The Jam Cellar || Swing Dance and Lindy Hop

Tonight, Mysterious DJ of Mystery!

The person who knows the DJ is a few thousand feet above the midwest at the moment. But otherwise, the weathers gettin' fine, and it's a perfect time to swing down at the ol' Jam Cellar.

Balboa starts tonight!

Balboa champs Bobby and Kate begin their Beginning Balboa series this month for those who want to learn Balboa. I have cunningly repeated the words Balboa several times in the last sentence to create a hypnotic effect on the reader. Anyway, it's going to be a ton of fun, with little to no hypnotism. Wanna see some couples doing Balboa? Check out this clip, with Jeremy and Mary on the Left, and Bobby and Kate on the right. http://www.youtube.com/watch?v=_jSrJK9i1bU

Volunteers Needed! Win The Undying Love of the Weird People Who Run the Jam Cellar

We are currently looking for some volunteers who can work the door for an hour every now and then (or regularly, if you prefer), or help close down (a 11:50-12:10). Not only do you get in free, you will win the admiration and respect of us who run the Jam Cellar. We will also give highly glowing work references to add to your resume.

Next 6-week Lindy Hop Basic series begins Oct 19th!

That's right, for the fall we're going try an experiment where we have back-to-back Basic Lindy Hop series in addition to our usual Building Your Basics series. So, New Blood Night on Oct. 12, and new Beginning Lindy Hop AND Building Your Basics series on Oct. 19. Tell your mom.

Swing Anaologies–Balboa is like a poem…(cough)

Balboa is like a Poem. Would you like to come up to my room and look at my etchings?

This analogy is something I played with years ago when I was trying to figure out the connection between Lindy Hop and Balboa to me personally. I love both equally, and it helped me realize why when I compared Balboa to verse poetry, and Lindy Hop to prose. (It's important to note that this analogy probably isn't the same one I'd use today, but I'll keep thinking about it.)

Works of prose, like a novel, are structured only on the English language and grammar; it's an open art form that allows great areas of freedom and very little structure. This to me is very similar to Lindy Hop. The strength of Lindy Hop lies in the freedom.

Verse poetry is much more structured, working with meter and rhyme. This is similar to Balboa. For instance, in Bal-Swing, if you're only attached with one hand, it's most likely because you're about to turn.

The fun of creating poetry, especially verse poetry, is working within that structure. Sure, it's more confining, but such boundaries challenge, and thus inspire, creativity.

Another result of working within the structure is that in poetry, single words hold much more power than in prose, just as in an Pure Balboa dance, for instance, single steps hold much more musical power, and therefore the exact way you step has more focus.

Now, things aren't as simple and clear cut as I've learned much more about each dance. Things like old school Bal Swing, for instance, seem a lot more free to me now than they did then. But, as a basic analogy in my early days, it made a lot of sense to me and helped me develop in each.

DJ Betsy Kipperman's last DC set (for a year)

This week, our NEW BEGINNER LINDY HOP SERIES BEGINS! Also, sadly, the incredible Betsy Kipperman leaves us for a year, to follow some dream or something or other.

Solo Charleston and Jazz workshop with Bobby (This Sunday, Sept 5!)

Two classes on solo jazz and Charleston back-to-back for intermediate and advanced dancers. First, at 1 p.m, there will be "Fundamentals of Solo Jazz," an in-depth look at…well…the fundamentals of dancing solo jazz. Following that, "Al vs. Leon" where we break down several standard solo moves and show how Al did them versus Leon. Leaders AND followers can get a lot by understanding their two different but inspiring takes on solo jazz dance.

September Inter/adv series: BALBOA

Next month we're going to have a 4-week beginner Balboa series. For those who don't know, Balboa is a classic sibling of Lindy Hop, complete with its own moves, styling, and connection. Learn how to lead awesome stuff that can even help you in your Lindy. Taught by international Balboa champions Bobby and Kate.

October Series: Aerials!

Need we say more? Partners required. Helmets optional.

Swing Memories: Building a College Swing Club

Fall, 1998.

Sewanee University, Monteagle, Tennessee

Before I had fallen in love with swing dancing, I had accepted my application to a college on a mountain in the middle of nowhere, Tennessee.

Sewanee, originally known as the University of the South (but, for obvious reasons, we tended just to call it the much prettier and less Confederate-y "Sewanee"), is a small liberal arts college with about 1400 people, best known for its writing programs and, in conjunction with such programs, its heavy drinking. (One year, when a publication listed the top ten drinking schools, Sewanee wasn't on the list. There was a note at the bottom, however, that said: "Sorry Sewanee, list doesn't include professionals.")

One of the reasons for the heavy drinking is the fact that Sewanee is the only thing of interested for many, many miles, unless you don't get tired of watching the locals yell at each other in the local Walmart. (Though, I should note, this is an activity that's just as easily done drunk. And, slightly less depressing that way. At least, at the time.) The nearest cities are Chattanooga, which is 50 minutes from Sewanee, and Nashville, which is an hour and a half in the other direction.

In almost all aspects, this school was a great fit for me. It's like someone had mysteriously stolen a few buildings from Oxford and hid them in a forest. It's literature program was of the hook, and it's theater program was funded by the royalties of Tennessee Williams. The only problem was that I quickly found out that I was the person there who knew the most about swing dancing, out of the three people who knew any at all. And I had only recently discovered Lindy Hop, and had no idea how I was going to be able to learn it.

I first became a swing dance teacher out of necessity. In order for there to be a place to dance, I had to make dancers. In order to get better, I had to get some followers that I could single-handedly break down Lindy Hop from A Day at the Races with. (I was a very confident youngster.) Within two weeks, I had put up fliers for a free class I would teach with Leah, a girl who also knew some swing dancing and had the added bonus of being charming as hell. Someone told me we should charge $5 or $10 a head. I thought they were insane until around 200 people showed up. (This was still Gap commercial times, remember.)

With roughly a seventh of the campus in front of a freshman who had never taught a group class before, I proceeded to them almost every single thing I knew. Anyone who has ever taught a college class to people who have only seen the Gap commercial knows what happened next; they stopped me soon after learning the basic because they really REALLY wanted to learn an aerial.

I imagine colleges already have pretty hefty insurance bills, particularly colleges known for heavy drinking. Perhaps when they offered me the space to teach in, they didn't consider that 200 students would be throwing around each other based on instructions given to them from a person who had absolutely zero professional training and was often described as "spacey; a day dreamer."

Somehow, amazingly, everything turned out fine and no one got hurt. Based on the success of the class, I decided to hold a series of lessons, a four-week thing. The first week had about a hundred people in it, the second week, about half that, and the final weeks left about a dozen or so people in the class. This is when I learned a very valuable lesson about college: holding onto a college student is like holding onto a Ferrel cat covered in bacon lard.

