November ripening into December, but I won't bore you with them. Instead, I'll focus on rectifying the situation.
As you know, we did the traditional Halloween Ball at St. Louis' Casa Loma Ballroom and it lived up to the raucous reputation it earned with us the first year we attended. There was rock and roll, there was drink, there were transvestites, and a good time was had by all including my in-laws. You've got to give it to a pair of octogenarians who are willing to brave East St. Louis on All Hallows Eve in a neighborhood like the one that the Casa Loma has matured into. They got out on the dance floor and shanked out a few WCS's before getting beaten back by the drunken revelers. I hope I'm doing the same at eighty but my inner crotchety old man tells me I'm more likely to be sitting with the wallflowers shaking my cane at the 'young hooligans' on the dance floor.
In spite of having a good time I believe we've decided to sample the Halloween revels at another venue in 2011. The Loma is a fantastic venue and it has an unparalleled pedigree but two years of ear-splittingly loud bands and beer-baptisms have taken their toll on our desire to dance there. This year the crowd was decidedly bawdier (one partier showed up dressed as a penis) and though it might be in my head there also seemed to be a lot more drunken foolery. I'm all for getting tight on occasion but when those getting wasted are also trying to dance, well…
So, in 2011 we're weighing our options. Maybe we'll decide on the Wilmington Ballroom outside Chicago with its haunted highway - remember all those stories about the lady in white hitching a ride by Resurrection Cemetery? Well, they originate from the Wilmington area, perfect for Halloween don't you think?
As you know, we did the traditional Halloween Ball at St. Louis' Casa Loma Ballroom and it lived up to the raucous reputation it earned with us the first year we attended. There was rock and roll, there was drink, there were transvestites, and a good time was had by all including my in-laws. You've got to give it to a pair of octogenarians who are willing to brave East St. Louis on All Hallows Eve in a neighborhood like the one that the Casa Loma has matured into. They got out on the dance floor and shanked out a few WCS's before getting beaten back by the drunken revelers. I hope I'm doing the same at eighty but my inner crotchety old man tells me I'm more likely to be sitting with the wallflowers shaking my cane at the 'young hooligans' on the dance floor.
In spite of having a good time I believe we've decided to sample the Halloween revels at another venue in 2011. The Loma is a fantastic venue and it has an unparalleled pedigree but two years of ear-splittingly loud bands and beer-baptisms have taken their toll on our desire to dance there. This year the crowd was decidedly bawdier (one partier showed up dressed as a penis) and though it might be in my head there also seemed to be a lot more drunken foolery. I'm all for getting tight on occasion but when those getting wasted are also trying to dance, well…
So, in 2011 we're weighing our options. Maybe we'll decide on the Wilmington Ballroom outside Chicago with its haunted highway - remember all those stories about the lady in white hitching a ride by Resurrection Cemetery? Well, they originate from the Wilmington area, perfect for Halloween don't you think?
Tuesday, November 9, 2010
Kabuki
Kabuki is highly stylized, traditional Japanese theatre; clothing and makeup are chosen to express a particular character. I just finished writing a book that has Japanese overtones, so that’s probably why Kabuki images have been flitting through my mind lately.
I also had an interesting comment on my dancing. A friend of mine recently saw us dance. You guys are great, she said, but you were, um, different. Different how, say I. She paused. You were flirty. I laughed and said yeah, that’s my dancing persona.
I still think she was weirded out.
I thought about that for awhile. This friend and I know each other very well. But she was surprised. I can see why. I’m rather shy in real life. And even if I wasn’t, flirty just causes too much trouble. And then there’s the fact that in real life I don’t do it too well. Once before I was married I tried winking at a guy. He came over and asked if something was in my eye. No joke.
So anyway, I do laugh a lot, but I can be serious. Definitely not flirty. But it is a side of me. Leonard Nimoy, of Star Trek fame, has done a wonderful set of photos called the secret self that my sister Quinn turned me on to. In them he attempted, with great success, to demonstrate that part of you no one sees, but is very much alive.
When I’m dancing, I can express my flirty side in a safe and non-judgemental environment. Like Kabuki, I choose my clothing and makeup to enhance that secret side. It’s very freeing. And a whole lot of fun.
Gary loves it. I'm glad. But I don’t do it for him.
I do it for me.
Monday, November 1, 2010
Halloween at the Casa Loma
Here we are, Major Nelson and Jeanie sans the blonde wig. I knew it would fly off when dancing, so I opted for her dark evil twin. With short hair. :-)
Happy sigh. The happy because I love Halloween so much, the sigh because it’s over. Gary and I, along with my mom and dad, had a wonderful time at the Halloween Ball at the historic Casa Loma Ballroom in St. Louis.
The floor was crammed with the usual gambit of costumes from the sublime (a beautiful mermaid), to the funny (Tiger and several, um, blonde ladies), to the downright risqué (a giant male atomically correct part), to the creative (a group of bloody cooks from hell’s kitchen.)
