Yes, There are Lindy Hoppers in Switzerland!

ed with a Tap number, followed by a Lindy routine from Rob and Jann. Later in the evening the pair from California dancedthe Balboa, and the two Swedes demonstrated some of their fabu­ lous aerials. These were top per­ formances, and the audience went wild. Between these shows and a lot of time for social dancing, the evening was a success for both participants and visitors. The whole evening had a great atmos­ phere. Sunday morning we renewed our strength at a local restaurant's breakfast buffet for the hours to come. During the last five hours, everybody worked hard again and the marvellous weather invited us, as it had on Saturday, to spend the breaks outside. By 4: 15 pm on Sunday the sec­ ond Swiss Lindy Hop Weekend was history, leaving everyone Rob van Haaren & Jann Olsen at the head of their class in Switzerland. (Photo courtesy of Stephan Joi/er and Erika Schriber). tired but satisfied. The success and good feedback Stephan Jollerand Erika fromCalifornia and Eddie fourhundred spectators. has encouraged us to organize a Schriberfrom Switzerland sent in Jansson & Eva Lagerqvist from On a night dedicated to dances Swing weekend again next year. this review of the Second Annual Sweden's Rhythm Hot shots were from the '30s, '40s, and '50s, an The first 'steps' forthe 3rd Swiss Swiss Lindy Hop Weekend. our trainers. They made the most enthusiastic audience was treated Lindy Hop Weekend have already of the ten hours of available in­ to good performances from the been taken. Exactly where or The first swing dancers arrived struction time to teach a wide Boogie Woogie dancers, and two who will be teaching isn't decided early on Saturday morning,8th range of dances, including Jazz contrasting shows fromthe visit­ yet, but the date will be 7 and 8 October, at the Froschmatt gym, steps, Shag, Balboa, and, of ing teachers. Eddie and Eva start- October, 1995. in Pratteln, near Basel. The event course, a lot of Lindy Hop. had attractedat least a hundred Something new happened in Swiss, French, and German Switzerland this weekend. Our INSIDE dancers, all crazy to learn in the students switched partners, some­ WHY LINDY? aptly named venue (Froschmatt thing we don't usually do in Do YOU More of our survey {page 3) means "frog meadow" - frog = Switzerland, but it went well. jump = hop = Lindy Hop... ). The Swiss Boogie Woogie DANCING, SUN, AND LADYBIRDS After a short welcome the par­ championships were held that This year's Herrang dance camp reviews (page 4) ticipants were divided into begin­ Saturday evening in Pratteln, and AT THE FEET OF THE ELDERS ners and intermediates, and the most of the participants at the A profile of Mickey Davidson (page 8) training started promptly. It was a Lindy Hop Weekend went to the tight fit, with all the dancers event. Twenty-one couples ZOOTING FROM THE HIP divided between just two halls. entered the competition, and the A brief history of the zoot suit (page 10) and more ... Rob van Haaren & Jann Olsen evening was a sell-out, attracting

©1994 Dancing Star Productions except where held by author (noted). All rights reserved. No part of this newsletter may be repro­ duced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information stora�e and retrieval system, without �rmission in writing from the l)Ublisher. Editorial Hoppin' Volume 2 Issue 1

Letter From the Editor Dear Reader: CAN'T TOP THE LINDY HOP weekend in We are pleased to be able to report that May. As Hoppin 's editor, I take responsibili­ Hoppin' is expanding. The newsletter itself ty for the final reading of the story, which I now has distribution in Germany, courtesy of edited. Certainly I have read much discussion Eva-Maria Schmid, and its first subscribers in in the media about political correctness, and Australia, Estonia, and Singapore. Enthusias­ consider myself sensitive to such issues. I also tic young groups of Lindy Hoppers are orga­ firmly believe that we are all entitled to our Publisher and Editor nizing themselves in Switzerland and Austria, own experience and opinions. Deborah Huisken while the scenes in Norway and France seem I personallyfind it surprising that so many to be developing rapidly. We now have twelve people, black and white, New York (and even Deputy Editor to thirteen regular staff worldwide putting in Harlem) natives and "foreigners",are Becky Crane many hours of unpaid work to keep this going. unnerved by going "uptown". I myself have In particular, you will notice Becky Crane is spent some of my most memorable evenings Writers now Deputy Editor, in appreciation forall her dancing in Harlem - my friend Janet, a New Tayo Ajibade, Simon Bell, Benjamino support and hard work amid her busy life, and Yorker, doesn't even lock her car when she Cantonati, Deborah Huisken, Stephan loller, Bex Thomas has agreed to take on the task of parks up there at night. Deidre Ryan, Eva Rydkvist, Porl Smith, Eva­ managing our advertising effort. Steve Carlan To me, there is magic in Harlem, both in its Maria Schmid, Erika Schriber. has offeredto take on advertising in the US. history and in the strong emotions it evokes. Plus Hoppin' is now on the Internet,listed People there seem to connect with each other Additional Contributions courtesy of Brian Dorricott of InternetShopper more strongly, perhaps because they are doing Mameen Beattie, Mickey Davidson, Lorenz Ltd. Many thanks to everyone who con­ so against a backdrop of fear, real or imagined. Ilg, Tony Levy, Judy Martin, New York Swing tributes their time, enthusiasm, and energy to I was interested in the cover story of the last Dance Society, Porl Smith, Roland Stalder, make this newsletter what it is. issue precisely because it so surprised me - the Valerie Wilson. This newsletter is by and for dancers; our experience was so different from my own. goal is to cover what dancers will be interested Editorial Assistance in Please, send us your viewpoints - we want Some nice news on the business side. this to be a place for people to submit their Barclays Bank, having seen the newsletter and Simon Bell, Valerie Wilson. ideas, feelings, or experiences about Lindy. what we're trying to do, is taking the apparent­ Photo Editor However, we are a volunteer organisation, ly unusual step of supporting us by waiving so the onus is on you to get material to us, in some of their fees for small cheques. This Chris Batchelor writing or on computer disk, by the deadline means that, on a limited basis, i.e. in smaller Distribution shown in each masthead. countries with no distributors, we can now accept local cheques in your local cumency to Country Mana11ers: Eva-Maria Schmid, In other news, an interesting perspective on cover subscription costs. Thank you, Germany; Lennart Westerlund, Sweden; the cover story of the last issue came back to Barclays! Angela Andrew, UK, Nancy Sandburg, USA. us verbally. If we understood correctly, the Master: Craig Hutchinson, Julie Oram. comment was made that it was racist and irre­ Commercial: Dance Books Ltd., Books Etc. sponsible to describe feelings of fearand Subscription: . Leslie Coombs, Melinda worry engendered by a trip to Harlem after the Comeau.

Submissions: Submissions for Hoppin' may be sent c/o Dancing Star Productions, P.O. Box 6008, Letters To the Editor London W2 SZY UK, phone +44 71 221 8331. Dear Hoppin'. including all rock-loving venues by day and Email: [email protected]. Deadline for Great Mag! Well done. time of year. I've been asked to start an associ­ submissions to Volume 2 Issue 2 is February 5, Tony Levy ation to teach Lindy. There are lots of swing 1995. London, UK amateurs and they are waiting forLindy. The only problem for many of them is that they're Advertising: Dear Hoppin' not good at English, which doesn't make it Manager: Rebecca Thomas. Editorial calen­ Keep on writing and issuing! You do a very easy forLindy. dar, rates, and deadlines available on request good and important job!!! The £4 [over the Jerome Paillet from Hoppin'. standard European subscription rate] are a gift Paris, France to recognize your work Jerome -- Let us know when you get that Martin Deckert association started. And don't worry about the Zurich, Switzerland language barrier - once the music starts and Martin- Thank you for putting your money the bodies start moving, words become sec­ where your thoughts lie. All contributions, and ondary. Ed. certainly all praise, welcome! Ed. Ed. Note: Jerome has sent us a comprehen­ sive list of places to dance in Paris, tho not ©1994 Dancing Star Productions except where indi­ cated as held by author. All rights reserved. Dear Hoppin' necessarily Lindy. If you would like a copy, Responsibility forveracity of information and opin­ I'm in Lindy from toe to head: teaching send a large self-addressed stamped envelope ions expressed within the articles is the author's alone - Hoppin' and Dancing Star Productions accepts no someone the follower's steps I've learntin to Hoppin' at the Post Office Box address in liability. Herrling, and preparing a "'real" map of Paris, the masthead.

