The Whip Story

This was originally written in 2003 appearing on California Jazz Dance Foundation's website.


The Whip, possibly the most distinctive pattern in swing dancing identifiable with one person, Dean Collins.This article is about origin of what has become known as "The Whip" because I find it fascinating and it puts the truth in perspective and the influence of Irene Thomas.

Dean Collins, we can start with him, The Lindy Hopper from New York now in Los Angeles. He had been searching for a steady partner to work to no avail. Dean would dance with anyone when it came to a job, however, if it represented him he was strict on who and how his partner would dance. Little did he know he would come to meet the most influential people in his life.

It was 1939 and already the 2 leading females in Los Angeles were Irene Thomas and Jewel McGowen. Jewel had been dancing with Bill Alcorn on and off and Irene was in the show "Meet the People". It was her last year at Hollywood High school and in between her shows and stage gigs performing,acting and tap dancing she would commonly go out dancing and hang out with friends. it was during this time she danced with Dean and got a sense of the Lindy Rhythm.

I guess one would have to understand Irene's sense of dance, her technical ability to break things down, and they fact she can lead as well is amazing. From "Meet the People" in 1939 , she became a star solo Tap act. Her biggest ambition was stage and clubs and during WW2 she toured with Bing Crosby's USO shows as the headline tap act.

Irene was a star amongst her friends and looked up to by all during these years , it was known that the girls would copy her steps while the guys (at least,the ones with guts) lined up to "take a lesson" .It was at the Casino Gardens Lenny Smith just a youngster would reach out asking for a dance with his "trembling hand" after being put up to task by friends. While it was Dean teaching these younger dancers like Lenny, Wally Albright and Lou Southern it was the skilled follows that really taught them the most, and Irene was the queen.

Irene was dancing with Eddie Markwell and trying to teach him Dean's Lindy when they encountered the first "whip" , Eddie was really modest about having anything to do with it at first but eventually said it was Irene who made him do it, he was just "over doing it".
The push out allowed Irene to use the tension for variations in her footwork which was something she enjoyed. For Eddie to Achieve this push at his novice ability he over exaggerated his shoulder movement by stepping into it.

It was here Irene got the concept of the whip, and force needed with the lead hand, to push off into open position from the leader. It was no secret Dean allowed his dance partners to shine and look good and Irene was just the showoff needed for Dean's performances. When working together they adjusted for each other to bring out the best on Stage and This whip action she asked for was no different, Dean just adjusted to adapt to her needs.

These needs are witnessed through Irene's dancing, especially in the clips with her Boyfriend and Partner, Don Gallagher. Most of their tricks are called by her , and lead by her via calls and shoulder Motions. Dictating as to when to start leading. Unfortunately, Irene couldn't dedicate the time to Dean to be his regular partner because she was too busy in show business, however she would continue to perform for big events and whenever the scedule allowed.

The next couple years, 1940 and 41 would of found Dean mastering this "whip", he started dancing regularly with Jewel McGowan during this time and really getting it to where the follow and leader both use each other perfectly balanced, other times it would be the leader just forcing the follow through it (the follow not taking advantage of that lead push). Dean wasn't the only one doing trying to capture this "Whip" in the early stages. Another dancer was Willie Desatoff who has always been said to "do Dean's whip better then him" another was Eddie Rankin who before had been struggling horribly with Lindy Hop Before Dean's arrival.

Dean obviously laid it down in stone in the motion picture "Buck Privates". He showed what this whip had developed into once mastered not by just the lead but by the follow who takes advantage of it to allow herself extra liberties . Once studied from the demands of a follower , From which Irene's first demands were met, the technical actually needed to achieve anything even close to what Dean and Jewel do is amazing. From Dean to dancers like Bill Alcorn, Johnny Archer, Lenny Smith, Lou Southern and Wally Albright to the Movies and a generation of leaders and followers tweaking the whip every which way. They all used the basic same technical, and eventually it became known as just Dean's Lindy.

Just after WW2 , Irene left Los Angeles for New York to headline in the biggest nightclubs with her Partner, doing what she called a Boogie Tap act. On this trip she went out dancing at Roseland Ballroom and the biggest difference she noticed was the leaders didn't pull you all the way in (and around them) and then whip you out, rather they came forward and caught you in the middle making it very uncomfortable if your not used to it.

Many of these dancers from the early days have continued dancing at the LA swing Club at Golden Sails , Dancers Like Bart Bartolo and Bobby Hefner, even Gil Brady is No exception to Learning "The whip" from Dean Collins. At over 90 years old, John Mills throws down what he calls "Dean's Whip" as well . If you've ever walked into Golden Sails you would see the impact that one motion has created , the dancers from the 40's,50's,60's each generation and dancer bringing their own style to what eventually has became a technic and not a style.