The Band, Smash, was good, but waaaaaaaay too loud. I like loud. But when you shout and STILL can’t make yourself heard or hear anyone else, that’s too much volume. I don’t get it. The piped in music played during breaks was plenty loud enough to cover the partying, but as soon as the band started to play, the dial, as Nigel would say, was cranked to 11.
It was more crowded this year. And while I am perfectly OK with sharing the floor with non-dancers and various examples of individual expression, I am NOT OK with being slammed, stepped on, or shoved. People didn’t do this on purpose (many had been drinking…a lot), but still. Gary and I come to dance, so perhaps it’s time to sample something else.
Right now we have our eye on the Willowbrook ballroom near Chicago. We’ve heard tell they put on quite a Halloween bash….
Friday, October 29, 2010
Halloween Party Number One
And exactly when we needed a pick me up, The Indy Dancers hosted their annual Halloween Bash. There's just something about seeing a grown man dressed like Zorro that forbids any sort of sad feeling. :-)
And Halloween is this weekend, woooHOO!
Tuesday, October 26, 2010
The Passing of the Brickyard Boogie Dancers
Kelly has a favorite bluegrass tune that has an appropriate lyric for how I feel right now:
Things seemed pretty normal as the evening wore on. The tunes were familiar as were the attendees, we danced what we’ve affectionately deemed the ‘traditional first swing’ and then settled into the rhythm of the night. The Boogies always are good for moderate to slow tempo WCS broken up by the occasional Texas Two Step or Nightclub Two Step and a smattering of Cha-Chas and there were no surprises in Ron’s repertoire. We danced ‘till we sweated, then sat down long enough to catch our breath again before hitting the floor again.
At around nine thirty there was the usual break in the dancing and music. For those of you who belong to dance clubs the mid-evening break probably is familiar. It’s time for announcements, maybe a demonstration dance, and if your club is so inclined there might be a drawing for free tickets to the next event. Unfortunately, this evening’s break didn’t go as usual, though.
Ron started his announcements with “It’s been a good run…” and that’s never what you want to hear when you’re interested in seeing the ‘run’ continue indefinitely. He proceeded to give the glum news about the club coffers and the night’s door, including the fact that the club made less on Saturday than they paid out to rent the facility. In short, the Brickyard Boogie Dancers were within $80 of broke and until further notice there would be no further dance events.
It’s probably hyperbole to compare the closure of a club with a lot of the losses people are experiencing in these tough times. I’ll flat out say that it is harder to lose your job or your home or your insurance or about a thousand other things people have on the line right now. A club, after all, is the social equivalent of a toy – a diversion to pass the idle hours. The loss of the Boogies, though, is a loss and the psychological process must be similar if on a smaller scale. My psychologist wife might have to correct me, but I’m fairly certain that the grieving process is the same: denial, anger, bargaining, depression, and acceptance. Maybe they’re ‘mini-stages’, passing in a few days or hours before the next stage begins…I don’t know and it really doesn’t matter (or maybe that just means I’m in stage four).
What I do know is that we’ll miss the Boogies. I’ll miss dancing with a laid back club that’s not ballroom-uptight. I’ll miss having a place where I can get out and dance without worrying about someone putting their elbow in my ear so that they can do their patented ‘double-back-flop-tango’. I’ll miss Ron’s “so…let’s dance…”. I’ll miss seeing our favorite couple looking the way I hope to look someday when I do the WCS. I’ll miss having a club that doesn’t do a ‘mixer’ or ‘snowball’ or any other enforced version of partner changing. I’ll even miss the predictable play-list that we’ve danced to almost since we joined the Boogies.
I guess I’ll just miss the Boogies.If you read this blog you’ll already know of the demise of the Brickyard Boogie Dancers, the club with the funny name that quickly became our favorite place to dance. I hope you’ll pardon my recanting the tale. Some part of healing comes from the retelling of sad stories and over time they become fond memories.
"There is a time for love and laughterSaturday we went out for the usual. That is to say we made the short trip to the Starlight Ballroom for the Brickyard Boogie Dancers weekly get together. When we pulled into the lot, Kelly commented how she hoped things were going okay with the club. Attendance of the club’s dances has been dwindling lately and there’s been an ongoing effort by the leadership to attract new members and encourage the existing membership to come out to dance. We walked into the ballroom and found our seats, then put on our shoes while we watched the tail end of the group lesson that precedes every Saturday dance.
The days will pass like summer storms
The winter wind will follow after
But there is love and love is warm"
Things seemed pretty normal as the evening wore on. The tunes were familiar as were the attendees, we danced what we’ve affectionately deemed the ‘traditional first swing’ and then settled into the rhythm of the night. The Boogies always are good for moderate to slow tempo WCS broken up by the occasional Texas Two Step or Nightclub Two Step and a smattering of Cha-Chas and there were no surprises in Ron’s repertoire. We danced ‘till we sweated, then sat down long enough to catch our breath again before hitting the floor again.
