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streetdancerproject · 6 years

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My Last DJ Set for The Jam Cellar Is a History of The Jam Cellar

Last Tuesday, I put together a playlist that told the Jam Cellar's story as I have experienced it over the past 15 years.

Chant of the Groove, Fats Waller: Typically after announcements, we open the second half of the night with a line dance or a jam. I had songs for the Shim Sham and the Big Apple at the ready, but I didn’t want to turn my set into a line dance-a-polooza. I opted for the Tranky Do with the song that Jam Cellar instructors have preferred as an alternative to the Dipsy Doodle by Ella Fitzgerald.

Also, The Tranky Do was always more of a Jam Cellar thing. Way back in the early 00’s when Mike Faltesek was living here, he decided to piece together the original choreography. Up until that point, people were doing a version taught by Frankie Manning. Falty had noticed that the version in the Spirit Moves documentary seemed a little different and went on a mission to find any and all evidence of it on film. Eventually he was able to piece it together from a variety of film sources mostly featuring Al Minns and Leon James. This is a video of him alongside Frida Segerdahl the weekend they taught it at a workshop he organized and called “The Toe Jam” at the old Jam Cellar location. (This demo was not at the Jam Cellar though)

Well, Git It!, Tommy Dorsey. As I said before, we usually do a jam or a line dance after announcement, but I did both because I had to play this song, and there was no way people would not jam to it. The much faster version of this song was the one used in the landmark Mad Dog routine, of which all the original JC founders were a part of. That's a pretty lengthy story by itself, but fortunately, I have written about it previously as part of my history of the modern Lindy Hop scene.

The Primordial Ooze

This section of songs served as a quick tour of the musical landscape leading up to the founding of The Jam Cellar.

C Jam Blues, Lincoln Center Orchestra. I’m so confident that this is probably the most played song ever in the modern Lindy Hop scene, that I’m not even going to bother researching it.

Swing Lover, Indigo Swing. Icons of the neo-swing era from the late 1990s. The irony is that this can be technically considered vintage music now. Also, yes, I did cut out that weird spoken word bit at the beginning.

Watch The Birdie, Gene Krupa. On the short list of iconic Hollywood style songs. Another version was featured in the much less famous Hellzapoppin clip.

Alright, O.K., You Win / Everyday (I Have the Blues), Barbara Morrison. Another overplayed classic representing the groove period, but still a great live album recorded at another legendary Lindy Hop venue in San Francisco: The 9:20 Special.

Inspiration

The next set paid homage to the modern musicians that have greatly influenced and supported The Jam Cellar.

Sweet Eileen, Blue Sky 5. Craig Gildner has been a long time stalwart of the DC scene and a friend to The Jam Cellar since before the beginning.

Massachusetts (Live), Gordon Webster. Before starting her own band, JC co-founder Naomi Uyama was featured on a number of live Gordon Webster recordings.

Black Coffee, The Careless Lovers. Friend of the Jam Cellar, Mike Faltesek, went on to play and lead several bands of his own.

Someone’s Rockin My Dreamboat, The Boilermaker Jazz Band. The Jam Cellar has benefited greatly from its relationship with The Boilermakers. They were the band that opened the first night at the new location in the Columbia Heights neighborhood from the actual cellar location in Vienna, Virginia. More importantly, there's no way to quantify how the collective knowledge and understanding of Rich Strong, Marc Kotishon, Ernest McCarty, Jennifer McNulty, and especially Paul Cosentino has filtered throughout the world by way of the international instructors of the Jam Cellar, but it is incredibly significant. In regards to this specific song, I remember The Boilermakers first trying to figure it out at one of their gigs in DC because they heard it from an old Bugs Bunny cartoon.

Meschiya Lake and the Little Big Horns. This represents the contributions of the vibrant New Orleans music scene to the Lindy Hop community. JC co-founder Andy Reid currently resides and plays music there on the regular.

