=== 0c.3660 NEWSLETTER
CLICK HERE FOR HOME PAGE



TUESDAY, FEBRUARY 3RD 2009



IT'S COMING AT LAST!
COLLEGIATE SHAG
OUR FEBRUARY FEATURED CLASS



"Jitterbugs are extreme swing addicts who get so excited by its music that they cannot stand or be still...they must prance around in wild exhibitionist dances or yell and scream."

--LIFE Magazine August 9th, 1938



DON'T MISS THE NEWS BELOW


A NOTE FROM RUSTY
Valentine's dance NEXT WEEK!
Do a good deed with your feet

CLIP OF THE WEEK
Collegiate Shag

CONTEST OF THE WEEK
Test your knowledge and win a pass to the Rhythm Club

LINDY BY THE SEA NEWS
Oh boy! Collegiate Shag, at last
Info on current and upcoming classes

RUSTY'S RHYTHM CLUB
This week: Our own "Don't Knock The Rock" with Neil Morrow
Check out our schedule of live music & special events

ADDED ATTRACTIONS
Dance to Fabulous Esquires Fundraiser to fight Leukemia
Cicada Club - Tribute to the Cocoanut Grove

COMMUNIQUE
Jazz and the Civil-Rights Movement

SCRAPBOOKS
Follow all our swingin' activities

SWING SHIFT RHYTHM CLUB NEWS
Event THIS Saturday
Upcoming Event & Reports
"Fun & Philanthropy" -- Join our club

LINK OF THE WEEK
frankie95.com - Frankie Manning's 95th Birthday Party


(So don't stop scrolling...)




headline-note-rusty.jpg


VALENTINE'S AT RUSTY'S RHYTHM CLUB
NEXT WEDNESDAY, FEBRUARY 11, 2009
DRESS UP -- RED AND WHITE

What could be better than celebrating Valentine's with all your swing dancing pals! Dress up to the nines and join us at the Rhythm Club to dance the night away to the Fabulous Esquires next Wednesday, February 11.

AND, let's help Robert "The Professor" Vangor celebrate his birthday in high style!


Yes, we promise to have those little candy hearts there for you!

DO A GOOD DEED WITH YOUR FEET!
HELP RAISE MONEY AT TWO GREAT EVENTS WHILE DANCING

It's time to get that "Good Deed Mobile" fired up for this Saturday with TWO wonderful events.

Start off by joining Swing Shift Rhythm Club dancers and have dinner at Ruby's Diner and raise money for The Good Sheperd Shelter for Battered Women and Children. Then head off to a big fundraising dance with The Fabulous Esquires to benefit The Leukemia and Lymphoma Society. You'll be pooped by the end of the day, but what a day it'll be!

See you on the dance floor!




COLLEGIATE SHAG

Our next featured class is Collegiate Shag. We thought you might want to get an early glimpse.



THIS WEEK'S CONTEST!!*

The first person to send us an email with the answer to the following wins a free pass to the Rhythm Club for tomorrow nite:*


QUIZ:

How did Collegiate Shag get it's name?

Send your answer to us at info@rustyfrank.com.
Only the weekly winner will receive a response to their Contest Answer.

NOTE: Google is your friend! All the answers are only a Google search away. Have fun and learn about our swing history at the same time.




LAST CONTEST

QUIZ:

In "Don't Knock The Rock," what was the "rock"?

ANSWER:

Rock 'N' Roll music!

WINNER:

Steven Smith

*Contestants may play as many times as they wish, but may only win the prize once a year. Contestants must use their Rhythm Club pass for the week they won the contest.




FEBRUARY DANCE CLASSES
OH, BOY! COLLEGIATE SHAG AT LAST!

WHAT IS COLLEGIATE SHAG?
(Check our Clip of the Week to see for yourself)

Chances are that by now, even if you don't already dance Shag, you've at least seen it on the dance floor already. Collegiate Shag is known as a fast dance of fun, fancy footwork. It's a great dance to have in your repertoire for spicing up fast songs with extra-crazy moves. Even the most basic Shag steps are a lot of fun to do and watch, and many people find it easier to dance Shag to fast music than Lindy Hop.

