The Unlikely Salsero - Don Baarns

Studio vs. Club Classes: Different Animals (Part 1)

2009-09-24T00:43:00.000-07:00

Most metropolitan areas have two primary choices for salsa classes: Hit the clubs and take the low cost (or free) classes before social dancing, or go to a dance studio/workshop. Many people have done both (including me) and I've taught in both situations.

At first glance a class is a class, but as an instructor I'll let you in on a dirty little secret. Most instructors treat them differently. The venues have different goals and the nature of the students isn't the same.

At its core, clubs are social scenes with food and drinks, not universities or learning centers. If you learn there, great, that's a bonus, but it's a side effect for the club owner. The goal of the club class is to pack in bodies who buy drinks (and/or food) and return regularly.

At the club, drink/food numbers rule, and the club owner isn't directly worried about the quality of the instruction, as long as the numbers hold up over time. A popular instructor trumps a great instructor, and making it fun and accessible is the mission. Club instructors often simplify their materials and don't worry about the details, knowing slowing down the class isn't workable for most students.

Some clubs have excellent instructors and there are some quality club classes, but that isn't their mission.

At most studios, the focus is on dancing and fitness, although they do share the "getting people to return" goals of a club. The difference is the focus. The studio needs you to return for the dancing, the club wants you to return for the food and drinks.

Dance studios tend to have much higher numbers of repeating/returning dancers than most club classes.

Studios often have "series" classes, where it's assumed the students are building on the previous classes, and repeat students are the bread and butter. The instructors know people attracted to this environment are interested in improving their dancing, and generally put up with more foundational work than most club situations. Longer term this creates stronger dancers, so the studio tends to attract others interested in higher level dancing.

Studio instructors often don't "baby" students. They are nice, but most will push you harder and tend to take a much longer term perspective on dancing than the club classes. Foundation building, some conditioning and stretching are often part of the process, and the instructors assume you want to grow your dancing and will practice outside of class.

Both venues have their strengths and weaknesses, but most people start their dance education at the club classes, then grow into studio classes when they get more serious about improvement.

In part II of this article, I'll expand on the differences and my experiences in the two environments.

Let me know what's worked for you.

Out of the loop

2009-09-09T20:38:00.000-07:00

I had someone ask me what happened, since I haven't posted any articles lately.

Frankly, life has gotten in the way. A new puppy, summer vacation and doing lots of dancing the last month. Puppy is a major effort as he's a male lab, bigger than any previous dog I've had in my life. He's amazingly smart, but lots of puppy energy.

See my Facebook page for photos (http:/www.Facebook.com/DonBaarns)

I have tons of new articles in draft form ranging from article outlines to 95% complete (over 40 behind the scenes) and I expect to get back to writing this week. I often write parts or articles then don't like something and let it mature in my mind before completing. Too many topics, too little time.

Thanks for all the private mail and public comments! Back soon.

Don

Trying Twitter

2009-08-05T17:17:00.000-07:00

OK... I'm not sure if I'm moving toward enlightenment or the dark side, but I've established my Twitter account. My Twitter address is: "http://www.Twitter.com/UnlikelySalsero"

Follow me if it makes sense and watch me make all the rookie mistakes. My user name is "UnlikelySalsero" and I'll report back if I think it's a positive or not over the next couple months.

I also have an draft article on social networks and social dancing. I think they work very well together. More details when the article is ready for prime time.

The Half Song Strategy

2009-08-04T23:17:00.000-07:00

Ever wonder if someone new wants to dance with you? Maybe they're a friend of a friend, and you're not even sure if they dance. Or do you feel you should help a beginner get their feet wet on the floor?

Sometimes I use "half-dances" as an ice breaker. It's like doing coffee or lunch rather than having a dinner date. Lower commitment, less stress and you avoid the "oh no, this is going to be a loooong song" if your partner turns out to be a mismatch for you.

Rather than subject the new person to a 4-6 minute tune, sometimes I'll wait and ask them after the tune has started. I might say, "Hey, this song is half over, how about we finish it?"

Most of the time you'll get a positive response, and you dance for a couple minutes. If it turns out to be a magical dance, you can say, "That was way too short, how about also dancing the next song?"

If the dance turns out to be "just OK," you finish after a couple minutes and say, "Thanks... that was fun," and move on. You only asked for half a tune, so nobody feels like a loser if it didn't work out as you hoped.

It's not something I do regularly, but I've used this technique for years and it's helped, especially with potential partners that aren't too sure about me. More will take a chance since they aren't committing to a complete song. (I know 4-6 minutes isn't a huge commitment, but we've all figured out it can seem like forever with some partners.)

Again, I don't recommend you use this regularly, but I do it when I miss the first part of a song because I need water or a short break, then I don't want to sit out the rest of the song. It's a perfect time for a "random dance" or a "find a beginner and get her on the floor" dance. Ladies can ask guys too, and since they weren't dancing already, it seems to work great for everybody.

The half-dance makes it easy for both partners. Depending on how it goes, we can dance the next song, dance later or never dance again.

Try it out and let me know how it goes for you.

Pandora: Internet Radio That Works

2009-07-09T15:32:00.000-07:00

I'm always on a quest to find more great music. Recently, a dance friend sent me a link to Pandora.com, telling me that it's a cool radio station, but I basically blew her off by saying, "I have 30 years of music in my collection, so I appreciate the suggestion, but I doubt I'll listen to it."

With XM satellite radio at home and a premium system in my car, one more station didn't sound very promising. I decided I should check it out for a few minutes, just to "be nice" and not totally blow off her suggestion.

Boy, was I wrong. Pandora is a different concept and worth checking out. I'm a little late to the party, as Pandora claims it has over 30 million subscribers so far. I'd never heard of it. (It's playing in the background for me as I write this article.)

Pandora starts with your preferences and builds from there. You tell it songs or artists you like, and it creates your custom "station(s)" finding other songs that match your preferences. They call these example tunes or artists "seeds," and they shape the station's starting point.

Conventional radio stations establish their own play list, trying to predict what tunes will relate to their chosen audience and attract more listeners (and advertisers).

In Pandora, after seeding a station with some examples, it finds similar music and you start listening. You continue to refine the station with a "Thumbs Up" or "Thumbs Down" icon on each playing tune. If you give the current tune a thumbs up, you hear the tune more often, and it finds similar songs in its vast database. If you dislike a tune and give it a thumbs down, Pandora won't play it again, and it avoids playing songs that are similar to the ones you dislike.

Over time the station plays more music you like and less you dislike, which greatly improves its value. You can also add additional seeds if you want more variety in the station or create different stations for your different moods.

In addition, you can share your stations with your friends, and they can start with your preferences but modify to create their own version if desired. Soon the station reflects their tastes rather than yours.

Pandora has a decent set of genre stations, including "salsa" in the "Latin" category, so you could easily start with their stations and tune it to your liking. I'm impressed with the generic version, and as a test I set up a few of my own. (I'll share a couple stations I created toward the bottom of this article.)