About 5 or 6 years ago at our local dance held at a place called Alpine Village on Monday nights, I asked Eddie about these first moments and dancing with Lola Cogan, he showed me the subtleties of that first motion he did with Irene, all the while exclaiming he was nothing compared to Dean and it was all Irene...

Last Days of 2010

Well, I thought I'd post one more time for 2010...I'd actually like to talk about a few dance things, like our Monday nights which are doing great.  Meschiya Lake had the idea one night, as we were drinking at Mimi's and we made the proposal....what i didn't know was Mimi's loves dancing, so anyways, Every monday night we have our free dance class at 9:30 which is about 30 minutes.

"Mimi's in the Marginy" as it's called, is just a short bike ride from the French Quarter, straight down Royal street, until you hit Franklin, the perfect distance not to be a tourist trap, yet close and easy enough to get to that you voice directions to anyone, and walk it.

Unlike other "drop in" classes, we normally teach a different dance every week, something like Shag, Charleston, Two Step maybe Swing, basically just historical dances that are easy to do socially. Allow everyone to find themselves through dances and steps, instead of just teaching people one thing. We certainly don't dance to one rhythm like other places, so it's important to have the tools to dance to all rhythms as well.

Meschiya Lake and the Little Big Horns are the house band on Mondays, which allows for the perfect atmosphere, at Mimi's. The Bar flows, the lights down dim, smoke fills the air as Meschiya's delivers song after song. Behind her we can always count on Jason Jurzak on Bass to give the dancers their needed "slap,boom,slap,boom". Mondays are great, cause it's more locals, and people have a different kind of fun.

Another fun thing, that has started is Meschiya Lake, Laura Manning and Mia Goldsmiths monthly Variety Show and Dance at One eyed Jacks. Again, with the Little Big Horns playing live, we have all kinds of great acts put together in a show that is simply awesome. I could go on and on, about the Holiday show they just did, but having the band dressed in their Santa outfits in the Balcony playing Christmas songs like the Salvation army will be hard enough to beat next month, not to mention the 3 girls singing Alvin and Chipmunks songs! Meschiya brings us back to her circus days, with some of her old fire acts, which are crazy! Dante the magician, Trixie Minx, Ally Ooops, Nola Jitterbugs....The whole evening is simply awesome, they actually have Taxi dancers for leaders and followers.
If your going to visit New Orleans, do it on the weekend were you can catch this show at One Eyed Jacks!

August 2010...back home again.

Swing Crash Como Italy

It's been a long summer, Starting with Swing Crash in Como Italy. Like last year, it focused on great bands and social dancing, with very few dance classes. Thanks to the event, classes don't start until around 2:00 in the afternoon! Talk about "it takes one to know one", I can tell a lot by the event, by it's schedule...that's for sure.

The Carling's from Sweden, was in full force in Italy which is always a good thing, and the local band leader did an amazing job arranging charts, for the Show we did, which included the Duke Ellington number from Cabin in the Sky, however we had taught all the students this, and had them planted, so we actually had that whole outdoor area following.

from Milano to Sweden, my bags were lost thanks to Czech Airlines, for the second time this year.  They eventually found it, but it took 3 weeks!!!!

I relaxed in Stockholm for a week before heading to the Country side of Herrang, which is an hour drive north. I drove one of my friends cars, a MG convertible, popped in a CD that Lady Kamikaze gave me at Swing Crash and had the most enjoyable drive i've had in many years.

Herrang, for 5 weeks....could be whole book. The first Day of the Camp, rehearsing for a Show, I dislocated my shoulder pretty bad, and it's still not too good as I write this, it looks like Surgery in getting to be more and more unavoidable. Lucky for me i was in Sweden where getting meds and help is easy as hell.

My girlfriend Katja, finally showed up from Slovenia, So we could teach week 2 together. That was no doubt awesome..but weird! (in a good way), I'm so used to teaching with Mia, that we have this certain rhythm of talking in class, and not to have that same rhythm caused some funny moments that's for sure. Because of my Shoulder we did a lot of Balboa, serious body to body leading, and a few lefty type moves i had sorta come up with while out trying to social dance with one arm.

While this Camp was going on through the weeks, there was a Musical every Sunday and Monday for 5 weeks. I got asked to do it, while back in Stockholm by Lennart and Fatima, so of course I gave it my all. I went from playing the Devil to a Gay Tailor, which which i won best supporting actor one of those shows. It was no doubt a blast...and being surrounded by the great young talent made it enjoyable.

