Hepcats!

Need a gift for the person that has everything?  Give a gift that lasts – with a lifetime of fun and good health!  Swing dance lessons are the perfect gift for someone looking for a fun activity, wanting to meet new people, explore a new hobby or just stay in shape.

Gift certificates can be customized for a single class/lesson, or for a package of classes, and for single dancers or groups of dancers.

One call or email does it all!  Contact Mike Richardson at 859-420-2426 or info@luv2swingdance.com to arrange your purchase.

o The famous Lindy Hop Issue, Aug. 23, 1941 (pg 95-103) “The Lindy Hop:  A True National Folk Dance Has Been Born in U.S.A.”.  Article, and great pictures of Leon James and Willie Mae Ricker; and Stanley Catron and Kaye Popp.  Mike & Mary have a copy of this issue; if you want to see it at classes or at a dance, just let us know.

o Harvest Moon Ball, Sep. 15, 1941 (pg 9-11):  article about the Harvest Moon Ball dance competition at Madison Square Garden, NYC, on August 27, 1941.

o An article featuring Frankie Manning, June 16, 1941 (pg 49-50).

o Article on the Savoy Ballroom, Dec. 14, 1936 (pg 64-68):  Life Goes to a Party:  at the Savoy with the Boys and Girls of Harlem.

o Photo of Frankie Manning, July 8, 1940 (pg 84).

o Big Apple Dance Craze, Aug. 9, 1936 (pg 22).

o Article about Lindy Hoppers, Dec. 28, 1936 (pg 30-31).  Other dances are highlighted on pages 32-41.

o Article on the Big Apple, Collegiate Shag, Dec. 20, 1937 (pg 29-32).

o Article on Big Apple and Shag, Nov. 1, 1937 (pg 124).

o One-legged Jitterbug Dancer Jack Joyce, Oct. 7, 1940 (pg 10-11).

o Balboa Beach Dancing, Apr. 28, 1947 (pg 136-137).

o Ray Hirsch and Patty Lacey, Sep. 26, 1938 (pg 24).

o Article about the “Jitterbug”, Aug. 8, 1938 (pg 56-60).  On page 60 is an interesting list of “30 Good Hot Records”.

o Arthur Murray diagram “breakdown” of the Lindy Hop, Sep. 20, 1943 (pg 2).  Not sure what the diagram depicts, it really makes no sense.  It’s interesting to note that Mr. Murray himself states “This is only the rudimentary footwork.  The rhythm, which is more important, must be learned by listening and watching.”

Yes, it’s true, at a lot of swing dance events the pre-dance lesson is often a “step, step, rock step” type of lesson.  But that lesson is designed to get those up on the dance floor that have never danced before, or have little dance experience.  So as you progress, don’t settle for anything less than the original swing dances:  Lindy Hop and Balboa!

1 – Keep on learning, but be discerning.  Lindy Hop and Balboa should be seen as a journey, not a destination.  Good Lindy Hop and Balboa dancers are life-long learners.

Workshops.  Attend good Lindy Hop and Balboa workshops.  Workshops are normally weekend type events.  Look for good national level workshops, and also regional level type workshops.  You’ll never reach your full potential if you don’t attend good workshop events.  How do you know if a workshop is a good Lindy Hop or Balboa event?  Check out the Hepcats calendar page for info on workshop events.  Also, Mike & Mary have attended a lot of workshop events; we are happy to share our view on specific workshop events.

Classes.  Take classes from good Lindy Hop and Balboa dancers and instructors; plus you should take private lessons from those instructors.

Now, the discerning part ….. How do you know what makes a good Lindy Hop / Balboa instructor?

(a)  Seek out instructors that have a proven record of accomplishments in Lindy Hop and Balboa.  Ask yourself these questions:  (1) Have the instructors competed in local, regional and/or national level Lindy Hop and Balboa competitions?  (2) Do you see the instructors participating in jam circles?  (3) Are they, or have they been, a member of a performance group?

Don’t be taken in by an “instructor/swing dancer” with a few “flash and trash” moves, but with little technical ability and understanding of the dance.

(b)  Beware of dancers in your local scene that may try to “help” you.  It’s easy for beginner swing dancers to be impressed by other dancers with little technical ability, but have a few of those “flash and trash” moves.  Beware of those that offer to “teach” you.  Be careful who you listen to or take advice from.

2 – Use the original swing dances as your primary framework and guide.  A hallmark of Lindy Hop and Balboa is the ability to be creative and innovative on the dance floor, and of course, that’s great!  But always look to the original swing dances as your main point of reference, and as a framework for your dancing.  There are lots of videos out there that show many of the original Lindy Hop and Balboa swing dancers strutting their stuff.