At around nine thirty there was the usual break in the dancing and music. For those of you who belong to dance clubs the mid-evening break probably is familiar. It’s time for announcements, maybe a demonstration dance, and if your club is so inclined there might be a drawing for free tickets to the next event. Unfortunately, this evening’s break didn’t go as usual, though.
Ron started his announcements with “It’s been a good run…” and that’s never what you want to hear when you’re interested in seeing the ‘run’ continue indefinitely. He proceeded to give the glum news about the club coffers and the night’s door, including the fact that the club made less on Saturday than they paid out to rent the facility. In short, the Brickyard Boogie Dancers were within $80 of broke and until further notice there would be no further dance events.
It’s probably hyperbole to compare the closure of a club with a lot of the losses people are experiencing in these tough times. I’ll flat out say that it is harder to lose your job or your home or your insurance or about a thousand other things people have on the line right now. A club, after all, is the social equivalent of a toy – a diversion to pass the idle hours. The loss of the Boogies, though, is a loss and the psychological process must be similar if on a smaller scale. My psychologist wife might have to correct me, but I’m fairly certain that the grieving process is the same: denial, anger, bargaining, depression, and acceptance. Maybe they’re ‘mini-stages’, passing in a few days or hours before the next stage begins…I don’t know and it really doesn’t matter (or maybe that just means I’m in stage four).
What I do know is that we’ll miss the Boogies. I’ll miss dancing with a laid back club that’s not ballroom-uptight. I’ll miss having a place where I can get out and dance without worrying about someone putting their elbow in my ear so that they can do their patented ‘double-back-flop-tango’. I’ll miss Ron’s “so…let’s dance…”. I’ll miss seeing our favorite couple looking the way I hope to look someday when I do the WCS. I’ll miss having a club that doesn’t do a ‘mixer’ or ‘snowball’ or any other enforced version of partner changing. I’ll even miss the predictable play-list that we’ve danced to almost since we joined the Boogies.
I guess I’ll just miss the Boogies.If you read this blog you’ll already know of the demise of the Brickyard Boogie Dancers, the club with the funny name that quickly became our favorite place to dance. I hope you’ll pardon my recanting the tale. Some part of healing comes from the retelling of sad stories and over time they become fond memories.
Sunday, October 24, 2010
Goodbye to Brickyard Boogie Dancers
It is with much sadness that Gary and I learned last night that our favorite dance club, the Brickyard Boogie Dancers, will be no more. I wasn’t completely surprised; attendance had been dropping over the last year or so, but still. It was very sad.
The reasons why could be as varied as the people who come. We filled out a survey where we listed some suggestions. If I had to sum it up I would say the BBD needs a stronger identity of who they are. Hopefully the club can return stronger than ever. In the meantime, there will be a giant void in our dancing venues.
If Melissa taught us how to dance, the BBD gave us a place to make dancing our own. People were friendly and accepting, and experimentation and individually was celebrated.
Thanks, Ron. We’ll miss you.
Sunday, October 17, 2010
This Moment
We spent an afternoon with Rosie Lemkin of the Flying Cloud Academy. Flying Cloud is what’s referred to as a ‘vintage’ dance club, meaning they generally focus on the dances of the 1700’s, 1800’s, and early to mid 1900’s. This focus covers ragtime dances like The Grizzly Bear and the Turkey Trot as well as older styles like the Quadrille. Guess where the foxtrot falls into that mix? Well, the ‘fox’ part probably gives it away – the theory (at least Rosie’s) is that the foxtrot is a member of the family of animal dances that came about during the early 1900’s as a rebellion against the stiffness of Victorian social norms. In these dances not only did the dancers act out the aspects of the animals the names of which the dances bore, but they also (gasp) touched one another with more than extended fingers.
Thinking along these lines – that is to say, recognizing the animal dance roots of the foxtrot – it’s possible to start thinking about the dancer’s movements in a different way. In the vintage (20’s) version of the dance the footwork goes slow, quick-quick, slow, slow (as opposed to the ballroom slow, slow, quick-quick) and the motion includes a slight bounce with each quick. This bounce is meant to emulate a…trotting fox. If you’re not privileged enough to have witnessed a fox, think of a cat moving happily along. The bounce is subtle, not a hop or a jump just a slight bob with each step.
Personally, I love this version of the foxtrot. I think there are two reasons, really. Firstly it’s a dance of the twenties – that Wooster and Jeeves era that I love so much. When I tried the first steps of this dance I immediately felt transported to the twenties. I felt like a member of Wodehouse’s infamous Drones Club dressed up in waistcoat and cutaway and out for a night of jazz and champagne in the fashionable part of London. Secondly, there’s the fact that without reverse poise you’re left to look into the eyes of your partner. Yes, you came to dance with someone – there they are, right in front of you, so why not look at them? As Rosie said, “look into the eyes of your partner and get lost in the moment”.
