Happy Memorial Day

Although there always have been dances around or on Memorial Day, most don't associate dancing with the day: it's a serious celebration. Hence, not a lot of vintage dance ephemera, including postcards. But I found a couple. The first isn't technically for Memorial Day, but the theme is.



These two have nothing to do with Memorial Day but the idea of white cats with red and blue bows...too cute to resist.

JUMP!!

Gary and I are learning a few jumps in the rockabilly jive. A caveat: when I say jump I do not mean flying aerials or throws. These are very cool…in a routine or if you find yourself on a completely empty dance floor. Throws and aerials are dangerous, for the throwee of course, but also for any hapless fellow dancer who finds himself or herself underneath. Most places ban these sorts of moves.

Also, since I have knee troubles flying aerials may be past what I’m able to do. What comes up must come down, after all.

Fortunately, small jumps, backward falls, and off the floor twirls are within our capabilities and the realm of social dancing. They are so much fun! Jumping up, down, and around feels like soaring high in a swing, or being met at the airport by your sweetheart. And in fact, I guess I am. Every night on the dance floor. Awwwwwww.

The photo at the beginning of this post is a rockabilly move Melissa taught us. Gary and I have bruises. But we learned it! The video below is Kav Kavanagh doing some small lifts and jumps… we’ve almost mastered the one titled Number Nine. It’s pretty easy, and very very fun.



How do you like to go up in a swing,
Up in the air so blue?
Oh, I do think it the pleasantest thing
Ever a child can do!

The Swing (exerpt)
by Robert Louis Stevenson

California Here I Come

I just came back from California and the experience made me want to look for some sort of California sheet music cover for the blog. I came up with a classic, California Here I Come was a standard released in 1924 for the musical Bombo which starred Al Jolson (never my favorite singer). The song itself outlived the musical, finding a recurring place in Warner Brother's cartoons and I Love Lucy as well as being proposed as the state song of California (a proposal that failed in 1951). The musical Bombo is described by that all-knowing reference source, Wikipedia as follows:

"Bombo is a Broadway musical with a book by Harry Atteridge, lyrics by Harry Atteridge, and music by Sigmund Romberg.


Produced by Lee Shubert and J. J. Shubert, the Broadway production, staged by J. C. Huffman, opened on October 6, 1921 at the Jolson Theatre, where it ran for 219 performances. The cast included Al Jolson and Janet Adair.


The musical has a thin story designed to showcase Al Jolson, who was at the height of his popularity. Songs were added by several composers during the run of the show so that, by the end of the run, there were more songs by composers other than Romberg than by him. The success of the musical on Broadway led to a national tour"

Some people are into vanity publishing to support their egos, I guess when you carry as much musical sand as Jolson you do vanity Broadway productions! Then again, stating that a musical has a thin plot line is a little bit like complaining go-go dancers do nothing but gyrate (I sense certain members of my family are in the process of creating effigies of me for the burning right now)! From another online source we get a view into how the production went.

"California, Here I Come, was introduced to audiences in Al Jolson's highly successful show Bombo. In the first two weeks of its Los Angeles run the production grossed $75,200. Jolson canceled the Riverside and San Bernardino performances when he found the advance ticket receipts disappointing. The next night, instead of performing, Jolson was seen rooting at the fights in Vernon. When the Riverside Loring Theater manager learned Jolson feigned laryngitis to get out of his contract, he convinced the Santa Barbara sheriff to garnish $4,100 in box office sales when "Bombo" played there."

The reviews seem mixed! Regardless, we move on to the cover art.

It's – cliché at best. Jolson negotiated a price of $5000 for including his name and face on the cover of the sheet music and that's about all that's on the cover. A few oranges tossed in for color along with an indistinct convent-looking building that might be Capistrano. This particular piece is a member of the family of sheet music that depended on name recognition for sales, thus about all that stands out is Jolson, Jolson, and Jolson. Sad since the song was popular and endures long past Jolson's fame.

The Bop - Part 5

The drop and the scooter! Or maybe the scooter and the drop. I don't know, it's all becoming a poorly illustrated blur to me now. Ray's instructions for the Bop aren't nearly over though. We've moved on to part 5 of the instructional booklet that accompanied his album entitled (hold your breath) Dance the Bop.

I went through the instructions for the scooter several times and I checked out the photos – to quote Oh Brother Where Art Thou that don't make no sense. Firstly, if this is one of the "most common" and "most popular" steps in the bop, don't you think it should have been discussed sometime before page 5 of the instruction booklet? I mean she's not spinning on top of her head, it's not like this is the most difficult looking thing in the world. That said the writer had a hell of a time putting it on paler in any way that remotely makes sense! I think this is the same foot movement as the rockabilly sliding and pivoting basic. I would describe that motion as:

Step on forward with your left foot, keeping your weight on your heel. Then, pivoting on your heel, shift your weight onto your left toe so that you have turned clockwise about 22 degrees.