If you start with any existing station, once you thumbs-up/down a tune, the station becomes yours, and you can modify the station name and/or add your favorite tunes, refining its play list to suit your tastes.

Below are a few test stations I set up. If you don't modify them, they remain "mine" and will update with any changes I make in the future. (I'm not sure why you care what I like, I'd modify to to your tastes if I were you...)

Salsa: Modified
Started with "genre" station, Latin > Salsa and used thumbs up/down to refine.
Salsa: Marc Anthony & Friends
Started with Marc Anthony as the seed artist, then gave thumbs up to songs I liked. Added a couple seed tunes.
Slow Groove Modern R&B Started with Craig David and Usher, then refined with thumbs up/down.

If you start new stations (which I recommend), I find it generally does better with specific songs rather than specific artists. Most artists have a wide range of tunes, and I rarely like all their material. Starting with some favorite songs gives the station specific examples, and that's worked really well for me. In a couple cases artists have worked for me, so if one method isn't giving you what you want, try the other or combine artists and specific tunes.

I've have found a set of great tunes I had never heard before. Sometimes I find alternate versions of tunes I like, sometimes just tunes that are new to me.

For example, I have some Usher tunes I like, but I never listened to his much older material. Pandora found the tune, "How Do I Say" based on some of my other tunes and that song was featured in my last "Musicial Pulse" article. I doubt I would have found that tune on my own, but I love it. Pandora also found 20 other new tunes for me the first month, and I already have an extensive collection. There are links for buying tunes on iTunes or Amazon, so you can easily download your new favorites for your iPod.

Pandora pays royalties just like other radio stations, so if you're a heavy user (more than 40 hours per month) you have to either pay an extra 99 cents per month (when you go over 40 hours) OR upgrade to their premium version for $36 per year. If one month you listen to less than 40 hours of music, it's totally free. They warn you if you are close to exceeding the 40 hours, so you can stop listening until the next month, or pay the dollar and continue unlimited for the month. You can (and should) pause the station if you're not listening; that makes it easier to keep listening free.

Because of music licensing issues, Pandora is only available in the United States. I hope they can change this at some point, but for now that's the official word. (Thanks to David S. for pointing that out to me, I had no idea.)

Give it whirl and let me know what you think.

Next "Music For Dancers" master class: Sat, July 11th

2009-07-06T14:09:00.000-07:00

The next "Music For Dancers" master class is this Saturday at noon (July 11th).

Thanks to the feedback from previous attendees, this class is now monthly on the second Saturday every month.

Location & Details:
Saturday, July 11th @ Noon (90 minutes)
The Granada
17 S. First St.
Alhambra, CA 91801

Master classes are usually $25 at the Granada, I've cut a special deal with them so this series is $20. It may change in the future.

MAP: http://maps.google.com/maps?f=q&hl=en&q=17+South+First+St.,+Alhambra,+CA&ie=UTF8&z=16&iwloc=A

IMPORTANT: We do NOT dance in this class. You learn how to tune your ears so your dancing will reflect more of the music. You can't dance to music you're not hearing.

Everybody can develop a deeper connection with the music.

More details on my Facebook event:
http://www.facebook.com/event.php?eid=95547525804

Musical Pulse: Explicit and Implicit (Part 2)

2009-07-02T11:41:00.000-07:00

This is part 2 of a series. I recommend you check out the first article before reading this one. Additionally, this article may include a couple musical terms that unfortunately remain undefined. I avoid doing that, but sometimes it happens for space considerations. Feel free to ask questions if anything is unclear.

As we discussed in Part 1 of this article, dance music has a pulse behind the scenes. Sometimes the music is very explicit, but just as often, the musicians are feeling the pulse, even if they don't beat you over the head with it. Please go back and listen to the example links in Part 1 if you haven't heard them in a while.

This article focuses on "implicit" or "implied" pulse, where the pulse is still consistent behind the scenes, but the musicians don't mark each count of the music. This is a more advanced concept and many people won't hear the implicit pulse without some simple one-on-one training and lots of practice.

Once you know the pulse exists and hear it in some tunes, it becomes more obvious across a wider range of music. It's always there ticking behind the scenes; it's a matter of figuring it out and connecting the dots with the clues the musicians give you. Dancers use this implicit pulse to provide a stronger connection with the music.

Many tunes have sections that are explicit and others that are implicit, and musicians are free to mix as they see fit.

A similar concept is a clock with a ticking second hand. A clock can be silent (implicit), but there is still a pulse 60 times per minute as the second hand moves from one second to the next. Some have an explicit tick-tick-tick sound every second, marking the time in perfectly spaced intervals. Whether you hear the ticking each second or not, the seconds are still ticking by at regular intervals. There is EXACTLY the same amount of time between each second ticking, and on some clocks you can hear each second tick and some clocks are silent.

Music is similar, with the pulse being more or less obvious, depending on the tune.

A Clock With Second Hand Pulsing Each Second

(OK... for the purist; modern electronic clocks often use quartz crystals which vibrate/pulse tens of thousands of times per second. They use electronics to count the pulses and group them into seconds (or fractions) for the display. For our discussion, we are interested in the consistent pulse occurring each second.)

When recording music, some musicians have a "click track" playing in their headsets that is NOT heard in the final recording. This is like a ticking clock or consistent cow bell, generally adjusted to click at the quarter note pulse of the music. The click track provides a reference pulse while recording, keeping the musicians perfectly on time, even if no drums or percussion are playing.

Drummers and some others in the band use the click track as an absolute reference for the underlying pulse of the music. As a listener you don't hear the click track, but it's often a silent partner in the recording process.

When you hear the Usher tune below, there is a beautiful guitar and voice introduction, with 8 bars (measures) of implicit pulse. There are no drums or percussion marking the time, but the musicians are all counting it in their heads. It's highly likely the guitarist had a click track playing in his headphones, and if you march in place to the music you'll see it's perfectly in time.

Usher - "How Do I Say" Introduction Has Implicit Pulse

The pulse is consistent from the beginning to the end of the tune, even if it's not explicit in the first 8 bars. Musicians will often say, "Time is running," to alert the other musicians that the pulse is constant, like a clock, even if nobody is playing the pulse directly.

Some tunes start with an introduction in which time is NOT running, and the musicians speed up and slow down, until the introduction ends, then time is running constantly the rest of the tune.

The end of a tune is another place it's common to ignore the pulse; musicians will often slow down the last few notes for emotional effect, effectively ignoring the pulse as it ends. Musicians can ignore the pulse in the middle of tunes, but that is very, very rare in dance music.

IF you have enough experience with music, the pulse will be obvious in the first couple of bars. In the last couple bars of the intro the guitarist "lays back" and makes it feel like he's slowing down, even though the time remains perfectly constant as it resolves into the next section. In other words, time is running from the first note of the introduction for this example, and it never stops.

Don't be bothered if you have to listen to the introduction over and over to get it right. I've heard the tune over 140 times this month, and I'm still finding new things I didn't hear before. (Great music has depth, and you'll hear new things over time.)