Page2

The Clothes Hoppin' Volume 2 Issue 1

Zooting from the Hip zoot suit became a symbol, a Cab Calloway's creamy dream in focusfor social tensions in the filmStormy Weather. More America that exploded in what recent media outings for the zoot became known as the "zoot suit includ� The Mask and Malcolm X. riots" of mid-1943. Running bat­ Kid Creole (ofTh'e Coconuts) has tles took place between zoot suit­ some natty threads. A few zoots ers and soldiers. Stripping a man are appearing on our swing dance of his suit and burning it became, floors. Watch out forRohan briefly, an extension of national 'Thee Man' Lopez with his killer service. There was an undeniable drapes and a line in Thelonius racial dimension to all of this. Monk-inspired headwear on the The war put paid to the zoot. floors of central London. For the By 1944 the fashion had disap­ classic pin-stripe look, catch the peared, to be briefly revived in righteous Tom Koerner cutting a the US after the war. It was to be rug in Washington DC. taken up in even more extrava­ If you want one, then you'll gant fashion by Zazous in France have to get it made. If you need and, indirectly, by Teddy Boy advice on this contact me through The zoot suit as worn by Cab Calloway. (Illustration by Par/ Smith) See fashion in '50s Britain. Hoppin' magazine. page i-4 for a memorium to Cab. The best zoot on film has to be --thin white duke

"Zoot" is jive talk for some­ that was Harlem nightlife. thing worn or perforn1ed in Another theory is that zoo! style extravagant style. derived from military fashions The wel I-dressed man of the imported from Britain. Whatever, early 1940s wore jackets long these were rarely garments you with wide shoulders and extrava­ bought off the peg. Most suits gant lapels. Trousers came loose would be tailored and fashioned and baggy sitting high on the according to the fancy of the waist and tapering slightly from wearer. Tails, pleats, shoulder the knee. Snap-brim hats and width, buttons, linings - every watch-chainswere optional. suit was different. Zoot fashion simply took these Zoots were one of the earliest everyday elements and blew a lit­ examples of fashion made pur­ tle room into them. Jackets fell to posely to shock. But the suit was just above the knee; waistbands not simply a fancy piece of cloth rose to mid-chest height; legs hanging off a bandleader's shoul­ were outrageously tapered to a ders. This was street style for the 17-inch cufffrom a 36-inch dandy. In the words of Octovio thigh; shoulders were padded to Paz, the suit became an "embodi­ give a width of up to 9 inches. ment of liberty, of disorder, of the The whole was topped by a hat forbidden". Most importantly, the with the broadest of brims and a suit was an expression of black chain swinging below the knee. and hispanic ethnicity. For all the For the real strutter-touch a pea­ appropriation of the style by cock feather was placed at the white hepsters like the Gene back of the hat-band. The look Krupa band, the zoot was origi­ was finished with zoot attitude, nally a black thing. brilliantly recreated by Denzel From the start, the suit became Washington and Spike Lee in associated with (in the argot of Lee's film, Malcolm X. Crucial the day) juvenile delinquency, was the hep cat's stroll: right hand drug fiends, and loose living: to on hat-brim, left twirling the wear a zoot was to invite the chain, shoulders lowered and the attention of the authorities. The walk, almost a lunge, giving max­ attention increased when the War imum swing to the jacket. Production Board legislated The New YorkTimes claimed against the excessive use of mate­ that a black bus worker, Clyde rials in an effort to institute a 25% Duncan, bought the first zoot cut in the use of fabrics. from a tailor in Gainseville, In the era of the rationed utility Georgia. According to the Times, suit, zoot fashionbecame a scan­ he was trying to look like Rhett dal. Damn it, these clothes were London says a fondfarewell to Sing Lim, recemly departed for Singapore. Sing Butler. Others claim that the style unpatriotic. A typical suit could shown here with (r) Rohan Thee Man in his "killer drapes and a line in The/onius emerged from the fashion parade use up to 5 yards of cloth. The Monk- inspired headwear". (Photo courtesy ofJudy Martin)

Page4 The Scene Hoppin' Volume 2 Issue 1

The Viennese Scene the beginning. People who knew Jitterbugs: Regina Forster and them fromBoogie Woogie saw Kurt Bieller, Babara Brzobohaty them dancing like beginners and and Franz Kulicek, Manuela were astonished. "How can Halbedel and Gerhart Ertl, and someone forgethow to dance?" Nadja Staudinger and Benjamino Finally, they got that special Cantonati. Regina and Kurt spent feeling which is Lindy, so they a lot of their spare time choreo­ decided it was time to spread graphing the show Back to Lindy around Vienna to share that Harlem. It consisted of Slow feeling with other dancers. But Swing (similar to West Coast others doing Boogie Woogie Swing and Latin), Shim Sham thought that they were craiy. So and Lindy Hop. After working to make Lindy Hop popular in for half a year with the group they Vienna, Kurt and �egina decided had their first performance in to organise a Lindy Hop show March 1994 at a dance evening, with music, dance and clothes and other performances followed. from the '30s. Three months With their performances they later, they took part in the "Swing fi lied their audiences with enthu­ Masters Jam 1993" in London. siasm -some of them are still Cool and Crazy Jitterbuggers (I to r) Regina Forster, Kurt Biel/er, Babara At the Jam they saw another talking about Lindy Hop. Brzobohaty, Benjamino Cantonati, Nadja Staudinger, Franz Kulicek, Manuela Halbedel, Gerhart Ertl, Elisabeth 8/aickner, Andreas Scherzer famous Lindy Hopper, Ryan Now there is a small group of (Photo courtesy of Benjamino Cantonati) Francois. They had many good Lindy fans who try to encourage experiences with other dancers the DJs of Vienna to play Swing Benjamino Cantonatifrom acrobatics. Regina and Kurt and got many good ideas forthe and who dance Lindy whenever Austria/ills us in 011 what's hop­ were totally bewitched and show, went back to Vienna and possible. Lindy Hop in Vienna is pin' in Vienna. learnedthese new steps with started to make it happen. just starting. It's hard to change much ardour. Thenthey had a It was hard work to create a the opinion of a majority but they Until recently, the scene in class with Frankie Manning and show, to inspire other dancers to continue to get more and more Vienna has been primarily 'SOs - were so fascinated by his smooth­ learnLindy Hop. But they found people interested. style Boogie Woogie -- no one ness, their opinion was con­ them! Four couples made up the Keep swinging Regina and there knew about Lindy Hop. firmed: "That's it!". original "Cool and Crazy Kurt! Regina Forster and Kurt Bieller They practised Lindy every free were the first latter day Austrian Liv minute. As they were trying to do JITilll3U6S and �lve Present couple to be impressed and fasci­ some Lindy steps one night , they nated by the Lindy Hop. were joined by Gil Bradey, a pro­ Kurt Bieller founded the "Cool fessional dancer in the 'SOs who August and Crazy" Jitterbug club, in was seen in the Bill Haley movie 1995 1990. He had seen the movie Don't knock the Rock. He ex­ Hellzapoppin', but he was very plained to them the secret of sceptical because the dance he Lindy Hop. They expected some saw consisted of imposing acro­ great trick, but amaiingly his batic figures and he felt he was modest prescription was simply too old to do acrobatics. you dance only Bam-Bam­ '95 However, in 1993 Regina Bambabam; Barn-Barn-Bamba talked him into visiting some barn (1,2, 3 and 4; 5,6, 7,and 8)!" Lindy Hop classes in Landsberg, Al first they were really confused, near Munich. To his surprise, but little by little they understood. there were couples (e.g. Jann Back in Vienna, Regina and Olson and Rob van Haaren) who Kurt practised Lindy Hop every danced to slow music, and there day. But they realised that they was something like feeling and had to forget all the steps they had haimony in the dance and no done beforeand had to start from Britain's First and Foremost Lindy Hop Event Incorporating theAnnual UK Lindy Hop Championships Advertisement The best lntemationlDance Teachen;/ SANDY STAGG Late night dancing/ Worl

friday & saturday at On 25, 26 & 27 August 1995 - it's ALL of thesel!I 282 portobello road london WlO For Information write lo: PO Box 215, Pinner Don't Miss It! +44 181 964 4830 or anytime +44 181 993 4162 Middx HA5 1 HG, UK Put it in your diary NOW! or Call (UK) 0181-866 9093

