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Mistalocks Accepts Tic Man’s Challenge
It didn’t take me long to here that my reputation is on the line across the World Wide Web. Tic Man’s accusation of my disrespect for his dance ability is untrue and malicious.
Tic Man quoted me as saying theses words”He says, “I’m a clown … I clown dance and he’s a more serious dancer.” If any of you readers are familiar with slander here is a case to be made.
Question for Tic Man? How is possible for you to quote me when we have never had a conversation greater than me telling you it looks like Danielle and you were doing Salsa? This conversation took place in Milwaukee 2006. Yes, we have said, Hi & Bye in Detroit but nothing greater. So to quote me falsely as your argument of disrespect shows your disrespect.
If Tic Man sources are credible then I’m calling them out! If his people don’t confess they are fake ass, lying, punk bitches who smile in his face and play the two us against each other. We could have talked about this stuff on Wednesday when Tic Man arrived in Detroit and we saw each other at Cuzin’s; if he had issue that day.
Question for Tic Man? Did you walk in to Cuzin’s Wednesday before the Goodfellaz party feeling like we had issues or did you get spoon fed this “He say, she say garbage” all week?
I’m sorry you were so easily duped by others. If this was Gangster Street Crap your sources set us up for some serious hurt. It is great that this is some ole’ Steppin’ nonsense that can be summed up to; you got played by your people. I’m not in the business of living my life for the approval of anyone but god. Now let us get off your questionable relationship with liars; we don't want people to start thinking birds of a feather flock together.
Question for Tic Man? Are you basing my absence from the Goodfellaz party as evidence that confirms your accusations?
The statement you made about me not coming out; “As for Mistalocks, he didn’t even come to the party [Goodfellaz Party].” I didn’t know you cared! All those other times we were out at the same sets in Detroit, I wouldn’t have thought it mattered so much to you. I feel special; Tic Man is paying attention to Mistalocks! I’m flying on your radar.
I need come down and move on to the dance challenge, you calling me out! Cool, I accept your challenge! It is funny how I’m minding my business, running my Dance Studio and living my life when a once in a life time opportunity comes along so I “Mistalocks” have a chance to do one on one battle with Tic Man. I feel like “Rocky”. Everyone if you remember Rocky wasn’t a contender and didn’t win but he proved himself to be a worthy opponent. If I’m a less than nothing stepper who is said by Tic Man “The worst person in Chicago can out dance you.” Then why am I on Tic Man’s radar?
Never the less here my conditions for a fair contest between Mistalocks & Tic Man:
1. Tic Man versus Mistalocks only, our partners will not be judged.
2. Must be held in a neutral city, Cleveland is a great choice.
3. Random partner contest, we pick 3 ladies out of a hat for each of us the best 2 out of 3 dances win.
4. 3 out of 5 judges must be professional dancers out side of Steppin’, only two Steppin’ judges allowed.
5. Judging criteria will be Musicality, Technique, Partnering Interaction, and Showmanship.
6. One judge for Musicality, Two judges for Technique, One judge for Partnering Interaction, and One judge for Showmanship.
7. Music will be selected randomly by a drawing from a hat.
8. 5 point judging system, judges’ show their score for each round.
9. We invest as businessmen in the event equally covering the full budget, and the winner takes all profits as the prize.
10. This will be a Steppin’ Contest that must be 80% and 20% other dance styles allowable.
It is amusing how writing this takes me back to earlier my years. My dancing battles were to African drums pounding like heart beats, with sound of flesh smacking flesh and bone clicking against bone in an African Martial Arts class. Now dance has become my life as an Instructor and Entrepreneur. So any battle field, any drumbeat, anytime I’m ready.
Mistalocks
Read this article unedited at Mistalocks.com
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From The Steppers Desk of L.C.
"Should Instructors Be Certified?" The real question is will they be?
Probably not, although I think that they should be. But who will fund this time consuming process?