To me that’s what dancing is all about, getting lost in the moment. It’s not about being the best on the floor, it’s not about showing off for the audience, it’s not even about knowing the steps to the dance. It is about enjoying the company of your partner and being totally present. Dance is a kind of Zen. The past is gone, the future not here yet, all you have is this dance – this stanza – this bar – this one note in this one moment. Look into the eyes of the partner you’re sharing the note with and get lost.
Saturday, October 16, 2010
The ‘Billy and the Fox
It was a very interesting dance weekend. Interesting…good.
We started off our dancing at Mike’s Dance Barn in Nashville, In., to the fabulous piano playing of Terry Lee and the Rockaboogie band. I know we sound like a broken record, but that band simply does NOT put on a bad show. Every time we’ve seen them they’ve been fab…and that’s not just Terry, but every band member. Rockabilly legend Art Adams was there too; we were sorry to miss him but we had to get up early for the last half of our dancing weekend.
Saturday morning we drove to Cincinnati, Ohio, to be instructed by Rosie Lemkin, a member of the Flying Cloud Vintage Academy of Dance to learn 1920s style Foxtrot. She was a wonderful, patient, and knowledgeable teacher. She packed an unbelievable amount into two hours. We learned a number of moves in two different rhythms.
1920s Foxtrot is very different from ballroom; no reverse poise, and it is much more bouncy. Gary and I both fell in love. Rosie also showed us a vintage style of waltz which we also really liked. But first we want to master the Foxtrot.
Check out the clip below. I posted a 1920s Foxtrot a few weeks back, this one is called The Baltimore, closely related. In fact, we learned a move today that is much like some of the swaying moves in this dance. The cool thing about these dances is that you can mix and match, create, and improvise. And doesn’t it look fun?
OMG, another vein of dance we’ve opened…
We started off our dancing at Mike’s Dance Barn in Nashville, In., to the fabulous piano playing of Terry Lee and the Rockaboogie band. I know we sound like a broken record, but that band simply does NOT put on a bad show. Every time we’ve seen them they’ve been fab…and that’s not just Terry, but every band member. Rockabilly legend Art Adams was there too; we were sorry to miss him but we had to get up early for the last half of our dancing weekend.
Saturday morning we drove to Cincinnati, Ohio, to be instructed by Rosie Lemkin, a member of the Flying Cloud Vintage Academy of Dance to learn 1920s style Foxtrot. She was a wonderful, patient, and knowledgeable teacher. She packed an unbelievable amount into two hours. We learned a number of moves in two different rhythms.
1920s Foxtrot is very different from ballroom; no reverse poise, and it is much more bouncy. Gary and I both fell in love. Rosie also showed us a vintage style of waltz which we also really liked. But first we want to master the Foxtrot.
Check out the clip below. I posted a 1920s Foxtrot a few weeks back, this one is called The Baltimore, closely related. In fact, we learned a move today that is much like some of the swaying moves in this dance. The cool thing about these dances is that you can mix and match, create, and improvise. And doesn’t it look fun?
OMG, another vein of dance we’ve opened…
Thursday, October 14, 2010
Rockabilly Options
So, if you’re in the market for a bit of old-school rock-n-roll this Friday there are a couple of options. Mike’s Dance Barn in Nashville, IN has the glorious, piano-pounding antics of Mr. Terry Lee and his Rockaboogie Band – geniuses in the style of one (face Louisiana and salute) Mr. Jerry Lee Lewis. Terry Lee and his band are a guaranteed good time and a guaranteed workout. There also is the Retro Rock at the Soda Shop held at Zaharakos Ice Cream Shop in Columbus, IN. Zaharakos is a place you really should visit if you have a chance. The ice cream parlor opened in 1900 and has an attached soda shop museum which is really cool. Unfortunately, I haven’t attended the Retro Rock event before so I can’t say what it will be like. We had to make the choice between the two and stuck with what we knew, Terry Lee…though it’s too bad we’ll miss the soda shop I know we won’t be sorry for seeing Terry Lee.
Wednesday, October 13, 2010
Time and Tide
Memorial Day, 1893 and there's a buzz around the south shore of the Great Salt Lake. Imagine the thousands of Victorians, buttoned to their chins and sweating in the Utah summer swelter while they wait through speeches and ceremonial technicalities. Investors and LDS officials gather under the grand arch that marks the entrance to the great hotel and, though you can't see it, the ribbon is cut. A cheer goes up and the Coney Island of the West, the Great Saltair Pavilion has opened its doors.
The building is an architectural wonder - boardwalks and pavilions cantilevered out over the briny waters of the Great Salt Lake. The undertaking required the support of Mormon Church, the Las Angeles Railway Company, as well as numerous rich investors from Salt Lake City and the result of their investment was a marvelous gem sparkling on the shore of the Salt Lake. Workers drove over 2000 pylons into the salty mud and upon these pillars rose a house of music, amusement, and relaxation.