Page5 Weekend Review Hoppin' Volume 2 Issue 1

The Swingmasters Jam mortals seemed very fast. The for dancing it was difficult to other classes were compact clear the floor when it was time lessons in the Charleston and fora little sit-down entertainment. Lindy Hop, including airsteps and M.C. Bret Jones led us through eight-beat variations. Overall, I a wonderfulshow comprising W did feel a little overloaded as the and Lennartfrom the Rhythm Hot schedule was very tight. Shots in a scintillating Charleston Frankie Manning was there as a routine, he and Ryan Francois special birthday guest to teach performing a complementary tap and dance the whole weekend. number,the Kent Youth Group That man has received so many proving you don't have to be over birthday cakes this year I don't thirty to enjoy Lindy Hop, and the know how he stays in shape! But premier appearance of The he does and he continues to teach Jitterbug Jammers, who made a his wonderful flowing style to sparkling performance debut dancers all over the world. He is watched by their choreographer, an inspiration to us all. Julie Oram. There were so many classes in There is a photograph openly jazz-based dance throughout the doing the rounds which graphical­ day, as well as the heats forall ly illustrates what quite a few of categories of the Lindy Hop com­ the Jam masterminds, masters and petitions, that I wasn't sure I general jammers were doing in would have any energy forthe the early hours of Sunday morn­ night's entertainment. However, ing. But never fear, mums and after a light meal and a shower to dads, they were only dancing - the strains of the band sound­ and just passing the time before checking (I told you it was a laying the breakfast tables! This small campus), the evening weekend wasn't designed for very began. much sleep and so that is how The competitions were split, as most people treated it, judging by is usual at events like this, into the early queue forbreakfast on several categories: Airsteps, the second day. Classic, Open, and Jack & Jill. More Hip Hop first thing in the From a social dancer's point of morning;by now my body from view I must admit to preferring the waist down was beginning to the Jack & Jill section over the tell me what I'd been thinking for others. Here the true feel of this a day: there wasn't a sprung floor The Nancy Girls. (/,r)Judy Martin and Anesta Logan in their special award­ street dance we know as Lindy available anywherewithin a wide winning form. (Photo courtesy of Porl Smith} Hop is exhibited by the contes­ radius of Windsor and did I really Au11usrBank Holiday weekend Eager dancers filled the floor tants as they strut their skills, have to go to work the next day? was when the second annual from early Friday evening and especially the lead and rapid And could I even make it there if Swin& Master's Jam was held in were treated to non-stop music, response required in this section, l wanted to? London. Porl Smith was there. while spectators enjoyed the whereas most of the rehearsed I decided to find a little comer enthusiastic dancing styles. One routines of dancers in other cate­ somewhere and observe the pro­ The choice of Brunel of the highlights of the first gories have lost their spontaneity. ceedings, but what was this? Were University near Windsor as a evening was the traditional dis­ I think this was also in the the powers that be trying to venue proved to be an excellent play fromthe event's teachers or minds of the judges when award­ smoke me out? No, of course not, one, as contained within the Masters as the "Jam Master­ ing a special pe1fonnance trophy it was merely an example of true grounds were all the facilities a minds" would have us call them. to Judy Martinand Anesta Logan, British hardiness - the barbecue. single dancer could wish for as And why not? Hot on their tails appearing as "The Nancy Girls" Unfortunately,there is only one well as a few extras such as semi - were that excellent London-based in the Classic section. weekend during the whole of our tame rabbits. band, "Ray Gelato", whose wild There were a lot of keen dan­ summertime when it is possible to Things could not have run rhythms prevented anyone leav­ cers moving onto the floor as consume hot food outdoors, and smoother. We were supplied with ing early. The music finally soon as the DJ spun the first this was not that weekend. So we a compact booklet detailing the stopped at about 2am - phew! record and the dancing area was spent what seemed like ages whole weekend's events. The first One of the advantages of hav­ large enough to hold us all (within queuing in the windy English few hours were spent meetingold ing a campus-based event is that, close enough proximity to kick countryside for hot food, which acquaintances, most of whom we if the workshops start at the crack each other if we so desired). was cold by the time the long had seen just weeks beforeat of dawn, the breakfast table is not The band on this evening were queue reached the salad and we Frankie Manning's birthday bash too far away from ones first class. "Sugar Ray's Flying Fortress", a could finally eat it indoors. in New York. Newcomers were In my case it happened to be favourite of Jitterbugs every­ In spite of which, it was a thor­ soon relaxing to the hot sounds of Steve Mitchell with what he where, with their swingin' style oughly enjoyable and well-organ­ DJ Tim's excellent record collec­ would describe as a "slow" Hip and their period presentation. So ised weekend. tion. Hop routine, but which to us mere many people were in the mood © 1994 Porl Smith

Page6 Weekend Review Hoppin' Volume 2 Issue 1

The London Lindy Hop Festival groundwork for most of the Lindy Stompers. There was an Hop danced here today, and con­ impromptu dance competition, tinue to improve the essence of won by the irrepressible Lorenz what is a very individualistic Ilg and Katy Bedruschat from dance. The JLH know first-hand Switzerland. Non-ticket holders what is involved in interpreting a who turnedup to dance were dis­ dance which has little filmed doc­ appointed to be turned away as umentation. At that time, it there was no room left in the hall, proved difficult to define the feel which was packed with not only of a street dance with "attitude". dancers, but proud mums and However, in those early years dads watching the proceedings. they found Mama Lou Parks an Why, you might ask, the proud inspiration and she was obviously mums and dads? Why, to see the impressed with the energy and Chestnut Grove Lindy Hoppers, enthusiasm they put into their of course. For sheer numbers, not dancing. Gradually they gained a to mention energy and motion, fuller understanding of Lindy this performing trnupe of sec­ Hop over years of intense training ondary school students was great and research. fun to watch, and got the crowd Coming back to the Festival, hooting and hollering for more, a suddenly it was evening and the demand which they were more Sound of Seven/een's sound check than prepared to satisfy. came drifting across the superbly They steamed through a long sprung dance floor, which was Lindy Hop routine before intro­ soon filled with the dashing ducing an even younger group of choreography of the organisers, pupils to interpret a modernclub guest teachers Jonathan Bixby hit in Charleston style. If only a &Sylvia Sykes, and very special few of these fledgling Lindy guest Frankie Manning, whose Hoppers continue to be fascinated footsteps were eagerly followed by this dance, the future of Lindy by dancers taking advantage of Hop will be assured, and I predict one of the few live swing big an even bigger following in years bands around. to come. Saturday was structured lo offer Afterwards, Groove Juice to all levels of dancers three Special and DJ Mr Kicks ensured workshops each in different dance there was music to suit everyone. forms, with plenty of time for Sunday evening the Jiving lunch. Classes ranged from basic Lindy Hoppers took us Across Lindy Hop through Balboa and The Tracks with a vibrant and Shag to advanced Lindy Hop the­ informativeslice of dance history, ory and technique. The pace was accompanied by Hang on I'm lively, but with enough time to Gonna Dance. The company's digest one dance form before versatile performance linked pop­ moving on to another. ular dance formssince the turnof Co-organiser Simon Selmon swings his partner, Marilyn Cazaubon at the Frankie then entertained and the century in a logical and some­ London Lindy Hop Festival. {Photo courtesy of Roland Stalder) reminisced with us about the hey­ times humorous progression. The day of Whitey's Lindy Hoppers award for best actor must go to On October 14-16 London London Swing Dance Society and on the set of Hellzapoppin: after Carolene Hinds for her outra­ again showed its lead in £he the Chestnut Grove Lindy enduring eighteen-hour days geous portrayal of a swing beat­ worldwide Lindy scene, £his time Hoppers. In the leafy backstreets repeating sequences shot from nik in psychedelic paisley tights. wilh the first annual London of Acton, I found the renovated different angles, the group would As usual at these sort of affairs, Lindy Hop Fes1ival. That ubiqui­ Priory Centre an ideal venue for a go eat, after which someone the goodbyes take a long time. tous traveling Lindy Hopper, Port full weekend of workshops, pre­ would put on a record and they'd There are always friends to wish Smith, made £he scene. sentations, entertainments and dance again "to loosen up", mov­ well, phone numbers to take and Lindy Hopping for everyone. ing che way they wanted to with­ people to thank, as well as col­ Getting across London on a After registration, Terry out the constraints of a choreo­ lecting danced-in clothing and Friday evening is one of the worst Monaghan, guiding star of the graphed routine. danced-out spouses. I was lucky journeysknown to man. Aware of JLH, gave a super slide show and Saturday night was party night, to get to bed before I had to get this fact, I left the smoky metrop­ history of the Lindy Hoppers, celebrating the Jiving Lindy up for work, but despite the early olis and headed for suburbia early showing the pains they had taken Hopper's tenth anniversary and Monday-morning start I set off in the afternoon,to arrive ahead to learn their art. Frankie Manning's 80th birthday. formy daily grind happy in the of schedule at the first London Lindy Hop has flourished in The celebrations included dis­ knowledge that my Lindy Hop Lindy Hop Festival, organised by Britain since its rediscovery over plays from both the Jiving Lindy surely must be improving. the Jiving Lindy Hoppers, the ten years ago. The JLH did the Hoppers, and the Sugar Foot © 1994 Porl Smith

Page 7 Profile Hoppin' Volume 2 Issue 1

At the Feet of the Elders: A Profile of Mickey Dee aerials and all, in slippery shoes, to the Basie Band doing Jumpin' at the Woodside. It took me time to realise that there were other things that they wanted me to have, things that were no longer going to survive, things that dealt with principles of life. If you go into a studio for an hour and a half, that's a lesson. It's different when you sit at the feet of the elders. Sometimes you learn more taking them home than in a class. You know, we talk about how great the elders are and yet they have to ride these nasty subway trains, go up and down these stairs. One of the more heart­ wrenching moments for me was the day that Norma got a procla­ mation from the city, and at the same time she was being evicted from this little dirty room that she was renting up on 141st & Broad­ way. This is part of looking at the whole picture. Whatever I can do to make a moment in time and space easier or more pleasant for them, that is how I can honor them and their greatness.