If you're in college, you've got tons of homework, tons of things you are already passionate about like sports or recreational drug use taking up your time, and tons of fraternities, sororities, clubs, rehearsals and whatnot–so why should you add to that yet another thing that requires a lot of hard work and time and commitment, especially when the major college dancing song seems to be "Brickhouse"? What's also rough for college clubs is that, in the long run, college comes with a built-in turnover. Every year you lose a forth of your scene, and it's hard work to keep reinvigorating it.

Though I learned the lesson, it took awhile to sink in (four years, to be exact). I soon started the Sewanee Swing Society, which is the good thing to know about a school known for heavy drinking: The dean of student activities is willing to put small fortunes into any innocent sources of campus entertainment they can tell parents about: "There's plenty of things to do on the mountain. Why, one sixth of the campus regularly swing dances."

Thinking first and foremost of education, I took a small portion of the money and supplied the library with almost EVERY SINGLE video instruction tape known to man. One of the library managers complained to me, "No-one will rent these tapes. Trust me." But he didn't know what it was like being me. A new lover of Lindy Hop knowing he was going to spend four years in a place that didn't know what it was. Sure, they might only get rented once or twice in the years ahead. But I took consolation in the fact that if there did ever come after me someone in my same position, all they'd have to do is go to the library, and they'd be able to learn from Frankie Manning himself.

Looking back, I worked a great deal on my dancing during my times at college. I went to Nashville dance nights many times a semester, I created group choreographies each year with lots of aerials that also somehow amazingly went alright (I'll try to digitalize some and put it up here someday), and I held monthly dances with only the finest neo-swing music.

However, by the end of the fourth year, I think I had given up on trying to get others involved as passionately as I was, and was pretty much just doing a lot of it for my own happiness. I taught classes because I loved to teach, and found that I got better as a dancer when I taught. I held dances because I wanted to swing dance. I still put up fliers, and was always willing to teach anyone anything, but looking back, perhaps it was all a big chicken and the egg situation–by the end, did people see that I was running everything for myself, and so they didn't feel there was a place for anyone else? I'd like to think not. But maybe I'm wrong.

By my senior year, a few people approached me about continuing the Sewanee Swing Society after I left. The Bobby they knew was a cynical, abrasive man with the light out of his eyes. I might have thrown a Jack Daniels bottle at them, I can't recall much about that time.

By that point, the society mainly only gave occasional one-hour lessons based solely on making sure leaders lead girls comfortably when they were drunk. (Which actually, was a great service to the campus.) But, the freshmen seemed really passionate about swing dancing, and seeing the look in their eyes, I remembered a time when I must have looked just like that, a stranger in a new world, preparing for that very first class, nervous and at the same time, giddy.

I happily allowed them to take over the club, and a few years later, when I was strutting around campus with some old friends I was visiting, I happened to hear swing music coming out of the same place I taught that first lesson. I went in, and saw the people who had taken over the club. They had a live band, a few dozen people, and I had some dances. People gathered around and watched. Noticing this and hoping to inspire them, I began to try, desperately, to show them everything I knew.

It's New Blood Night TOMORROW NIGHT!

Remember, bring someone who's never been to Jam Cellar before, you both get in free. We have free 30 minute lessons at 9 p.m. , 9:30 and 10 p.m. We also also have guest instructors Mike and Laura from Austin teaching the Lindy Hard Stuff class, and the superb Luke Albao on the two turn tables and a microphone. We'll also have performances!

Next month: Beginner Lindy Hop Series

Next month, our 6-week beginner Lindy Hop series begins! Tell your friends, perhaps the same ones you bring to New Blood Night.

September Inter/adv series: BALBOA

Next month we're going to have a 4-week beginner Balboa series. For those who don't know, Balboa is a classic sibling of Lindy Hop, complete with its own moves, styling, and connection. Learn how to lead awesome stuff that can even help you in your Lindy. Taught by international Balboa champions Bobby and Kate.

October Series: Aerials!

Need we say more? Partners required. Helmets optional.

Solo Charleston and Jazz workshop with Bobby, Sept 15

Two classes on solo jazz and Charleston back-to-back for intermediate and advanced dancers. First, at 1 p.m, there will be "Fundamentals of Solo Jazz," an in-depth look at dancing solo jazz. Following that, "Al vs. Leon" where we break down several standard solo moves and show how Al did them versus Leon. Leaders AND followers can get a lot by understanding their two different but inspiring takes on solo jazz dance.

ILHC…er…WOW.

We at the Jam Cellar just wanted to give a quick shout out for every single person at ILHC, whether a competitor or just someone who came and shouted and clapped and smiled. Your inspiration and energy made for one hell of an event. I think the Old Timers, if they could see what has become of their dance, would be very very proud of where it's heading based on this weekend's dancing.

BOBBY'S TOP SECRET IDEA FOR NEXT YEARS ILHC CABARET

Guys, guys. GUYS. I've got a great idea for a Cabaret piece. Guess. It might take some time and hard work, and possible video editing software. But just listen.

You're at ILHC next year, and all of a sudden the lights go down. Suddenly the unmistakable sound of a piano clinking. Light sup on Rolf, the Muppet, playing a piano. First, jazz chords. Then, Srgt. Floyd Pepper, the bass player from Dr. Teeth and Electric Mahem, comes out and starts playing bass. They start to jam. Zoot and Lips join on trumpets. Suddenly, the jazz jam is broken up by the crazed sound of drumming–Animal is going nuts with a swingin' drum roll. You realize you are watching Muppet Hellzapoppin.

"Me Me Mememee, me me memee MEE!" Beaker says, with the same cadence "If I'm not mistaken, here comes something now!"

Suddenly, Fozzie Bear is swinging out the hippy chick from Dr. Teeth, replacing William Downes and Francis Jones. Imagine the way the Muppets move, the hoppy yet loping feeling they have when they walk, the way the only stiff thing in most of their arms is the wrist, where the wires are. Imagine Fozzy looking at the camera, his mouth wide open in a silent laugh, as he walks with his shoulders, back on the floor at the end of the jam.

Next, the Swedish Chef busts out of the curtain swinging out a chicken from his kitchen. Hatchets fly. Feathers, too, especially after each aerial. "Nanoo! Bork!" He screams as they go into the merry-go-round. As he and chicken do the wide-legged strut-off, imagine his floppy hat and head, nodding back as Kermit and Miss Piggy come out in Al and Willa Mae Fashion, Kermit's long, skinny limbs punching every kick, siwinging around Miss Piggy's head, and suddenly flying into the air, Kermits large mouth agape, for the shake-the-change.