3 – Be patient, stick with it, and practice.  Sometimes dancers (of all ability levels) find they have hit a “plateau”, or perhaps they are in a “rut”.  If you find yourself at a “plateau”, don’t give up – continue to practice.  View some vintage video of Lindy Hop and Balboa for ideas and inspiration; practice your basic steps and patterns; add something different.

One note about practice.  Practice doesn’t make perfect – good practice makes perfect.  Make sure your technique is solid – technique is something you should continually work on and improve.  If you practice using bad technique, you’ll just continue to reinforce bad habits.

4 – Go dancing.  Classes, workshops, and practice are really important.  But those should be combined with social dancing at venues with good swing music.  Take advantage of any Hepcats swing dance events, especially those with live music.  A swing dance event with good live music can be an exhilarating and inspiring dance experience.  Go swing dancing at other good out of town dance venues with good swing music.  Experience different dance floors and dance venues.

Lindy exchanges are a good way to experience different types of venues and swing dance scenes.  But take note:  you should not attend Lindy exchanges in lieu of attending workshops.  A good rule of thumb is that you should attend 2-3 workshops (both weekend and one day type workshops) for every Lindy exchange you attend.  Most people only have a certain amount of resources (i.e. time and/or money) available for swing dancing, so use those resources wisely.

5 – Listen to and learn about great swing music.  Being able to interpret the phrases and breaks rases of the music are essential if you want to be able to dance to the music, rather than just dance.  Note there is a lot of music played in 4/4 time that people “swing dance” to, but that doesn’t make it swing music. (Go to a West Coast Swing, Ballroom, or Blues event to see what I mean.)  Many swing dancers say that the ability to interpret the music you are dancing to is what “ties it all together”.  For more info about swing music, click here.

6 – Participate in jam circles, enter competitions, join a performance group.  One of the best ways to take your swing dancing to the “next level” is to participate in “competition” type activities (of course, friendly and fun competitions).  Participating in competitions, be it a jam circle, a performance group, a couples contest, a Jack and Jill contest, etc…gets the competitive juices flowing and is often a catalyst for individual improvement.  Friendly and healthy dance competitions also bring excitement and enthusiasm to the scene, and can inspire others to take their swing dancing to the next level.

7 – Honestly evaluate your dancing, get feedback.

On a regular basis, honestly evaluate your dancing.

(a) If you enter contests (which you should), are you getting good marks from the judges, are you making the finals (especially for local and regional level competitions)?  After the contest, ask the judges for feedback on your performance, and use that information to improve your dancing.

(b) Seek out feedback/advice from your local area’s best dancers/instructors.  Once again, be careful who you ask for that feedback/advice.  Use the same criteria as you would in selecting an instructor for a group or private lesson:  (1) Has this person competed in local, regional and/or national level competitions?  (2) Do you see this person participating in jam circles?  (3) Is this person a member of a performance group?  (4) Are they really good Lindy Hoppers and Balboa dancers, or do they just have some “flash and trash” moves.

8 – Dress the part.  Yes, dressing nice will actually help you become a better dancer!  If you look good, you’ll feel good about yourself, and you’ll dance better.  And if you dress nice, other people will want to dance with you.

Remember:  dancing is a social activity and you’re interacting with other people, so try to look like you care.  Think about it…guys, do you think women will want to dance with you or be attracted to you if you’re wearing ratty looking blue jeans, cargo pants, sweatpants and a dingy looking, smelly t-shirt?  Ladies, do you think guys will want to dance with or will be attracted to a lady that looks frumpy and dowdy?  It bears repeating, for both guys and gals – dress nice!

9 – Don’t be shy.  No matter your ability level, don’t be afraid to dance with different people.  Remember that the “beginner” dancer of today could someday in the future be an “intermediate” dancer.  Conversely, don’t be afraid to ask a more “experienced” dancer for a dance.  This applies to leaders and followers.  And most importantly, as your ability level increases, continue to seek out and dance with those who have good technique and abilities.  

10 – Stop doing steps and patterns.  Yes, at some point, you’ll want to move from being a “steps & patterns” dancer to becoming a dancer that dances to the music.  Sure, we all like to learn new steps and patterns.  But a huge part of swing dancing is about connecting to the music and your partner.  Take time to listen to good swing music; feel the beat; feel the pulse; become familiar with swing music phrasing, etc…. it’s really not that hard and will make a world of difference in your dancing!