I could hear the pulse in the introduction the first couple times I heard it, but I had to listen to it again to verify I was right about time running from the start. It's normal to hear something, then listen again many times to confirm your gut feel about the pulse.

Musicians (and dancers) are not slaves to the click or the time; they are free to play ahead or behind the click if they want that feel, but they use the pulse as a "home base" and return to it most of the time. If they get too far off the pulse, speed up or slow down, that doesn't work for dance music.

Unlike the tunes in Part 1 of this article, the Usher drum track is a bossa-nova feel, with the bass drum playing a consistent groove which marks count 1 regularly, but dances around the pulse for a totally different feel compared to the explicit pulse examples.

An excellent strategy when you can't find the pulse in one part of the tune is find another similar section where the pulse is clearer. It's normal to find a very clear section in the middle or end of a tune and use that as a guide for figuring out earlier sections of the tune.

Master the pulse in the easy section, then go back to the introduction or the part that is unclear to you, and you'll have a much stronger chance of hearing the details. For example, I like the section from around :45 to 1:18 to figure out the underlying pulse.

If the pulse is not clear in that section of this tune, it probably won't be clear anywhere. You may find another section which is clearer to you. If you are new to finding the implicit pulse, this tune may be too complicated as a starting point.

In "How Do I Say," the shaker player is actually marking the pulse more clearly than any other instrument. He's louder or quieter in different parts of the tune. Check out the shaker player between the 1:07 to 1:17 marks, where his playing is more obvious.

He is playing on each of the dancers' 8 count, but emphasizing the red colored counts below, which includes the pulse plus some variations. (For musicians: he's playing the eighth notes, accenting the quarter notes 3 times, then accenting the 8th notes 3 times as he comes around to 1 again.)

Dancers' 8 Count (red number are accents):
1,2,3,4,5,6,7,8,1,2,3,4,5,6,7,8,1 ...

Musicians' Count:
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 ...

It's subtle and you may need to download this tune and hear it with ear buds and/or quality speakers to hear the details. (The YouTube sound quality is OK, but doesn't compare to the CD version.)

In musicians' count, the pulse of this tune is on 1, 2, 3, 4, even though each count isn't explicitly marked by the musicians.

If you are unfamiliar with the sound of the shaker, here's a clip from one of the leading drum/percussion companies, showing shakers. Notice that the percussionist can emphasize (accent) different patterns as he's playing.

Shakers from Remo

In the Usher tune, the shaker player is playing the same pattern throughout the tune (with minor variations), but because the drummer is also playing a complimentary pattern on his hi-hat, it's much harder to hear the shaker player alone. Their patterns fit together like a puzzle and it takes really advanced ears to break them out at points. The producer brings the shaker volume up in the section referenced above, and has him more in the background (quieter) during the rest of the song.

If you hear the shaker player and you hear the variations he plays, you know your ears are stronger than most. Many people reading this will not hear the details because their ears are not mature enough yet, and/or they need to hear the tune on a better sound system.

For some additional fun, figure out if the introduction is played by 1, 2 or 3 guitars. I thought I had it right the first time I heard it, then changed my mind after about 50 listenings. If you're a musician this will be more obvious, but most people will need to listen to the introduction 20 or more times to be sure they have the right answer. The proper answer is either 1, 2 or 3, so I'll at least give you a 33% chance of guessing correctly. (Guessing isn't the idea; please answer the question when you are willing to bet $25 on it... )

For my clave-aware friends, "How Do I Say" has implied clave until the drummer becomes more explicit with the clave pattern later in the song. (Implied clave is also beyond the scope of this article, but listen to the tune and you'll hear the cross-stick snare drum playing most of a 3-2 clave.)

Because implicit or implied pulse is a more advanced concept, I'll provide another example or two in "Part 3" of this series. Few people will get this concept with one song, unless they have prior music experience. If you're not getting it, the question is, can you hear the pulse during the main body of the tune?

Now that you know implicit pulse is behind all dance music, see if you can figure it out in tunes you like. Start with simple music before attempting it in more complex music like salsa.

More examples in Part 3. Let me know what you're hearing in your favorite tunes.

Related Articles:
Musical Pulse: Explicit and Implicit (Part 1)
Listening to Music 100 Times or More

Victory goes to the player who makes the next-to-last mistake.
--Jackie Mason

Michael Jackson: "Rock My World"

2009-06-27T10:27:00.000-07:00

As a quick follow-up to last night's post, here's the salsa version of one of Michael Jackson hits. While many salsa purists don't like these "pop-salsa" tunes, I think they are a great way to introduce people to the genre. Personally I enjoy dancing to the cross-over hits, but a wide range of music works for me.

You Rock My World (Salsa Version)

Michael Jackson: A Little Cross Training

2009-06-27T00:51:00.001-07:00

Like most my age, I've listened to Michael Jackson's (MJ) tunes thousands of times. Of course, being just about the same age, it's sad to see him go so young. I don't usually write about MJ, but since he passed yesterday, obviously now is the time.

I love his producer (Quincy Jones) during his greatest hit years, and as a dancer it's easy to see his heavy influence on current dancing. His musicians were always first class, and even "simple" tunes were always executed with extreme finesse.

It's hard to find a current professional dancer who doesn't attribute some of their moves to MJ, especially among the hip-hop crowd, but I also see plenty of cross-over into the partner dancing world.

Many of his younger fans don't realize that Michael Jackson crossed-trained traditional dances before his own style emerged, and this is also a good idea for anybody else working toward above average dancing.

Here's a couple clips of MJ tap dancing as a young adult. The first one is with the Nicholas Brothers, recognized among the great and heavy influences of today's dancers. They make it all look sooo easy.

Michael Jackson with the Nicholas Brothers

More Michael early dancing

Of course, most of you know MJ is one of the original "Music Video" performers and he set the standard for years with his early MTV videos. Few have been as influential in the dance and music industry. While many of his moves look dated today, he did them long before many others, setting the standards which others have built on over time.

Here's a collection of his later dance moves

Musical Pulse: Explicit and Implicit (Part 1)

2009-05-26T15:42:00.000-07:00

I'm teaching at my "Music For Dancers" master class, playing a simple example and discussing the "pulse" of the music, one of my terms for "the music's heartbeat." Sometimes people just call it the "beat" and you'll see people tapping their toes to the beat or clapping. A very smart lady asks, "OK... can you be more specific about the pulse and how do I hear it..." She continued, "How do I know I have the pulse right, what am I listening for..."

The question caught me off guard because I've been teaching this dancers' music class for over 4 years and nobody ever asked that question directly. I gave her an answer, but I didn't feel it hit the mark and completely clarified the issue for her.

On the drive to a club that evening, it bugged me that I didn't make it clear as day for her, so I rethought how I'll teach that in future. I had one of those "ah-ha" moments, realizing that the pulse in the music can be broken down into two extremes: Explicit and Implicit (also known as "implied".)