Finally, Animal, now off of the drums, comes swinging out with the old lady muppet I don't know the name of. He does all the Frankie moves, throwing the old lady, who holds her own just as well as Ann Johnson. When she kicks Animal in the butt, he flies 65 feet, like a bag of fur with arms shot out of a cannon. He still makes it back in time for the next swing out, though. Finally, all ends with the group choreography, each muppet falling back onto the floor with comically exagerated panting.

I haven't told Andrew Thigpen about it yet, but I have the idea he's on board.

Tonight, Nick Williams teaches and Kate Hedin DJs,

Both bringing home the swing for our PRE ILHC party. Feel free to bring adult drinks, (but please drink responsibly, as we don't want a repeat of the "alligator incident.")

Special Surprise Special Guest Instructor Nick Williams TONIGHT!

For Our Lindy Hard Stuff class series tonight, we'll have Lindy Hop World Champion Nick Williams teaching a class on particularly hard stuff.

New Blood Night AUG 24th!!!!

New Blood Night is a Jam Cellar tradition. If you've never been to the Jam Cellar before, you get in FREE. If you have been to Jam Cellar before, and bring a friend who hasn't, YOU BOTH get in FREE. We'll have free 30 minute lessons at 9 p.m., 9:30 p.m, and 10 p.m. We'll have performances as well an inter/adv lesson from guest instructors Mike and Laura of Texas. Feel free to bring beverages (even adult beverages, but please drink responsibly). TELL YOUR FRIENDS! (Students still have to pay for the Mike and Laura class.)

LINDY HARD STUFF August 17, 24, 31

For the last three Tuesdays in August, the Jam Cellar will have, simply, Lindy Hard Stuff. We'll come up with stuff to challenge the entire class. We'll even have special guest instructors Nick Williams tonight and Mike and Laura from Texas August 24! $35 for the entire series/dances. Thursday Aug. 19, Rhythm Catz and the Gordon.

THIS THURSDAY! Webster 7 at ILHC Westin

For Thursday Night, The International Lindy Hop Championships is hosting a dance for all local swing dancers at the Westin in Alexandria with Steven Mitchell and the Rhythm Catz with Gordon Webster. $15 per dancer, from 8:30 – 11:30 p.m.. For more info, go to www.ilhc.com.

Searching For Team Names

A group of us Bal Dancers recently decided to start a team that would strive to embody the look and spirit of the original 1930s So-Cal Swingers such as those seen in the Beach Clip or the film "Start Cheering." (We've already performed it at The Jump Session Show, and we'll be doing our routine at ILHC this weekend.)

By far the hardest thing has been trying to find a name. Often times, while we try to think of names, we loose all our filters, and just begin throwing ideas randomly, shooting from the hip, hoping a bullet will hit something and not kill us all.

Here are some of the many we've gone through, both serious and comical. Read the rest of this entry »

Tonight…DJ Betsy Kipperman

Who's DJing is like her dancing, full of joy and sass.

New Blood Night AUG 24th!!!!

New Blood Night is a Jam Cellar tradition. If you've never been to the Jam Cellar before, you get in FREE. If you have been to Jam Cellar before, and bring a friend who hasn't, YOU BOTH get in FREE. We'll have free 30 minute lessons at 9 p.m., 9:30 p.m, and 10 p.m. We'll have performances as well as a class on the Dean's Shim Sham and an inter/adv lesson from guest instructors Mike and Laura of Texas. Feel free to bring beverages (even adult beverages, but please drink responsibly). TELL YOUR FRIENDS! (Students still have to pay for the Shim Sham/ Mike and Laura classes.)

Balboa Classes with Bobby and Kate on SUNDAY AUG 15th

This SUNDAY, August 15th, Bobby and Kate will give two classes. Fascinating Rhythm at 1 p.m. and Advanced Balboa Moves inspired by Fred/Ginger at 2 p.m. Classes are $10 each, and are at DC dance Connection, at 4908 Wisconsin Ave NW, just a few blocks away from CCB. Go to www.bobbykate.com for more info.

COLLEGIATE SHAG TASTER FINAL NIGHT! (August 10)

Collegiate Shag was an incredibly popular swing dance in the classic era and one that has a very strong cult following. Enjoy this two week taster which will give you more than enough to start your Collegiate Shag binge dancing. Both classes will cover the basic, then branch out in to different material from there. So, people can drop into any class as a pure beginner, but neither class will be the same material. $25 for both classes/dances together. Taught by our local shag awesomeness David and Chelsea.

LINDY HARD STUFF August 17, 24, 31

For the last three Tuesdays in August, the Jam Cellar will have, simply, Lindy Hard Stuff. We'll come up with stuff to challenge the entire class. We'll even have special guest instructors Mike and Laura from Texas, who are awesome, teaching whatever they want August 24! $35 for the entire series/dances.

Thursday Aug. 19, Rhythm Catz and the Gordon Webster 7 at ILHC Westin

For Thursday Night, ILHC is hosting a dance for all local swing dancers at the Westin in Alexandria with Steven Mitchell and the Rhythm Catz with Gordon Webster. $15 per dancer, from 8:30 – 11:30 p.m.. For more info, go to www.ilhc.com.

Swing Analogies

A good lead is like shouting in a library…

We, as leaders, want to make sure our basic default movements are all relaxed and efficient, with no extraneous "noise" or tension coming from any part of our bodies.

Thus, when a "lead" does happen, our follower feels an obvious change, and the lead is loud and clear, as if it were shouted in a library.

I think if we're not careful, our leads can easily be "shouted in a World Cup audience." All of the extra noise and tension they carry makes it hard to determine the difference when leads do come.

A student is like a bad juggler…

A common mistake teachers make is to forget what it is like to be a student learning a challenging dance movement.

"Leaders, this time, I want you to concentrate on keeping your hand low. And moving your body on five. And anchoring back on that 7&8."

Mentally speaking, almost all of us are beg/intermediate jugglers. We can only handle juggling a few concepts at once, until we get those concepts deep into "muscle memory."* (Which takes a lot longer than a rotation in class).

So, if it's a really important ball you want your students to add to their juggling, or at least a really complex one, just give them one to worry about. They'll add it to their juggling a lot faster.

*–"Muscle Memory" is one of those terms that, though it makes some kind of sense, can be a little too misleading for my taste.

Muscles don't have memory, obviously, and don't do things on their own. it's just a colorful way of saying Motor Learning. But, "Motor Learning" doesn't have that visual and alliterative punch, you know?

This week, A mystery DJ!

With our scheduled DJ having to back out, who will end up DJing tonight? It's a surprise!

Sign Up For ILHC before final price jump

DC holds the awesome International Lindy Hop Championships (www.ilhc.com) every year, and this year (Aug 19-22), it already is going to have incredible showing of Lindy Hop and swing dance talent. Final price hike happens at the end of this month. Register soon!