Lastly, stay humble.  As soon as you become a barely competent dancer, other people will start telling you how great you are.  Sure, compliments are nice, and we all like them, but take those with a grain of salt, especially from those dancers whose technique and ability level is really not much better than yours.  And remember there are always better dancers out there, and there is always more you can learn.

If in doubt about a specific point of etiquette, it is often enough to invoke the following rule:  be kind and considerate of others.

Etiquette on the Social Dance Floor – the Main Points

o Take Care of Your Personal Hygiene.  For your partner’s sake, avoid eating garlic, onions, spicy foods or heavy amounts of perfume/after shave before you go dancing.  Ensure you shower and brush your teeth.  Swing dancers have a tendency to sweat, so also take care of your personal hygiene during the dance, i.e. use baby powder and deodorant as required.  Leaders especially: bring extra shirts (both outer shirts and T-Shirts), change sweaty clothing, etc.

o No unsolicited teaching – on both the social dance floor and at workshops.

oo It is extremely rude to presume you know more than an event attendee or your partner does (even if you do).  Trying to “help” someone by offering unsolicited teaching advice can hurt feelings and turn off new dancers.  Men seem to violate this rule much more than ladies.  I’ve heard several stories from very experienced and accomplished followers about how a beginning dancer offered them unsolicited “advice”.

oo If you are an “instructor”, you also should not “teach” at another event venue.  Once again, unsolicited teaching is bad form.

oo Aerials, drops, and slides are not appropriate for the social dance floor and are best left for jam sessions and competitions.

o Ask others to dance.  Hey, it’s a social dance!  A note for “experienced” dancers.  Asking others to dance is very important in perpetuating the local swing dance scene.  If the more experienced dancers spend all their time and energy focusing on their own enjoyment but overlook the aspects of promoting the scene to others, then that threatens the fabric that holds the “swing dance” community together over the long term.

o Applaud the band.  If it’s a live music venue, give the band a hand at the end of a song (assuming it was a song worthy of applause!) – bands just don’t play for money!  The more you applaud, the better the band will feel and play.

o Dance in the space that you have.  Be careful not to “block the space” that dancers have established.  The “space” for swing dancers is normally a space about the length of outreached arms on both sides of the leader.  Lindy Hop dancers especially should be careful not to “short” the other dancers when they have established a space.  Respect their space and don’t cut it in half by dancing on either side of it.

o Line of Dance.  This doesn’t apply too much for Lindy Hop and Balboa swing dancers, but here is the general concept.  Ballroom dances like the waltz or foxtrot are traveling dances.  These traveling dances move on the dance floor in a counter clock-wise direction.  This is called the line of dance.  Sometimes, for the same song, some couples will dance a traveling dance, i.e. like a foxtrot. In this case, the traveling dancers should travel along the periphery or outside of the dance floor.

o The dance floor is for dancing.  If you’re having a conversation, move of the dance floor.  At most dance venues, dance floor space is at a premium.

Other Guidelines

* Don’t try to be the dance “police”.  If you see something unsafe (e.g., broken glass, water on the dance floor, etc.) or someone doing something really unsafe, it’s best to alert the club manager, the event sponsor, etc. and let them handle the situation.

* Getting on to the dance floor.  The gentleman should escort the lady on to the dance floor.  It is the responsibility of the couple getting onto the dance floor to make sure that they stay out of the way of the couples already dancing.  If possible, walk around the edge of the dance floor, rather than trying to thread your way through the dancers.

* Leaving the dance floor.  When a song comes to an end, leave the dance floor as quickly as it is safely possible.  Traditionally, the gentleman escorts the lady back to her seat at the end of the dance.  While this is a nice touch, it may be impractical on a crowded dance floor or in certain swing dance venues.

* At the end of the dance, thank your partner.

* If the dance floor is very crowded, don’t take up excessive space or travel from area to area.  You may want to avoid Charleston patterns and kicking steps.  On any dance floor, but particularly a crowded one, it is certainly a good idea to look behind and around you so you don’t step on or kick others.  In addition, don’t try to dance every dance when the floor is crowded.  Take a break, socialize, visit friends, etc.

* If you must drink, do so as far from the dance floor as possible.  Never dance with a drink in your hand.

* Sharing the dance floor.  Avoid getting too close to other couples, especially less experienced ones.  Be prepared to change the directions of your patterns to avoid congested areas.  This requires thinking ahead and matching your patterns to the free areas on the floor (floor craft).  While this may sound complicated to the beginning dancer, it gradually becomes second nature.