Most songs are someplace in between, but the pulse is like our internal heartbeat; always there even if we can't hear it or feel it without some effort. You can think of it like a second hand on a stopwatch, ticking at regular intervals, or the click-click-click of a metronome. Even if your watch is silent, the seconds are ticking by at regular intervals, just like the pulse in music.

If you hear it clearly in the music because it's obvious and marked by an instrument, it's explicit. Watches or clocks that tick or click out loud every second make their pulse obvious and explicit. In the music, explicit pulse can be marked by the bass drum, cow bell, piano or other instruments in the band. Usually the pulse is marked by one or more of the percussion instruments, but not always.

An implicit pulse is like your silent watch, where the seconds are ticking by, but maybe it flashes every second, or sometimes just changes time once per minute. Even if you don't see or hear the seconds pulsing by, they are always happening in the background. In the implicit case, you learn to hear and feel the pulse, even if it is not obvious at first.

Just because many people can't find the "one" in some songs, the vast majority can at least hear the pulse in a listening session, even if they lose it while dancing. This is especially true in what I call "commercial" music, which is the popular music played on the radio.

That said, there are also a wide set of people that simply don't hear the pulse, and the reality is finding "one" is extremely difficult if you don't hear the pulse clearly. The pulse is a critical step toward hearing musical timing and without it you'll be considered an "off-beater" until you get it right.

I realized I had a couple perfect tunes in my collection where the pulse is being explicitly pounded out on the bass drum from the start to the end of the tune. The first tune is by "Ne-Yo" and few people expect his tunes in my playlist. (I'm a little older than most of his fan base.) He fits happily within my wide range of musical tastes and I like the song.

The song starts with 8 bass drum beats BEFORE the intro starts (OK... for the purists out there, there are some pickup notes before the other instruments join in...) That bass drum pulse continues throughout the song, like an old 1980's disco tune. It never stops; it marks the pulse from beginning to end and you can count from one to four (musicians' count) over and over on each bass drum hit and that is the pulse for this tune. Alternately, you can also count a "dancer's 8 count" (1,2,3,4,5,6,7,8) and the bass drum hits on 1, 3, 5, 7 from the beginning to the end of the tune, with the 2,4,6,8 equally spaced in-between each bass drum note.

It's a sexy video, and it can't be embedded so click here to see the YouTube of Ne-Yo singing "Because of You."

Few tunes these days have a bass drum on EVERY count from beginning to the end. In salsa or other dance music, it's rarely this clear or obvious but there are many other tunes with this same concept, especially music from the disco 80's.

Another example I like is the 1980's hit called "Forget me Nots" by Patrice Rushen. Will Smith did a cover of this tune for the first Men in Black movie. (There's a fun dance sequence toward the end.)

Be sure to listen to the original above, but the movie version is embedded below as a secondary reference. The pulse is clearer in the original version, and the bassline is a classic, take no prisoners groove that still challenges bass players today. (Originally performed by Freddie Washington.)

SIDE NOTE: To get a taste of the bassline, watch this clip, then listen to the original and you'll hear the amazing bass on the tune. This is a great ear training exercise and worth your time. The bass sounds are often used to verify your concept of "one" in salsa tunes. You want to be sure you're hearing the bass players in all music, and going back and forth a few times between the two links helps you hear the details. Again; A very valuable exercise. More on that another day.

Will Smith: From Men In Black - Explicit Pulse

Many tunes are a combination of explicit and implicit pulse, with some sections making the pulse more obvious and others dancing all around the pulse. The musicians (and experienced dancers) are hearing the pulse in their heads, even if it's not being explicitly expressed in the music. (You'll hear some great examples of implicit pulse in part II of this article.)

The Ne-Yo and Patrice Rushen tunes linked above have a very explicit pulse, so if you just follow from the beginning, it's pretty difficult to lose once you hear it. That is the right starting point for many people who are not hearing the pulse in salsa tunes. Master these simple tunes (in terms of pulse) and it will make it easier as we explore "implied" pulse in part II of this article.

Please let me know if the pulse is clear on these tunes and send me any questions you have from listening to the tunes. Part II of this article will cover implicit pulse and further refine our concept of pulse in the music.

Guys: Protect Your Partners

2009-05-15T17:40:00.000-07:00

A few weeks ago at my favorite Saturday club, it was hot, crowded and intense with arms flying and dancers spinning frantically all around us. The place was pulsing with energy and I grabbed an attractive lady who was standing next to some guy who wasn't dancing.

We carved out a little space in the roaring crowd. She was an above average dancer with some jazz background but was relatively new to salsa. I had never seen her before but we had a great time.

Right after the dance she said, "I had so much fun dancing with you. You were the first guy who made me feel protected. Hope we get to dance again."

I was almost embarrassed by the way she said it. She wasn't "into me" or anything, as she introduced me to her boyfriend a minute later and I haven't seen her since.

I realized I had not done anything special, but because the place was crowded, I went into my "small dancing, defensive driving, protect my partner" mode. In a few cases I gave up my patterns or my footwork to make sure she was safe from the vultures circling around us.

A couple hours later the club closed at 3am and I went outside. She was there with her boyfriend and the three of us talked outside. She said really liked the club, but wished the guys would pay more attention.

She continued, "I had to ask one guy to quit throwing me into others. I kept getting hit, but he was dancing big and ignoring the people around us. He kept spinning me into another couple. With you I felt like I could 'dance' since you were taking care of me and watching for others."

Now frankly, I didn't do anything real special with her other than stop moves that might put her in harm's way, and clearing space for her during our cross-body leads. I was driving defensively, trying to be sure she didn't need to worry about being hit. I changed my slot several times based on the people around us, and I was dancing smaller than I would otherwise. I realized the other guys she danced with had simply made me look MUCH better because they didn't protect her or even make an effort to keep her safe.

I used to hate to dance in a small space, as I've matured I've learned to deal with it and make the most of it. The one thing I hate is when my partner gets hit. Even if it's not my fault, I still hate it, so I've developed a defensive mindset toward my partners. I'll take the hit if required, as long as she doesn't have to. Our job as a lead is to get her feeling comfortable and feeling like she can dance without worrying about the others around us.

If I have a very rude guy around me, and he keeps throwing himself or his partner into our space, I turn my back toward him and slowly back into his space until he gets the idea that he needs to respect my space. I've been hit a few times, but I'll take that if if protects my partner.

I used to always back off, but some guys only respect strength, so on a few occasions I'm quietly aggressive about moving into their space until he gets the idea. I don't know if I recommend that for younger guys. Being older and gray I'm subtle enough about it I suspect they simply think they don't want to get in a fight with an old guy, so they get out of my way.

From my experience, leads can prevent about 90% of our partners getting hit, stepped on or otherwise abused by the dancers around us. It all starts with you thinking about protecting your partner from harm, doing shoulder checks (looking over your shoulder before some moves) and developing a sense for the dancers around you. Stop moves if you have to, and don't be afraid to change your moves or put your arm out to prevent someone from running into your partner.

It isn't something I could do the first couple years I danced. As your dancing matures, you should think about defending your partner, even if that means simplifying and/or stopping your moves at points.