COLLEGIATE SHAG TASTER START TONIGHT! (August 3 and 10)

Collegiate Shag was an incredibly popular swing dance in the classic era and one that has a very strong cult following. Enjoy this two week taster which will give you more than enough to start your Collegiate Shag binge dancing. Both classes will cover the basic, then branch out in to different material from there. So, people can drop into any class as a pure beginner, but neither class will be the same material. $25 for both classes/dances together. Taught by our local shag awesomeness David and Chelsea.

LINDY HARD STUFF August 17, 24, 31

For the last three Tuesdays in August, the Jam Cellar will have, simply, Lindy Hard Stuff. We'll come up with stuff to challenge the entire class. We'll even have special guest instructors Mike and Laura from Texas, who are awesome, teaching whatever they want August 24! $35 for the entire series/dances.

A Year of Clips: "Lady be Good (Collegiate Shag)

Hey gang, today's clip is more or less a music video from the swing era, complete with a group of Collegiate Shag dancers.

In the video, the camera fades to a dance floor of shaggers and back several times, starting at 1:35 in the video.

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoID=1955617762

The Collegiate Shag in this video is a little different, stylistically, from the type you see the young kids do in <a href="http://www.youtube.com/watch?v=6SGvd5tseZY") Arthur Murray's Shag Video and by the shag couple, Connie Wydell(sp?) and Marion Goldie (sp?)**, in The Venice Beach Clip. (All of which are also baddasses and great sources of Collegiate Shag inspiration, in my opinion.)

Notice how smooth the style is, how they hover around on the dance floor and stretch their movements in a unique way, almost like manequins on rollers moving around a boat deck in a stormy sea. How they rarely go into a cartoon-like posture, or kick their feet back very high.

Though I often watch this clip to break down a shag move or two, I keep coming back to it to enjoy the subtly of the way they did their shag steps, hops, rhythms, and the way they moved around the floor. (I've recently been trying to work a lot more on putting a lot of these things in my own shag.)

A lot of people think of Collegiate Shag as a dance that requires incredibly youthful knees and a lot of cardio strength. But these dancers don't seem to be tearing up their knees and are wearing sports jackets and sweaters. (Perhaps if there were a jam circle, they might make their dancing a little more explosive and exaggerated, but this clip seems pretty social-dance-like. As much as possible with a camera in their face, at least.)

I wanted to showcase this clip to show a style of collegiate shag you might not see on the modern dance floor often, as only a few modern dancers attempt to do it like this (this clip isn't on YouTube, either, perhaps for copyright reasons.)

Also, to remind people that Collegiate Shag doesn't have to be a test of your knee ligaments and a work-out. It certainly has a lot of fun moves that can be those things, but they aren't necessary to have fun or look cool doing Collegiate Shag.

Also, a funny story about this particular clip: Artie Shaw hated dancers, and said something to the effect that they'd dance to anything if it had a rhythm.

"I could never understand why people wanted to dance to my music," he once said. "I made it good enough to listen to."

He particularly disliked jitterbuggers, whom a cantankerous person in this era could easily stereotype as rambunctious and annoying teenagers/college students.

Artie Shaw, to give him credit, thought Jazz was an art form worthy of classical music, and loved doing things to make his music intricate, also known as things to throw dancers off. This probably gave him additional motivation to play with his music. Big Drum hits would come on even beats. Songs would change dynamics dramatically.

Unfortunately, once a dancer has been caught off guard, it then becomes an enjoyable challenge to be musical to such songs. Ever since, Artie Shaw has made some hard core dancing fans because of this. (It also helped that he used Buddy Rich, one of the greatest swing drummers of all time.

See?

http://www.youtube.com/watch?v=os2gXs5rVHM

Anyway, for the Lady Be Good video, imagine Artie Shaw being extremely firm.
"Don't you dare bring any dancers into the room when I'm filming this thing. I won't have my music be seen on the same screen."

Then picture the film producer, looking at the final draft, and seeing it's kind of boring–not very exciting. "I have an idea." He goes and tapes, on a seperate day, a group of collegiate shag dancers dancing to the song. Presto. Artie Shaw dance video.

** (Warning: Too Much Information) The name Marion Goldie (sp?) is known because Nick Williams and David Rehm found the name written in magic marker on the back of a photograph in Hal Talkier's house. They have even since found her in other clips because she wears the exact same skirt in other clips.

This week, DJ Paul Roth

I'm currently in a Chipotle, stealing Internet from Panera. For more about this exciting time, read below.

Tonight, Last "Solo Dancer" Lindy Hop Inter/Adv Class

What to do with your damn arms in partner Lindy Hop: a few ideas. Plus, possibly other moves and fun stuff.

Last Chance to Sign Up For ILHC before final price jump

DC holds the awesome International Lindy Hop Championships (www.ilhc.com) every year, and this year (Aug 19-22), it already is going to have incredible showing of Lindy Hop and swing dance talent. Final price hike happens at the end of this month. Register soon!

COLLEGIATE SHAG TASTER August 3 and 10

Collegiate Shag was an incredibly popular swing dance in the classic era and one that has a very strong cult following. Enjoy this two week taster which will give you more than enough to start your Collegiate Shag binge dancing. Both classes will cover the basic, then branch out in to different material from there. So, people can drop into any class as a pure beginner, but neither class will be the same material. $25 for both classes/dances together. Taught by our local shag awesomeness David and Chelsea.

LINDY HARD STUFF August 17, 24, 31

For the last three Tuesdays in August, the Jam Cellar will have, simply, Lindy Hard Stuff. We'll come up with stuff to challenge the entire class. We'll even have special guest instructors Mike and Laura from Texas, who are awesome, teaching whatever they want August 24! $35 for the entire series/dances.

Chiptole Diary, July 27, 2010 1:14 p.m.

Oh yeah, this contains nothing about swing dancing. But www.Swungover.com has an old Jam Cellar email writing on it today.

The recent storm took out the area's Comcast, and anyone who uses Comcast internet had the same idea as me, and I counted over 35 laptops in the tiny Panera. Not one single outlet was open, and all but one of the tables-for-four was taken by a lone laptop.

However, I soon had the ingenuous plan to go to the Chiptole next door and sit close to the Panera side of the building, an idea no one else has had. But, the signal is weak, the line is literally wrapped around the inside of the building, and I keep getting bumped by people who say "excuse me" as an expletive, as if they expect me to be able to scoot-in a bar stool riveted to a concrete floor. Question: does the stylishness of a Chipotle décor make up for the uncomfortable sensation of eating your lunch in a room made of almost nothing but air-conditioned sheet metal?

On top of that is the fact that, without fail, any taco you get at a Chipotle will have only three cubes of meat in it. Ask for more, and they get the manager. I try not to be too hard on them, though, as they are probably just making up for the amount of money they spend putting crack into the Guacamole. As much as I like the guacamole, however, there are still days when they get it wrong, when the chef obviously accidentally mistakes onion for avocado.