My Friends band from New Orleans "Tuba Skinny" came to Herrang, and blew the place away. It was the first time I remember the floor being crushed against the stage to watch and not dance, holy smokes that in it's self was amazing, all the members had their little fans, or following by the next day, which was so hilarious to hear about. Come friday night we had a awesome Jam session during the Party, which was their last gig before heading back to the USA. 

Week 4, Started by me running the Meeting because Lennart was off watching Daniel and Asa get married, that was freakin weird. Classes with Mia went great, although my shoulder was killing! We taught everything the scene doesn't not do, from Tops and Wilda to Hal and Betty...

week 5, "Swing Orchestra" track was offered by the Carling Family, so i dropped in to take notes, and got sucked in! that was it, week 5 was going to be a downhill cruise of relaxing and partying, but instead it was classes all day for 5 days on music, structure, improvising and so forth. It was certainly the most amazing music class I'll ever be in, and to even trying and describe it here would never do it justice. The class was broken into smaller bands which all performed at the end of the week, and then we had a Parade from the school area to the folkets hus, end it all with a St. Philips Street Breakdown....

Back in Stockholm, was spent eating at Olssons, Garlic and shots...with the best of friends, the flight home no problem, and now i'm back in New Orleans! I landed, jumped in a cab, through my bags in my house, put air in my Tires and was at Mimi's in no time,  drinking a cold one, watching the Little Big Horns....life is good.

Back in New Orleans

      I finally got back home after all the flight delays and cancellations, thanks to Iceland's friendly volcano. Balboa on the Promenade was a nice event, the floors spoiled me, as i had forgotten momentarily how easy dancing is on nice floors.

      I was quickly reminded of how horrible the floors can be here, throw that in with the harsh conditions and lack of etiquette and we have a completely opposite world of dancing. The obvious difference is, between entering into a bar where the majority of people are tourist, or entering a dance, where the majority (i think it's safe to guess 100%) is there to dance with partners.

     The nice thing about going out within the swing scene, be it, Lindy, Balboa, Blues or Swing dances is the floors are always nice, normally there is room to do whatever dance it is your at, and of course you get whatever music the owner of dance chooses, (this can be good but it's most often bad in my opinion), and lastly, you can meet like minded people at these "dances" where dance is the focus. 

     As i was hanging outside the Spotted Cat, while one of the bands went into a barn burner i quickly grabbed a girl and squeezed into the front of the band stand. It was a hot humid night, the Tourist were loud, drunk and screaming as the band went from chorus to chorus, I couldn't help but think of all those years hanging out at the Derby in Hollywood.

The Derby had 2 places to dance, the front room which was a tiny floor like the Spotted Cat (at least the Derby had a good wood floor!) and then there was a back room as well which fit a few hundred , but that would be standing room only as well.

This was at a time in my life when dancing was all about showing off, and i needed space to do all my tricks and stretch out my dancing like the old time Jitterbugs did. Coming, up so to say in this atmosphere is something i look back to as being the most awesome learning process a person can have. It didn't take long for me and my friends, to work the crowd, knowing how to make space, dance small, and because it was live music we also knew how to dance a long time.

This was nothing like going to a dance sponsored or put on by a dancer, this was different, this was, well...the "Real world", as opposed to the "Dance world"of everything made perfect with nice floors, nice music, nice mirrors, nice lockers, nice people, nice dancing, nice nice...


I guess it's fine and dandy for some people to have this sporting type environment, but one thing is for sure, i would have never of been interested in the first place , let alone learned how to dance in that atmosphere....however, the Spotted Cat or DBA , now those are places to learn! Cramped, all tempo's, mixed rhythms, obnoxious people in the way...yeah! Now we talking!

Like my earlier days, we didn't take lessons, instead we would show up nightly and stake out our little corner of the floor, and that's it...mess around all night. Night after night, tourist pack the clubs coming to see New Orleans Jazz, and in the 90's for us, it was Swing Music, a disgusting comparison to say the least, But the parallel for someone going out to dance in a overly cramped bar in a sea of drunk tourist is undeniable.

What Challenged the dancers in the 90's was the amazing tempo's some of these bands could play, although we had no idea how to dance properly, hell if we didn't try! more often then not in those days i was just running as fast as i can around my partner, or holding her close and frantically kicking.

The styles of music changed through out the week, from Jump Blues, 1920's bands, New Swing, Be Bop and various Rockabilly styles of bands, something we were lucky to have and embrace, allowing us the chance to learn various historical dances and actually use them while out having fun.