Storming the Air Waves

About 10 years ago, I was invited to guest DJ on the live streaming radio channel that Yehoodi.com sponsored. I turned around and asked if we could feature all the DJs of The Jam Cellar. A total of 10 DJs submitted their favorite songs which we turned into a 4 hour radio show.

Dinah, Cab Calloway & His Orchestra. The file I got for this song got corrupted, so it cuts out the last few seconds, but I had to play it because Dinah is supposed to be The Jam Cellar’s theme song . . .

Opening JC Theme, The Hot Club de Jam Cellar. . . .which is why they re-worked it into this version. It has the distinction of actually being recorded live at The Jam Cellar in one of the spare rooms with a band completely made up of JC staff.

Spinnin’ The Webb Chick Webb & His Orchestra.

Yacht Club Swing, Fats Waller. The live version. Not to be confused with the not as good studio version.

Sister Kate, Muggsy Spanier.

Dark Eyes, Fats Waller. These last few songs are a sampling of what we submitted for the show. Dark Eyes for some reason was the most popular song amongst the DJs. It’s such a moody and unusual song for a swing dance, but that’s part of the reason why I think people love it.

Live! By The Jam Cellar

The next couple of songs were used in signature performances by Jam Cellar instructors.

Jump through the Window, Roy Eldridge. A lot of people like to hate on this song because it inspires everyone to do the claps. However, can you think of another performance that has introduced such an indelible mark on a song that it's hard to imagine the song without them almost a decade later? Usually the music influences the dance, but this is a case where it goes the opposite way. People who have never seen this performance do the claps at the breaks to this day. Embrace the claps.

I Could Write A Book (Live(1963/Copenhagen)), Sarah Vaughan. Not as famous as the last one, but one of my favorites from Naomi and her soon to be (at the time) husband Peter. I'm also going to take partial credit for this because I gave Naomi this song (along with a ton of other music) when she moved away. (Although I'm actually not sure if she realizes that.) My favorite part is seeing Ernest from the Boilermakers just grooving up there on stage. I normally hate it when musicians camp out on stage during performances, but considering the history between Ernest, Naomi and the rest of The Jam Cellar, I'm a fan.

The Finale

I actually planned my whole set to lead up into this last stretch of songs.

Just Kiddin’ Around, Artie Shaw & His Orchestra. Except this one. Honestly, I just threw this one in at the last second to eat some time, but it is one of my own personal favorite dance songs.

On Revival Day, Laverne Baker. A local favorite. Generally I try to avoid drawing religious parallels to the dance scene because at the end of the day, they’re not really the same thing even if some people feel that way. In relation to this song at least, I like the themes it invokes about the hopefulness and joyfulness of being together. That's not very surprising since it invokes a lot of strong imagery of life in black churches and black culture in general from which Lindy Hop is very indebted to.

No Regrets, Billie Holiday. My favorite Billie Holiday song. Shout out to Mike Marcotte for introducing it to me too long ago. The lyrics are spot on for this occasion.

Shiny Stockings, Count Basie & His Orchestra. When I started putting this playlist together, this was the first song that I put on it, and I knew it also had to be the last one played. If Jumping at The Woodside is Lindy Hop’s national anthem, then Shiny Stockings is its national hymn.

The Encore

Just One Look, Doris Troy. I was totally unprepared for an encore, so I had to scramble. I probably should have seen this coming, but I overestimated lindy hoppers’ collective ability to figure out a social cue. I defaulted to one of my favorite “end of the night, everyone go home” songs.

Dinah, James P. Johnson. Of course someone said that we should swing the eff out to end this. I thought about Woodside or Lindy Hoppers Delight, but this song has a very specific story attached to it.

At the end of the night of one of the first times I DJ’d at The Jam Cellar, I was messing around, playing random songs as the JC crew cleaned up. I decided to play a really hot song that I had found recently, and what came next felt like a lost clip from Hellzapoppin.

Everyone dropped their brooms and trash bags and started a solo jam. This was 2003, solo jazz was not a thing in the Lindy Hop scene, but the Jam Cellar was at the bleeding edge of the community’s understanding of the dance. This was mostly due to the fact that several of the world’s best dancers were living in DC at the time.