Chiptole is one of the many recent restaurants/products to put writings on their cups that obviously hope to show the restaurant has a personality. Unfortunately, it's the same personality they are all trying to get across: Slightly kooky, but not too much. Care about natural ingredients. Humorous, but only in the "Hey, can't office life be funny sometimes?" way. Real. Vaguely old-fashioned in its authenticity.

But that's old fashioned only in the "We have brown paper labels and napkins" sense, not in the "Hey there, Mr. White, the usual today?" sense or the "I built this store with love and I'm very proud of it." sense. (Or even in the "get out of my store, we don't like your kind here" sense, which would at least give credit to their claims, and would be hilarious if directed at lunch-break corporates.)

One of the cups tells the story of the original store, as if its owners are still involved with every part of the process. But it was bought by MacDonalds a long time ago, and now Mac Donalds has a market share in both the "cheap food for low income families" market and the market full of people who are likely to say "MacDonalds? Are you crazy? Let's get some real food and go to Chiptole."

Trying to give giant companies a friendly personality is nothing new to advertising, but it seems to be in full force. Chipotle, though, is only an upscale burrito place, and absolutely nothing more, it's not like it started off with any true mark of having a unique personality-there's not really any personality it really should have. Except perhaps as a very stingy young CEO, trying way too hard to be hip, the kind of person who would want there apartment to be decorated in nothing but sheet metal, the only thing warm in the place being the food you eat.

I don't have anything swing related for you today, though I guess you could apply the whole personality-advertising-Chipotle thing to the business of swing dancing easy enough. But if you're looking for kooky-swing-dance-related reading material, check out www.swungover.com, where I posted an old Jam Cellar email a lot of people seemed to like.

Tonight, DJ Kate Hedin,

Plays swing tunes from the begotten era.

A Big Big Success

The Big Big Benefit was a big success, especially considering how hot it was all weekend. If you weren't able to attend the event but still want to help Laurie out in some small way, simply contribute at www.bigbigbenefit.com.

This Month's Inter/adv Series: THE SOLO DANCER

In July, we'll be focusing on the solo dancer in all of us. Not just solo Charleston (thought there will be some of that), this is a class series that will concentrate on how we all can express ourselves individually, whether alone or in a partnered dance. So, get ready for solo jazz routines (week 3), Lindy Hop footwork variations (week 2), and some answers on what to do with your damn arms while your dancing (week 4). $55. No partner required. 8:30 p.m. to 9:30 p.m. Tuesdays in July.

Collegiate Shag Taster (August 3 and 10)

August has five Tuesdays, and this is how we're dividing them up: Two weeks of Collegiate Shag and three weeks of Hard Lindy Stuff. People don't realize Collegiate Shag was an incredibly popular swing dance in the classic era; enjoy this two week taster which will give you more than enough to start your Collegiate Shag binge dancing. Both classes will cover the basic, then branch out in material from there. So, either class is a drop-in, but neither class will be the same material.

Special Inter/Adv Guest Instructors MIKE and LAURA, Aug. 24!

We'll have special guest instructors Mike and Laura, who are awesome, teaching whatever they want August 24! To check out this amazing couple, simply YouTube Mike and Laura, or might we recommend this: http://www.youtube.com/watch?v=YcpWuRDfkr4

Or perhaps this: http://www.youtube.com/watch?v=o-uLzqiidQU.

Lindy Hard Stuff (inter/adv) August 17 – 31st

Our 2nd August series will be, simply, hard Lindy stuff. Each class will be geared towards challenging the level of the class. Enjoy!

THE "HEAVY" FOLLOWER

Though most of the text is here, there are simple rudimentary diagrams provided at www.Swungover.com

Over the years, I have come to believe that one of the least helpful pieces of advice a follower can get is to be told she is, simply, "too heavy."

"Are you calling me fat?" My partner Kate asks, with a straight face, whenever someone says this. People have freaked out slightly, backtracking and apologizing before she suddenly can't hold it anymore and starts to crack up.

Telling a follower she's "heavy" is like describing an animal as "wounded" and expecting that to be enough information for the blind vet (weird analogy.) If a follower is described as "heavy," there are several different possibilities of what's going wrong, some of which could be the leader's fault. I'm going to try to collect them here, starting with these 12. I'll keep adding and editing this post, too, as I continue my research.

Before we get to those, however, I want to address the problem at it's root. A follower's goal is not simply to be "light"–"light" doesn't necessarily mean "better." A follower's goal should be to give exactly what the leader's asking for. Many advanced leads will sometimes do moves that require a lot of counterbalance–and expect a follower to respond as such, which could easily be described as "heavy." A great follower is someone who can dance like a feather or a lead zeppelin, depending on what the lead requests at that moment.

Possible Reasons Why a Follower Might Be Described as "Heavy."

1. Follower in general carrying more tension in arm than needed. This one is tricky–it can easily be the problem itself, or, more likely, a symptom of some greater problem. For instance, almost any issue with the follower's posture can result in the follower using her arms to compensate. But first, let's address the problem as if it's the only problem.

It only takes a little bit of tension in small parts of the arm to create a "heavier" follower. Just your fingers might be tense, or your elbow. That's all. Make sure all the arm muscles have a natural give and take throughout your dancing–that none of them are rigid, or become rigid at a certain point through their motions.

2. A follower is using her arms to create stretch… Now for some more specific arm tension-related problems. Let's say a leader with a relaxed frame sits away from his follower and asks for some form of counterbalance–if she doesn't know how to match that by moving her own body, then she will probably result to using her arm muscles to keep the couple balanced–which means she's pulling on the guy, and thus "heavy."

Our arm muscles are small and frail compared to the muscle network of the back, core, and shoulders. In dancing, we can accomplish so much more, and with much greater comfort to ourselves and our partners, if we let that muscle network handle as much as possible.

3. Follower is using her arm to pull herself in (for instance, the 1-2-3 of a swingout.)

This is a specific problem, and is often linked to number 4 on the list. Basically, a follower is asked to come in on a swing out or turn, or something that moves the follower, and the follower pulls on the leader's hand in order to do so.

4. A follower's pelvis is in front of her shoulders. Aside from this looking as if a follower is attacking you with her crotch on the first half of a swing out, in its subtler forms, it might not even be noticeable. Basically, this will feel like the follower is countering the lead with the top half of her body. It might feel slightly like a "falling backward effect" for the follower, and thus the leader feels he has to hold her up to some extent, hence "heavy."

BTW, Nina Gilkenson has a great impression of a follower attacking a leader with her crotch.