Before I started instructing 13 years ago, I would come to the Set and just watch. I thought there might be a pattern to the dance. When I saw a trio, I knew for sure that there was but I did not know how to put it all together. Then one day a lady I met asked me to dance. I was a little reluctant, but I went out on the floor, relying on her to guide me through the steps. She started doing the pattern. As she moved, she gave me hand motions inline with her foot movements, signaling when to turn her. After several moves I began to feel more comfortable, and that I was a decent dancer. Finally I asked her and others, "What makes you do that pattern and how do you know how fast to do it?" They really didn't have an answer for me. I knew then, if I wanted to grow in this dance, I had to learn how to follow. I had to find out what makes the dance……the dance.
After several years, my curiosity for following increased. In those days, there were only a few guys that knew how to follow and had classes. My job didn't allow me to attend class regularly. So, I would dance a little and watch a lot. I discovered that the most successful instructors knew how to follow and lead, or be a part of a team that has both. I think anyone who wants to tutor the dance should at least try to follow; but know your limitations and be modest about one’s skill level. In short, I learned both and came up with an Eight Count system of my own (with the help of the Almighty).
In time I started teaching. I only had two or three students in the beginning, but as long as I had small classes, I could handle it. The longer I taught, however, the better I became at communicating with them and my class size grew. No one becomes an instant instructor overnight, it comes with time. If you are successful, gradually, people will begin to see the fruits of your labor. Some people have been good steppers for years. However, that does not make one a good instructor. You have to be able to transfer your expertise verbally and physically. The terminology you use to help one individual understand the dance, might not help the next person. This is not an easy task.
When other states come to Chicago, they see a lot of good steppers perform. They witness a lot of smooth moves, footwork and finesse. This is also true when groups have their annual steppers events in other states. This encourages out of towners to want this dance. To obtain it, they consult with some of the steppers they really like and try and see what it will take to get them or their instructor to come and conduct a workshop. A lot of times these states cannot meet the structure and financial responsibilities to make it happen. There have been times I went to a state and they assured me that they had 40 registered students, only to get there and they only had 8 to 10. So they will get others who may step on a level of 10, however teach on a level of 3.
For the instructor, it can be very exciting traveling from state to state, however, there will be challenges. Once you have been flying for a while, you are not in a hurry to get on a plane. In fact, I knew I was flying much too much, when I sat in my barber's chair and I started reaching for my seatbelt….but I digress….
Sometimes a less experienced instructor believes they can handle traveling from state to state, although they may not even conduct a class or have students that perform well. After a few months the state that brought that individual in sees that their progress is not what is expected or they don't possess that particular quality that they have seen on the set. And when a certain skill level is not achieved after a period of time, the dance suffers and tempers flare. So many times I have heard "We have learned more in these 2 hours than we have learned in 6 months with that other group.†You get what you pay for. In order for a Workshop to take place with a new group, an Instructor usually needs...
1. Round trip Airfare for two. Three to really have a positive impact
2. Hotel accommodations
3. Funding for the workshop
Additionally, to help make sure that a new group is learning from a qualified instructor, they should have some type of certification or accreditation. This certification should be an internal project. It will not and should not be an outsourced. I cannot see it happening any time soon. For now the responsibilities fall on that City or State that needs the lessons. They can do this by visiting some classes to see if that instructor has the structure to fit their location. More has to be done than just looking at a magazine or a website.
L.C.
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INSTRUCTORS/PROMOTERS
For as much as people like to criticize, there are a host of attributes to be admired about the Chicago Steppin community. It is encouraged that communities across the states take note. There is an unspoken reliance between those who teach and those who promote in the dance community. The co-existence of promoters and those who instruct in Chicago reflect a balance of give and take. This model of association can benefit outside communities looking to grow in the dance and build a good reputation.
First we need to understand the role promoters and instructors play within the dance community. Promoters create opportunity. Through their advertising and sponsorship, they are advocates of the dance. Like any business they also seek to have profitable and successful events. Their success is dependant on those in the dance community looking to socialize, network, be entertained and just have a good time dancing.