Asking for a dance

* When asking for a dance, any of the traditional phrases such as “Would you like to dance?” or “Care to dance?” are fine.  To point at or make some other type of non-verbal communication when “asking” for a dance is bad form.

* At swing dances, it is considered perfectly acceptable for a lady to ask a gentleman for a dance.

* When asking someone to dance, step up to him/her and make eye contact when asking for a dance.  Do not ask from a distance as it can make for an awkward moment if a number of people think they have been asked to dance, and you have to tell them that they were not.

* If someone appears to be in a normal conversation with another, you can approach, standing close and interested.  When your intended partner makes eye contact, you may smile and ask “Dance?”

Declining a dance

* It’s always acceptable to decline a dance (male or female) – and no explanation is required.  This is normally reserved for dancers (once again, male or female) who consistently violate the rules of conduct, behave inappropriately on the dance floor, are rough and/or dangerous on the floor, have bad body odor, are sweating excessively, or are otherwise a serious problem.  This option should be used with restraint, and mostly in the case of repeat offenders.

Assuming the above situation does not apply, you should generally avoid declining a dance, except for the following reasons:

** You have promised the dance to someone else.

** You need to take a rest.

* When turned down for a dance, one should at first take it at face value.  When a dance can last for hours, there are not many people who can keep dancing non-stop and therefore will need to take a break from time to time.  Especially for beginners and shy individuals, asking for a dance and then being declined can be difficult and may discourage them from social dancing.  If one is turned down for a dance on an occasional basis, one should not read anything into such instances.  However, since swing dancers are generally nice people, being repeatedly declined can be a sign to examine one’s own dancing and social interactions to see if anything is wrong with oneself.

Whom to ask

* A note for “experienced” dancers.  Asking others to dance is certainly important in perpetuating the local swing dance scene.  If the more experienced dancers spend all their time and energy focusing on their own enjoyment but overlook the aspects of promoting the scene to others, then that threatens the fabric that holds the “swing” community together over the long term.

* Generally, it is considered good social form to dance with other people as well one’s regular partner.  Indeed, one of the main points of going to a social dance event is to dance with others.

* Remember the “beginning” dancer of today could someday be an “intermediate” dancer.  Conversely, don’t be afraid to ask a more “experienced” dancer for a dance.  This applies to leaders and followers. Dance with everyone – don’t limit yourself.

No fault dancing

* Never blame a partner for a move that did not execute properly.  Regardless of who is at fault when a dancing mishap occurs, both parties are supposed to smile and go on.  This applies to the better dancer in particular, who bears a greater responsibility.

* Accepting the blame for a dancing mishap is an especially nice touch for the gentleman.  But at the same time, do not apologize profusely.

* Be considerate of other couples on the floor.  If you step on someone’s toes, say “Excuse me” even when it’s not your fault.

What to wear.  See this web page for info.

Dancing to the level of the partner

* It often happens that the two partners dancing are not at the same level.  It is important that the more experienced partner, both leader and follower, dances at the level of the less experienced partner.  When dancing with a new partner, start with the simple, and gradually work your way up to the more “complicated”.  Doing extra syncopations, footwork, free spins, turns, etc. can be distracting and even intimidating for a less experienced follower.

Demeanor

* Be personable and smile.  Try to project a warm and positive image on the dance floor, even if that is not your personal style.  Once one asks or accepts a dance, it is important to be outwardly positive, even if not feeling exactly enthusiastic.

* Maintain eye contact – you are dancing with this person, therefore it is respectful to pay attention to them.  Do not let your gaze wander to things or people around you.

Want to hear some of Cab Calloway’s famous jive?  Click here for a video of Cab Calloway & His Orchestra performing Hep! Hep! The Jumpin’ Jive, with the famous Nicholas Brothers – and enjoy the Nicholas Brothers great dancing!

Instruments

• Guitar: Git Box or Belly-Fiddle

• Bass: Doghouse

• Drums: Suitcase, Hides, or Skins

• Piano: Storehouse or Ivories

• Saxophone: Plumbing or Reeds

• Trombone: Tram or Slush-Pump

• Clarinet: Licorice Stick or Gob Stick

• Xylophone: Woodpile

• Vibraphone: Ironworks

• Violin: Squeak-Box

• Accordion: Squeeze-Box or Groan-Box

• Tuba: Foghorn

• Electric Organ: Spark Jiver

Jive Terminology

• A hummer (n.) — exceptionally good. Ex., “Man, that boy is a hummer.”

• Ain’t coming on that tab (v.) — won’t accept the proposition. Usually abbr. to “I ain’t coming.”