FROM WIKIPEDIA

The Collegiate Shag is a form of swing dancing, which has some visual similarity with balboa (another swing dance), but with different footwork. Danced with a lead and follow, it is now danced to primarily upper tempo jazz music (usually 200+ beats per minute) while historically it was danced to a variety of tempos but primarily mid-tempos. It is danced in a closed position dance hold (similar to those used in ballroom dances). Three forms of "Collegiate Shag" danced in the early thirties were termed single, double, and triple Shag. The variety names describe the amount of slow (step, hop) steps performed in the execution of a basic. These slow rhythmic steps were always accompanied by a single quick, quick rhythm.

"Collegiate" shag evolved from Shag a dance with no clear historical record, but assumed to be the based on early Foxtrot. The term ŅShagÓ however is known to have been used as a slang term to describe early Vaudeville performers. The name association is presumed to relate to the lively performance nature of the dance. The differences in rhythm most likely were due to lack of standardization of Foxtrot basics at the time and the prevalence of regional styling. It was named "Collegiate" Shag most likely as a marketing ploy as many "Collegiate" dances were being created at the time for marketed towards the young ("college age") dancers. These ŅCollegiateÓ dances were leaping/hopping versions of their early ballroom counterparts. The name was derived from the way college youth would liven up the dances of old. These forms are known to pre-date the lindy hop and balboa. Other breeds of Shag were later created such as Carolina shag and St. Louis shag. These other forms only share its name "Shag" not technique or imagery. This is again, most likely, due to its slang association with performance dances.

The dance is still performed today (Primarily "Double" Shag) by swing dance enthusiasts worldwide.


REGISTER FOR LINDY BY THE SEA CLASSES HERE

CHECK FOR UPCOMING SERIES START DATES HERE



REGISTER FOR LINDY BY THE SEA CLASSES HERE


MASTER TRACK - TAKE YOUR DANCING TO THE NEXT LEVEL

OPENINGS FOR 3 LEADERS AND NO FOLLOWERS

If you would like to hold a spot for yourself for the next Master Track, email us.


CLICK HERE TO READ ABOUT THE CLASS



headline-rhythm-club.jpg

"The home of happy peppy people!"

IT'S THIS WEDNESDAY!




SCHEDULE

DATE BAND ADMISSION
February 4, 2009 LIVE MUSIC!
Big Lucky
"Friends & Family Nite"
Bring a guest for FREE!
7:30 Beginner Swing Dance Class
$12
February 11, 2009 VALENTINE'S PARTY
BIG BAND NITE
The Fabulous Esquires

dress up in Red & White
$15
February 18, 2009 LIVE MUSIC!
The Rhythm Club All-Stars
$12

CLICK HERE FOR RHYTHM CLUB INFO


dj-vangor.jpg




happy-birthday-CLEAR.jpg

This Week's Celebrations


Cindy Lander
Eric Floen
Ji Han
Joyce Yamamoto
If it's your birthday this week, just let us know at the Rhythm Club
so you can get your birthday dance!








CLICK HERE FOR TICKETS AND INFO

How Jazz Helped Hasten the Civil-Rights Movement
By NAT HENTOFF
January 15, 2009

On Jan. 19, Martin Luther King's Birthday, Jazz at Lincoln Center and the Rockefeller Foundation, also focusing on the next day's presidential inauguration, will present at Kennedy Center "A Celebration of America." Headlining the cast are Sandra Day O'Connor and Wynton Marsalis. As Jazz at Lincoln Center declares, Dr. King called jazz "America's triumphant music," and the presence of Mr. Marsalis is to "illustrate that American democracy and America's music share the same tenets and embody the same potential for change, hope and renewal."

This focus on jazz as well as President-elect Barack Obama (who, I'm told, has John Coltrane on his iPod) should help make Americans, including our historians, aware of the largely untold story of the key role of jazz in helping to shape and quicken the arrival of the civil-rights movement.

For a long time, black and white jazz musicians were not allowed to perform together publicly. It was only at after-hours sessions that they jammed together, as Louis Armstrong and Bix Beiderbecke did in Chicago in the 1920s.