I'm sure it is a gross exaggeration to say this was the greatest solo jam I have ever witnessed, especially after seeing some of the best since then. There is no video. Just my increasingly nostalgic memory.

The song ended, people exchanged high 5’s and they finished closing up. Soon, some of them would be headlining workshops and winning major competitions all over the world. Some of them were already at that point. Others decided to follow different life paths that. But at that moment, it was just a Tuesday night.

This is actually not the song I played that night. It was a version of Charleston by a band led by Sidney Bechet, but it is on the same James P. Johnson compilation CD as this version of Dinah. These two songs are closely associated to me by sheer organizational chance. Plus it seemed more appropriate with Dinah being the Jam Cellar's theme song, even if few people remember that.

Epilogue

I suppose at it’s worse, The Jam Cellar allowed people to be a little too self indulgent like I am being here. It’s one of the pitfalls of having a nearly unrestrained creative sandbox. However, at its best, it was a place where people could come together to inspire and be inspired; to challenge and be challenged. Sometimes it was through creative performances, other times it may have been with difficult conversations, but most of the time it was with 2-3 minute dances.

The future of The Jam Cellar is uncertain. On Tuesday, they announced a summer break. The website was recently updated with a banner calling it an "indefinite break." To be honest, even if it doesn't come back, I won't miss it. I don’t miss trekking out to Vienna, Virginia to a basement in a strip mall. And I don’t even think I’ll miss the mansion/sauna in the heart of a changing nation's capital. To me The Jam Cellar wasn’t just a location.

I did the math, and I can confidently say that I’ve spent over 90% of my Tuesday nights at some form of The Jam Cellar over the past 15 years. I've seen people who were moving away break down into tears knowing that they may never return. We've celebrated engagements and consoled divorcees. The room was packed as people took turns telling their favorite Frankie Manning stories the Tuesday after he passed away.

What all these experiences have in common is that they are about people. Folks. Community. I will miss is having a place to go every Tuesday night, knowing that I’ll see people that I want to be with. People who understand some of the fundamental principles of the dance that have not changed since it was born on the dance floors in Harlem almost 100 years ago. While there is plenty of room for individual creativity, you should not lose sight of your partner or the people around you. That's the main thing of value that we should take away from The Jam Cellar that should be carried over into the next chapter of whatever happens next.

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gossipnetwork-blog · 6 years

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Can't Look Away: The 21 Breakthrough TV Performances of 2017

New Post has been published on http://gossip.network/cant-look-away-the-21-breakthrough-tv-performances-of-2017/

Can't Look Away: The 21 Breakthrough TV Performances of 2017

A lot of TV these days is perfectly forgettable. Same for most of the performances on said forgettable TV shows. That’s to be expected when upwards of 400+ original scripted shows are made every year.

But just as some truly exceptional shows manage to cut through the noise and grab our attention (you can see our picks for the year’s 15 best right here), there are also those performances that manage to make us sit up, set down our phones and simply watch. These performances transcend network, genre, gender, race and age. They’re the performances that turn a complete unknown into an overnight sensation or finally give an industry vet their due. They’re defined by one simple characteristic: They fantastic.

Without further ado, E! News’ TV Scoop Team proudly presents the 21 Breakthough TV Performances of 2017…

NBC

Susan Kelechi Watson, This Is Us

After being criminally under-used in season one, season two has been the season of Beth and it’s been a beautiful thing to watch. Like Randall so perfectly said, she is “a Black queen” and is finally getting the screen-time she deserves. (Sorry Jack and Rebecca, but Randall and Beth truly are the OTP of This Is Us.)

Netflix

Cameron Britton, Mindhunter

Usually, saying someone is so believable in a role is a great thing. But Britton was so believable as real-life serial killer Ed Kemper (aka “The Co-Ed Killer”) in this breakout role that is might actually be a bad thing? Nah, it’s sill great and is still giving us creepy chills!