Thousands flocked to Salt Lake to see the Saltair to enjoy the novelty of the 25% salt water that lapped its beaches as well as a lineup of top-rated talent manning its bandstand. Summer nights brought ragtime serenades and the days brought soaks in the salt water and hotdogs on the boardwalk. The LDS church intended to be 'wholesome' and 'family oriented' however the Saltair soon ran afoul of its Mormon backers for selling coffee and tea and the establishment's being open on Sundays, all of which violated church doctrine. Regardless, the hotel and pavilion remained a success as America sought fun and music in the early twentieth century.
In its heyday, the Saltair advertized itself as having the biggest dance floor in the world. The vast wooden oval that accommodated hundreds of dancing couples would look like a football field to modern eyes. Overhead a forest of timbers supported the arabesque dome and wallflowers could enjoy a panoramic view of thousands of bathers enjoying the water which contained about twenty-five percent salt in solution. The salinity of the Great Salt Lake prompted the claims of 'You Can't Sink if you Try' that were painted on the Saltair's buoys, it probably was a great thrill for well-healed easterners to try that claim. After a day's swimming and strolling the boardwalk, guests would change into their dinner-wear to dine in the hotel's restaurant before spending the evening on the dance floor or taking a starlight stroll on the boardwalk. America's amusement park craze was underway and the Saltair stood at its forefront.
In 1925 a fire broke out in Ali Baba's Cave and, fanned by a stiff wind, quickly spread to other buildings in the hotel complex. The flames burned into the night, doing a half-million dollars of damage before being extinguished. An infusion of money from Mormon investors revived the Saltair , bringing it back 'bigger and better than before' but the '25 fire marked the beginning of the end for the Coney Island of the West. The world had changed in the thirty years that the Saltair had been in existence. Movies and radio dominated the American entertainment landscape and the population of the Tooele Valley (where the hotel was located) dwindled. Fewer people made the trek to the shores of the Great Salt Lake, choosing to spend their time and money on more convenient or more modern entertainments.
The Saltair struggled along until 1931 when an arsonist set it ablaze, doing $100,000 worth of damage. As if in collusion with the arsonist, that same year the waters of the Great Salt Lake receded, literally leaving its boardwalks and bathing beaches high and dry. The hotel's owners responded by constructing a railway line to ferry bathers from the hotel to the shores of the Salt Lake but even this measure couldn't forestall the tide of change brought the coming decade would unleash.
In 1941 the Japanese bombed Pearl Harbor and the US entered World War II. The draft took the men and boys who'd once worked at the Saltair and rationing curtailed the vital supplies needed to run a grand hotel. At the opening of WWII, the Saltair closed its grand doors for the last time. The hotel wouldn't reopen for forty years. During this time the hotel played host to a few special events including the 1962 cult film "Carnival of Souls" but having a hotel selected as the set for a horror film does not speak to the marvels of its preservation. The pavilions and grand halls had fallen into neglect and disuse and the once great Saltair had become a ghost of its former self.
When I'm there I'll cup a hand to one ear and listen for strands of Joplin and Goodman on the salty breeze and I'll look for spectral couples in tuxedo and evening dress, heading for the dancehall hand-in-hand. I'll smile and I'll think, time and tide wait for no one.
Monday, October 11, 2010
Flamenco!
Gary and I attended a benefit event Friday evening for Joy's House in Indianapolis (alas, no viable public dancing), but we did get to see some fabulous flamenco dancers. I was absolutely enthralled.
The steps are very cool too, but I could not take my eyes off the women's hands...graceful swirls, passionate gestures, belly dancing-like wrist flips, salsa "holding the egg", all woven together into a style that is unique. I plan on working a few of the hand motions into my own dancing.
What I liked just as much as the dancing itself was the powerful feeling evoked by the women; female flamenco dancers seem to be saying I am strong, sexy, and elegant. And do not mess with me.
Check out the below video. The music is not traditional flamenco, but I chose this because the shadow style shows off the hands and body.
The steps are very cool too, but I could not take my eyes off the women's hands...graceful swirls, passionate gestures, belly dancing-like wrist flips, salsa "holding the egg", all woven together into a style that is unique. I plan on working a few of the hand motions into my own dancing.
What I liked just as much as the dancing itself was the powerful feeling evoked by the women; female flamenco dancers seem to be saying I am strong, sexy, and elegant. And do not mess with me.
Check out the below video. The music is not traditional flamenco, but I chose this because the shadow style shows off the hands and body.