5. A Follower allows her arm to get fully extended at the end of movements. Sort of the opposite of the "too much arm tension problem," this happens when a follower allows her arm to fully extend at the end of movements. As a default, this has several problems: it means at the end of the movement, you're a lot further out than the leader expected, and so he has to move you sooner/quicker/hold tension in his arm and all sorts of other things in order to compensate. Stretch can die, you won't respond as specifically to momentum requests, etc.

Some people do this for stylistic reasons, but I urge them to try not extending the arm to see how much more freedom they have to play.

6. Follower's posture is fine, feet too close to leader This is rare to see, but bringing the feet forward is an old school (and awesome) way to create counterbalance. (Check out this picture of Dean and Jewel, for instance.) The only problem is, if the leader isn't asking for that counter balance, you will definitely come off as "heavy."

Dean Collins-studier David Rehm first pointed this out to me, which I've always thought is a really cool idea of counterbalance.

As you've probably noticed by now, most of the times a follower feels heavy is either (1) when the dance is stretching and asking for some form of counter balance (like the end of a swing out) or (2) when the leader tries to move the follower, usually from the stretch. So, number 6 is just a very specific way of saying…

7. Follower is perfectly fine mechanically, but asks for more counterbalance than Lead is offering. A follower might chose a default stretch or counterbalance that is greater than the leader they are dancing with, the result being that at the end of every move, the follower feels heavy. Though a follower should try as a default to match exactly the amount of counterbalance asked for, she can also use this as a neat trick: If she wants to, say, really work her swivels at a certain part of the music, she can ask for a lot of counterbalance, and a good leader will be there to adjust his own and give it to her.

8. In closed position, or in the middle of a swing out, a follower is seeking connection with the wrong part of her back. The very obvious example of this is a follower who is used to having a leader's hand high on her back(or shoulder) during a swing out. She then dances with a leader who prefers a mid or lower back connection during the closed position. The follower, not used to responding with her lower back, suddenly arches her back when the leader connects in closed. She feels he's clothes-lining her, he feels she's heavy. A follower should be prepared to respond with whatever part of the back the leader asks for during closed position.

9. Leader expects follower to move even though he doesn't give her what she needs to move. Some times, if a Leader is used to dancing with girls who are eager to move and finish all the movements, he will, unawares, become lazy. He won't lead the follower to move, expecting her to do so. When he comes along a follower who doesn't move without the proper leads, she will feel heavy. He has been living the life of luxury, having had followers do half of his leading for him, and might be in denial for awhile.

10. Leader is asking follower to be heavier than he expects; doesn't realize it. On the other flip side, if a leader has been dancing almost only with follower's who are always light, he might be asking his follower to be heavy and not expect it. Hell, if the dance floor is slippier than usual, he might be compensating weirdly and will ask the follower to be heavier than he expected (this happened to me a few months ago.)

11. Follower is putting too much momentum into the ground. Perhaps the product of trying to "sit into it" or put a pulse into the ground, some followers will find themselves sunk up to their hips into the dance floor, and all movements feel sluggish.

But please don't compensate by dancing out of the ground. The way you walk/run are probably good determinations of how much weight to put into the ground and how to find your natural downward pulse.

12. Follower is trying to protect herself; dancing with gorilla If a follower is dancing with a leader who is using a lot of brute force, a follower might protect herself by tensing up, clamping up, trying to keep things under control. But, if such a leader thinks such a follower is "heavy," she probably will be better off not correcting him. At least, if he thinks she's heavy, she'll never have to dance with him again.

Conclusion Though there are many different ways and reasons a follower can be "heavy," you can sense some common themes: tension, weird posture, inability to counterbalance, and often, all three mixed together. Another common theme is giving the leader more than he asks for, or giving him weight in places he's not asking for.

A Quick Note on the inherent sex generalizations in dance language: All followers in this text are referred to as "she," though this is only for the sake of clear understanding and flow throughout the writing. "He/She" "or "She/He" felt too clunky, and using "it" only adds to the sexist problem. In truth, almost every male-follower I've ever danced with could be described as a "heavy" follower–mainly for reasons mentioned below. This leads me to…

A Quick note on actual follower size (Or Physics: Our Best Friend, Our Worst Enemy.)

Kate's "Are you calling me fat?" joke is just that. A joke. But, as a way of coming full circle, I do want to talk about relative size. If you are an eighty-pound winged pixie follower, you might have many of these problems to small degrees and have never been called "heavy." Ironically, all people probably say to you is "I bet you'd be great at aerials!"**

If you are a lumbering 250 pound guy with the exact same problems as the 80-pound pixie winged follower, and to the exact same extent, you will be the one getting the "you're too heavy" comments. Only because physics has magnified the problem.

So, if you're an 80-pound winged pixie follower, beware that many of these things might apply to you even though you've never been called "heavy." And if you truly want to be a great follower, you'll probably often have to check in and see what problems you're getting away with because of your size.

—————————————————————————————————

**–By the way, just because you're small, doesn't mean you're great at aerials. Above size, good well-timed Aerials take great following skills and a mastery of the body.

This week, DJ Jazzy Jerry (Almonte)

It's been a hot few weeks, and our DJs know and are changing their music accordingly. So don't fear a night full of blazing fast music–but instead, expect a refreshing stroll through jaunty jazz tunes. Some might even call it a "lope."

Building Your Basics begins this week

Invite your mysterious love interest, who you haven't seen since they finished the Lindy Hop Basics series.

A Big Big Success

The Big Big Benefit was a big success, especially considering how hot it was all weekend. If you weren't able to attend the event but still want to help Laurie out in some small way, simply contribute

This Month's Inter/adv Series: THE SOLO DANCER

In July, we'll be focusing on the solo dancer in all of us. Not just solo Charleston (thought there will be some of that), this is a class series that will concentrate on how we all can express ourselves individually, whether alone or in a partnered dance. So, get ready for solo jazz routines (week 3), Lindy Hop footwork variations (week 2), and some answers on what to do with your damn arms while your dancing (week 4). $55. No partner required. 8:30 p.m. to 9:30 p.m. Tuesdays in July.

Collegiate Shag Taster (August 3 and 10)

August has five Tuesdays, and this is how we're dividing them up: Two weeks of Collegiate Shag and three weeks of Something else we're still planning. People don't realize Collegiate Shag was an incredibly popular swing dance in the classic era; enjoy this two week taster which will give you more than enough to start your Collegiate Shag binge dancing.

Special Inter/Adv Guest Instructors MIKE and LAURA, Aug. 24!

We'll have special guest instructors Mike and Laura, who are awesome, teaching whatever they want August 24! To check out this amazing couple, simply YouTube Mike and Laura, or might we recommend this: http://www.youtube.com/watch?v=YcpWuRDfkr4

Or perhaps this: http://www.youtube.com/watch?v=o-uLzqiidQU.