In the early 1940s, before I could vote, I often lied my way into Boston's Savoy Cafˇ, where I first came to know jazz musicians. It was the only place in town where blacks and whites were regularly on the stand and in the audience. This led police occasionally to go into the men's room, confiscate the soap, and hand the manager a ticket for unsanitary conditions. There was no law in Boston against mixing the races, but it was frowned on in official circles.

I had heard, however, of a New York jazz club, Cafˇ Society, where there was open, unquestioned integration. In "Cafˇ Society: The Wrong Place for the Right People," a book by the late Barney Josephson, with Terry Trilling-Josephson, to be published in April by the University of Illinois Press, Mr. Josephson, Cafˇ Society's founder, is quoted as having said: "I wanted a club where blacks and whites worked together behind the footlights and sat together out front. There wasn't, so far as I knew, a place like it in New York or in the country." He hadn't ever been to imperiled Savoy Cafˇ in Boston.

But Jim Crow was so accepted in the land that when Benny Goodman, during the 1930s, brought Teddy Wilson, and then Lionel Hampton, into his trio and quartets, it was briefly big national news. And Artie Shaw later hired Billie Holiday and Roy Eldridge, both of whom often met Mr. Crow when having to find accommodations separate from the white musicians when on the road.

When booked especially -- but not only -- in the South, members of black jazz bands had to be put up in homes or other places in black neighborhoods. Nor were they seated in restaurants outside of those neighborhoods. In a 1944 New Yorker profile of Duke Ellington, Richard Boyer told of a white St. Louis policeman enthusiastically greeting Duke Ellington after a performance, saying: "If you'd been a white man, Duke, you'd have been a great musician."

With his customary regal manner, Duke, smiling coolly, answered, "I guess things would have been different if I'd been a white man." Later, Duke told me how, when he was touring the deep South from 1934 to 1936, he sidelined Jim Crow.

"Without the benefit of federal judges," he said, "we commanded respect. We had two Pullman cars and a 70-foot baggage car. We parked them in each station, and lived in them. We had our own water, food, electricity and sanitary facilities. The natives would come by and say, 'What's that?' 'Well,' we'd say, 'that's the way the president travels.' We made our point. What else could we have done at that time?"

A stronger point was later made throughout the South and anywhere else blacks were, at best, seated in the balcony. In his touring all-star tournament, Jazz at the Philharmonic, Norman Granz by the 1950s was conducting a war against segregated seating. Capitalizing on the large audiences JATP attracted, Granz insisted on a guarantee from promoters that there would be no "Colored" signs in the auditoriums. "The whole reason for Jazz at the Philharmonic," he said, "was to take it to places where I could break down segregation."

Here's an example of Granz in action: After renting an auditorium in Houston in the 1950s, he hired the ticket seller and laid down the terms. Then Granz personally, before the concert, removed the signs that said WHITE TOILETS and NEGRO TOILETS. When the musicians -- Dizzy Gillespie, Ella Fitzgerald, Buddy Rich, Lester Young -- arrived, Granz watched as some white Texans objected to sitting alongside black Texans. Said the impresario: "You sit where I sit you. You don't want to sit next to a black, here's your money back."

As this music reached deeply into more white Americans, their sensitivity to segregation, affecting not only jazz musicians, increased. A dramatic illustration is the story told by Charles Black, a valuable member of Thurgood Marshall's team of lawyers during the long journey to Brown v. Board of Education. In 1931, growing up white in racist Austin, Texas, Black at age 16 heard Louis Armstrong in a hotel there. "He was the first genius I had ever seen," Black wrote long after in the Yale Law Journal. "It is impossible," he added, "to overstate the significance of a sixteen-year-old southern boy's seeing genius, for the first time, in a black. We literally never saw a black then in any but a servant's capacity. It was just then that I started toward the Brown case where I belonged."

Armstrong himself, in a September 1941 letter to jazz critic Leonard Feather, wrote: "I'd like to recall one of my most inspiring moments. I was playing a concert date in a Miami auditorium. I walked on stage and there I saw something I'd never seen. I saw thousands of people, colored and white, on the main floor. Not segregated in one row of whites and another row of Negroes. Just all together -- naturally. I thought I was in the wrong state. When you see things like that, you know you're going forward."