Instructors ensure the future of dance. They introduce new people and help them grow. They teach, guide and in most cases, instill a good foundation so that they’re students can reach whatever level of success they desire to achieve. Through their teachings, instructors give rise to future instructors, promoters, contest winners and overall members of the dance community; thereby creating more attendees at events within the dance community.
Instructors also have influence. Students are more apt to attend an event their instructor has endorsed. For students new to the dance community, their first party is often one in which their instructor or fellow class members, will attend. Once that person is no longer a student, they are still embedded into the dance scene and will independently support and attend a variety of events. Ultimately, it is usually an instructor who will encourage them to continue learning and getting out to dance.
It is important for promoters and instructors to support each others’ efforts. Understanding that some instructors are also promoters of their own events and collaborations, it is important to have some level of professional alliance to ensure each other’s success. Working together, promoters and instructors can contribute to each other’s success in the long run.
Author: Nyne
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History of Club Latin Hustle...
Disco & Latin Hustle Origins
Most Disco dances have strong roots in Swing, Samba, Cha Cha, Mambo, Merengue, Fox Trot and Tango. The Hustle is believed to have originated in New York in 1970. It went through many variations in the seventies, with line dances for groups of people, solo movements that came and went, and partnership dances. These partnership dances included The Basic Hustle, Latin, Spanish and Tango Hustle, and the most popular Street, Three-Count or Swing Hustle that originated in California as the street Hustle by skaters in Venice and Malibu. John Travolta and "Saturday Night Fever" made dancing the "in" thing for many people, especially men.
Popular disco music of the 70's included Bee Gees "Stayin' alive", "Night fever", "More than a woman" "Everybody Dance" (Chic) and Donna Summer's "Love to love you baby".
Hustle is danced to the contemporary pop dance music of the last 20 years. It is a fast, smooth dance, with the lady spinning almost constantly, while her partner draws her close and sends her away.
http://www.centralhome.com/ballroomcountry/disco.htm
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HEALTHY COMPETITION
Competition in Steppin is necessary to maintain its growth and interest. Some members of the dance community equate competition with negative attributes, not realizing there are negatives and positives in every facet of life. While others fear competition because it separates those who can compete from those who cannot; respecting that there are also those who don’t care to compete. Nonetheless, healthy competition is constructive. It gives rise to growth and regeneration within the dance community.
When compared to other areas of life in which competition is fierce, it can be seen that those who benefit from competition are not only the competitors; but the audience as well. In the music industry, competition among entertainers result in better concerts, better music, more personal appearances and thus a better experience for the audience. In sports, competition results not only in highly paid athletes, but more entertainment value for the spectators, thereby making a sporting event more profitable and popular.
In the dance community competition is realized not only in contests, but in namesake as well. Who is the best stepper in the community? Who is the best leader/follower? For promoters having these ‘bests’ at your event could mean greater attendance. As an instructor, being known as the best or producing the best from your class could mean greater success in your business. Overall, it will mean greater attention and recognition of the dance in the general community. This cycle of attention and recognition will result in sustained interest in the long run.
Many of us fit into a category of competitiveness. The best promoter may not hold their events at the best venue. The best dancer may not be the best instructor. The best DJ may not be able to create the best mixes. Competition should be encouraged. All too often people complain about not having great attendance at an event. Or worse yet, they wait until their group is throwing a party to show up at a class or to do so much as say hello to a fellow dancer. Healthy competition forces attention on earning the support and recognition so many wish to achieve. It’s the work that has to be put in beforehand that people often shun away from.
If you want to be known as one of the great dancers, you have to put in work. If you desire your group to be the best, you have to put in work. If you want your city to be put on the map, you have to put in work. This work can be anything from taking additional classes to taking private lessons. For that group, it could mean being seen at different places and parties or better utilizing the help within your organization.