Any folk art starts in the com­ munity with the people. Once the masses catch up to it, things get refined and commercialized, and other people outside the commu­ nity profit from it. In order to stay in the running, some new angle has to be created in order to survive --- there needs to be per­ petual innovation. Like the Hip Hop. Now that it's here, the world starts catching up and by the time the world catches up to Mickey Davidson kicking up her heels, Charleston style. (Photo courtesy of Mirashayama Music, Inc.) Hip Hop there'll be something else. Or like the Charleston - it's Mickey Davidson, a dance,; Mickey said: Lindy changed through the rehearsals, go get the the way folkart moves fromits r teacher, and choreographerfom my life. I spent most of my early coffee -- I was the gofer. l would community, fromits grass roots to New York City, spoke with Deb Lindy life under Norma Miller's practice with a guy outside the the masses. For instance, look at Huisken after the CAN'T TOP direction, which Frankie was a rehearsals and finally one day she the Chips Ahoy commercial on THE LINDY HOP celebrations in part of. But I had to go through said "Get up, you're ready now". US TV using Sing, Sing, Sing, or New York last May. an initiation first. l started learningthe routines. AMTRAK commercials using I had heard about older people And then I was called one night Take the A Train, because they Deborah says: Mickey was doing the Lindy Hop uptown to come hang out at Roseland, be­ want that swing, which is fine. part of the panel on Tap and while I was working with a mod­ cause the Basie Band [the Count But this music is more than com­ Lindy given during CAN'T TOP erndance company in Harlem Basie Orchestra] was playing and mercial. It's alive. It's a healing THE LINDY HOP. I was struck during the '70s. I saw Norma and Norma's group was dancing. One music, and a healing art, if you by her eloquence as a speaker, the group at the Village Gate, of the dancers didn't show up, so approach it that way. But by the and wanted to learn more about approached Norma, and she said Norma gave me one of her leo­ time it gets to the masses, it gets her perspective. Lindy was our "Let me see you swing." After I tards. wrapped the scarf from her redefined. common ground, gave us a reason danced she said, "You can't swing neck around my hips and said, to start talking. The rest of this but you can hang out". I would "Go out there'. That's how I was Swing is a healing music and article is Mickey's voice. go up there Sunday mornings, sit initiated into the group. We did dance. I used to really feelthis at

Page8 Photos Insert Hoppin' Volume 2 Issue 1

As promised in the last issue, this special insert is a reprint of the photos fromthe Summer '94 issue of the newsletter, with which we had technical difficulties.

SWING DANCER VERSION1.12 A Swing Dancer's Manual by Craig R. Hutchinson

With 280 pages, including: • Training, music, tochnjque, • Definitions choreography, and history • Abbreviations dance code • Lindy Hop, Jittefbug, Hustle, • 1,53e moves& turns WestCoast SWing, Clll'Olina • 17,280 dance positions Shag, Big Apple, & Shim Sham • 17 decillion rhythm breaks • Bib'iographiM: books, videos, • 45QduodecilltOn figures articles, pertodicals,& moWIS • Over M tum exercises • Support system includes: • SWing dancedub directory suppfemonb, videotapes, newsletter, and updates • Annual calendar of events • Over 100 titlesR&B • Pre-punched 1or ,.three-ring, • OVOC'2eo supplemental pages a.5x11 inch, loose-leafbinder Steve Mitchell comes to the fore. With Erin Stevens at CAN'T TOP THE LINDY HOP in New York, May 1994. (Photo courtey of Roland Stalder). SWING DANCER VIDEO SERIES

A series designed to get you started dancing West Coast Swing. Based on the popular reference manual, Swing Dancer, the series takes you from a historical perspective through beginning basics to more advanced moves and rhythm breaks.

Swing Dancer Manual without binder $20 Swing Dancer Manual with binder $25 Introduction to West. Coast.Swing $35 West Coast.Swing Figures Level 1 $35 WCS Rhythm Brea.ks Level 1 Part 1 $35 WCS Rhythm Brea.ks Level 1 Part 2 $35 Follower's Swing Turn Package $35 Shipping & Handling USA Overseas First. Item $3.50 $10 Each Additional Item $1 $2 TOTAL----

POTOMAC SWING DANCE CLUB 3409 Silver Maple Place Frankie (with Mickey Davidson) working his way through dancing with 80 women in honour of his Falls Church, VA 22042-3545 USA 80th birthday. (Photo courtesy of Roland Stalder) 703-698-9811

Page i-1 Photos Insert Hoppin' Volume 2 Issue 1

Frankie and New York friends doing the Shim Sham on his birthday. (l,r) Buster Brown, Chazz Young, Young Frankie, Karen Goldstein, unidentified, Bob Crease. (Photo courtesy of Tim Flack) .

...

The Awards at the 1994 Whitsun Camp. (l,r) Marcus Koch, Frankie Manning with the "Frankie Award", and Ralf Hergert, president of Boogie Bfiren. (Photo courtesy of Boogie Bfiren)

Norma Miller shines in the sun as Clara in "Captivo", filmed in Florida in 1994. This marks her first dramatic role. (Photo courtesy of Norma Miller).

Page i-2 Photos Insert Hoppin' Volume 2 Issue 1

EVENTS AND PERFORMANCES Big Apple Lindy Hoppers, First Night, 31 December '94, NY, USA. Met Life Building, adjacent to Grand Central. The JOO Minute Revue, Members & Friends of the London Swing Dance Society, 12th January '95, London UK. I 00 Club, Charity Dance for Cancer Research. Contact +44 171 603 6343. Bullies Ballerinas, 13th January, Surrey, UK. Christ's Hospital Theatre. Contact +44 181 541 3191. Jitterbug Jammers, 14 January, Bristol, UK. Amnesty International function. Contact +44 181 809 5507. Bullies Ballerinas, 27th & 28th January, Sudbury, UK. Quay Theatre. Contact +44 181 541 3191. Bullies Ballerinas, 11th February, Somerset, UK. Bridgewater Arts Centre. Contact +44 181 541 3191. Bullies Ballerinas, 13 February to 11 March, Somerset, UK. Series of performances, work­ shops, and residencies. Contact +44 181 541 3191. Puente el Tango (Bridge to the Tango) 17-27 March, Third Annual Dance Journey to Argentina. Argentine Tango is said to have similar origins to Lindy -- check it out! Contact +l 212 769 9559. Bullies Ballerinas, 30th March, Wolverhampton, UK. Arena Theatre. Contact +44 181 541 3191. Rhythm Hot Shots, Bullies Ballerinas, 31th March to 2 April, London, UK. Dance World. Contact +44 181 541 3191. Frankie Manning at The Sophisticates, 29th Zoots and Spangles (Photo courtesy of Zoots & Spangles) April, NY, USA. Contact+) 914 345 8002.

LINDY IN LYON

Franck Balbin wrote to tell us about the first Lindy Hop workshop held in Lyon, 14 May 1994 with teachers Rob van Haaren and Jann Olsen from California. Seventy people attend­ ed and it was a great success. Another is planned for about the same time next year, and Franck's planning some surprises - we'll keep The Kent Youth Group with members of Zoots and Spangles. (Photo courtesy of Carol you posted... Clarke)

Page i-3 Photos I nsert Hoppin' Volume 2 Issue 1

Ratamacue and Crescendo in Published by Paladin. Drums, Punching the Bass featur­ 'THE GUINNESS WHO'S ing Milt Hinton and Jonah Jones WHO OF FILM MUSICALS in Jonah Joins the Cab. AND MUSICAL FILMS". Calloway and his big bands pp 50. 51. 1994 Published by toured Canada and the USA Guinness. extensively with side trips to "WHo·s WHO OF JAZZ. Europe and England in early Storyville to Swingstreet". p 60. I 934. During the late 1930s and John Chilton 1972. 4TH ED. early I 940s, Calloway's band was Published by Macmillan. London consistently one of the top ten Ltd. highest earningbands in the USA. "THE ENCYCLOPEDIA OF Calloway sta1ted working with JAZZ". Leonard Feather 1966. a sextet in I 948, after disbanding Published by Da Capo. the big band, but reformed for "OF MTNNTE THE particular shows in the US, South MOOCHER A'lD ME". Cab America, and Canada. From June Calloway with Bryant Rollins 1952 until August 1954, Calloway 1976. Published by Crowell. took on the role of"Sportin' Life" "THE SWING DANCE ERA", in Porgy and Bess, a show with Gunther Schuller 1988. which he toured occasionally in Published by Oxford Press. the late 1950s. During the mid 1960s Calloway was a feature of the touring "Harlem Globe Freddie Haugan of Bardar Dance Institute in Norway leads a class in a twitchy move. (Photo courtesy of Rune H. Schulstad). Trotters" basketball show and he returned to full-time stage work to star in "Hello Dolly" with Pearl IN MEMORIUM -- Bailey. He continued to work with big­ CAB CALLOWAY, 1907 TO 1994 bands in the 1970s and his autobi­ ography, titled Of Minnie The researched and TayoAjibade he made "Hi-de-ho" his catch Moocher and Me, was published wrote rhe fol/owing tribute to one phrase before immortalising it in in 1976. 1n 1981 Calloway's song of 1he best of !he big band lead­ Minnie !he Moocher the song Jumping Jive was recorded by ers. recorded in March of 193 l. British artist Joe Jackson. ln addition to pursuing his Calloway featuerd in various Cabelle 'Cab' Calloway was "scat" vocal style in his big band born on 25th December 1907 in shows including "Bubbling work, Calloway appeared in films Brown Sugar" and kept on work­ Rochester, New York. He spent such as The Big Broadcast his childhood in Baltimore, where ing through the I 980s. In I 993, (1933) with Al Jolson, Cab Calloway appeared at the he occasionally sang with the International House, The Singing Barbican Centre in London and Baltimore Melody Boys. When Kid, Stormy Weather, Sensations later that year, he was awarded an his family moved to Chicago he of 1945 and Sr. Louis Blues. studied Law at Crane College. honarary doctorate in Fine Arts at His great contributions to the the University of Rochester, New His sister Blanche was a vocal­ swing band era and jazz scene ist and his brother Elmer a band­ York State. He led an audience of were his "Zoot Suit and floor 9000 graduates and guests in a leader. Cab's musical interests trailing watch chain" style. his Jed him to perform in the sing along to "Minnie the showmanship and the drawing Moocher". "Plantation Days" show with his together of fine muicians in the sister Blanche. He also worked as Cab Calloway died in various big bands he led until ovember 1994. a relief drumer and master of cer­ 1948. Unusually for the time, he emonies touring the M.C.A. cir­ paid excellent salaries and to cuit. quote Doc Cheatam, a musician From 1928 to I 929 Calloway in one of his bands " ...with Cab it References/Suggested worked with the Alabamians, first was first class all the way ... ". Further Reading and as their master of ceremonies and Calloway worked with musicians Listening: then as their front man at the such as Chu Berry, Ben Webster, Savoy Theatre, New York. When Jonah Jones, Dizzy Gillespie, ''BEST OF THE BIG BANDS Calloway began working regular­ Hilton Jefferson, Milt Hinton and CAB CALLOWAY" (music and ly with the Missourians as their Cozy Cole. Although the record­ liner reference notes by Wi I I front man, the band was renamed ings that they made centred Friedwald) Compact Disc CBS Elaine lljon shows a fellow Jammer "Cab Calloway and his around Calloway's singing, he 4666182. the lead in a new move from one of Orchestra" and they took up resi­ her classes during the Jitterbug did allow for showcase solos such "THE JAZZ BOOK". pp 92, dency at the Cotton Club in Jam in August. (Photo courtesy of as the drumming of Cozy Cole on 399. Joachim E. Berendt. February 193 l. This was where Maureen Beattie)