It's not always easy and nothing works 100% of the time, but every guy can do this if they think about it when in the middle of a crowd. It isn't about great moves, or complex patterns, it's about a protective mindset and being flexible to alter your game plan if it looks like your partner is in harm's way.

You do have to think about it at first, but it simply becomes another aspect of your dancing after a while.

Leads: Let us know what you are doing to protect your partners.
Follows: Let us know your stories about both good and bad experiences in this area. What could the leads do to make you more comfortable when it's crowded?

There is no such thing as "fun for the whole family."
-- Jerry Seinfeld

The Irony of Teaching Music

2009-05-10T08:32:00.000-07:00

A female instructor friend of mine says, "Yea, but the people who really need your music class won't attend! They think they 'feel it' but don't realize they have it so wrong."

She's restating the "they don't know what they don't know" syndrome, which is big among a large set of social dancers.

I had to agree. Many dancers have invested years building their movement skills, but never learned enough about the music to make it one of their partners in the dance. They get it right some of the time because they've heard the same tunes over and over, but they don't know how it really works.

When you hear the music well, it's obvious they aren't hearing it because so little is reflected in their dancing. They have great body control and patterns, but are missing one part of the excellence equation.

I respect these guys for their effort and movement accomplishments, but sometimes feel bad because much of their effort is wasted. When they dance off the time, blow through the obvious breaks, endings and major feel changes in the music, the stronger partners get frustrated at points but often just hang on and make the most of it.

If their patterns are interesting, their partners often make the most of that and step up to the challenge of dancing without following the music. Most will tell you that's not dancing, that's an aerobics class.

None of their partners are going to tell them, because some aspects of their dancing are way above average. (See my article titled, "Better Dancing, More Partner Lying" for details.)

My challenge to you: How do we reach those people? I don't have great answers except I'm obviously putting my effort into teaching the music. But that doesn't mean those who need it the most will attend. So how do we get the word to them?

I suspect the answer is we don't, but instead focus on the ones who seek out the music information. That said, I'm looking for more ways to reach those dancers, so let me know your thoughts on making that happen.

Related Articles:

Master Class: Music for Dancers - May 17th

2009-04-29T22:54:00.000-07:00

If you're in the LA area, please SAVE THIS DATE:
Sunday, May 17th @ 2 pm.

I'm very proud and humbled to be teaching a master class at The Granada (Alhambra CA).

My passion is helping dancers get more from the music. You'll hear music differently after this workshop.

"Music for Dancers" gives you a deeper connection and a new perspective on the music. Enhance your dancing by mastering the structure, timing and feeling of the music.

Feel the music, and know it too!

Hear things you've never heard in the music, and learn structured approaches to enhancing your existing musicality.

Includes: Finding "one" and predicting musical hits, breaks and endings.

This 90 minute class provides the foundation for taking your dancing to another level.

All levels: Beginner to professional dancers and instructors.

Excellent for partner dancers AND dancers who freestyle.

Music is music, and the principles in this workshop apply to salsa, hip-hop, R&B, swing, jazz and almost any other dance music.

The example music covers a wide range of styles, from hip-hop, R&B, salsa, latin-jazz and even a heavy metal tune. Once you hear the principles, you can apply them to YOUR music, no matter which style.

I have over 70 tunes in my class play list (we never get to all of them), each included because they clearly illustrate a principle or two.

Questions: E-mail me at: DonBaarns AT Hotmail .com (Change the "At" to @ and remove the space before ".com")

Please feel free to invite other dancers, including salsa, swing, hip-hop and jazz/modern dancers. Anybody who wants to dance to the music is welcomed.

Master classes are usually $25 at the Granada, but I've worked with them and got it down to a special for $20 this time.

Address:
The Granada
17 S. First St.
Alhambra CA 91801

MAP: Click Here For Google Map

Slow Learner? Not Really

2009-04-23T12:01:00.000-07:00

“Why doesn't that work for me?”
“Why do all the other kids look great and I’m struggling?”
“If I was 19 again, this would all be easy.”
“I guess I’m a slow learner, or I’m having a bad hair day.”

Ever feel silly or self-conscious in a class?
Does it seem like others are getting it faster, and you're the only one confused?

I used to think I was just slow, or maybe just slower than most of the other guys in class. Maybe you've felt the same way at points.

The instructor would show a pattern, move, or series of steps and I was confused. Sometimes I wouldn't get it during class. Other guys around me would get the moves, but I'd be missing something and feeling a little foolish. There was a glitch in my matrix, and I'd be shaking my head wondering what's wrong with me. Of course, the more I noticed the others getting it, the worse I felt.

As I’ve matured, I worry less about getting it the first time. Even if the moment isn’t fun for me, I know I'll get it at some point. Talent is wonderful, but persistence and repetition are often the difference between no-go and making it happen.

After a nap, or the next day, or seeing it the second time, and/or working the move slowly, I often have that "ah-ha" moment. Then it works for me and often wonder why it was so difficult the first time. Even with my teaching background, it's not always easy when it seems like everyone around me is getting it faster. In the heat of learning mode, some movements simply don't work for me initially.

The funny thing is that after a few months, I’m often farther along than the other guys who had it from day one. Many "got it" in class or sooner than me, but they missed the details and the finesse.

We’re all in the same boat. Some patterns or moves "feel right" in the beginning, and some go against your grain, requiring more time and effort to learn. For most, it's about relaxing and getting what you can the first time, then doing it again later, and later again if required. Competing with yourself is the best course of action, rather than worrying about how others are progressing.

Some moves take minutes, some weeks or much longer. A few may require reviewing or strengthening your fundamentals and take months or years to master. However, once you have them, they are yours forever.

Over time, "harder" moves become much easier as long as you continue to grow.

Persistence, a decent attitude, more repetition and constant learning means you'll dance better tomorrow than today. Slow or fast learner, as long as you don't quit, it works out over time.

Let me know what you do to keep the right learning perspective.

Guys: Don't Miss the Grooming Boat

2009-04-15T11:03:00.000-07:00

I see one of my favorite dancers and grab her between tunes while the band isn't playing (I'll call her "Julia") Before the song started, Julia blurted out, "Why do some guys have long sharp nails, and then dig them into your hands?" She was rubbing her hands trying to take away the sting from the last dance and she continued, "I was so bothered with this last guy, I finally had to tell him how much it hurt!"

"Some guys just don't get it" she complained, "trim your nails before dancing, and don't dig your fingers into our hands..." I could tell she was a little upset, and it was out of character for her. (I immediately looked down at my fingers, hoping I remembered to trim this evening.)

As guys we can have great moves, but if we miss the grooming basics, we blow the whole dance. Don't make the same mistake this guy made. It's clear to me that Julia wasn't thrilled by his grip, but if his nails weren't excessively long and scratching her, I doubt she would have said anything.

Julia is a friend, long-time salsa instructor, and someone I love dancing with anytime she is available. She's a strong, experienced dancer with a wonderful attitude. I don't remember her complaining before, and I'm sure if I was a stranger she would have kept to herself. It was like she had to tell someone or she would explode, and she knew I was the right person due to our history.