• Alligator (n.) — Lindy Hopper, swing dancer, jitterbug.

• Apple (n.) — the big town, the main stem, Harlem.

• Armstrongs (n.) — musical notes in the upper register, high trumpet notes.

• Barbecue (n.) — the girl friend, a beauty

• Barrelhouse (adj.) — free and easy.

• Battle (n.) — a very homely girl, a crone.

• Beat (adj.) — (1) tired, exhausted. Ex., “You look beat” or “I feel beat.” (2) lacking anything. Ex, “I am beat for my cash”, “I am beat to my socks” (lacking everything).

• Beat it out (v.) — play it hot, emphasize the rhythym.

• Beat up (adj.) — sad, uncomplimentary, tired.

• Beat up the chops (or the gums) (v.) — to talk, converse, be loquacious.

• Beef (v.) — to say, to state. Ex., “He beefed to me that, etc.”

• Black (n.) — night.

• Black and tan (n.) — dark and light colored folks. Not colored and white folks as erroneously assumed.

• Blew their wigs (adj.) — excited with enthusiasm, gone crazy.

• Blip (n.) — something very good. Ex., “That’s a blip”; “She’s a blip.”

• Blow the top (v.) — to be overcome with emotion (delight). Ex., “You’ll blow your top when you hear this one.”

• Boogie-woogie (n.) — harmony with accented bass.

• Boot (v.) — to give. Ex., “Boot me that glove.”

• Break it up (v.) — to win applause, to stop the show.

• Bree (n.) — girl.

• Bright (n.) — day.

• Brightnin’ (n.) — daybreak.

• Bring down ((1) n. (2) v.) — (1) something depressing. Ex., “That’s a bring down.” (2) Ex., “That brings me down.”

• Buddy ghee (n.) — fellow.

• Bust your conk (v.) — apply yourself diligently, break your neck.

• Canary (n.) — girl vocalist.

• Capped (v.) — outdone, surpassed.

• Cat (n.) — musician in swing band.

• Chick (n.) — girl.

• Chime (n.) — hour. Ex., “I got in at six chimes.”

• Clambake (n.) — ad lib session, every man for himself, a jam session not in the groove.

• Chirp (n.) — female singer.

• Cogs (n.) — sun glasses.

• Collar (v.) — to get, to obtain, to comprehend. Ex., “I gotta collar me some food”; “Do you collar this jive?”

• Come again (v.) — try it over, do better than you are doing, I don’t understand you.

• Comes on like gangbusters (or like test pilot) (v.) — plays, sings, or dances in a terrific manner, par excellence in any department. Sometimes abbr. to “That singer really comes on!”

• Cop (v.) — to get, to obtain (see collar; knock).

• Corny (adj.) — old-fashioned, stale.

• Creeps out like the shadow (v.) — “comes on,” but in smooth, suave, sophisticated manner.

• Crumb crushers (n.) — teeth.

• Cubby (n.) — room, flat, home.

• Cups (n.) — sleep. Ex., “I gotta catch some cups.”

• Cut out (v.) — to leave, to depart. Ex., “It’s time to cut out”; “I cut out from the joint in early bright.”

• Cut rate (n.) — a low, cheap person. Ex., “Don’t play me cut rate, Jack!”

• Dicty (adj.) — high-class, nifty, smart.

• Dig (v.) — (1) meet. Ex., “I’ll plant you now and dig you later.” (2) look, see. Ex., “Dig the chick on your left duke.” (3) comprehend, understand. Ex., “Do you dig this jive?”

• Dim (n.) — evening.

• Dime note (n.) — ten-dollar bill.

• Doghouse (n.) — bass fiddle.

• Domi (n.) — ordinary place to live in. Ex., “I live in a righteous dome.”

• Doss (n.) — sleep. Ex., “I’m a little beat for my doss.”

• Down with it (adj.) — through with it.

• Drape (n.) — suit of clothes, dress, costume.

• Dreamers (n.) — bed covers, blankets.

• Dry-goods (n.) — same as drape.

• Duke (n.) — hand, mitt.

• Dutchess (n.) — girl.

• Early black (n.) — evening

• Early bright (n.) — morning.

• Evil (adj.) — in ill humor, in a nasty temper.

• Fall out (v.) — to be overcome with emotion. Ex., “The cats fell out when he took that solo.”

• Fews and two (n.) — money or cash in small quantity.

• Final (v.) — to leave, to go home. Ex., “I finaled to my pad” (went to bed); “We copped a final” (went home).

• Fine dinner (n.) — a good-looking girl.

• Focus (v.) — to look, to see.