Page i-4 Profile Hoppin' Volume 2 Issue 1

Mickey Davidson (cont.J NorthernLights, a dance spot in New York they could cuss a sailor down. But that quiet sure does swing. It's some strangeshit but it where we used to dance on Monday nights. I power I've been talking about made me able to swings". And as long as she said it swung I would laugh at myself because here I'd be, a touch them. There was something critically knew I was alright, the shit worked. liberated, single, mother going through one of missing in their lives, and yet they were never A fabulous Lindy Hopper and African them days. Then I'd get up to NorthernLights disrespectful to me. They learned Charleston, dancer up in Chicago named Amaniya Payne and there was this guy, Warren White. I would they learned an African dance and swing, and has this piece called African Swing. She used always love to have my first dance with him. the class grew from fourgirls to almost eleven. to dance with Norma. She has a Jazz trio and a He'd say to me, "baby, I'm leading, let me The social worker said she'd never seen all Jimbe [high-pitched African drum] ensemble lead". And I would always then have to take these girls working together. A manic depres­ on stage together. The dancers go from Saba, a myself through certain affirmations to release, sive who had never done anything with other traditional dance, to Lindy -- and the audience trust, and let it go. I let all this stuff that I had people in the school came into my group. sees first hand how the two go together and to be in control of go, because on the dance There's healing there, in understanding not just come together. It really does swing. floor, as a follower, I don't have much control. these steps but that the circumstances in which There's somebody taking care of me. He's these steps were created was one which Another element that we are dealing with are gonna make sure when he swings me out there allowed people to feel and share in a positive the presenters/producers. Within a season they are no obstacles. I had to go through that psy­ way during a time when society was not will have a certain number of African­ chological transition from my full day as a always positive toward people of color. For American artists, no matter if they are young modem dancer, as teacher, as mother. I started me the Lindy is more than just dance steps. or old. I got a job once and found out the peo­ to really understand that it taps into another It's a way of life. ple I was up against were masters. After I got aspect of my womanhood. We as young the gig and was on site, I asked, "How could women, very free,very independent and social You know, society has changed in terms of you even compare me with them?" They said minded, how do we share, how do we trust and the relationship between men and women. A they could get more mileage out of me since I allow somebody else to lead? dance like the Lindy Hop is almost not logical had a degree and some professional experience There was a singer in one of my companies. within today's community, and yet so many --as opposed to having years of professional­ I had a talk with her about what was consid­ young people are reaching back to the Lindy experience "only". They then asked ifl want­ ered a good strong woman during the '30s and Hop. What partner dance do we have today? ed to give the money back. How could I? I '40s, as opposed to what we consider good Where do men and women touch and move am trying to make a living while trying to be strong women now. Because during that time - together? What I mean is, the one dance that respectful to those who have come before me. - and remember, you're dealing with segrega­ has always survived, even when it went under­ It's a lot harder under these conditions to have tion -- the women didn't project themselves as ground or back to the grass roots community, open and consistent generational passing on openly. But they were very strong, and they is the slow drag. From slavery on through you within the community if we are competing for knew it. I've heard the older women say "if will always find the slow drag. the same limited work opportunities. There the man's rhythm isn't so on, there are subtle I asked "What's slow drag?" are no easy answers to how to honor the men­ ways of getting back on without challenging "Oh, honey it's when sweaty bodies are just tor while in some cases competing with them his leadership, and that's what makes you a pressed up against each other and you get up in order to pay the rent. good woman". When you could follow any against the wall and you just grind. I mean To live through dance is to see the onenes of man's lead, that made you a good female that is the one dance everybody always did. human beings. Frankie, Norma, Pearl Primus, dancer . How many women at that time, espe­ You don't see it nearly as often now at parties. the Copasetics, and other masters live through cially in the black community, kept families There's no touching. As a society, we have dance and share themselves with the world to together with that type of quiet power? You become so disconnected. That's what the grind make it a better place. Dancing that brings dif­ were in control. You had no need to openly is all about. Baby, when you did the grind you ferent people together, that's the next phase project your strength. It was there, and your just hung on that man and he hung on you and that I'm personally stepping into. Sometimes, beauty was subtle. It was about feelings, tun­ 0000, you turnedthe lights down. That's it feels like being a lone wolf, battling forces ing in, and glorify the men because during that what they did between the fast dances, every­ of ignorance and misinformation. time the black man didn't have a position, so body did. Now, they don't touch each other, But I get my grounding fromthe community where did he get it if he had a challenge out there isn't that kind of sharing. I think that's and the elders. Before I come out with some­ here and then at home too? That didn't mean why you don't see a lot of young people doing thing new, I have the elders see and guide me. the women were weak. They were wise from dances like the Lindy because they aren't com­ It's still mine, which means it might not be the another perspective. fortable with that type of physical intimacy. way they would do it, but they understand, This is what I learned from the elders, and respect, and maintain the core of tradition what I tried to tell that singer, to get her to To me a major ingredient of Lindy is indi­ while continuing to bring a new life force. If calm down, so she then could follow her part­ viduality. One thing the early dancers had was they say I'm on the right track, even if it's dif­ ners. The guy she was dancing with at the time that everybody was very special, everybody ferent from where they are at, if they can see, was about sixty, a Brooklyn Lindy Hopper. found their own individual style, so everybody then I go. And I can weather whatever storms For her to be able to followhim, she had to be didn't look alike. come. able to feel, to listen, to adapt and then ad just. As No1ma says, she doesn't want to come So in a sense you're in much more control than back and see us doing the same thing that she The thing we have to understand is that we you think you are, and knowing that has was doing when she left. I remember when allhave a creative voice which is a result of helped me a lot. she first saw this piece I choreographed. I had our life experiences and the culture in which Just recently I finished doing some work a trio and she started complaining, "shit, how we have been raised. When we share and live with some teenage girls between 16 and 21. you gonna get a trio to play the big band within other cultures, we don't stop being who Some of them had babies, some were home­ music?" Then she looked at the dance and she and what our core is, we just add to it. This less, some lived in group homes, some did not said "SHIT where you puttin' them accents?" opens the voice of our particular tradition to spell, I mean these girls were out there, and But then she looked at it again and said, "It more people of the world to share and utilise.