The Case of the Dancing Stud (Part 4 of 4)

Today is the final part of our ILHC mystery "The Case of the Dancing Stud." Read the first part here. and the second, here. And the third here

Part IV: The Big Competition

I was standing on the sidelines at the International Lindy Hop Championships, with only twenty minutes left until the big event. And Shackelford was nowhere to be found.

"I know it's not your fault, Dr. Wilfred, but I can't help feeling disappointed in Shackelford Withersbottom," Ms. Gilkenson said. "We had all our hopes on him finding Chester."

"There, There," I said, patting her hand. "I'm sure he has a plan." Though to be honest, reader, it was hard to believe myself. It seemed we had run out of time. Meanwhile, a large man had moved directly in front of me, and I couldn't see the contest floor. I tapped him on the shoulder to ask him to move, and the man giggled, throwing off a fake mustache and overabundant coat jacket to reveal my thin friend.

"Shackelford!"

"My Dear Dr. Wilfred!" he replied.

"Detective, please tell me you found him!" Ms. Gilkenson said.

"Kind woman, please do not excite yourself," he said. "He is here, putting on his number, I believe." He pointed to a rather scruffy man with a beret and an old moth-eaten suit I could smell from where I stood.

"Next to the homeless guy? Wait, what? That can't be Chester." Ms. Gilkenson said.

"Dear lady, trust me. If you were to shave and bath him you would find he is none other than one Chester Franklin, ready to do right by his partner Cora Glass, if she will still have him."

"Go get Cora immediately!" Ms. Gilkenson said to a nearby event volunteer. "But Mr. Withersbottom, who kidnapped him?"

"As I suspected, no one!"

"No one! Then it was all a bizarre accident?"

"I didn't say someone didn't try to do him harm, Ms. Gilkenson. Thankfully for us, however, the criminal was not able to."

She fell back onto a seat, trying to catch her breath. "Tell me all, Detective Withersbottom."

"Where to begin? My suspicions were first aroused when I could find no trace of footprints left behind by the disappeared Southern California Dancer–the kidnap suspect. This wasn't a large deal in itself, as many dancers wear the same shoes. But, when you said the words 'It was as if the Southern California dancer didn't even exist', it all started to come together, slowly. You see, madam, he doesn't exist."

"But he stayed in my house! We all saw him."

"And did he not have the same height, body, and facial profile, perhaps, as Chester's best friend, George Smith?"

A shock of horror slowly came over her face.

"You mean–"

"Yes, George Smith disguised himself as a Southern California dancer. He added a fake beard, a neckerchief, and a hat."

"But how come we didn't recognize him?"

"George is a dancer and has great control over his body–he changed his walk, his posture, his gait–everything. I have since discovered he also had much theater experience in college, which would have allowed him to change his voice, act differently, and use spirit gum deftly."

"But what happened the night Chester disappeared? Who gave George a concussion?"

"Why, madam, Chester did."

Yet another wave of shock came over the poor girl.

"Do not worry; he did not do it on purpose. It was all a grand–but devilishly ironic–coincidence. You do recall, Ms Gilkenson, that Chester had been known to practice for hours and then fall onto his bed, clothes, shoes and all, and eventually fall asleep that way? And do you also recall, how he had practiced his new aerial so much he could do it in his sleep?"

"Yes?"

"Picture the scene I put before you, then–George enters Chester's room late at night, to do some dark bidding. Perhaps he was going to kidnap Chester, as you say, or perhaps something worse–perhaps he was going to do something to Chester. To his heel, his shoes, or something to sabotage the next practice, and put Chester out of the race for ILHC champion, blaming it all on his Southern California alter ego."

"But why, why would George do something like that? George is Chester's best friend!"

"You see, far from being Chester's friend, George was his greatest enemy, ever since Chester accidentally kicked him in the heel while dancing a few months ago. As you know, the injury ruined George's chances at the ILHC championship this year. George wanted things to be equal. He came into George's room that night to tamper in some way with Chester's foot or shoe, when suddenly, Chester does something in his sleep–the new aerial, or a dance step of some sort, perhaps–and kicks George square in the forehead."

"Yes, yes, it could have easily been a shoe heel that caused George's concussion!" I said.

Ms. Gilkenson looked agog. "Well, that answers what happened to George and the mysterious Southern California dancer, but what happened to Chester?"

"Well, that turned out to be the easiest part of the case to solve. Tell me, Ms. Gilkenson, I'm a lover of jazz music who needs to take a break from the hustle and bustle of the modern world and am no stranger to opiates. Where should I go?"

"New Orleans." She answered, and, having heard her answer, suddenly brought her hand to her mouth. "Oh, no!"

A somber Shackelford Withersbottom responded. "When I found him, he had been playing guitar for seven days straight. But to him, it seemed only five or six hours. I explained he was about to lose his partner because of his absent mindedness, and he rushed back to get here in time for the competition. You see, the night he disappeared, he had received a phone call in the middle of the night to come to New Orleans immediately in order to relax before the big weekend. In the darkness, Chester left and didn't even notice George, lying there on the floor."

"And I bet I know who made that call," Ms. Gilkenson said, and turned towards the storm clouds gathering outside the near window, a tear falling down her cheek. "Damn you, Andy Reid."

"Do not hold a grudge against him, Ms. Gilkenson, he only meant to help."

"Well, I guess that's about everything. How can I ever repay you, detective?"

At this moment, the volunteer sent to fetch Cora returned, out of breath and hysterical. "Ms. Gilkenson, Ms. Gilkenson, it's Cora! Someone kicked her–her heel–she can't dance on it! She can't compete!"

"Someone has injured Cora's heel?" Ms. Gilkenson said. "What are the odds!?"

Shackelford tapped his cane on the floor anxiously. "Ms. Gilkenson, you haven't, by any chance, seen if our friend George has awakened from his coma recently, have you?"

"No, I've been too busy working here at the event! Is it possible!?!"

"I'm afraid so."

"If Cora's hurt than who's Chester going to dance with?" Ms. Gilkenson was out of her chair, grabbing the volunteer by the lapels. "They just have to! They're too inspirational! They have to be seen! They're the spirit of Lindy Hop!"

"Don't worry for one instance, Ms. Gilkenson," Shackelford said. "I'll get my skirt."

The End

***************************************************************************

Why is this comical work of swing dance fiction deemed an ILHC mystery? Because the story was written with the goal of bringing notice, both literally and…well, literally, to the tone and overall spirit of the International Lindy Hop Championships competition weekend. Hopefully the story was a fun and entertaining frolic complete with sincere appreciation for the complexities of Lindy Hop and the swing dance community–all things ILHC strives for.

The Case of the Dancing Stud was loosely based on the Sherlock Holmes short story "Silver Blaze" by Sir Arthur Conan Doyle.

Tonight at the Jam Cellar, Aba Browning's Last DJ Night!