Saturday, October 9, 2010
The Final Ball
Something about that title strikes me. 1940, in one year the US would enter Word War II. The Nazis and their allies already held sway over much of Europe and the steady drumbeat of falling shells could be heard behind every aspect of American life. Many people had to know that it was only a matter of time before America entered the war, though few probably could have guessed at the carnage that would propel us into the conflict. Still, on the eve of war, life went on with all its frivolities. From New York to Las Angeles balls were held, music played, and young lovers danced the night away. In some circles it was proper etiquette to have a dance card, a printed list of the tunes that would be played through the evening which the ladies could use to reserve dances for gentlemen. It was the 'polite' thing to do and the origin of the phrase 'save the last dance for me'.
So, the Final Ball was held one night in '40 and on that night a lady donned her tea-length skirt, her cape-back coat, and her best hat before grabbing her clutch and heading out the door. Somehow, in the course of the evening the little dance card got forgotten, left lying on the nightstand or somewhere. She came home and put the dance card away and it got forgotten in all the joy and pain of the coming years surviving to this day as a token of an evening's expectations. An unspoken promise waiting for its moment without knowing that moment has long passed.
Maybe it's my age or my not being single but, unlike many things that I lament passing, the dance card seems like a thing whose time has come and gone. Now all of my dances are saved for someone. Maybe, when I was awkward and single, it would have been nice to be able to reserve three minutes to dance with a girl I liked. Maybe that would have been three minutes of bliss before the end of the Final Ball. Maybe, back in 1940, some dough-faced fellow reserved the second waltz of the night with our mystery girl. Maybe he toured around the floor, smelling her perfume and imagining that this dance could be the beginning of something, the kindling of a great fire that would burn through the decades until time made it mellow to embers. Maybe he carried that feeling home, buttoned up inside his coat. When the world fell apart, maybe he secretly carried it out of the landing craft and onto Sword or Utah beach where the cold water of the Atlantic and the misfortunes of time and place snuffed out the ember. Maybe eternity is a waltz, forever holding the one you love, forever living in that moment when your eyes meet and your heart skips - heaven is a thousand first dates, all of them better than you ever could have hoped. Heaven is walking home after the Final Ball with the smell of her perfume clinging to your coat, the harvest moon lighting your way, and the cool evening breeze stirring the rustling autumn leaves.
Friday, October 8, 2010
Casa Loma!
Gary and I are headed back to the Casa Loma Ballroom for their annual Halloween bash. We're going as Major Nelson and Jeannie from the TV show, I Dream Of Jeannie. Gary is Major Nelson. :-) This year my parents are going with us. Not sure how they are dressing, but it will be fun having them with us.
WooHOO!!!!!!!!!!!!!!!!!!!!!!
Monday, October 4, 2010
Vintage Halloween Dance
I love Halloween. My husband and I were married on this magical day. Halloween, in my opinion, has gotten a bad rap recently in some quarters as being evil. Sad. This day, or should I say night, is enchanted, but evil? Never.
Folks from yesteryear understood that ghosts and goblins should be given a healthy respect, but if well treated they could be interesting party guests. Much like living humans. :-)
Here is an old invite caption:
"At Hallowe'en a dance I'm giving, Come mingle with the dead and living; For I'm inviting spooks as well, Who will impart a magic spell."
And the accompanying graphic:
Now that doesn't look scary, does it?
Folks from yesteryear understood that ghosts and goblins should be given a healthy respect, but if well treated they could be interesting party guests. Much like living humans. :-)
Here is an old invite caption:
"At Hallowe'en a dance I'm giving, Come mingle with the dead and living; For I'm inviting spooks as well, Who will impart a magic spell."
And the accompanying graphic:
Now that doesn't look scary, does it?
Friday, October 1, 2010
Flutter and Blink
Warning: Girl Post.
I’ve always wanted to wear false lashes; there’s something so glamorous about them. And, unlike others in my family, I was NOT born with a luscious fringe. Sadly, my lashes are thin, short, and sparse, even with several coats of mascara.
I’ve tried false lashes before. I didn’t have much luck. Patience is not one of my virtues. I either didn’t get them on correctly and half way through the evening I’d have a spider on my cheek, or else the glue was so strong I ripped out what few pitiful lashes I had at the end of the evening.
Well. Ether the glue and lashes have been improved or I’ve gotten more patient. I tried them again…and I LOVE them! I have a plain pair in brown, a couple with glitter, and a pair that looks like Cleopatra. You don’t have to spend big bucks; drug store ones at two dollars or so work fine, or there’s always ebay. Having tried them now, I have some pros and cons.
Cons
1) They do not work with glasses. If you wear glasses you will probably have to trim them, or else get used to the feeling of them brushing the lenses.
2) Most don’t look natural. I have a pair that is supposed to be realistic, but my husband, who isn’t best noticer (which BTW, I don’t mind…he thinks I look good in sweatpants), spotted them without me asking, as in, do you have fake lashes on?? If you want natural do those individual ones, half lashes, or wear mascara.
3) The glue dries fast. It says on the package wait until tacky, but I’ve found the time it takes my fumble fingers to get them on my lash line is plenty of time for tackiness to develop.