Page 9 Camp Review Hoppin· , Volume 2 Issue 1

Dancing, Sun, and Ladybirds - Herrling '94

Eva Rydkvistfrom Sweden sen! us rhe fol­ An International camp BEGINNERS GUIDE TO SWEDEN lowing report on this year's 4-week Herrang Every summer for the last ten years, I have dance camp. A BRITISH PERSPECTIVE joined the dancing camp here in this Mecca of A small idyllic village on the coast, some dancing. I come in order to learn more about This perspective on Herrlingthe week of Lindy Hop, but not for that reason alone. 120km from Stockholm, Herrang has a popula­ July 16-23 was suhmirred by Deidre Ryan of tion of some one thousand souls. That is, From the beginning, it was also to meet friends London. except during the weeks of 9 July to 6 August, from all over Sweden and now, from around when the number of inhabitants increases dras­ the world. I come to get the chance to study General Atmosphere tically. That is when The Rhythm Hot Shots with all these gifted dancers, to dance, and to get inspiration. For the cooling ice creams and Herrang has so little traffic you can always and the Swedish Swing Society have their hear swing music and the buzz of tapping feet. annual training camp, practising African­ the sunbathing. For the stiffness after training and the comfort of sleeping on a less-than­ Darkness fellaround 11pm, but by 2.30am it American dancing. On average, as many as was broad daylight again. The camp is run l 50 dancers per week practically invade the comfortable air bed. For the weeks when every night is a festival where one listens to efficiently in a very relaxed way and the otherwise quiet idyll. r the best of jazz music and dances with the best atmosphere is fiendly and convivial. The Apart from the scenic setting, Herrang has a Rhythm Hot Shots (RHS) were dedicated, school where the classrooms serve as sleeping of dancers. And for the general enjoyment. The camp has grown and become the biggest helpful and charismatic. They happily spent quarters for the dancers. The school has a all day giving out mattresses and answering gym, where this year, apart from the dancing in the world in African-American dancing, and apart from Lindy Hop, it now offers styles questions - some of them gave up their annual lessons, we had the opportunity of watching a holidays to run the camp and teach. most thrilling game of basketball between stu­ such as Tap, Hip Hop, Boogie Woogie, African dancing to drums, Balboa, and Ballroom. The dents and teachers, supported by exceptional Classes instructors are the best in the world, excelling cheerleading. Furthermore, the village has a We had 4.5 hours of classes per day. People's Palace, with a recently-built, when it comes to know-how and experience. I pinch my arm to make sure I stay wide However, although I learnt a great deal, I old-fashioned Swedish open air dance-floor. found one week of this intensive tuition During these summer weeks, it is utilized night awake and so I won't forget the fantastic per­ formance of Frankie Manning in inspired exhausting physically, and felt myself going to and day. Should you get hungry, there is every pieces mentally. My feet got dangerously ten­ imaginable convenience in the form of the moments. I think how privileged I am to have seen him smile and hear him tell about the der, so I would strongly advise a beginner to organized dining hall, as well as the village do one week only. food store and kiosk, businesses which in these balmy days of the Lindy Hop. This year, he turned80 ... weeks secure their existence. But all of this is Frankie Manning of little significance when compared with the Now it is winter, and in Sweden a new train­ We had 3 classes with Frankie. He taught us Blue Moon Cafe in the People's Palace, where ing and contest season has started. The inspi­ the scissors, one of his steps, and spent a lot of they serve you one surprise after the other. No ration from the past summer is clearly present, time on it. He was keen that we should dance two evenings are alike when it comes to both and it is with enthusiasm that T go into the cold with the whole body rather than just do steps. menu and entertainment. and dark of the Swedish winter to continue my He really loves dancing, and said the key to This year, the summer was very sunny and training and improve my skills. My memories being good is practice, practice, practice. warm. No feature of Herrang was therefore of the dancing, the sun and the ladybirds in One evening we were shown a video of peo­ more perfect than its bathing-beach. This Herrang are still vivid. ple all over the world dancing to Shiny Srock­ summer, it was well frequented by dancers, I have already registered for next year's ings (his favouritetune) made for his 80th saxophone players and ladybirds alike. There camp. Have you? birthday. This was very moving, the world's was even a lesson given in the water. best all dancing to one tune in his honour.

Page 10 Camp Review Hoppin' Volume 2 Issue 1

Herrang '94 (cant.J Classifieds Photo and Illustration Contest. Submit your drawing and/or photos illustrat­ ing Lindy and Lindy-related events, people, activities. We'll use the best ones in upcoming issues of Hoppin'. At the 1995 dance camp in Herrang, Sweden, an impartial group of judges will choose the contest winners from the previ­ ous year's issues, and a prize will be awarded. You don't have to be present to win. Send your entries to Box P/I.

Talent Needed Year-old dance newsletter looking for talent­ ed dance/action photographers, writers, pro­ motions and sponsorship experts, advertising sales people, and distributors around the world. Please write to Box HELP.

Looking for Partners Male dance partner wanted, 20-30, advanced Dawn Hampton belts out a tune in the Blue Moon Cafe. (Photo courtesy of Lorenz Ilg) standard, for Lindy practice and integrating new steps/styles. Possibly with view to low­ He told us how he and Whitey were in the because their feet gave up, but the survivors key competitions/display forfun. Surrey/ Savoy one night where they saw a girl doing gave an impressive performance at the end of London area. Contact Box SR. the very firsttwist. Frankie hid under a table the week. to figure out what she was doing and when. Free Publicity! Warren Heyes and Maxine Green Her perfect timing made this easy. Then Dance World '95 is happening in London Whitey got all the girls doing it... In Frankie's Warren and Maxine, of Jiving Lindy Hopper from 31 March to 2 April. This unique inter­ day there was no age gap with the Lindy. fame, emphasize beat and rhythm. They national dance tradeshow includes workshops, Grandparents argued with grandchildren about encourage an individual interpretation which stands, and events. how the steps should be - everyone did it. was bewildering to some but which many find Hoppin' will have a stand. If you wnat us to He's a very giving man, with a great ability challenging and inspirational. Warren has a display your flyers and leaflets, send 50 copies to communicate, and a joy to listen to - a very deep knowledge and awareness of the histori­ and an original (in case we run out) to Post happy man. cal background of each Lindy Hop step and its OfficeBox 6008, London W2 SZY by 15 origins. March. Dawn Hampton 9,000 people attendedlast year's event, and This tiny little lady comes from a huge fami­ Rob van Haaren the organisers expect 12 to 15,000 this year. ly of dancers and musicians, amongst them the Rob apparentlyknows every dance there is. great Lionel Hampton. Her subject was musi­ He taught us a very vigorous heavy metal type cal theory, and her message was keep at it no jazz routine which involved flying Charleston matter how hard it seems, because everyone and press-ups, which only the fit could handle. CLASSIFIED else has been where you've been, even the very best. Like Frankie, she recommended Nightlife REPLIES practice, as much as possible, on your own if Every evening from8-9pm there was a Send replies for Classifieds to Hoppin', necessary. Anyone who wants to can dance, meeting hosted by the RHS, where their droll P.O. Box 6008, London W2 SZY UK. but sometimes people lose hope, give up, and sense of humour was given full rein and led to Indicate the box number to which you are never get there; so don't do that - keep going. much hilarity. This was followed by social replying in the bottom left-hand comer of Listen to the music, dance, feel it, and do it - dancing. Is it true that the Swedes are all your envelope. it's all rhythm, rhythm. She was very encour­ excellent dancers? They had their own style Rates are £.50 (or equivalent) per 4-column aging, sympathetic, and inspiring. When she and went like the hounds of hell, fast and ener­ line of type - illustrations and special type­ danced her movements were economical, but getic. They got their second wind around 3am, setting extra. Deadline forVolume 2 Issue 2 looked great. with candles lit and the blinds pulled down ·· is 5 February1995 .. by then it would be broad daylight outside. Chazz Young The dance hall often stayed open until the last Chazz, who works with Norma Miller in Las dancer left for breakfast at 7 .30 am. different, with night and day all jumbled up. Vegas, taught Tap and his class was fascinating This easy-going flexibility gives a great Whatever your sleeping habits are, forget to watch. He is a dedicated and generous sense of freedom. You can do anything - walk, them, because once you 're in Herrii.ngthe air is teacher, inviting everyone to stay back until swing, dance - at any time of the night. Even so clear, there's so much happening, the whole they had learned the routine - sometimes ages if you had never danced you would enjoy atmosphere is so refreshing and there is such a after the class had ended. He set a cracking Herrang, I feltvery lucky and privileged to be high level of enthusiasm and commitment to pace - tappers reckoned they learnedmore there. I also felt that my normal world had dancing that you will end up not wanting to from him in two days than in the previous turned upside downand I was living on some miss one moment of this unique, eccentric year. It was so intense some had to drop out strange fantasy planet where everything was holiday.

Page 11 Advertisement Hoppin' Volume 2 Issue 1

Advertisement International World Lindy Championships Oslo, Norway

• • • • • • • • .,....._ 9 - 13 AUGUST 1995 ...... • • • • • • • •

• [N]orway's biggest dancing school, with four studios • �ive days of workshops with Frankie Manning, Steven Mitchell, Ryan Francois, and other surprises • ®ocial Swing Dance every night • tfhe First International Lindy Hop Competition, judged by Frankie Manning, Steven Mitchell, and Ryan Francois • �ree sleeping accommodation in the studio - information on local hotels can also be provided.