Netflix

Lena Waithe, Master of None

In the eighth episode of Master of None’s second season, Lena Waithe proved in just 34 minutes why she’s both an actress and a writer who shouldn’t be ignored. With the standout “Thanksgiving,” co-written with fellow star Aziz Ansari, Waithe’s Denise came of age and eventually came out over the course of a handful of pivotal turkey days in her life. Her history-making Emmy win was no fluke.

NBC

D’Arcy Carden, The Good Place

The Good Place is filled with performers like Ted Danson and Kristen Bell turning in their absolute best and somehow D’Arcy Carden‘s Janet, a guide to, well, everything, manages to steal the spotlight (in the best way possible). Carden infuses the role with an earnest innocence and she handles the emotional requirements of the role easily.

TNT

Niecy Nash, Claws

Niecy Nash has been slaying us for years with her hilarious work in Reno 9-1-1 and her heartbreaking work in Getting On, but it wasn’t until she stepped into down-on-her-luck and desperate Desna Simms’ shoes on TNT’s raucous crime dramedy Claws this summer that she really proved what a powerhouse she is. Playing the nail salon owner caught up in one of the most insane criminal underworlds TV’s ever seen, Nash led an equally impressive cast with aplomb. If only Emmy and Golden Globe voters had taken notice…

Viceland

Trixie and Katya, The Trixie & Katya Show

What do you get when you take two RuPaul’s Drag Race fan favorites from web series to TV show? One of the flat-out funniest things to hit the small screen in 2017. With episodes themed around such topics like “death” and “hooking up,” Trixie Mattel and Katya Zamolodchikova (real names Brian Firkus and Brian McCook, respectively) have proven that they can talk about just about anything and still manage to make it painfully hysterical. If you haven’t made time for this Viceland original, fix your life.

Freeform

Meghann Fahy, The Bold Type

All three of The Bold Type‘s leading ladies deserve some recognition, but Meghann Fahy was the face we were least familiar with. Now, it’s clear she has an incredibly bright future ahead of her. Her portrayal of the funny, fashion-obsessed, risk-taking Sutton Brady in the Freeform dramedy’s first season proved she’s one to watch.

Big ups to Katie Stevens and Aisha Dee as well!

The CW

Madelaine Petsch, Riverdale

Sure, Cheryl Blossom’s motivations and personality traits change faster than you can say “Jingle Jangle,” but Petsch’s charismatic and snarky performance is always consistent. We live for her saucy one-liners and references, and flair for the dramatic, even selling the crap out of Cheryl’s recent out-of-the-blue obsession with Josie. But her talent truly shines when she taps into Cheryl’s vulnerabilities, giving us a glimpse at the damaged goods below the perfectly-manicured surface.

Netflix

Justina Machado, One Day at a Time

Justina Machado has been kicking around the industry for years, a dependable utility player wherever she was cast. But her starring turn in Netflix’s reboot of the Norman Lear classic One Day at a Time proved that the industry had been sleeping on a true leading lady for all these years. As a single mother who’s also a veteran, Machado imbued the role of Penelope Alvarez with heart and hilarity. As the character navigate a child’s coming out in the back half of season one, viewers were treated to one of the year’s most heartfelt performances.

Hulu

Alexis Bledel, The Handmaid’s Tale

Rory Gilmore, who knew? Alexis Bledel was nothing short of a revelation in The Handmaid’s Tale. She won an Emmy for her performance and for good reason, the heartbreak she was able to convey on screen was palpable. Can we give individual Emmys to Bledel’s eyes as well?

Leslie Grossman, American Horror Story: Cult

Meadow Wilton was not long for this world, but Leslie Grossman gave her American Horror Story: Cult character the perfect mix of comedy and tragedy. Grossman already broke through in 2001 with Popular‘s Mary Cherry, and now we’d like to demand a new iconic breakthrough performance from her every year, please.