I know, that explanation uses math but it's quantifiable and doesn't require mushy words like 'barely'. Mostly I get the impression we're seeing something similar to the rockabilly from the photo of the couple (below the written instructions for the scooter). The positioning is roughly right both at the beginning of the step and afterward.

I'm glad the author started the directions on the drop by telling us that it is a good looking step. I'm not sure if that differentiates it from the other steps by implying they were crappy looking or if he believed that the written description would leave us with some doubt that needed to be allayed. Joking aside, the described move does sound interesting. I can see it working in rockabilly and I'm planning on stealing it if my knees will allow. A move that involves gradually doing deep knee bends to the beat of a rock n' roll tune reminds me that this is a dance of youth. It required the sort of frenetic energy I see in my nephews and nieces, bounce off the floor and keep going without hesitation energy. Ah, youth.

There are three wardrobe changes on this page. I also wonder if our dance model isn't up to the challenge of the bop if she pitted out three blouses before they could get the shots they needed for an eight-page brochure!

The Fairy Ball, Revisited

The Fairy Ball, found on either coast of the US (most wanted to attend: Jareth's Labyrinth Ball in California which I’ve written about), and in the UK. There are LOTS of fairy balls in the UK. Here’s a flyer for one of those. SIGH.



Ubiquitous elsewhere, but not around the Midwest. But even if such a magical dance is not in my near future, I can still dream about it. Which begs the question: what do fairies wear to a ball? I’m sure you’d get as many answers to this query as there are fairies, but this mortal's favorite place for enchanted vestments is Gypsy Moon Clothing. This website has operated for many years and I have been drooling over their garments just as long. I’ve never bought anything. Too expensive for me. But I love looking. They’ve expanded a lot over the years. They now have Stevie Nicks inspired dresses, “urban fairy” looks, and a collection based around the artwork of Wendy Froud, wife of famed fairy artist Brian Froud, and quite talented in her own right.

One of the many reasons I love dancing is that it gives opportunities to dress up. Glitter in your hair. Sure. Crowns? I’ve seen ‘em. Princess gowns, vampire- esque dresses, opera gloves, bling jeans, rhinestones, 1920 zootsuits…and that just for a normal dance. Period dances, theme dances, and holiday dances welcome even more over the top. The dancing lifestyle is like living in a costume ball all year long.

I’ve always thought it unfair that a ten-year-old can attend any event he or she would like dressed as a pirate, while a woman my age would look, um, crazy. Now I can yohoho to my heart’s content at a theme dance, or with a few modifications, any old dance.

So who cares if the Midwest is not rich in fairy balls? I can still dress like a woodland fey. As long as I don’t trip over those tattered hems. :-)

Check out the website below. May the clothing inspire you as it has me. Here are of few of my favorite looks.

http://www.gypsymoon.com/

The Many Moods of Dance

I was looking on a poster site the other day for dance art and I was struck by how many ways dance can be represented. I thought I would share a few of may favorites.

I love this one because to me it represents fun...a huge reason why Gary and I dance.



I don't know who said dancing is the vertical expression of a horizontal wish, but I believe this painting shouts the romance of dance.



Dancing is also enchanted.



It can be elegant.



Exhausting and hard.



Athletic!



Joyful.



Confident.



Timeless.



Ancient.

Louisville Lou (That Vampin Lady)

1923
Words by Jack Yellen
Music by Milton Ager

Last year around Mother's Day we went to a dance where we met a couple from Louisville. They mentioned that they came to Indy to dance because Louisville had lost all of its historic ballrooms. Sad to think good old Lou wouldn't have a place to vamp now.

Back to Normal

May hasn’t been so normal thus far. Today the temperature barely scraped fifty degrees and the wind hasn’t stopped blowing since the sun came up. To me this is March stuff – you know, in like a lion out like a lamb and all that. It’s unnerving to sit inside, watching the newly leaved out trees getting the stuff whipped out of them, and listening to the wind moaning around the corners of the house for hours on end.

Luckily there’s one singular item of normality standing between me and cart wheeling into despair – a night at the Starlight Ballroom. We’re returning to the Brickyard Boogie Dancers tonight. It’s been too long since we danced with the Boogies. Our schedule has been conspiring against it, keeping us busy on the nights they were at the Starlight or concocting alternate dance plans or something. I think it’s good to go out and experiment and see new things. That’s why I go to places like the Blue Lantern. Even if they turn out to be a disaster you can say you’ve had an experience and you’ll have a story to tell (whether it’s one of woe or ecstasy is immaterial). After the experimenting and all the experiences, though, it’s always good to return to the familiar. How can you appreciate how special an experience is if you have nothing against which to compare it?