4) You can feel them. Well, yeah…something is stuck to your lids. You have to get used to that sensation.
Pros
1) Your eyes look huge and dramatic. For those of us who have never had long lashes, it’s awesome. And they come in a myriad of shapes, colors, some even have decorations. It would be very hard to glue rhinestones on your real lashes.
2) They now make eyelash glue that dries black; it looks like eye liner! Perfect. NOTE: I ruined a pair using what was called “remover”, some kind of nasty oil. You don’t need it. The glue just peels off like rubber cement
3) You don’t have to use any other eye make up unless you want to. And since you don’t need mascara when wearing false lashes, it actually takes less time to remove makeup.
4) You feel flirty. Pretty. Long lashes just do that. Wink.
Saturday, September 25, 2010
Save Our Barn...
I'm not a guy for causes. Okay, scratch that, actually I'm not a guy for talking about my causes. I come from the particular branch of Indiana men who believe your opinions should be like your underwear - covered up while in public. This isn't because I have any less faith in what I believe, it's because the world has enough yelling and screaming in it and adding to the din won't do a thing to solve any of the very real problems we have. Now that I've said that, I'm going to violate my own principals and recommend you jump in to support a cause that should be dear to anyone who is an Indiana-based dancer.
This past week in my usual haul of email I got the schedule for upcoming events for Mike's Dance Barn in Nashville, IN. I gave it a look, knowing that one of my personal favorites Terry Lee and his Rockaboogie Band would be playing there in October. I read through the dates, noting events I might like to attend until I reached one particular entry on the calendar that caught my eye.
October 3rd, Save Our Barn Benefit. That got my attention - I read further:
There it was, another dance venue potentially going under. Personally I think the Dance Barn is one of the best spots to dance in Indiana. The floor's kept in excellent condition, the sound is good, and the bands fill a niche that isn't addressed anywhere else. Where else can you catch a band like Terry Lee, have a good meal on the cheap, and generally have a great time? There are a lot of ballroom spots in central Indiana but nothing that caters to the country-swing element while maintaining a good safe-feeling environment where the dancing is the main focus. Mike's place is one of a kind and I hope you'll read this and flood the building like George Bailey's living room in It's a Wonderful Life. After all, tis getting near the season…
This past week in my usual haul of email I got the schedule for upcoming events for Mike's Dance Barn in Nashville, IN. I gave it a look, knowing that one of my personal favorites Terry Lee and his Rockaboogie Band would be playing there in October. I read through the dates, noting events I might like to attend until I reached one particular entry on the calendar that caught my eye.
October 3rd, Save Our Barn Benefit. That got my attention - I read further:
"Mike is having a FUNDRAISER today to help in saving the Dance Barn from impending tax sale.
PLEASE HELP us keep our entertainment venue going for your enjoyment with all the great music and dancing that is done here.
Benefit starts at 2:00pm and a buffet will be served.
There will several bands to entertainment you for the day and a silent auction. Any donations of items for the auction will be greatly appreciated as well as any monetary donations.
Cover charge is $20 and will include the meal if you want to eat.
Thank you for all your patronage and support thru the years. - Billy and Carla"
There it was, another dance venue potentially going under. Personally I think the Dance Barn is one of the best spots to dance in Indiana. The floor's kept in excellent condition, the sound is good, and the bands fill a niche that isn't addressed anywhere else. Where else can you catch a band like Terry Lee, have a good meal on the cheap, and generally have a great time? There are a lot of ballroom spots in central Indiana but nothing that caters to the country-swing element while maintaining a good safe-feeling environment where the dancing is the main focus. Mike's place is one of a kind and I hope you'll read this and flood the building like George Bailey's living room in It's a Wonderful Life. After all, tis getting near the season…
Dancing on Stone
I am an unabashed Andy Griffith fan. Somehow saying so makes me feel a little like it's my first night at the local meeting of some kind of twelve step program. Hello, my name is Gary and I watch The Andy Griffith Show…
Anyway, it was my fondness for the show that initiated the trip we took this past week. We drove nine hours from Indy to Mt. Airy, NC to attend the 50th annual Mayberry Days Festival in Andy Griffith's home town. I'm unashamed and I'm here to tell you I had a hell of a good time. We rolled into Mt. Airy on Wednesday evening just ahead of a thunderstorm and after we'd settled in, we took a late night walk around the town. I think I'll remember that walk for the rest of my life. Not because I saw the birthplace of one of my favorite television personalities (though I did) and not because I got to see the town that inspired much of the show (which I did) - it was something different, something internal that I'm not sure I can put down in words. All I can say is standing there under an umbrella on the deserted Main Street of Mt. Airy, NC felt special somewhere deep inside. Since this isn't a fandom blog, I'll leave it at that.