• Foxy (v.) — shrewd.

• Frame (n.) — the body.

• Fraughty issue (n.) — a very sad message, a deplorable state of affairs.

• Freeby (n.) — no charge, gratis. Ex., “The meal was a freeby.”

• Frisking the whiskers (v.) — what the cats do when they are warming up for a swing session.

• Frolic pad (n.) — place of entertainment, theater, nightclub.

• Fromby (adj.) — a frompy queen is a battle or faust.

• Front (n.) — a suit of clothes.

• Fruiting (v.) — fickle, fooling around with no particular object.

• Fry (v.) — to go to get hair straightened.

• Gabriels (n.) — trumpet players.

• Gammin’ (adj.) — showing off, flirtatious.

• Gasser (n, adj.) — sensational. Ex., “When it comes to dancing, she’s a gasser.”

• Gate (n.) — a male person (a salutation), abbr. for “gate-mouth.”

• Get in there (exclamation.) — go to work, get busy, make it hot, give all you’ve got.

• Gimme some skin (v.) — shake hands.

• Glims (n.) — the eyes.

• Got your boots on — you know what it is all about, you are a hep cat, you are wise.

• Got your glasses on — you are ritzy or snooty, you fail to recognize your friends, you are up-stage.

• Gravy (n.) — profits.

• Grease (v.) — to eat.

• Groovy (adj.) — fine. Ex., “I feel groovy.”

• Ground grippers (n.) — new shoes.

• Growl (n.) — vibrant notes from a trumpet.

• Gut-bucket (adj.) — low-down music.

• Guzzlin’ foam (v.) — drinking beer.

• Hard (adj.) — fine, good. Ex., “That’s a hard tie you’re wearing.”

• Hard spiel (n.) — interesting line of talk.

• Have a ball (v.) — to enjoy yourself, stage a celebration. Ex., “I had myself a ball last night.”

• Hep cat (n.) — a guy who knows all the answers, understands jive.

• Hide-beater (n.) — a drummer (see skin-beater).

• Hincty (adj.) — conceited, snooty.

• Hip (adj.) — wise, sophisticated, anyone with boots on. Ex., “She’s a hip chick.”

• Home-cooking (n.) — something very dinner (see fine dinner).

• Hot (adj.) — musically torrid; before swing, tunes were hot or bands were hot.

• Hype (n, v.) — build up for a loan, wooing a girl, persuasive talk.

• Icky (n.) — one who is not hip, a stupid person, can’t collar the jive.

• Igg (v.) — to ignore someone. Ex., “Don’t igg me!)

• In the groove (adj.) — perfect, no deviation, down the alley.

• Jack (n.) — name for all male friends (see gate; pops).

• Jam ((1)n, (2)v.) — (1) improvised swing music. Ex., “That’s swell jam.” (2) to play such music. Ex., “That cat surely can jam.”

• Jeff (n.) — a pest, a bore, an icky.

• Jelly (n.) — anything free, on the house.

• Jitterbug (n.) — a swing fan.

• Jive (n.) — Harlemese speech.

• Joint is jumping — the place is lively, the club is leaping with fun.

• Jumped in port (v.) — arrived in town.

• Kick (n.) — a pocket. Ex., “I’ve got five bucks in my kick.”

• Kill me (v.) — show me a good time, send me.

• Killer-diller (n.) — a great thrill.

• Knock (v.) — give. Ex., “Knock me a kiss.”

• Kopasetic (adj.) — absolutely okay, the tops.

• Lamp (v.) — to see, to look at.

• Land o’darkness (n.) — Harlem.

• Lane (n.) — a male, usually a nonprofessional.

• Latch on (v.) — grab, take hold, get wise to.

• Lay some iron (v.) — to tap dance. Ex., “Jack, you really laid some iron that last show!”

• Lay your racket (v.) — to jive, to sell an idea, to promote a proposition.

• Lead sheet (n.) — a topcoat.

• Left raise (n.) — left side. Ex., “Dig the chick on your left raise.”

• Licking the chops (v.) — see frisking the whiskers.

• Licks (n.) — hot musical phrases.

• Lily whites (n.) — bed sheets.

• Line (n.) — cost, price, money. Ex., “What is the line on this drape” (how much does this suit cost)? “Have you got the line in the mouse” (do you have the cash in your pocket)? Also, in replying, all figures are doubled. Ex., “This drape is line forty” (this suit costs twenty dollars).

• Lock up — to acquire something exclusively. Ex., “He’s got that chick locked up”; “I’m gonna lock up that deal.”

• Main kick (n.) — the stage.

