SalsaCrazy
Archive for November, 2009
Where did Michael Jackson learn to dance like that?
Author: admin
I’ve always wanted to know because he has always been good at it right from his very first singles. And watching his movie he does some awesome dancing but who taught him? When did he learn to dance like that?
He was inspired by watching James Brown but developed his own style.
read comments (3)How to dance!
Author: admin
Learning to Dance: Elizabeth Jolley: Life and Writing
Author: admin
Learning to Dance: Elizabeth Jolley: Life and Writing
Learn To Speak Spanish for Free
Author: admin
http://2learnspanish.blogspot.com
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Duration : 42 sec
What are the requirements to open a dance studio?
Author: admin
I was planning on minoring in Dance in college, and working as an elementary school teacher, and having the dance studio on the side. Any help in what I would need to do in order to open a studio would be very much appreciated.
Thank you!
You
a room
some chairs
some friends
some students.
Where did Michael Jackson learn to dance like that?
Author: admin
I’ve always wanted to know because he has always been good at it right from his very first singles. And watching his movie he does some awesome dancing but who taught him? When did he learn to dance like that?
He took some inspiration from Sammy Davis, Frank Sinatra and James Brown. But off course he had talent within him at everything he attempted! He was born to be a star so there is no real answer for that.
btw, he also likes to explore everything, he likes to dance spontaneously to make new moves and stuff.
by John Hook
Beach Music? Many define it by its geography and the kinds of songs it includes while describing ‘friendship’ and ‘good timesâ as the glue which binds it.
If you’re like me you’ve thrilled to square dancing in bright costumes, two-stepping in country bars, bumping and hustling in discos, and line dancing in modern clubs. Theyâre all filled with friendship and good times; making those insufficient illustrations of what makes Beach Music what it is.
1. Beach Music in the East and the West are similar, but not the same.
Both coastal communities celebrate individuality and self-expression. At the center of West Coast beach culture is the surfer community encouraging private quests marked by athletic achievement while the East Coast dance culture inspires a new form of social success.
2. East Coast Beach Music nurtures new ideals of social equality, romance, and improvisational self-expression.
Fifteen years before Rock and Roll, white teenagers in the Southeast embraced Black music as their own. At the same time they developed a new dance to express themselves. From that mixture the Shag evolved.
3. Many found the secret rites of Shag and Beach Music at the Beach.
Like the “soul surfers” of the West Coast, the âsoul dancersâ set new standards for the ‘good life.’ At the beach, personal and hometown histories stayed home while they assumed nicknames and developed new personalities.
4. Rhythm and Blues and Jazz were foundations for the Shag.
In addition to early black music, soul dancers often flipped over national pop hits to see if the ‘B’ side had the right beat and mood for carefree shuffles in coastal and inland pavilions.
5. Society sometimes misread them as mere ârebels.â
Like their West coast alter-egos they werenât rebelling as much as forming new communities and social hierarchies of greater equality with rights of self-expression.
6. Balmy days and nights, sensual Shag moves, and their own âcoat of armsâ embraced giddy summer romances.
The Shaggersâ dress code included Bass Weejuns, no socks, cashmere sweaters, and madras shirts. Like knights of old, girl-partners were revered. When they danced, *she* was the most gorgeous woman in the world.
7. East Coast soul dancers enshrined the Art of Play as equal to Hard Work.
As such they considered social life equivalent to work life. While they worked summer jobs to support themselves, they worked just as hard at ânot workingâ on the dance floor.
8. It looked like a sexual revolution.
It really wasnât focused on sex. Self-confidence and cool were guiding principles and the ‘safe date’ was integral to Beach Music. They put dancing before drinking–unlike some who need a ‘boost’ to drop their inhibitions.
9. Classic Beach songs include national hits and treasures unknown outside the Southeast.
Fifties Beach songs celebrated the good times in several ways. Although “Drinkin’ Wine Spo Dee O Dee” mentioned wine, it more loudly proclaimed the ‘good times’! Fifties hits included “Good Rockin’ Tonight,” “Sixty Minute Man,” and “Sh-Boom.” The 60s added hundreds more like âUnder the Boardwalk,â âMy Girl,â âWhat Does it Take To Win Your Love,â and âBrown Eyed Girl.â
10. The âShagâ had other names including the ‘Bop’ ‘Freestylin” and ‘Fas’ Dancin’.
The music wasnât named for 25 years! In the beginning most teenagers found it at the Beach. Eventually there were 500+ inland dance clubs, Pavilions, restaurants, swimming pools, and fishing lakes with dance floors.
Beach Music and Shag history show a culture celebrating individual uniqueness in the rituals of music and romance experienced by those who were dancing to their own destinies.  The Beach Music community was like a âbetaâ version of MySpace, a âflatâ world where everyone was equal, each member was in charge of their own self-expression and the accumulation of friends with whom they had common interests. The internet has simply made the field of dance partners much much larger.