Thursday, September 23rd we went to a dance at Surry Arts Council's Blackmon Amphitheatre. The Band of Oz provided the music for the evening - disco inspired shag tunes that were passably executed and inspired a lot of enthusiasm from the crowd. The surface, though, was granite blocks - the same kind of blocks you see outside sporting areas emblazoned with purchased dedications (in memory of mama or something like that). Let me tell you, granite makes a great bathroom counter but it's nothing to dance on! Besides being really hard it's not particularly slick and no two blocks seem to be set on the same plane. The result is you can't shuffle your feet for fear of tripping. Add to that a crowd that's been buying bottles (yes bottles) of wine for about an hour and you get a real mosh pit. We didn't stay too long for fear of getting hammered and falling on unforgiving stone.
The up side was, as we were getting ready to depart on Friday we got to see ourselves on the local news channel's morning program. There we were, swinging it. Talk about something that'll make you self conscious! If Kelly or I manage to get a clip from the news station we'll air it here. That should show anyone they can dance!
Anyway, it was my fondness for the show that initiated the trip we took this past week. We drove nine hours from Indy to Mt. Airy, NC to attend the 50th annual Mayberry Days Festival in Andy Griffith's home town. I'm unashamed and I'm here to tell you I had a hell of a good time. We rolled into Mt. Airy on Wednesday evening just ahead of a thunderstorm and after we'd settled in, we took a late night walk around the town. I think I'll remember that walk for the rest of my life. Not because I saw the birthplace of one of my favorite television personalities (though I did) and not because I got to see the town that inspired much of the show (which I did) - it was something different, something internal that I'm not sure I can put down in words. All I can say is standing there under an umbrella on the deserted Main Street of Mt. Airy, NC felt special somewhere deep inside. Since this isn't a fandom blog, I'll leave it at that.
Thursday, September 23rd we went to a dance at Surry Arts Council's Blackmon Amphitheatre. The Band of Oz provided the music for the evening - disco inspired shag tunes that were passably executed and inspired a lot of enthusiasm from the crowd. The surface, though, was granite blocks - the same kind of blocks you see outside sporting areas emblazoned with purchased dedications (in memory of mama or something like that). Let me tell you, granite makes a great bathroom counter but it's nothing to dance on! Besides being really hard it's not particularly slick and no two blocks seem to be set on the same plane. The result is you can't shuffle your feet for fear of tripping. Add to that a crowd that's been buying bottles (yes bottles) of wine for about an hour and you get a real mosh pit. We didn't stay too long for fear of getting hammered and falling on unforgiving stone.
The up side was, as we were getting ready to depart on Friday we got to see ourselves on the local news channel's morning program. There we were, swinging it. Talk about something that'll make you self conscious! If Kelly or I manage to get a clip from the news station we'll air it here. That should show anyone they can dance!
There Is A Time
There is a Time is my favorite song by The Dillards, the bluegrass band famous in the 60s and 70s (they still play), and also were featured in the Andy Griffith show (The Darlings). The song speaks to wanderlust, and how you need to do your roaming when you are young. To me, the singer is older, wishing he or she had done just that.
Gary and I traveled to Mt. Airy, North Carolina over the last few days, birthplace of Andy Griffith and the mythical Mayberry; it was the show’s fiftieth anniversary. TAGS, as it is known to its fans, is Gary’s favorite show. To him, Mayberry represents all that is good in humanity: caring relatives and neighbors embedded within a simpler life.
We had so much fun. We both agreed the first night was the best, the town, bathed in mist and moonlight, was empty. As we walked down the streets of Mt. Airy, we really could imagine Aunt Bee running out and asking us if we wanted pie. The next day we saw more of the town and visited the museum. We were both pleased that for the most part the town hadn’t been fancied up; it was worn in places, but still scrubbed and proud, and not just because of Andy.
One of the added structures adjacent to the Andy Griffith museum is the Blackmon Amphitheatre, which hosts many a band. It also has a dance floor. The Band of Oz, a beach band from South Carolina, played the night we attended. They did mostly shag numbers, but Gary and I danced our respective swings and a rumba or two. We had so much fun. Yeah, the floor was hard and uneven (granite), but the moon was full, the music great, and Gary and I were together. Happy sigh. The next day as we were eating breakfast in the hotel lobby we saw ourselves on the news, dancing away.
It was fun to get away, dance at a new venue, and to fulfill my husband’s dream of seeing Andy’s home town. But it was nice to get home. Tonight we will be dancing on the home hardwoods of the Starlite with our favorite club, the Brickyard Boogie Dancers.
Band of Oz. Funny. I guess there really is no place like home.
There is a time for love and laughter
The days will pass like summer storms
The winter wind will follow after
But there is love and love is warm
There is a time for us to wander
When time is young and so are we
The woods are greener over yonder
The path is new the world is free
There is a time when leaves are fallin'
The woods are gray the paths are old
The snow will come when geese are callin'
You need a fire against the cold
So do your roaming in the springtime
And you'll find your love in the summer sun
The frost will come and bring the harvest
And you can sleep when day is done.
- The Dillards
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