As Stanley Crouch, a keenly perceptive jazz historian and critic, wrote recently in the New York Daily News: "Once the whites who played it and the listeners who loved it began to balk at the limitations imposed by segregation, jazz became a futuristic social force in which one was finally judged purely on the basis of one's individual ability. Jazz predicted the civil rights movement more than any other art in America."

Also providing momentum were the roots of jazz -- going back to the field hollers of slaves reaching each other across plantations; gospel songs and prayers connecting slavery here with Old Testament stories of deliverance of Jews from slavery; and the blues, the common language of jazz, echoing in Armstrong singing "What did I do to be so black and blue?"

In his recently published "The Triumph of Music" (Harvard University Press), spanning four centuries and diverse nations, Tim Blanning of Cambridge University, tells how black musicians have helped prepare and participated in the civil-rights movement. As when opera singer Marian Anderson, denied permission to sing at Constitution Hall by the Daughters of the American Revolution in 1939, sparked the start of the 1963 March on Washington by rousing the huge crowd with "I've Been 'Buked and I've Been Scorned."

I was there, at the back of the stage, covering this typhoon of protest for Westinghouse radio; and during Martin Luther King's world-resounding speech, Tim Blanning writes, "Mahalia Jackson called out to him: 'Tell them about your dream, Martin!'"

The tribunes of soul music also quickened the tempo of what A. Philip Randolph, the primary organizer of the March on Washington, called "the unfinished revolution" -- among them James Brown, "Say It Loud -- I'm Black and I'm Proud."

During the 1950s and early '60s, when my day and night jobs were all about jazz, I wrote of the civil-rights surge among jazz creators: Sonny Rollins's "Freedom Suite"; "Alabama" recorded by John Coltrane; and an album I produced for Candid Records that was soon banned in South Africa -- Max Roach's "Freedom Now Suite."

It was Max who first taught me the connection between jazz and my other passion, the Bill of Rights. "Like the Constitution, we are individual voices," he said, "listening intently to all the other voices and creating a whole from all these personal voices."

My involvement in his "Freedom Now Suite" -- whose album cover carried a wire-service photo of black students at a whites-only lunch counter in the South -- was to work with the engineer on the sound checks and the timing of the tracks. I wouldn't have dared interfere with the incandescent fusion of anger and triumph in the studio, with Max propelling the black American experience from "Driva Man" to "Freedom Day."

One of the griots was the magisterial Coleman Hawkins, who invented the jazz tenor saxophone, and whose signature sound was so huge he didn't need a microphone in a club. He filled the room that day. And Abbey Lincoln, the former subtly sensual supper-club singer, was transformed before my eyes into a blazing Sojourner Truth.

After Rosa Parks was arrested on Dec. 1, 1955, for refusing to leave her seat in the front of a bus in Montgomery, Ala., Dr. King spoke before some 15,000 black citizens in, and on the sidewalks around, Holy Street Baptist Church. Dr. King, as recalled by his close friend and adviser Clarence B. Jones in his new book, "What Would Martin Say?" (HarperCollins), energized the transportation boycott that followed the arrest: "We are determined here in Montgomery to work and fight until justice runs down like water and righteousness in a mighty stream."

Not long after, when some black civil-rights activists rebuked Ellington for not having been publicly enough involved in the movement, he said to me: "People who think that of me have not been listening to our music. For a long time, social protest and pride in the Negro have been our most significant themes in talking about what it is to be a Negro in this country -- with jazz being like the kind of man you wouldn't want your daughter to be associated with."

Suddenly he brightened: "When Franklin Roosevelt died, practically no American music was played on the air in tribute to him. We, our band, were given a dispensation, however. We did one radio program, during the period of mourning, dedicated to him."

On Jan. 20, joining Franklin Roosevelt in the lineage of American presidents will be Barack Obama. If I'd been asked about the music to be played, I'd have suggested to Wynton Marsalis that he and the orchestra swing into a song I often heard during an Ellington set, "Things Ain't What They Used to Be."

Not that Jim Crow has finally been interred, but jazz has been a force to hasten that day. Clark Terry, long an Ellington sideman, told me: "Duke wants life and music to be always in a state of becoming. He doesn't even like to write definitive endings of a piece. He always likes to make the end of a song sound like it's still going somewhere."