One thing I’ve discovered, though, is we have pretty darn good ‘regular’ experiences. No matter where we dance it’s hard to beat a night with the Boogies or with the Indy Dancers. Both clubs are incredible, the people are great, and the music’s perfect for dancing. So, I’m off to put on my old dance shoes and hit the familiar, neighborhood patch of hardwood. I hope you’re doing the same – it’ll do your soul good.

The Bop - Part 4

Ah, the bop returns! I’ve missed it, haven’t you? When I went over today’s installment I was shocked to find that I actually recognized the moves! “The Chase” and “The Spinner” both have been co-opted into ballroom’s East Coast Swing. It’s a good thing, too – If I relied on the written instructions given here, I’m not sure I’d ever have learned them. Dance is a living thing and to be understood it should be experienced, not read about. The “Do the Bop” insert in Conniff’s album, no doubt, has less to do with the living dance than with Ray trying to cabbage onto an image he couldn’t possibly possess and probably had no interest in. But we should get back to the insert!

At the top there are the remains of last time’s post. Walking the Bop I believe – still too silly to even consider. Actually, I think these first pictures are a simple underarm turn. The EC Swing underarm turn closely resembles what’s shown here. Then again I think most underarm turns are very similar.

We move on to the chase. Is it me or do our dancers look less than enthused about this move? They kind of look like they’re phoning it in. Our lovely lady looks like she doesn’t really want to touch Buzz who, in turn, looks like he’s got some evil plan in mind. Still, the move is totally familiar from the EC Swing.

By the time you get to the Spinner dear Buzz looks like a poor imitation of Rain Man. He’s cantering over sideways and grinning like an idiot. Maybe he’s medicated. Maybe they got him out of the asylum just long enough for the photo shoot. Or maybe he’s destined for the asylum after the shoot.

Just Because

DANCING UNDER THE STARS
Lyrics & Music: Harry Owens


We're dancing under the stars tonight
And you are a vision of loveliness in white;
I see a light of sweet aloha in your eyes of love
Eclipsing the moon the tropical stars above

While dancing under the stars with you
My world is a heaven of make believe come true
And you can make it real; just say you feel the way I do
When we're dancing under the stars tonight.

Narrowing the Focus

There are, literally, a million dances one could learn. And as our beloved Melissa has said, she doesn’t know them all. (Although I’m thinking she comes pretty close.)

Since we’ve learned to dance we’ve focused on expanding; finding places to learn culturally specialized dances like the clave with Organic Rhythms Studio (Shayne), asking Melissa (Fred Astaire South Indianapolis) to learn and teach us obscure dances like the rockabilly jive, and claiming all of our dances as our own by adding individual flair and steps.

Gary and I were discussing the other night what dances we want to do, but more importantly, why we don’t like certain dances so we can choose more efficiently moving forward. There are lots of limitations on dancing. The obvious one is physicality. Although I am loathe to admit it, I can’t hop around all night long like I did when I was twenty. I can hop for a dance or two, maybe four or five if it’s rockabilly because I get carried away, but then I need to switch over to something else for a break.

Another limiting factor is who can teach the dance. If Melissa hadn’t learned the rockabilly jive for us, we’d still be struggling with the basic; no one around here knows that dance. Related to that is dancing the dance in public. Gary and I are already finding that the clave, even in Latin clubs, is rarely danced. We WILL dance it out, but we may be the only ones doing it. That is something to consider when you learn an unusual dance; are you OK with being the oddballs?

And finally, there are taste limitations. Maybe you can dance the dance, but you just don’t like it. This happens. What we want is not for it to happen too often, because it’s hard to start a new dance. There’s a lot of energy that goes into it. So…we figured out some commonalities with what we like and don’t like. What we like: syncopation, flow, and improvisational space. The dances we’ve discarded thus far are those that, to us, don’t allow for those things.

Getting all of this straight in our heads hopefully will make it easier next time we see a dance and want to learn it. I think this recipe is different for every couple. But knowing what you like (or don’t) BEFORE you jump in gives you a leg up. Or leg down, as the case may be.

Hey, I want to try as many as possible while I can still hop, lindy or otherwise. But I want to try with a better shot at us actually liking something new.

The Blue Lantern Ballroom, New Carlisle, IN

We spent the day in New Carlisle, IN at the Blue Lantern Ballroom on Lake Hudson. Places like the Blue Lantern are an introduction to a world that has disappeared. In the twenties, people left the city behind for vacation rural vacation spots but they packed their expectations along with their swimsuits. Just like Bass Lake in northern Indiana (see my previous posts), Lake Hudson had its own ballroom and a regular summer rotation of dance bands that arrived, played, and departed. Some of these bands are virtual unknowns (the Indianans for instance) while others are legendary in the world of 20’s and 30’s jazz and blues. The Blue Lantern had a special ace in its hand, it was located on the South Shore rail line and not far from Chicago. It also had Bix Biederbeck (in honor of my father-in-law I ask that everyone stand for a moment of solemn silence). Biederbeck worked The Blue Lantern with the Gene Goldkette Orchestra from May 22 through August 30th 1926. Five years later he would be dead. I can only wonder what that season was like, what Biederbeck might have felt working this vacation casino. Maybe there’s some record, who knows I might find it someday. Until then I can only use my imagination.