• Main on the hitch (n.) — husband.

• Main queen (n.) — favorite girl friend, sweetheart.

• Man in gray (n.) — the postman.

• Mash me a fin (command.) — Give me $5.

• Mellow (adj.) — all right, fine. Ex., “That’s mellow, Jack.”

• Melted out (adj.) — broke.

• Mess (n.) — something good. Ex., “That last drink was a mess.”

• Meter (n.) — quarter, twenty-five cents.

• Mezz (n.) — anything supreme, genuine. Ex., “this is really the mezz.”

• Mitt pounding (n.) — applause.

• Moo juice (n.) — milk.

• Mouse (n.) — pocket. Ex., “I’ve got a meter in the mouse.”

• Muggin’ (v.) — making ‘em laugh, putting on the jive. “Muggin’ lightly,” light staccato swing; “muggin’ heavy,” heavy staccato swing.

• Murder (n.) — something excellent or terrific. Ex., “That’s solid murder, gate!”

• Neigho, pops — Nothing doing, pal.

• Nicklette (n.) — automatic phonograph, music box.

• Nickel note (n.) — five-dollar bill.

• Nix out (v.) — to eliminate, get rid of. Ex., “I nixed that chick out last week”; “I nixed my garments” (undressed).

• Nod (n.) — sleep. Ex., “I think I’l cop a nod.”

• Ofay (n.) — white person.

• Off the cob (adj.) — corny, out of date.

• Off-time jive (n.) — a sorry excuse, saying the wrong thing.

• Orchestration (n.) — an overcoat.

• Out of the world (adj.) — perfect rendition. Ex., “That sax chorus was out of the world.”

• Pad (n.) — bed.

• Pecking (n.) — a dance introduced at the Cotton Club in 1937.

• Peola (n.) — a light person, almost white.

• Pigeon (n.) — a young girl.

• Pops (n.) — salutation for all males (see gate; Jack).

• Pounders (n.) — policemen.

• Queen (n.) — a beautiful girl.

• Rank (v.) — to lower.

• Ready (adj.) — 100 per cent in every way. Ex., “That fried chicken was ready.”

• Ride (v.) — to swing, to keep perfect tempo in playing or singing.

• Riff (n.) — hot lick, musical phrase.

• Righteous (adj.) — splendid, okay. Ex., “That was a righteous queen I dug you with last black.”

• Rock me (v.) — send me, kill me, move me with rhythym.

• Ruff (n.) — quarter, twenty-five cents.

• Rug cutter (n.) — a very good dancer, an active jitterbug.

• Sad (adj.) — very bad. Ex., “That was the saddest meal I ever collared.”

• Sadder than a map (adj.) — terrible. Ex., “That man is sadder than a map.”

• Salty (adj.) — angry, ill-tempered.

• Sam got you — you’ve been drafted into the army.

• Send (v.) — to arouse the emotions. (joyful). Ex., “That sends me!”

• Set of seven brights (n.) — one week.

• Sharp (adj.) — neat, smart, tricky. Ex., “That hat is sharp as a tack.”

• Signify (v.) — to declare yourself, to brag, to boast.

• Skins (n.) — drums.

• Skin-beater (n.) — drummer (see hide-beater).

• Sky piece (n.) — hat.

• Slave (v.) — to work, whether arduous labor or not.

• Slide your jib (v.) — to talk freely.

• Snatcher (n.) — detective.

• So help me — it’s the truth, that’s a fact.

• Solid (adj.) — great, swell, okay.

• Sounded off (v.) — began a program or conversation.

• Spoutin’ (v.) — talking too much.

• Square (n.) — an unhep person (see icky; Jeff).

• Stache (v.) — to file, to hide away, to secrete.

• Stand one up (v.) — to play one cheap, to assume one is a cut-rate.

• To be stashed (v.) — to stand or remain.

• Susie-Q (n.) — a dance introduced at the Cotton Club in 1936.

• Take it slow (v.) — be careful.

• Take off (v.) — play a solo.

• The man (n.) — the law.

• Threads (n.) — suit, dress or costume (see drape; dry-goods).

• Tick (n.) — minute, moment. Ex., “I’ll dig you in a few ticks.” Also, ticks are doubled in accounting time, just as money isdoubled in giving “line.” Ex., “I finaled to the pad this early bright at tick twenty” (I got to bed this morning at ten o’clock).

• Timber (n.) — toothipick.

• To dribble (v.) — to stutter. Ex., “He talked in dribbles.”

• Togged to the bricks — dressed to kill, from head to toe.