As an instructor, Julia is used to dealing with leads at all levels and I've seen her be an angel with guys who were off-time, rough, or just figuring out how basic worked. Lots of guys don't realize she can lead much better than they do. She usually goes with flow and making guys feel good about their growth, even if they're total beginners.

If she's bothered, we should take notice.

I think you get the idea that it makes sense to keep your finger nails short if you social dance. (Verifying that your grip is comfortable and not digging into your partners hands wouldn't hurt either...)

At a minimum, you should put a pair of nail clippers in your car, probably a nail file, breath mints, extra deodorant, and maybe some light cologne. Checking your nails before dancing should be part of getting dressed and grabbing your car keys before going to the club. If you miss that, check them on the drive, and fix them if appropriate.

Get over the "nail files are for girls stuff." The files take off the rough edges and some clippers leave your nails sharp, even though they are shorter after clipping. File off the rough edges; it takes all of 30 seconds and your partners will indirectly appreciate it.

The fact is they won't notice if it's right, but like bad breath, when it's wrong it's a major negative and you will be remembered for all the wrong reasons.

Since we are on the subject, don't offend women with things we can easily fix. Being prepared is half the battle.

In my case, I have a gym bag that I throw in the car every time I go dancing. It's my shaving kit on steroids. It's evolved over a few years and sometimes you'd think I was preparing for an earthquake or camping trip. It has all my grooming essentials including breath mints, gum, electric razor, an extra shirt, socks, hair spray, brush, undies, alternate shoes (jazz sneakers), along with a couple energy bars, ear plugs, pens and anything else I think I might ever need before or after dancing. For a while it had a hammer (long story).

I don't have to think about it most of time; I just grab it as I head out the door. I restock it regularly, but as a rule it's ready to go without much thought. If I notice my nails are extra long on the way to the club, I grab the clippers or nail file and hack away as needed. If I don't have enough breath mints in my pocket, my bag is stocked with extras.

You should create your own kit. At least be sure you have nail clippers, breath mints and other grooming essentials. Grow as you see fit, and throw it in the car as you're going out the door. Then you don't have to remember the details each time, and over time it becomes your "dance bag".

Let me know what you're doing to be prepared for dancing. And ladies, please tell us guys what grooming essentials you find critical. We may not want to hear it, but we need to know your point of view on this subject.

The Best of Unlikely Salsero: Part 2

2009-03-12T23:10:00.000-07:00

I originally was calling this series, "My Favorite Articles" but I'm changing the name to "The Best Of Unlikely Salsero".

Here are a few more blasts from the past that others enjoyed. No matter what I call this series, these are brilliant, amazing, mesmerizing and occasionally entertaining articles. (OK... maybe not, but I hope you enjoy them anyway...)

I have two new articles that I hope to have live this weekend. Behind the scenes I'm happy with the outlines and most of the details, but they need just a little more seasoning before they'll see the light of day.

Your feedback is always welcomed, and if you have an older article you really like, please let me know so I can include it in a future "The Best Of" series.

The Best Of Unlikely Salsero: Part 2

The Power of Greetings
The more people who recognize you, the more fun you'll have in the clubs. Say hi to everybody, all the time, and you'll be amazed by the results. This works at clubs, and it works at events too... (You can even try it with your family.)

Three Types of Practice Required
To maximize your dance growth requires different types of practice. Master all three and you'll accelerate your learning.

Listening to Music: 100 Times or More
This was written almost 2 years ago, and with more experience across a wide range of students, I still find it's a major win for understanding music. Not everyone agreed with me when I wrote it, but I've seen the results with enough students to highly recommend you try it yourself.

Related articles:
The Best of Unlikely Salsero: Part 1

My future starts when I wake up every morning...
Every day I find something creative to do with my life.
--Miles Davis

The Best Class of My Life

2009-02-28T02:48:00.000-08:00

Tomorrow will be the best class I've ever taken!

How do I know?

It always is...

Because that's the decision I make on my drive to most classes. "This is my favorite class," and/or "This will be my best class" is what I'm saying to myself as I'm getting out of my car, grabbing my gym bag. Many times I say it out loud before getting out of the car or during my drive.

You should consider the same. Once you've decided to go to class, put 100% effort into doing your best, and purposely set your attitude in a positive direction. Nobody is forcing you or me to take classes; we choose to be there, so why not have a good attitude about it?

When I take some classes, I'm often the least skilled during some parts of the class. (That goes with the territory of starting dance in my 40's.) When we're doing ab work, balance, stretching or other conditioning, I may not be the best in the class, but I'm working toward 100% of my ability, trying to best my previous efforts. My mindset is, "Nobody is going to outwork me," especially on body weight conditioning, where I'm competing directly with myself.

Others may do it better than you today, but you'll consistently close the gap by working toward your maximum AND setting the right attitude toward growth.

Does that work 100% of the time? Of course not!

Some days are better than others, and I still have those occasional moments where I wonder what I was thinking when I started. Nothing works 100% of the time, but when my attitude is right, I do much better than on those days where I'm down on myself. You never want to start a class with the "I'm a loser" or "I can't do this..." attitude.

A great attitude won't overcome lack of practice or ignorance of the fundamentals, but a stronger attitude makes everything easier, even if "easier" doesn't mean "easy". (There's a big difference between those words!)

Who really cares how you measure against the others today? In my case, 95% of the people in classes started way down the road from me. If you and I continue and work toward constant refinements, we'll pass most people, except the others on the same continuous improvement road.

Once you make the decision to go, don't waste time on what you can't do or how you compare to the others in the room, but instead focus on what you can improve, compared to your last class.

Make up your mind that "today will be the best class of my life" and say it every time you go. Over time you'll be amazed at the results. It works for me. Please let me know what you're doing to keep your attitude growing in a positive direction.

Inside the ring or out, ain't nothing wrong with going down.
It's staying down that's wrong.
--Muhammad Ali

Am I Too Old To Dance?

2009-02-26T14:27:00.000-08:00

Are you too old to dance?
How old is "too old to start"?
Do you have a friend who thinks he/she can't dance because it's too late?

My regular readers know I started dancing at age 43. One of my heroes in the LA salsa scene is in his seventies (Bob), and the ladies love dancing with him. Bob is taking tango classes and growing his dancing. Many guys my age or less--20 to 40 years younger than Bob--are watching on the sidelines, saying it's too late for them.

In the LA scene, Bob is a little like Madonna or Usher: a single name is all that's needed for most salsa people to know who you're talking about. Especially if you mention "an older gentleman" in the discussion. He started a few years before I did, but he was in his late 60's when he took his first salsa classes.

He certainly doesn't blend; totally bald with glasses, wearing painted jeans and not acting his age, he's rarely forgotten by anybody who sees him having a great time. I've seen him close lots of clubs when most of his peers had the Denny's senior early-bird dinner special and were in bed long before Bob hit the clubs.