To learn more about this fascinating chapter of American life that is still being written, follow this link http://www.beachshag.com/BMG%20SITC.htm
“Fessa” John Hook is a 39 year broadcaster captains the Endless Summer Network of Beach and Shag music on the net.
His three books on Beach music and Shag  are: “Shaggin’ in the Carolinas,” and the “Beach Music Guide 1945-2006, Vols 1 & 2″ and another, “Dancing On the Edge – How Music Freed the South,” coming in the fall of 2009.
“‘Shagging In the Carolinas,’ according to Hook, a Beach Music and Shag enthusiast, is a love letter that took 26 years to write.” –Sun Times newspaper
“Hook writes about how Shagging defied social conventions as carefree white teenagers were inspired by the possibilities inherent in improvisational black dance and music.” –Lexington Dispatch
“Hook knows what he’s talking about when it comes to Beach Music. As a broadcaster in the late 1980s, he was responsible for the first full-time Beach Music radio station in history….he chronicles the evolution of the dance….before the Lindy Hop, before the Jitterbug, came the Shag, a dance born and bred in the Carolinas.” –Our State magazine
John Hook
http://www.articlesbase.com/music-articles/10-ways-beach-music-romance-selfexpression-created-the-first-myspace-751911.html
Inspired by a classical Indian dance drama, Queens Boulevard (The Musical) Opening Night December 3rd
Author: Nirvana Style Editor Thu Oct 4, 2007
SIGNATURE THEATRE COMPANY PRESENTS THE WORLD PREMIERE OF
QUEENS BOULEVARD (the musical)
BY 2007-2008 PLAYWRIGHT-IN-RESIDENCE CHARLES MEE
DIRECTED BY DAVIS McCALLUM
CHOREOGRAPHY BY PETER PUCCI
OPENING NIGHT IS DECEMBER 3
TICKETS ON SALE OCTOBER 2
Signature Theatre Company (James Houghton, Founding Artistic Director; Erika Mallin, Executive Director)presents the world premiere of QUEENS BOULEVARD (the musical) by 2007-2008 Playwright-in-Residence. Charles Mee. Directed by Davis McCallum and choreographed by Peter Pucci, QUEENS BOULEVARD (the musical) begins performances on Tuesday, November 6 at Signature Theatre Companyâs Peter Norton Space, located at 555 West 42nd Street (between 10
Th and 11 th Avenues). Opening Night is Monday, December 3.
Through The Signature Ticket Initiative, which seeks to make great theatre accessible to the broadest possible audience, all regularly-priced single tickets ($65) are available for $20 during the regular runs of each production for the entire season and continues through Signatureâs 20
Th Anniversary Season (2010-2011).
The Signature Ticket Initiative is made possible by the lead sponsorship of Time Warner, Inc. Generous support for The Signature Ticket Initiative is provided by Margot Adams, in memory of Mason Adams.
The cast of QUEENS BOULEVARD (the musical) includes Amir Arison (A Very Common Procedure, MCC), Satya Bhabha (St. Annâs, The Flea Theatre), Michi Barall (A Midsummer Nightâs Dream, Public Theater), Marsha Stephanie Blake (The Crucible), Bill Buell (Inherit the Wind), Demosthenes Chrysan (Homebody/Kabul, Trinity Rep), Geeta Citygirl (Serendib, EST), Emily Donahoe (The Glass Menagerie, Berkeley Rep), William Jackson Harper (Thicker Than Water, EST), Jodi Lin (The Joy Luck Club, Pan Asian Rep), Arian Moayed (Masked, DR2),
Debargo Sanyal (Women of Trachis, Target Margin), Jon Norman Schneider (Durango, Public Theater), and Ruth Zhang (Tiananmen, Musical Theater Works).
QUEENS BOULEVARD (the musical) features musical supervision and arrangements by Michael Friedman, music direction by Matt Castle, scenic design by Mimi Lien, costume design by Christal Weatherly, lighting design by Marcus Doshi, sound design by Ken Travis and video design by Joseph Spirito.
On his wedding day, a new husband is determined to find the perfect gift for his bride. While she waits at home, hesearches for the mythical Flower of Heaven and is thrown into a series of colorful adventures on the streets of his neighborhood in Queens, New York. Inspired by a classical Indian dance drama, Queens Boulevard (the musical)celebrates love, community and life.
by www.nirvanastyle.com
NirvanaStyle Editor
http://www.articlesbase.com/art-and-entertainment-articles/inspired-by-a-classical-indian-dance-drama-queens-boulevard-the-musical-opening-night-december-3rd-in-new-york-230803.html
How to Dance Through Time, Vol. III: The Majesty of Renaissance Dance
Learn to dance.
Author: admin