As i travel around the world, i rarely see anything that resembles that environment and if there is some type of place it's not often, and certainly not 7 nights a week, and then add another club...and another...Those Hollywood years of dancing among tourist is long gone...

 A night on Frenchmen street, here in New Orleans brings those years all back, especially after arriving home from a Balboa Festival.

The bands in New Orleans don't need tempo's to challenge a dancer, their rhythms alone can be a roller coaster of call and responses and breaks, blues, and latin's...the crowds tend to be drunker then the tourist in Hollywood but they can just as easily be corralled, and the floors...well, even if you get a small section of wood at DBA, expect beer all over it.

Lastly, and the most important is knowing how to dance, it's really not so much an ability, as it is an etiquette or knowledge. We see great dancers show up all the time and simply fall into the category of reckless, and while everyone enjoys a good time , it's that "everyone" part, that some forget, starting with the person they are dancing with and ending with those around you.

One of the responsibilities of a knowledgeable dancer is controlling the floor to protect the musicians, from drunk dancers, and wild dancers showing off. Most commonly protecting the trombone player, and at places like the Spotted Cat the Piano player as well.

While this can be the ultimate atmosphere to learn how to dance, it's certainly not ideal for "Lindy Hoppers", who tend to need more space to dance, and have troubles knowing where their feet are. 

Remember a Tourist is just that, someone coming through for some entertainment, normally they get drunk, often extremely drunk, and it's not surprising when they do something stupid, it's almost expected...but dancers are different, regardless if they are coming through town, local or otherwise, for the simple fact they already have a respect for the music and those that play it.

well, i'd expect they would...however, not all dancers feel like this, and those that don't fall into the "tourist" category, while other dancers fall into "musicians" category, being they are there for the music, they dance to the music as one of the musicians and are aware of the surroundings.

Musicians see they have someone on the floor looking out for them and can feel more relaxed, instead of being scared and jumping every second someone does something flashy in fear of slamming into their instrument and splitting their lip. 

Unfortunately, things happen, bottles break, people fall, it's all in fun...and then someone kicks the tip jar...not cool. Tourist, ok, whatever...expected,  but, but a dancer? There is no excuse for dancer, to kick the Tip Bucket, and aside from scrambling to collect the money, the first thing you should do is buy everyone in the band a drink.

This happened at Preservation Hall, and the dancers where blind to the fact they even did it. The situation was discussed, and while the Band decided to continue to allow dancing, it was clear what type of dancer was to blame and the type of dancing. Thanks to who ever that was, we were reminded on why there would ever be signs that say "No Lindy Hopping".

If you want to learn how to be an exhibition dancer, that's good for you, but don't be surprised when a big Jarhead beats the shit out you after you accidentaly kick him. It might be fine to kick each other at dances, studio's and festivals but in the real world all bets are off....

Lucky enough, this atmosphere is the best to learn, and while teachers can show you what they do, it's best to let the music tell you or guide you, and the more time you spend on the floor the better, that's the real teacher. With the music here, and the amount of dancing you can do, anyone can get great at dancing in no time...... if they have the will to do so.

The most valuable lesson on being respected in the real world has nothing to do with skill, it's purely etiquette...

In the real world, nobody cares if your a beginner dancer, expert, fireman or doctor, republican or Hippie, everyone is just in the Bar celebrating Jazz Music....and the only thing nobody likes are people kicking over the Tip bucket.

Need i not remind you New Orleans is probably the most famous place on planet earth for drunk, barfing, stumbling Tourist...all it takes is one, well....you know.

The smokey Bars, tiny amounts of space, the concrete floors.....ah, yes, obstacles....all kinds, i love em all...and i haven't even mentioned the music yet..... that is what makes this place the greatest place on earth.

I mentioned earlier, "The real world" , as opposed to the "dance world" (dance studio, events and festivals, where everyone can get together and do the same standardized dance) and the truth is, very few people on the planet get to dance in the real world, and i don't mean just visit, I'm talking on a daily basis...and that is what makes this place so Amazing.  Damn, it's great to be back....!!!!

I'll end this ramble with a joke:

Q: "whats the difference between a Lindy Hopper and a drunk tourist dancing?"
A: "Drunk Tourist dancing don't kick over the tip Bucket!"

Class Music!

As promised, This is a List of the CD's used for class's...