For information, fax Freddie Haugan on +47 22 56 48 08 or contact Bardar Dance Studio

Bardar Dance Studio• Kr. August gate 15; 0164 OSLO, NORWAY Tel: +47 22 20 90 10 • Fax: +47 22 11 22 21. Ask for Freddy Haugan

Page 12 Lindy Listings Hoppin' Volume 2 Issue 1

Lindy Listings It's time for the annual Lindy CONTACTS: CONTACT: Club, Metzertr. 24, 4056 Basel. Listings. These are as up-to-date Dance Studio Braunmuller, Maria Weber (teaches), Dance. Contact Joe Namesnik as we could get by press-time. If Leonhardsberg 3 86150, Augs­ Daljunkaregatan 16, S-791 37 (see above). you have more recent informa­ burg. phone +49 821 152 318 Falun. phone +46 23 69 286. Saturday (1st ea. month) Cotton tion, be sure to let us know. Steve Mitchell (teaches, chore­ Club (see above). ographs). phone +49 6103 86920. Switzerland Asia VENUE: CONTACTS: Tuesday (2nd ea. month, 20:00 Manuel/a Foresti (facilitates ORGANISATIONS: Shanghai to 23:00) Max-Emanual-Brauerei Lindy workshops), Basel. phone Jitterbugs (teach). 59A 33 Adalbertstr, 8000 Munich 40. Crowland Road, Tottenham, VENUES: +41 61 631 06 83. Contact Marcus Koch (above). Stephan Joi/er Erika London N 15 6VL. Contact Julie Peace Hotel , The Bund. Six­ & Schriber, Oram, phone+44 181 809 5507. piece band, the "Old Jazz Band" M. Berri Str. 12 4142 Holland Live 2 Jive (teach). 23 The in the lobby bar; sprung floor in Miinchenstein m. Basel. phone Chase, Eastcote, Pinner, the main ballroom. +41 61 411 9576. ORGANISATION: Middlesex HAS !SJ. Contact Shanghai Sports Institute, Zhu Edwin Boom, The Boogie ORGANISATION: Fred Hunt/Beckie Menckhoff, Yong Zhong teaches ballroom Swiss Swing Society. Busters, Amsterdam, Spaame Contact phone +44 181 866 9093. dance says the March '94 163, 2011 CG, Haarlem. phone+ Lorenz Jig, Schiibelwis 6, 8700 London Swing Dance Society National Geographic. Might be 023 355 597. A Boogie Woogie Ki.isnacht. phone +41 I 910 76 (teach, perform). 28 Nottingham interested in Lindy? club moving into Lindy. 14, or Joe Namesnik, Amerbach­ Place, London WIM 3FD. strasse 56, 4057 Basel, phone +41 Contact Simon Selmon. phone Hungary 06 691 46 72. +44 181 954 2147. Europe CONTACTS: VENUES: Rock Dance Company (teach­ Gabor Janicsek, Friday, ATZ, Keller konradstr. es). 170, Femhead Road, London Austria Budapest. phone +361 202 0289 58, 8005 Zurich. Dance w/ DJ. W9 3EL Contact James Hamilton, phone +44 181 969 5155. ORGANISATION: B6bis Laszlo, Szikora Boglarka Contact Lorenz Ilg. (see above). Cool and Crazy Jitterbug Budapest. phone+361 176 7970; Friday (last ea. month) Corron Club, Mautner Markhofgasse 17- fax +361 115 3202. 21/12/5, 1110 Vienna. Contact Kurt Bieller or Regina Forster Norway phone +43 222 74 94 581. ORGANISATION: BlirdarDance Institute, France Kristian August Gate 15, N-0170 CONTACT: Oslo. Contact: Freddie Haugan. Jerome Paillet, 28 rue phone +47 22 20 90 JO. HERRANG Castagnary, 75015 Paris. phone DanceCamp-95 +33 I 45 33 15 05. Sweden

ORGANISATION: DANCE COMPANY: Lindy Hop, Boogie Woogie and Tap. French Swing Dance Society. Rhythm Hot Shots, Ploggatan I, 1-Week programs. All levels. Conract: Franck Balbin, phone S-116 34 Stockholm, (perform +33 78 24 78 23 (wk). and teach). Contact Lennart Preliminary dates: July 1-August 5. Westerlund +46 8 643 40 58 or Germany Anita Kankimiiki.+46 8 18 07 82. Worlds most comprehensive swing dance ORGANISATIONS: ORGANISATIONS: camp. 24-hours-a-day-activities. Boogie Bears, Munich. Contact Swedish Swing Society, Marcus Koch, Pelikangasse 34, Bergsundsstrand 43, S-11738, HDC 1994 included more than 700 students 85551 Heimsletten, Tyskland, Stockholm. phone +46 8 84 75 from16 countries;the teaching staffcounted phone +49 89 904 4767 or Barbi 60 or contact Stefan Lof, phone more than 25 teachers. Kaufer, Georgenstr. 49/II, 80799 +46 8 36 56 66 If you are interested to receive (in jan-feb West Coast Jitterbugs, Mi.inchen, +49 89 271 7299 1995) information about the camp, please (Marcus & Barbi compete, per­ Eklandagatan 60B, S-41261, form, teach). Dance club. Gothenburg. Lindy Hop club on send us your name and address and we will Boogie Club, Berlin. Contact the West Coast of Sweden. put you on our mailing list. Volkart Meier, President, Contact Susan Schultz, Johan Burell, phone +46 312 076 89. Drewitzerstr. 59, 13467 Berlin, THE RHYTHM HOT SHOTS phone +49 30 4044 580, or VENUE: c/o Lennart Westerlund Andreas Seebach, Hagenstr. 2, E. Wednesday (19:30-23:00) Berlin 1130, +49 30 553 3484. Jesse's Jazz Club, Pryssgrand 14, Ploggatan 1, S-116 34 Stockholm, Sweden Private dance club. Stockholm. Class 18:30, dance. Contact Lennart (see above).

Page 13 Lindy Listings Hoppin' Volume 2 Issue 1

Lindy Listings < cont.J DANCE COMPANIES: Urdang Academy, 20 Shelton Bullies Ballerinas, (teach, per­ Street, London. Classes. Contact You Wanna Get Dancin'? form). Contact Jeanefer Jean­ Simon Selmon (see above) You Wanna Get ..... Charles or Tobias Tak. 67 Wednesday (21:15- 23:30), Bravington Road, London W9 Jitterbugs, Notre Dame Hall, 5 3AA, phone + 44 18 l 964 551 2. Leicester Place, Leicester Sq. Chestnut Grove Lindy Hoppers London WC2. Class 19:30 & (perform). Contact John Brooks, 20:30 then dance toDJs, bands. Chestnut Grove School, Chestnut £4 - £5 depending on band. Grove, Balham SW 12 8JZ. Closed 28/12 & 3/I. Contact phone +44 18 l 690 2364 Julie Oram (see above). litterbug Jammers, (perform). Saturdays (2 per month, 20:00- The only ... · Contact Julie Oram, 59A 23:30), Hellzapoppin', Cecil Social Dance Magazine for Crowland Road, Tottenham, Sharp House, 2 Regents Park Rd. London & S.E. England covering ... London Nl5 6YL.phone+44 181 Camden Town, London NW I . 809 5507. Dance to DJs, cost £4. Contact Lindyhop •Jive• Rock 'n 'Roll•Salsa Jiving Lindy Hoppers (teach, Tim+44 181 886 3473 or Ballroom•Latin • Tango• Sequence perform). Contact Eileen Feeney, Caroline Cole +44 181 444 9623. 35 Newton Avenue, London W3 CONTACT: SAR. phone+44 181 992 8128. Ellen Miller, +44 17 l 820 0503 Kent Youth Group (perform). Contact c/o Carol Clarke, Kent County Council, YCS/1, Maidstone, Kent ME!4 2LJ. phone +44 1 622 696033 Suga,foot Stampers (perfo1m). California Contact Simon Selmon (see CONTACT: above). Chester Whitmore, LA. phone Zoots Spangles & (Choreo­ +l 310 676 2965. graphs, teaches, performs). Contact Julie Oram (see above). DANCE COMPANIES: Sreppin' Our Dancers (per­ VENUES: form), P.O. Box 91131, Pasadena, ORGANISATIONS: Erin Stevens (see above). Mondays (20:30-midnight), CA 91109-1131. Contact Erin Northern CaliforniaLindy Santa Barhara Swing Dance Srompin' at the Club, JOO 100 Stevens. phone+ I 818 799 5689 Society, P.O. Box 16147, Oakland Club, P.O. Box 21225, Santa Oxford Street, London. Class The Upbeats (perform). P.O. CA 94610. Contact George Barbara,CA 93121. Contact 19:30, then dance to DJs, bands. Box 20081, Santa Barbara, CA Woolley, phone+ 1 510 893 1519. Sylvia Sykes (teaches, performs). £5-£7 depending on band. Con­ 93102. Contact Rob van Haaren Pasadena Ballroom Dance. phone+ l 805 569 1952. tact Simon Selmon (see above). (performs, teaches). phone+ l 805 (teach regular Lindy workshops, Ventura CountySwing Dance Tuesdays ( 19:00 - 21 :50), 687 6407. pe1form,choreograph) Contact Cluh, P.O. Box 2124, Ventura, Subscriptions Yes, I want to know more about Lindy Hop! I want: D to subscribe, starting with the______issue* D a single issue - ______(indicate which quarter) Name______Address______Postcode______Country______Phone______Occupation. ______Where did you get this subscription form?______Costs : Send To: Sweden Subscription Single Issue Price : Money - postgiro 628643-9, Yeah Man; Forms - Country Currency Price Autumn Current The Rhythm Hot Shots, Ploggatan I, S-11634 Stockholm. Germany DM 35 4 8 USA : Nancy H. Sandburg, 811 Knapp Drive, Santa Barbara, Sweden SEK 140 15 30 CA 93108. UK £ 10 1.25 2.25 Germany: Eva-Maria Schmid, Franz-Joseph-Strasse 32, USA 19 2.50 5 80801 MUnchen. $ UK/World : Dancin!'.!Star Productions. P.O. Box 6008. World £ 13 1.50 3 London W2 5ZY UK.