• Too much (adj.) — term of highest praise. Ex., “You are too much!”

• Trickeration (n.) — struttin’ your stuff, muggin’ lightly and politely.

• Trilly (v.) — to leave, to depart. Ex., “Well, I guess I’ll trilly.”

• Truck (v.) — to go somewhere. Ex., “I think I’ll truck on down to the ginmill (bar).”

• Trucking (n.) — a dance introduced at the Cotton Club in 1933.

• Twister to the slammer (n.) — the key to the door.

• Two cents (n.) — two dollars.

• Unhep (adj.) — not wise to the jive, said of an icky, a Jeff, a square.

• Vine (n.) — a suit of clothes.

• V-8 (n.) — a chick who spurns company, is independent, is not amenable.

• What’s your story? — What do you want? What have you got to say for yourself? How are tricks? What excuse can you offer? Ex., “I don’t know what his story is.”

• Whipped up (adj.) — worn out, exhausted, beat for your everything.

• Wren (n.) — a chick, a queen.

• Wrong riff — the wrong thing said or done. Ex., “You’re coming up on the wrong riff.”

• Yarddog (n.) — uncouth, badly attired, unattractive male or female.

• Yeah, man — an exclamation of assent.

• Zoot (adj.) — exaggerated

• Zoot suit (n.) — the ultimate in clothes. The only totally and truly American civilian suit.

We’ve done everything from teaching the couples a few simple moves, to teaching a more elaborate routine, to DJing all the wedding music.  It’s a real pleasure to see a couple look really good during their wedding dance and hear other people ooh and aah and say things like “Don’t they look great on the dance floor!” and “I didn’t know they could dance like that!”

So what advice would Mike & Mary have for the couple wanting to look good on the dance floor for their wedding?

Just Dance!  Based on our experience working with couples preparing for a wedding, it’s much easier to learn to actually dance rather than try to and learn a choreographed routine.  At the weddings I’ve attended, the best looking newlywed couples on the dance floor are those that have learned to dance.  Their dance looked natural, spontaneous and fun — because it was!

The key is to learn the basic and a few easy, but cool looking variations for whatever dance fits your song choice.

Don’t Try to Choreograph a Routine.  It may seem that a choreographed routine to the song of your choice would be the way to go, but in reality, dance routines are difficult for experienced dancers, and learning a dance routine adds more stress during a hectic period of your life.  It’s a lot to expect of yourself to memorize a dance routine on what could be a stressful day.

Song Choice.  Song selection is key for that first wedding dance.  A song that’s not too fast, but not too slow usually works best.  You also want a song that has a very identifiable rhythm.

Don’t Wait.  Whether you learn to dance, or you want to learn a routine, it takes time.  Plan at least one-two months ahead.  Don’t wait until the last minute to contact an instructor and get the classes scheduled.  When planning a wedding, details and events have a way of slipping up on you, so allow yourself plenty of time.

Less Stress.  Learning to dance for your wedding can actually be enjoyable and act as a stress relief from the hectic nature of a wedding.  That first wedding dance doesn’t have to be overly complicated.  With a little turn here, and a dip there, you’ll be able to look at your wedding video later on and say “Hey, we looked pretty good!”

So what’s the next step? Either take the Hepcats group classes, or take some private lessons with Mike & Mary, or use a combination of both.

Contact Mike Richardson, 859-420-2426 or info at luv2swingdance dot com for more info!

o “I will look silly/I don’t want to look silly or stupid“.  I don’t blame you, I wouldn’t want to look silly or stupid!  And I agree that men can look that way when they get on the dance floor and just “wiggle” around or stand there like a statue.

But learning to dance is not that hard when it’s broken down.  At Hepcats classes we break down steps and patterns and make it easy and fun to learn.

o “I have two left feet, I have no sense of rhythm….” In our experience, if you can count to 8 and you know your left from your right foot, you can become a competent social dancer.

Think about it for a minute.  Even though women like to dance more than men, thousands of men have learned to dance; most of them just average Joe’s like you and me.  So you can learn!

o “I hear what you’re saying, but dancing would just be too hard for me to learn.”  The toughest thing about dancing is that first step:  sign up for classes and just give it a try.

Conclusion.  We’ve all been there and seen it before.  It’s a bar or a nightclub or some such place, with more men than women at these places, but more women than men on the dance floor.  Why aren’t the men on the dance floor?  Often they are lined along the wall or sitting at a table, watching and wondering, wishing they could dance and be a part of the action….

Anyone that has ever learned to dance had to start somewhere.  So give it a try – learn to swing dance with the Mike & Mary!