Meschiya Lake and the Little Big Horns, Lucky Devil
The Palmetto Bug Stompers, Live @ DBA
The Palmetto Bug Stompers, Ol' New Orleans Home
Tuba Skinny,(Self Titled)
The Loose Marbles, The Recession session
The Loose Marbles, Gum Shoe
The New Orleans Cotton Mouth Kings, (self Titled)
The New Orleans Jazz Vipers, Hope your coming home
The New Orleans Jazz Vipers, (self Titled)

the Loose Marbles "The Recession session" can be purchased here:
http://www.louisianamusicfactory.com

 You can get all the Palmetto Bug Stompers here...
http://www.washboardchaz.com/palmetto-bug-stompers.html

New Orleans Cottonmouth Kings:
http://www.louisianamusicfactory.com/
http://www.facebook.com/pages/The-New-Orleans-Cottonmouth-Kings/138586414289

New Orleans Jazz Vipers Here:
http://www.jazzvipers.com/

Tuba Skinny CD's just email:
tubaskinny@gmail.com

Keep checking Louisiana Music Factory as well,
they support and offer local musicians an outlet to sell CD's.
http://www.louisianamusicfactory.com/

I'll update this Post as i get a for sure links, or other places turn up to purchase these CD's!!! or comment below, and we can make sure you get what ya need!!!!

March to April....

It's been a long month, German, Spain, Solvenia and Lithuania, tonight being my last big night in Vilnus but i have classes tomorrow and will probably celebrate one last night, although it will be chill.
I've meet some extremely amazing people this month that have been nothing but kind, who shared their homes, food, family and friends making my job so much more rewarding for without them it certainly would be a much more difficult task.

Aside from teaching i did 3 lectures, Spain being difficult for the obvious reasons with the language barrier, however it was very well received being it was during the Terressa Jazz Festival.

Slovenia is always a blast, being my 3rd time there, the people are layed back and seriously know how to party, having been there before it's always easier to lecture and to speak my mind on issues that perhaps i would not go into as much deep if it was a more academic or professional crowd. That night, our band was able to play for the ballroom, being that they brought in the other members for the weekend, amazing week for sure. Aside from the horse burgers my special favorite is the Green Rabbit Absinthe bar, the owner was nice enough to give me a Bottle and exclaim "New Orleans is the home for Absinthe!".

This is my first time in Vilnus, Lithuania and all i can say is wow! the first night i got to see one of the local bands on home turf, some of which I've know for a few years, called the Rhythm Junkies. They were amazing, a touch a Gypsy and dixie mixed together with powerful and amazing vocals by Milda, Jazz is no doubt alive here.

My lecture here was a big larger a good crowd of over 200 packed the room, which was sponsored by the American Embassy. Their representative was a really great guy who was from Kansas city and  made things extremely comfortable, in this very professional setting. Last night they brought in the Carling Family band from Sweden, which are one of the best bands you can hear anywhere in the world. They are playing again tonight later on after we get to hear the Lithuanian Military band, which I've been told will have 40 pieces. This i can't wait for, i can only image the power they are going to throw at the dance floor.


It's been a long journey and i look forward to heading back home to New Orleans, with lectures and demo's and performances to be done at French Quarter Festival next weekend, and the New Orleans Jazz Festival the weekend after.

anyways, I have many articles started which i will finish upon my arrive back to the states, so stay tuned. and hope to see you in NOLA or on the road!

TUBA SKINNY CD REVIEW

How lucky I am! Just after the recent amazing release of the new Cotton Mouth Kings, another awesome CD comes out by one of the newer local New Orleans Bands.

The Tuba Skinny Band is one of bands that loves busking on Royal street, and seeing them will leave you speechless!

Vocalist Erika Lewis fronts the band with Todd, or "Tuba Skinny" handling some of the musical direction, yes, from his Tuba.

The band is no doubt a team, a team of friends who create not only a music of a by gone era, but also a very individual sound.

The new self titled CD, TUBA SKINNY, is an amazing mix of tempo's all well rooted in early blues and jazz.

Handling the strings is Alynda on Banjo and Kiowa playing the Guitar and vocals, with the horns handled by Barnabus ,Trombone and Shaye on Cornet.

Lastly, we have Robin on washboard, who's dynamic playing inner weaves with the band which should no doubt cause you to start stomping your foot!

As i mentioned above, you can find this group playing on Royal street in the French Quarter and you can expect some great dancers performing with them as well. when they hit the street. At night the band attracts the best dancers in town and from around the world when visiting New Orleans.

This CD Captures this amazing energy perfectly, and I'm sure that there will be more then a few tracks being played at dances, and by teachers around the world.

One last tid bit before I leave you to run off and GET THIS CD.

 In this mix of 13 tracks, There is an original written by Erika, However, I'm not going to tell you which one it is…it fits in in between the classics so well I know you'll be blown away!