That group should compete to earn a solid reputation within the community and not rely on past success or a well known name to carry them to greater levels of success. Those instructors should compete to show they produce quality students and not rely on popularity to keep up attendance.
This kind of healthy competition will create better instructors, dancers, parties and venues to patronize. It takes those with that competitive nature to lead the way.
Author: Nyne
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History of Chicago Steppin'...
By Dan Land
What is Steppin?
Steppin is a derivative of several African American dance forms, The Ring-Shout, The Cakewalk, The Jitterbug, The Swing, The Offtime, The Bop, and The New Bop in particular.
A dance consisiting of two people dancing as partners in synchronization to a 6 or 8 count beat to musical sounds of Jazz, Soul, Funk, R&B, Neo Soul, or Rap music.
Attire consist of a form of rag time, black tie, and modern fashion designs twisted into a unique style of contemporary designs better known as Steppers Sharp usually reflecting a combination of times throughout African American history, the gouyster in particular.
A dance form very popular throughout Chicago's African American community. A dance of unity and positive atmosphere, currently enjoyed and adopted by people throughout American society under the reference of Hand dancing, Ballin, The Swing, Steppin , and the Bop.
Steppin is currently one of the most popular aspects of America's social climate, gaining popularity at a very rapid pace, manifesting in many major cities, Chicago, Detroit, Atlanta, Houston, Milwaukee, L.A., Oakland, Seattle, and other heavy populated areas..
If you want to know more about the history of this dance. We ask that you read articles with keywords in reference to the Cakewalk, The Ringshout, The Jitterbug, The Swing, Jazz, Jazz dance, and others that will define the evolution of African American dance forms.
http://www.steppersexpress.com/contents.htm
By Herb Kent
At last, we have a chance to introduce the world to the delights of Stepping. Stepping is a form of dancing indigenous to the Chicago area, seldom done, but now gaining interest in other parts of the United States. But it has inspired the same passion that drove the crazes of past decades, some of them before your time and some of them before mine. Stepping is unique in that it is directly influenced by the styles and demeanor of the era and city in which it was created.
How do these dance crazes get started? Sometimes record companies create a dance and write a song and promote it. When Van McCoy wrote the "The Hustle," based on a dance called the Latin Hustle, it became the biggest hit since the Twist. But then sometimes dances just happen like spontaneous combustion--you're at a club and everybody's doing it because it's the in-thing to do. This dance will often modulate into another dance, and if you're caught dead doing the old version, you're a square.
Stepping is finally getting some national attention. It's a very smooth form of dancing, but it's also a way of life with Steppin' events, clothes, and music. It's also an attitude, because when done correctly the dance should be accompanied by a Steppin' face, which is a real cool look. As in the disco era, when everyone wore special clothes, Steppers have their own style of dress. The men's attire has the feel of Ragtime 2000, with long suit coats, baggy trousers, hats, and ties in splashy colors. A Stepping man will often have a matching handkerchief that he works with to mop his brow as he spins his girl. The women's attire consists of at least three-inch heels to accentuate her legs and a dress in a color to match her partner's outfit, fitted around the hips with just the right amount of length and flare to add dazzle to her turns. And note: the women never wear hats, but they do have their hair styled to match the Steppin' attire and attitude. This is not done every time, but people do go all-out when dressing for a Stepper's Ball.
Let's go back to the '40s, which is when I think Stepping really began. Big bands, like Lionel Hampton's and Glenn Miller's, were doing their thing. This was during a time when the only records you could buy were 78s. Zoot suits and Jitterbugging were all the rage. Jitterbugging is an athletic dance in which you have to really move--girls are thrown in the air and caught (hopefully) in the nick of time.