So we will be on Martin Luther King's Birthday and Inauguration Day.

Mr. Hentoff writes about jazz for the Journal.

"Making a difference through swing dancing"


JOIN THE SWING SHIFT RHYTHM CLUB NOW!

Subscribe to Swing Shift Rhythm Club

The Swing Shift Rhythm Club (SSRC) goals:
Fun & Philanthropy

Anyone can join!
See full details at the bottom of this newsletter.



FUNDRAISER FOR THE GOOD SHEPERD SHELTER AT RUBYS!
FEBRUARY 7, 2009

Calling all dancers and those who love to eat!

this Sat Feb 7 at Ruby's in Redondo Beach there will be a fundraiser benefiting the Good Shephard Shelter for Battered Women and Children,. It is from 5pm - 9pm for the eating part. The dancing part if only from 5pm - 7pm. This will lots of time to go dancing at other venues.

I will have sand to put down as we would be dancing on the cement in front of Rubys. they give us water so there is plenty to drink. Technically we are not suppose to pass out the flyers, but if people do ask, we give them one. (If you have not picked up your flyer please download this one and pass it out). 20% of all the food bills goes to the Shelter.

If you are able to come and dance please send me an email - and include what time you may get there. I would not want everyone to show up at one time and have no dancers for the other times. I do like to take photos and send those to the Shelter. They truly enjoy them as it shows people having a fun time just dancing or eating.

If you want to stay and eat, please feel free to do so. Ruby's will validate parking for 1hr free even if you do not stay and eat. We have a terrific relationship with Ruby's and they are so accomodating.

Let's start 2009 with a great fundraiser and keep the giving going -

Thanks to one and all - see you on the dance floor

Cathryn Sayre
Capt fun

PRINT THIS OUT AND BRING TO EVENT!


All Scrapbooks! Click HERE



New Scrapbook of The Lindy Cruise HERE

New Scrapbook of Rusty's New York "Jazz Dance" Lecture tour HERE





frankie95.com - Frankie Manning's 95th Birthday Party: Here's a chance to be part of living history. Frankie Manning, one of the Lindy Hop's main creators, will be celebrating his 95th birthday this year. You can join one of the biggest Lindy Hop events in creation!





www.rustyfrank.com

* Wondering what the heck a "gate"is? This was a phrase popularized by 1940's comedian, Jerry Colonna, who would holler it out every time he was introduced on the Bob Hope radio program. It was a friendly salutation to a swing cat (dancer or swing music enthusiast). Basically, we swing like a gate!


JOIN THE FUN!
BUT, WHAT THE HECK IS IT?

Many of you still don't know about our Swing Shift Rhythm Club. It's one of our best kept secrets. Now is the time to get the SSRC "above the radar."

THE SWING SHIFT RHYTHM CLUB (SSRC), founded in 2000 by Rusty Frank's swing dance students, The SSRC has two missions:

1. Having fun! (Fun) 2. Doing good deeds! (Philanthropy)

1. Having fun: Events where swing dancers can socialize and get to know each other outside of class (vintage clothes shopping, going to a dance-related movie, dancing in the park, eating at retro restaurants before a dance, etc.).

2. Doing good deeds: Events where we bring swing dancing to hospitals, senior homes, and community events for the purpose of good deeds, entertainment, and education in the Los Angeles area.

The SSRC is a volunteer club open to the public and the events are organized by its members. There are no dues. Members can attend as many or as few events as they wish.

"How do I join?"...
Right now, fill in your email address
and click the Yahoo log (that's it!):

Subscribe to SwingShiftRhythmClub

Then you will receive updates of activities (or you can organize one yourself!). Check the yahoogroup "Swing Shift Rhythm Club" calendar here for postings of upcoming events.

Join us in making the world a better place through dancing!

Thank you for joining!

Rusty Frank, Founder
Jessica Densmore, Philanthropic Events Coordinator
Cathryn Sayer, "Just for Fun" Events Coordinator
Norman Kajikawa, SSRC Photographer

If you wish to exit this list, visit:
http://rustyfrank.com/maillist/mail-list.asp