The reality is the time to start is NOW, whatever your age is. If you're 16, 43 or over 80, go for it. Better to be learning to dance now than sitting on the sidelines and watching. It can be a slower start-up if you're older, but so what?

Check out the clip below for a little inspiration. I don't know this lady, but I can't help but be inspired and impressed by her attitude and skill. Anybody who has trained for a performance knows she put in significant effort to make this happen. Many things that are relatively easy when you're 30- or 40-something become much tougher as you cross into the senior years.

Show this clip to your friends who say it's too late for them. It's really simply a choice and some effort. This lady and Bob have decided to dance, and they decided to do enough to get above average. Now everybody respects them, but I'm sure they had their moments when it wasn't easy. They simply realized the fun outweighs the work, so they went for it.

That's their choice, and anybody else can do it too. Until you're using the walker full-time, keep on dancing and growing. If these other people can do it, so can you and your friends, no matter what their current age.

I want my husband to take me in his arms and whisper those three little words that all women love to hear:
"You were right."
--Kelly Smith

Interesting Policies at Dance Studios: What Am I Missing?

2009-02-16T13:07:00.000-08:00

Is it just me or do some dance studios think they are special? I must be missing something because many have policies that don't make sense to me.

I'm early at a new studio and I'm reading the stuff on the wall. Lots of glossy promotional materials, the list of classes, events, why they are the best place on the planet for dance instruction, instructor photos (photoshopped to remove grey hair), etc.

I run across the "Studio Policies" with the rules for their classes. You know:

No gum chewing
No food or drinks (except water)
No insulting other students
No powder on the floor
No dancing with scissors (running is fine)
Wear appropriate clothing (especially in pole dancing classes)
We're not responsible if you have a heart attack or fall in love with other students
Inside the studio there is no shooting or stabbing allowed (take it outside before discharging firearms)

All the standard stuff you would expect in LA, nothing surprising.

Then I hit the section at the bottom and I'm shaking my head.

Attendance Policies:

It's important you show up on time.
If 2 or less people are there at the beginning of class, class is canceled.
If 3 or 4 people are there at the beginning, class is half the original time, students pay the full rate.
If 5 or more are there at the beginning, classes run full length, normal prices.

At another studio they have this line:

Studio reserves the right to cancel any class with less than 10 students.

Apparently it's my responsibility to be sure other people show up for class. Just because I drive 35 minutes, if I'm the only stupid one attending, they are canceling class. I guess the instructor and studio would rather do nothing for an hour, rather than teach me. If they knew me personally, maybe I could see that choice, but I'm just a another student at that point (and very unhappy if they cancel).

I really love the "pay full price for half the class" concept, if less than 5 people show up.

As a totally selfish individual, I love when I go to a class and only a few others show up. I almost get a private lesson for the price of a studio class. I get lots of attention, and the instructors tend to speed it up or slow it down based on the students. These are great classes for me and I recommended the instructor's class to others if they do a good job.

It's clear to me that if the class doesn't develop a reasonable following, it will be canceled. Most studios need 5-15 students per class to break even on expenses, so I know the 3 person class can't last for very long. If I like the class, I will tell others about it.

On the other hand, it's not my fault others didn't show up. I realize the studio can't look the other way every time. If the class is usually larger and it's slow one day, then it's a bonus for me. Canceling a class which is normally full seems inappropriate to me, since I made the drive and the effort.

BTW - When I teach, I enjoy the energy of larger classes but I like the small groups too. If there is poor weather, a new startup class, or there hasn't been enough publicity to attract students, I teach a complete class if one person shows up. I'm there already, the student is taking their valuable time to attend, and it's not their fault others didn't make it. If only one person shows up every week, I may cancel future classes.

Maybe some studio owners/instructors will post some comments to clarify the issues for us (you can be anonymous if you choose). I'm curious as to why the students who make the effort to attend should suffer if others don't attend. I'm guessing the studio has to pay the instructor the same amount for 5 students as for 25 students, so if they cancel or cut the class in half, maybe they don't pay the instructor the normal amounts.

Seems like short-term thinking to me. I certainly am not going to go to a studio more than once that cancels classes because only a few people show up. I'm hoping someone can tell me what I'm missing, because those policies just don't make sense to me.

If they post a class schedule, and I attend, I would expect them to teach me. What about you?

I took up meditation.
I like to have an espresso first just to make it more challenging.
--Betsy Salkind

The Best of Unlikely Salsero: Part 1

2009-02-15T23:14:00.000-08:00

I talk with a lot of people, and get a regular stream of e-mails from readers. I'm forever humbled and thankful so many people send me article ideas and/or discuss their take on my thoughts.

I still get a ton of questions and suggestions and realize "Hey, I wrote an article on that last year..." Of course, they've never read THAT article, and I hate to keep saying "Yea... I wrote an article on that about 15 months ago." That annoys the heck out of my friends, so I avoid that most of the time.

My Mom can't understand why you don't simply go back to the "Articles By Month" heading on the left side, and read EVERY article since I started. She thinks it's a perfect solution; I'm thinking maybe that's not practical for every single reader (but maybe you're up for it).

I'm not surprised one or two people haven't read every word, since I'm closing in on 150 articles to date. I have over 30 in draft/outline form in the background. At least half of my current audience wasn't around when I started this blog a couple years ago, so they have a good excuse.

As the articles grow, it's harder for people to find things from the past. (BTW - I'm always looking to provide more access to the previous articles, so use the comments link below to let me know if you have ideas.)

Every few weeks I'll highlight a few articles which I like and/or have been popular in the past. My theory is starting with two or three articles makes the most sense. Click on the titles below to go directly to the articles.

The Best of Unlikely Salsero: Part 1

Unaware Club for Men
Some of us guys are simply clueless, and the psychologists are now telling us things that are obvious if you've danced a while (or are female).

Darned Adults: Music Too Loud
As a rule, I always wear ear plugs while dancing, and they are always with me while taking dance classes (I use them when appropriate.) People often ask me about mine, since they are custom fit and not real obvious. This article (and the companion) tell you everything you should know about protecting your hearing.

Practice Space And Spousal Upgrades
With a little creative thinking, anybody can have a practice space right in their home, condo or apartment. You probably have more options than you've been considering.

Again, I look forward to hearing your feedback via the comments link below. Feel free to send me private mail if appropriate. (DonBaarns AT hotmail.com)

I had general anesthesia. That's so weird. You go to sleep in one room, and then you wake up four hours later in a totally different room. Just like college.
-- Ross Shafer

Better Dancer: More Peer Critics

2009-02-09T01:06:00.000-08:00

Do you have someone talking down your dancing?
They seemed so nice, but now they're saying unkind things about you.

You probably don't deserve it, but it will happen if you're improving.

Over a year ago I wrote an articled titled "Better Dancer: More Partner Lying." It outlines the fact that as you improve, you'll get less constructive feedback from partners. They may tell you your strengths, but they avoid saying anything about your weaknesses. Overall that's a great thing, although it can leave you blind to the areas you could easily improve. (Check out the article for details.)