The lake sparkled silver and gold under the August moon, its waters shivering to the strains of summer’s jazz and celebrating one last hurrah before September’s foreboding arrived. A cool breeze blew in across the waters carrying with it the sounds of vacationers returning to their cottages still juiced on the liquor of swing. The salt of cigarette smoke mixes with the voices as the thrum of one last gig dissipates. Winter is on its way and with it the vacation homes and cottages will close and the year’s regular paychecks will go too.

Today the band wasn’t Beiderbeck’s, it was the West Side Jazz Band from Chicago. Jazz isn’t my favorite tempo for dancing – it’s generally fast and lends itself to a few specialized dances like the Charleston. Still the band was marvelous, they’re consummate musicians and I highly recommend seeing them if you have a chance. I also recommend visiting the Blue Lantern Ballroom – however there is a ‘but’.

We arrived at 11 o’clock, exactly when the event started. We got caught by the train that was delivering attendees from Chicago – not a problem; we could have arrived earlier so sitting while the South Shore disgorged its passengers was an acceptable inconvenience. What was less acceptable was the fact we had tickets and there weren’t enough chairs and tables for all the ticketholders. I have this belief that if you invite people, you should actually be able to accommodate them. Nobody would accept buying a ticket to a ballgame only to arrive and have the gate attendants tell you there isn’t enough bleacher space. You wouldn’t accept buying a movie ticket only to have the usher tell you there isn’t room in the theatre. However, we arrived at the dance and had to ask someone to bring out chairs so that we would have somewhere to sit. Not good.

Also, the cost for this dance was $50+ per person. That’s steep but there was a dinner included so the high price can be partially attributed to that face. However, for that price I would expect something more than cold roast beef, cold mashed potatoes, cold gravy…okay; let’s just say that every dish except for the chicken was cold. Regardless, I would have expected something that was special – give me a reproduction of what was served at the Blue Lantern in Beiderbeck’s day but make an effort! In today’s world with the economy being what it is, fifty bucks is a lot of money (at least for us), please give me my money’s worth!

More on the Irvington Lodge

When I wrote my previous blog entry I hadn't downloaded the pictures of the Irvington Lodge. I thought I'd enter them separately rather than append them to my previous post. So here they are!

The lodge itself is an odd building. Kind of trapezoidal and positioned off Washington Street (also known as US 40, "The National Road") and Johnson Ave. As far as Masonic Lodges go, it's kind of an ordinary affair - no Egyptian motif or any obvious Masonic hallmarks. Only the plaque on the building identifies it as anything other than a brick apartment building. It was only after I looked at this picture that I noticed the 'For Sale' sign on the building's facade. I'm hoping it stays in hands that will preserve its historic nature and make the room where we danced available to the Indy Senior Center.

Stepping inside of the Irvington Lodge is a lot like stepping into many arts and craft era buildings. The lines are simple and rectilinear. There's an emphasis on showing the craftsman's work rather than hiding it. Inside the double doors you see above is a landing with a staircase leading up to the second floor and the dance hall. It reminded me of something from a Mike Hammer or Sam Spade story - a site that would have been common in the stubbed out neighborhoods the detectives worked. In the thirties this building would have been a senior citizen, tired and decrepit. Over the entryway is a lovely piece of panted glass displaying the address in fading letters. Another lost art, painting glass. I'm not sure how its done in the modern era, I guess computer controlled machines or some other mechanism to exorcise the skill element from the work. No more men in white overalls with a paint brush and dowel to maintain a straight line.

Finally we get to the dance venue itself. The room (at least once) had served as a meeting hall as evidenced by the two Masonic thrones remaining on the stage. I wonder if they're attached to the floor or just remnants of the building's past. I never tested, walking up to the stage and fiddling with things while the band's playing seems a bit like mucking about on the dais while the preacher's in mid sermon. Regardless, they were there and went generally unnoticed by anyone but me. The floor itself was pretty nice. Lovely oak buffed down by a century of foot traffic. A few uneven boards made for tripping hazards but a careful dancer could avoid them easily enough (more easily than they could avoid some of the folks dancing, for certain).

Anyway, that's the sum of my pictures.  I apologize for putting together a photo-album style post, usually I don't like to do that but I wanted to show off the images. Tomorrow we're going to another historic venue and I promise to give you a full report. This time I'll embed the photos within the blog post itself!