Before she heads off to grad school. After this, no one is allowed to leave DC without written permission by a travel agent.

The Big Big Benefit is THIS WEEKEND! July 9 and 10

***UPDATE: There will be (1) A dance on Friday Night with a performance show of swing dance talent, (2) workshops at Glen Echo on Saturday Afternoon with Internationally known award-winning swing dance instructors for all levels going from 1 p.m.-4:30 p.m. (3) A dance Saturday night.

The Jam Cellar is teaming up with the Glen Echo Park Partnership, Flying Feet Enterprises, Tom Cunningham Orchestra, The Boilermaker Jazz Band, Blue Sky 5 to raise funds for our dear friend (and mother of Jam Cellar original, Nina), Laurie Gilkenson. Laurie recently suffered a brain aneurysm and, as bills have been rising, she could really use our support. All proceeds will be donated to Laurie. Many dancers across the region are coming together to help support and promote this event including GottaSwing and Charm City Swing. Thanks everyone for your help on this great cause! For more info, visit our facebook event page. $15 Admission; Beginner Swing Lesson @ 8PM (Free with admission) Dance From 9PM – 12AM. Glen Echo Park Park Spanish Ballroom 7300 MacArthur Blvd., Glen Echo, Maryland. Presented in cooperation with the Glen Echo Park Partnership for Arts & Culture, Inc., the National Park Service and Montgomery County, MD.

Big Big Benefit Workshop Info

Here's a breakdown of the Lindy classes at Glen Echo Saturday afternoon, each class is $10 per person. 1:00-2:00pm – Solo Jazz with Nina Gilkenson. 2:15-3:15pm – Lindy Hop with Kate Hedin & Bobby White. 3:30-4:30pm – Lindy Hop with Nina Gilkenson & Bobby White. Workshops open to all levels (For the Lindy Hop classes, however, it would be good to have some basics down). Register at the door. It all takes place at Glen Echo park.

July Int/Adv Series: THE SOLO DANCER!

In July, we'll be focusing on the solo dancer in all of us. Not just solo Charleston (thought there will be some of that), this is a class series that will concentrate on how we all can express ourselves individually, weather alone or in a partnered dance. So, get ready for solo jazz routines, Lindy Hop footwork variations, and some answers on what to do with your damn arms while your dancing. $55. No partner required. 8:30 p.m. to 9:30 p.m. Tuesdays in July.

Our next Building Your Basics award-winning 6-week series begins July 13th

Just so you know. Tell your friends.

The Case of the Dancing Stud (Part 3 of 4)

Today is the third part of our ILHC mystery "The Case of the Dancing Stud." Read the first part here. and the second, here.

Part III: The Investigation Takes an Odd Turn

That night we arrived at the Jump Mansion, and Shackelford promptly disappeared, he said to go to the restroom, though he was gone so long I decided to make my way upstairs to where the dancing was. Though it was a little hot, the room was packed with Lindy Hoppers turning and kicking. I found myself a seat in the corner, enjoying myself immensely and wandering if they'd get around to playing a waltz.

After a couple songs, a group of followers entered who were obviously advanced, and a tall one in particular soon started to catch my eye. She didn't do much, but seemed, over the course of the evening, to warm-up and began dancing with a lot of attitude and power. Even when she looked strange in her angles or choice of moves, it didn't seem to matter, because her confidence and happiness in dancing made it all okay.

Soon Ms. Gilkenson and Ms. Glass arrived at the dance, and were kind enough to show me a few basic moves I could inflict on the innocent. After about thirty minutes, it was time for a Jack and Jill contest, and everyone cleared the floor for the tap-out contest. After an exciting five minutes, the finalist were paired down to two couples, one of which included the taller lady I have mentioned earlier.

Taking turns in a jam, each couple went out and really gave it everything they got. At the end, Ms Gilkenson and Ms Glass awarded the trophy to the couple with the tall woman, who said her name was Willa-Mae Jewel. After the contest the music began again, and imagine my surprise when I say the taller woman came over to ask me to dance.

She had a great time, obviously, though for me it was horrid. I didn't know what I was doing, and she didn't seem to be helping me like, I know realized, all the other followers had been doing. So, mot of the dance was her standing there, swiveling, and me looking confused. However, when we were done with the dance, she said "Meet me downstairs in thirty minutes. I'll show you some steps."

She then disappeared into the crowd of much more advanced leads than I. About thirty minutes later, I went downstairs to the practice room next to the Jump Mansion entrance. She was there, sitting on a couch.

"Please close the door, to keep the air conditioning in." I turned to do so, and when I turned back around, there was no one in the room but my dear friend and detective, the great Shackelford Withersbottom, in a dress.

"Shackelford!"

He laughed a devious laugh and clapped his hands together sharply. "Dr. Wilfred, if you would please," he said, motioning to the zipper at the back of the dress.

"I have learned a great deal tonight," he said, throwing on his vest and trousers. "Especially after the contest, the leads who had been hesitant to meet new people suddenly wanted to dance with me."

"But, Shackelford, I don't understand! How did you succeed in being such a good follow? You've never danced a step in your life."

"T'was simple, Wilfred….I relied on the hope that a good leader would make me do what was needed. By not having any training…"

"You didn't have any bad habits." I concluded, in awe.

"Precisely, Wilfred. Besides, I have the rhythm of a 1930s black woman in my heart," he said, straightening his argyle bow tie.

Of course, it was pointless to tell him that anyone else attempting what he had done would have resulted in humiliating failure and even more discrimination towards transgenders. And it was just a worthless to point out that great dance followers spend years and years in training; it wasn't near as simple as Shackelford expected. But, he was a different man than we.

"Well, what did you learn?"

"Many things. First, did you know the reason Chester's friend and coach George was out of commission for contest this year?"

"Yes, something about his heel."

"Not just something, Wilfred. Something perhaps very important to the case–he was apparently kicked by a hard, heavy, leather-healed shoes. While dancing. An aimless accident."

"Really? But how does that figure into the case?"

"It was his dear friend and our dancing stud, Chester, that did it."

My mind boggled. "Well, though that gives him a motive, I don't see how he could be the villain He's unconscious, after all, and we still have the missing Southern California dancer."

"You're quite right, Dr. Wilfred. The case grows more interesting with every new clue. I think, however, I am beginnign to put it all together. Especially, the curious case of the cat in the nightime."

"Ms. Gilkenson's cat, the night of the kidnapping? But the cat didn't do anything that night."

"Exactly," he said, "exactly. Dr. Wilfred, I must disappear myself for a few days."

"What?"

"It is unavoidable."

"But the contest is this weekend–we have to finish solving the case."

"That is precisely what I intend to do." He said, and we let the Jump Mansion doors shut behind us.

Stay tuned for Part IV: The Conclusion!