Jitterbugging went through a metamorphosis in the black neighborhoods, evolving into a dance called "the Offtime". Now, instead of the ultra-fast jumping and jiving dance, it became very smooth. Offtime dancers did the same moves, but cool and cut down to half-time. You made your moves every other beat, instead of every beat. It was kind of like Jitterbugging in slow motion. This "new" dance was based on control and maintaining movement in a restricted area called a "lane", unlike other swing forms which routinely change directions across the floor. This dance caught on like wildfire, and that's when guys started using that handkerchief move, because it was suave to have the girl in one hand and the hanky in the other. Then something else happened: folks like Gene Ammons began playing a type of jazz called bebop. For instance, "Red Top" is a bebop song, and the dances tend to keep up with the music and are modified accordingly. So therefore Jitterbugging went to the off-time which has became the Chicago Bop and the movement was side-to-side.
Of course, there have been variations along the way, but by and large the dance has remained the same. And then sometime in the late '50s it evolved into a dance called the Walk. This was really great to see, as you and your partner walked around the dance floor in time to the music. But check this out: usually the woman was walking backward and the man was walking forward, as they held each other in an embrace. Every now and then you would see a dip that would make you think the woman hit her head on the floor. Sometimes the couple would pause and do a little stutter step and continue without missing a beat. In terms of dress, the men wore beaver hats with a big brim and a long coat, and the ladies were attired in short skirts and high heels. All this was occurring in the '60s and lots of other dances were flourishing, but for some reason people were not willing to let some form of Walking go.
The early '70s saw the dance change again to a Stepping style moving slightly forward and back; it was still smooth, but with a more contemporary sound to keep up with the music of the times. Then around 1975 disco hit and the country went crazy. Some folks chose to remain cool doing a little Walking and Steppin'. In 1978 an artist named Jeffree recorded the songs "Mr. Fix-It" and "Love's Gonna Last." "Mr. Fix-It" hit #53 on the R&B chart, but "Love's Gonna Last" went nowhere. But in the late '70s radio station V-103 hit the airwaves with a Hits & Dusties format, and one of its weekend disc jockeys played "Love's Gonna Last" at every opportunity. The song became an "Oh, wow" record, and the Steppers loved to dance to it. As a result of the song's phenomenal success, awareness of Stepping in Chicago grew and more people began doing this dance again. Radio stations generally follow trends, and V-103, the Stepper's Station, did so by starting the first annual world's largest Steppers set. A heavily "sponsored" event, and the finals drew more than 6,000 people. We had prizes of more than $20,000 and great coverage by major radio and TV stations. Contestants came from all over the Chicago area. This event is still held every year and it is the pinnacle competition for the Steppers.
Naturally, in the wake of these developments, interest in Stepping grew, especially for those more mature folks who didn't like those sweaty hip-hop dances. Many people were drawn to the dance because of the publicity surrounding the annual event. It became very hip to attend and throw Stepping affairs in the Chicago area. As time progressed, a local television show on the phenomenon was developed. Steppin' At Club 7 aired on Friday nights, and the well-produced program had astounding ratings.
Now let's get to the music. You can't Step to just any song; you must have a certain sound. Most of the great songs that we Step to weren't intended for Stepping. They're mostly R&B songs, but it doesn't matter whether it's R&B, jazz, or pop, just so long as the beat is good--Stepping is equal opportunity. As a matter of fact, I know of only a few records that were made for Stepping that really get it, but the number that do is on the rise. Let me give you some examples of this wonderful game called Stepping and how we get the music for it. "Staten Island Groove" by Down To The Bone was an obscure record from England; a disc jockey heard it, played it, and the Steppers liked it, but nobody could buy it. We had to call the manufacturer in England and tell him that they had a minor hit here in Chicago and ask if they could send us a few copies. Another Stepper's classic is by William DeVaughn, called "Be Thankful For What You Got." It became a hit coast to coast in the '70s. Because of his religious convictions DeVaughn dropped out of the music business, but his song still remains an old-school Steppers cut.
Visit Chicago radio legend Herb Kent on his Web site at www.coolgent.com.
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