Clip Tour with Nick Williams
by Robert White
This is the second part of a two-part feature with World Lindy Hop Champion and Balboa Mastermind Nick Williams. For this part, Williams, an avid “clip collector” and swing-dance historian, takes us on a brief You Tube tour of some of his favorite clips, and discusses how much of modern swing was shaped by Harlem, Hollywood, and a few jitterbugs practicing on a beach.
DAY AT THE RACES
NW. “A Day At The Races” is so significant because it’s the first time Lindy Hop from Harlem was performed in a major motion picture. If you notice the lack of aerials in the clip which is from the year 1937. It was the beginning stages of air steps in Lindy Hop. The focus is on dance and mini routines for the most part. Personally I’ve taken a lot of material and routines from this clip. I haven’t taken as much styling from this clip because it of the simplicity in this clip and the fact that I prefer how the dance developed in the next few years.
Referring to your styling comment, I’m always amazed, looking at this clip after becoming a studier of swing dance, how “raw” the dancing is, [not necessarily related to the somewhat ambiguous term "raw" style dancing.] There’s definitely a lot of refinement that happens between this and the Whitey’s dancing only a few years later. I don’t think it’s bad dancing, it’s just fascinating to see.
NW. Well, it was an adolescent phase of Lindy Hop. A period of growth and development. Within the next few years the finesse and maturity came into fruition. I don’t like to use the term “raw” dancing. I often wonder why people want to emulate the earlier, undeveloped stages of Lindy Hop as opposed to the height of Lindy Hop and the best that Lindy Hop became.
This clip also has some pretty landmark stuff in it–Snookie’s Lock-up, an early Leon spotlight, and the horses/camels.
NW. Yes, a lot of material in this clip has been prevalent in the modern Lindy Hop scene. Also, because it was a major motion picture, it was much easier to access years ago.
BUCK PRIVATES
NW. Let’s hit some of the major clips. Buck Privates.
Again, this is an Abbott and Costello movie, so it was a major motion picture. You do get to see several of the LA dancers in it, but the main focus of course is Dean and Jewel. When I was dancing early on in LA, I don’t know what guy didn’t watch this clip a million times. I love watching Dean in the clip, but what I find almost more interesting is Jewel. Her swivels, finesse, elegant movement. It’s amazing. I also think that this clip is very misunderstood as far as Dean’s technique is concerned. A lot of people exaggerated movements that they thought they saw in the clip.
I think Dean’s technique is amazing, especially his dynamic with Jewel, but because it was so misunderstood, it never had a good representation and recreation. For example, the first spotlight swingouts with Dean and Jewel…They see Dean’s left arm throwing Jewel like a boomerang. Which is not the case. It’s a much more mild lead than that. The problem is, that people focus on one little detail, instead of focusing on the big picture and figure out how the entire movement and technique works together. To me, it’s like a puzzle to figure out. I want to know exactly why everything is happening.
I would love to see more of Dean’s technique used in today’s scene.
Would you say the resurrection of the Hollywood scene (around the late 1990s) happened at a time when most of the dancers weren’t advanced enough to consider these subtleties and so the best they could do was a caricature of the dance? Or perhaps, that Dean was incredible for a reason, and there are only a few dancers who could do control the dance the way he could?
NW. Well, I think both are true. But more so, very few people ever took the time to really understand it. It became a caricature much like modern Savoy was. I think the talent in the scene now could handle Dean’s technique now, but most people settle for what is easiest. Dean’s technique takes more discipline and focus.
THE BEACH CLIP
NW. So this is a clip with different couples practicing for a contest at Venice Beach. With the exception or Connie and his partner (Barbara I think) who are dancing Shag, all the other couples are dancing Swing. ["Swing" was the name of a swing dance specific to Southern California in the swing era, also known today as "So-Cal Swing" -RW.] Some people associate this with what we call Bal-swing today, but this is not the case. It’s one of the few clips from that era that we get to see Swing dancing. Do keep in mind that not everything in it is lead and follow because they are practicing for a contest. In the last couple years, the beach clip has been an influence in the Bal scene with moves and styling.
A lot of non-Balboa dancers don’t realize how little footage there is of original dancers doing this sort of dancing, the dancing, that, as you say, is a major influence on bal-swing today.
NW. Besides the dancing we’ve learned from people like Maxie Dorf, Willie Desatoff, Anne Mills and others in later years, we have very little information and footage of the 30’s and 40’s. As far as styling and moves, the Beach clip is one of the few references we have to piece things together and figure out how the dance was danced then.
Are there any clips that you watch that you don’t think people have paid much attention to before, but for some reason you really get something out of it?
NW. You know, one of my favorites is actually Swing Fever.
SWING FEVER
N.W. The reason is…I love Lenny’s lines. [Lenny Smith is the sailor.] It’s the one clip that I love Lenny’s lines more than Dean. It’s also the clip where a lot of women got their “Hollywood style” influence. [Jean Veloz is the follow.] (I know we are talking a lot about the LA dancers, but I figure they get less play these days than Harlem dancers.)
Less play, and a lot more footage of them, anyway…don’t sweat it. Question: When you say good lines, you’re not just talking about “See, he straigtens his leg here” kind of stuff. What are some of the things that strike you about Lenny’s “lines”?
NW. His posture, the arm bend, the way he positions his legs and bend them, his kicks and how they hit and are positioned, etc. All gorgeous.
HELLZAPOPPIN
NW. Probably one of the best Lindy Hop performances on film. It’s extremely fast, hard hitting, dynamic. Each couple is unique, brings something different to the performance. It’s a performance which nobody has been able to recreate. Of course, because of the editing the sequences don’t always match up so it would be tough to recreate. The couples were not flawless, but because of the performance factor, few people care. Frankie and Anne [The fourth couple] are very grounded and powerful. Al Minns (with Willa Mae) [Third couple] is very light on his feet. Also his lines when he kicks are amazing. If you notice, several of the girls are still triple stepping at that tempo. There’s so much to say about Hellzapoppin it’s hard to choose.
What are some things the modern speed dancing scene could take from Hellzapoppin? Aside from, you know, everything?
NW. First of all, notice the stretch and the fact that the swing-outs and other movements have a horizontal motion. Instead of the common Charleston hop that is prevalent today. None of the couples are rushing in. There is a distinct stretch before traveling forward. Followers, notice that they are still able to do swivels and triple steps at that speed. Also, the swivel stance was not wide.
Coming from theater, I know you can appreciate how sophisticated the group was with performance at this point. The lone couple starting off leading up to the climax of Frankie’s performance. How the first couple does a lot of moves in different slots and angles, contrasted against Frankie/Ann, who are so powerfully horizontal. And how the back-ground dancers contribute to the foregroud action without “butting in,” etc.
Yes, it was designed quite brilliantly. Also the camera angles helped a lot. If you notice though, it was choreographed and shot like a stage show. Which was very common for the day. Even the music built not only with intensity, but with tempo.
Be sure to check out the first part of Bobby’s interview with Nick Williams here.