ABC

Freddie Highmore, The Good Doctor

Highmore made his mark (as an adult) as Norman Bates in A&E’s Bates Motel, but this year, he’s also proved that he has what it takes to lead a network medical drama as The Good Doctor‘s Shaun Murphy, a brilliant surgeon with autism and savant syndrome. The Good Doctor is the most-watched new show of the season and Highmore even got nominated for a Golden Globe, so we’re clearly not the only ones who have noticed that he’s a serious talent.

Netflix

Noah Schnapp, Stranger Things

Season one of Stranger Things was all about Will, even though he was rarely seen, while the rest of the cast got all the accolades. Season two was all about Noah Schnapp, giving the 13 year-old actor the opportunity to prove that he’s truly a pro at playing horror, and he might even be the best young actor on the show.

Amazon

Rachel Brosnahan, The Marvelous Mrs. Maisel

The Marvelous Mrs. Maisel was one of the biggest surprises of the year and at the heart of it all is Rachel Brosnahan. The House of Cards veteran truly shines as the titular character. There’s no better way to say it, she’s just effervescent in this star-making role.

CBS

Sonequa Martin-Green, Star Trek: Discovery

The Walking Dead veteran reached new heights as Michael Burnahm on Star Trek: Discovery. As a human raised Vulcan, Sonequa Martin-Green‘s character often struggles with her emotions and this has given the actress plenty of opportunities to flex her acting muscles in ways we weren’t sure she was capable of.

Netflix

Logan Browning, Dear White People

As college student Sam White in Netflix’s college campus satire Dear White People, Logan Browning infuses the activist character with enough heart and wit that even when she’s making some massively poor decisions, you can’t help but root for her. Dear White People arrived at an incredibly important time with a lead actress who more than rose to the occasion. Is season two here yet?

Netflix

Katherine Langford, 13 Reasons Why

Australian newcomer Katherine Langford was truly the heart and soul of Netflix’s standout 13 Reasons Why. The actress handled the emotional role of Hannah Baker, a high school girl who kills herself and leaves tapes behind explaining her decision, with finesse. The Golden Globe nomination is well deserved—keep an eye on this rising star.

CBS

Iain Armitage, Young Sheldon

As Big Little Lies‘ Ziggy, Iain Armitage brought a soulfulness to the proceedings that belied his remarkably young age. And as the youngest ever star of a CBS comedy, he managed to breathe new life into a Jim Parsons character that we’ll admit we’ve grown a bit tired of. As the titular young Sheldon Cooper, Armitage demonstrates comedic chops that rival any adult on his network. Keep your eye on this kid. He’s going to be around for a long, long time.

Showtime

Frankie Shaw, SMILF

As single mother Bridgette in the Showtime comedy based on her short film with the same name, Frankie Shaw manages to make us laugh hysterically while also breaking our hearts. And the fact that she’s also an EP, writer and directer on the show makes her performance all the more impressive. The HFPA was wise to hand her a nomination for season one. And you’d be wise to seek this charming little show out.

Netflix

Betty Gilpin, GLOW

Alison Brie may have been the de facto star of Netflix’s GLOW, but it was Betty Gilpin who stole the show as best friend-turned-rival of Brie’s Ruth, former soap star Debbie Eagan. Watching Gilpin deftly navigate from heartbreak in her broken marriage to the joy of returning to stardom with the ridiculous Gorgeous Ladies of Wrestling left quite the impression. Her nomination for Best Supporting Actress in a Comedy Series at the 23rd Annual Critics’s Choice Awards is well-deserved.

NBC

Justin Hartley, This Is Us

It’s no secret that Justin Hartley‘s Kevin was the weakest link in season one of NBC’s breakout hit This Is Us. As an entitled actor struggling with his success, it was hard to really feel too bad for him, especially in the face of the other, stronger storylines. But in season two, with an arc that had chronicled the character’s descent into addiction, Hartley has more than stepped up to the occasion, selling the hell out of Kevin’s struggle.

Did your favorite performance of the year make the cut? Sound off in the comments below!

(E! and NBC are both part of the NBCUniversal family.)

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