''Hoppin' is published quarterly. Back issues are available on a limited basis. Prices include postage. PAYMENT MUST ACCOMPANY ORDER.

Page 14 Lindy Listings Hoppin' Volume 2 Issue 1

Lindy Listings rcont.J "A Tango experience to remember always!" CA 93002-2124 Contact Melinda Comeau New York City -Paul Garcia, New Mexico (teaches). phone+l805 643 3114. DANCE COMPANY: Bridgeto the VENUES: Bili Apple Lindy Hoppers. Contact Cynthia Tuesday.Fellowship Hall, 997 E. Walnut, Millman via New York SwingDance Society, Pasadena Classes. Contact Erin Stevens (see 303 Fifth Avenue, Suite 1515, NY 10016. Argentine Tango above). phone+I 212 696 9737 Third annual dance journeyto Wednesday, The Derby, Los Felize & Buenos Aires, Argentina Hilhurst, Hollywood, CA. Club w/ bands. VENUES: Thursday, Atlas Nightclub, Wilshire Blvd & NY Swing Dance Society's Savoy Sundays Western,Los Angeles. Club, Johnny Crawford (19:00-24:00), Continental Club, 17 Irving March 17-27, 1995 Orchestra, '20s &'30s music. Place at 15th Street, live bands, cost$I 2. phone • Evenings out in the Salons Thursday, 23 West Key Terrace, Santa +1212 696 9737 • Lessons from the Masters Barbara. Classes. Contact Rob van Haaren Monday ( 18:30-19:30) Sandra Cameron • paid Argentine Assistants (see above). Dance Center, 439 Lafayette Street, 4-week • Tango TheatricalShow Friday (I st of each month), Sportsman's classes with Frankie Manning. phone+I 212 • four star accomodations Lodge, Coldwater Canyon, Van Nuys. Club. 674 0505. and more Monday (21:00-23:30), We/l's Restaurant, Bill Eliot Orchestra. Write, call, or faxfor a freebrochure. Friday (2nd of each month, 20:30-24:00). 132 Street & 7th Ave. Dance to 18-piece Poinsettia Pavilion, 345 Foothill Road, Renaissance Band. Daniel Trenner & Rebecca Shulman Ventura. Class 20:00, then dance. Contact Tuesday (20:00 - 24:00) Metropolis Club, Melinda Comeau (see above). 15th and Union Square. Dance to George G's Saturday (1st, 3rd & 4th, 20:00-23:30), Big Band Orchestra. Dance, Fellowship Hall, 997 E. Walnut Street, Pasadena. Contact Erin Stevens (see above). North Carolina Saturday (2nd of each month, 19:30-23:00). CONTACT: Candleligh1 Ballroom, nr. Oakland. Class Richard Badu, 908 Onslow Street, Durham, 19:30 then dance. Contact NorthernCalifornia 27705. phone +I 919 286 7740 Lindy Society (see above). Washington Illinois CONTACTS: ORGANISATION: Living Traditions, 2442 NW Market St. Illinois Swing Dance Club, 8510 N. #168, Seattle, 98107. Classes/events include Knoxville #307, Peoria, IL 61615. Contact Lindy Hop. Contact Nancy Ann/ Walter Dill. US$40 Steve Cullinan,+ I 309 672 5681. phone +I 206 781 1238 Tango Video Tapes: in Ille usA Savoy Swing Club, 9709 35th Avenue NE, 1- InstructionalVideo Level J. tango movements, Maine Seattle, WA 98115. 6-week sessions of Lindy · lead & follow, walking & turning figures, step CONTACT: Hop classes; dance on alternateTuesdays. · creation, history of the tango, and demo dances f 2- InstructionalVideo Level 11· adv. movements, Infinite Possibilities, Pe1ormances /work-shops. phone+ I 206 726 P.O. Box 10714, . parallel& crossed walking, displacements of the 2997. Portland, ME 04104. Contact Reggie , feetin rt. & 1ft. turns, step variation and the art of Osborn phone +I 207 774 27 J 8. · improvisation, and demo dances Virginia 3-Salon Dancing in Buenos Ah-es- camcorder Maryland · footage shoton variousjourneys to B.A. Great CONTACT: · dancing by Argentines in their social dances. VENUE: Po10111acSwing Dance Club, 3409 Silver 4-The Puente Al Tango Classes 1993 & 1994- Saturday (21:00 - 24:00) Swing Baltimore, Maple Place, Falls Church 22042-3545. . Meet our masterteachers of tango and experience Townsend Annory, 307 Washington Ave, Contact Craig 'Hutch' Hutchinson phone +l · their variety of styles. Shot on hand held · camcorders. Includes Demo Dances. Townsend. Class then dance. phone +I 4 J 0 703 698 98 II. 377 7410. Tango Audio Tapes forDance Practice VENUE: Beautiful selections of ArgentineMusic created by CONTACT: Thursday, (20:30 - 23:30) Lindy Hop Night, ArgentineD.J.s. Tangos, Milongas, and Waltzes. Swing Baltimore, 752 Overbrook Road, Teddy's Lounge, Ramada Hotel, 7801 All new editions for 1994,with new musicalselections. Baltimore, MD 21212. Contact Leslie Leesburgh Pike, Falls Church. Classes from 90 minute tape- $12 in the USA Coombs (teaches) phone+I 410 377 0832 18:30 then dance. Contact Hutch (see above). 9 hour set- $60 in the USA (Outaide USA add US$ 10 for lat claH 1hlpplng) Massachusetts WRITE payment by money order to Daniel Trenner us! For more infonnation on Bridge to the Tango, CONTACTS: Your feedback. thoughts, photos, contribu­ tango perfonnance and workshops throughout Patricia Brennan (organises workshops, tions, articles, events, activities (have we for­ North America, tango in New York City, private teaches). phone + I 413 529 0437. gotten anything? Ads... ) are important to us. lessons, and professwnal coaching contact: Bill Tenanas (organises events). 20 Park For Volume 2 Issue 2, send them along to Daniel Trenner & Rebecca Shulman Street, Easthampton, 01027. phone +l 413 Hoppin',Dancing Star Productions, Post 201 West 77th Street, # 2A 527 5088. Office Box 6008, London W2 5ZY by 5 New York, �y 10024-6656 February, 1995. telephone and fax: 212-769-9559

Paie 15 Lindy Hop Events Hoppin' Volume 2 Issue 1

What's Hoppin' Around the World We are told that the following Lindy Hop '95 Training 2033 or I 800 537 8937. Rhythm Hot Shots, +46 8 643 40 e,·ents have significantLindy Weekend 58. (see ad p 11). International Swing content. Thanks to all who have Zurich, Switzerland. 4 & 5 Dance Festival International World Lindy sent in the details to keep us February '95. Contact Hansjiirg Hog Chamgionships informed. Perino, +41462 42 68. Santa Barbara, USA. 5-8 May '95. Contact Upbeat Swing Club, Oslo, Norway. 9-13 August Wild Week Northern California Lindy +1 805 687 6407. '95. Contact Bardar Dance Seattle, USA. 26 December-I Society Weekend Institute, phone +47 22 20 90 10 9th Annual Boogie Baren January '95. Contact Living California,USA. 25 & 26 (see ad pl2). Pfingst Seminar Traditions, +206 781 1238. February. Contact NCLS, + l 510 893 1519. Landsberg, Germany. 3-5 June Jitterbug Jam Philadelphia Swing '95. Contact Boogie Bears, +49 London, UK. 25-27 August Society Workshop International Crazy 89812 1158. '95. Contact Live 2 Jive +44 181 Pennsylvania, USA. 13 & 14 Shakers Weekend 866 9093. (see ad p 13). Swing Camp Catalina January '95. Contact PSS, +I Oerlikon, Switzerland. 11&12 215 576 0345. March '95. Contact Veronica Catalina Island, USA. 9-11 3rd Annual Swiss Lindy Ettlin, +41 I 785 02 24. June '95. Contact Pasadena Ball- Hop Weekend American Cultural Arts room Dance, +l 818 799 5689. Basel, Switzerland. 7 & 8 Workshog Dance World '95 October '95. Contact Swiss Vintage Dance Week '95 Minnesota, USA. 20-22 London, UK. 31 March - 2 Swing Society, +41 I 910 74 14. January '95. Contact ACA, +l April '95. Contact Performing Ohio, USA. 18-24 June '95. London Lindy Festival 612633 3173. World Event, +44 181364 8680. Contact Flying Cloud Academy, +I 513 733 3077. London, UK. October '95 (ten- Winter Boogie American Swing Dance tative) Contact Jiving Lindy New York, USA 27-29 Janu- Championships Herrang Dance Camp Hoppers, +44 181 992 8128 or ary'95. Contact: Boogie Dance New York, NY, USA 7-9 April Herrang, Sweden. I July -5 London Swing Dance Society, Productions,+! 212 260 2033. '95. Contact ASDC, +I 212 260 August '95 (preliminary). Contact +44 181 954 2147.

HAPPY HOP.PIN' HOLIDAYS!!

Dancing Star Productions P.O. Box 6008 London W2 5ZY UK