Your peers can be a different story. The more you grow and the faster it happens, the more someone won't like part of your dancing, your attitude or your hair style. If you don't have any critics yet, you probably aren't growing or they're just talking behind your back.

The strongest dancers get the most praise and the most criticism. If you start getting more attention, some will feel threatened, jealous or sick to their stomach because they thought they'd always be better than you. If you're seriously working harder than others, you'll pass them in time. If you grow quickly, you'll gather a small subset saying harsh things about you, whether you deserve it or not.

My advice: Ignore most critics, keep on going, but don't get a big head about your progress. Be nice to everybody possible, and let the critics say what they will. A few people will never be happy with you, especially as you grow into the above average group.

In other words, take it as a badge of honor if you have a few critics. It means you're strong enough that somebody is paying attention.

Sometimes you should check with someone you trust in the scene. Ask them if the critics actually have some decent feedback you can use, but discard the rest. You certainly want to verify you're not blind to issues you could address, but most of the time it's just noise you don't need. It's just like high school all over again, with adult drama.

Social dancing is a great vehicle for improving yourself. Part of that growth includes developing a thicker skin in terms of criticism. Don't expect your improvements to make everybody happy, but you'll win if you keep your head straight and keep moving forward.

There's no reason to be a snob, because even if you are growing faster than others, we all have plenty of room to grow. Find a couple mentors you can trust to tell you the truth, but otherwise ignore the few critics and keep on growing. If you don't have anybody saying something negative about you, you're probably not growing toward your potential.

I know a man who thinks a marriage is a fifty-fifty proposition,
which convinces us that he doesn't understand women or percentages.
--Henny Youngman

My New Monday Classes In LA: Unlikely Salsa

2009-01-29T00:05:00.000-08:00

[WARNING: Blatant plug]

Starting Monday, February 2nd, 2009, I'm back teaching with new salsa classes in LA. I'd appreciate your help getting the word out!

If you know someone in the LA area and they want to learn or grow their dancing, please send them my way on Mondays. I know what it's like to learn as an adult, and my experience teaching with Edie the Salsa Freak brings a wealth of material and perspective for my students. Of course, I'll add some interesting music classes at some point.

If you don't like having fun while learning, please skip my classes. We work hard, but having fun while learning is a priority for me. The studio is amazing, the parking is free, and we always have a great time.

I don't just teach moves; I teach concepts that get you on the floor faster, with more compliments from your partners.

My current salsa class schedule is set as follows:

EVERY Monday night until further notice
7 pm - Foundational (Beginning and Improvers)
8 pm - Intermediate
9 pm - Free- practice for a while...

Normally $15 per single class, the first few weeks will be discounted to $12 per class, or $15 for both classes. Package deals will be available soon.

If you are more advanced, feel free to come early and assist the Improvers (no cost). You won't believe how much you'll learn from assisting others. You must attend at least one class and check with me first, although if we know each other from the clubs, please join in.

You'll have a great time no matter what your current level, as I always modify the class to meet the level of the attendees. Partners are not necessary (but feel free to bring your 37 closest friends).

I'm available for private lessons before/after some classes, but my availability is limited.

Location:
Los Angeles Dance Center (formerly JNDA)
Upstairs!
324 N. Ford Blvd.
Los Angeles, CA 90022
FREE Parking across the street

Click here for Google Map

Call my cell phone for details: 818.903.0016

DJs and Bands: Give Me A Break!

2009-01-28T00:20:00.000-08:00

[RANT starts here!]
To all my DJ friends: Quit seamlessly mixing Latin tunes together, imitating the hip-hop DJs. Just give me a break! Stop the music every so often and nobody gets hurt.

I don't want an extended mix, creating one long song. Even if your mix is brilliant and the two tunes are my favorites, putting them into one longer tune usually irritates me and my dancing friends. A quick break between the two tunes and I'll love your selections.

This same concept applies to the bands; don't take extended solos or join two or more tunes together. Medleys are for listening audiences and concerts, not dances. It makes little sense in a partner dance scene. (Disclaimer: I was guilty of this when I was a non-dancing musician. We thought the music was so great you'd love more of it... boy, do I feel bad now, seeing it from the other side.)
[Calming down now...]

As a rule, social dancers like shorter tunes. Music with an obvious ending and a few seconds between tunes is much, much better. We don't need long breaks, just a clear ending and a quick break.

Why? The break gives us a chance to change partners gracefully.

If she hasn't looked at me in the first three or four minutes, is swearing under her breath, looking around the room for her next partner, or trying to get that knife out of her back pocket to slit her wrists or "accidentally" stab me, having another 3-5 minutes of my "amazing" lead probably isn't going to change her mind. We're both hoping the brain damage ends soon, but an extended mix or double length tune ruins that dream.

Once we are a few minutes into the dance, the magic is either there or it's not. A quick and obvious break gives us a convenient way to change partners if desired. If the magic is there, we can dance a second tune. The music change provides a slightly different feel, making it even more fun. Occasionally we wish it lasted longer and look forward to the next dance, but that's a great problem and most can deal with it.

A break also gives her a chance to say, "Thank you... the street lights are on and I have to go now..." without being inconsiderate. If she hated my lead but was faking it (something I hear women do occasionally), she can gracefully move to another partner without my knowing how bored she was with my lead. I feel good and can find someone else to torment for a few minutes in the next song.

If you're in the band, don't be ignorant like I was in my playing days, assuming the dancers are so in love with your playing they hope your solo will never end. Most social salsa dancers don't like marathon tunes. With a few exceptions, most dancers aren't paying lots of attention to your solo. They may feel the energy, but when it goes too long, they miss the details and start worrying more about their partner or how their dancing is holding up over time.

Give us a quick break between tunes, and when in doubt, shorter tunes are better in the social scene. Stay in the four to five minute range and we're all happier. We don't need long pauses, but remember: we do want you to give us a break.

The difference between love and sex is that sex relieves tension and love causes it.
--Woody Allen

New: Translations

2009-01-18T14:46:00.000-08:00

I've had requests to add code to translate my blog to other languages (Spanish and others). I'm experimenting with a new Google translation gadget (MOVED to bottom, left for now.)

It's interesting: If you don't read English, you won't be able to read this article telling you it can be translated! If you're bi-lingual, please tell your friends about the translation box on the left, and show them how to use it.

If you know anybody who is a native speaker in the other languages, please ask them to tell you and me how it's working. They can send me private mail if desired or use the comment box and I'll use the translator to figure out what they are saying.

Because this is from Google, I expect it to get better over time. All feedback welcomed!

Seeing the Dance in Your Head

2009-01-10T20:45:00.000-08:00

Great dancers see the dance in their heads, and you should too.

Anybody can visualize their own dancing with some practice. When you're around excellent dancers during practice time, you'll see them rehearsing a sequence in their head, similar to "marking it" where you practice a routine without doing it full out. It's common to see athletes and performers running their game plan in their head just before an important event.

As a musician, when I hear music, I can easily imagine myself behind a set of drums, and I see myself playing the music as I'm listening. Of course, I have spent thousands of hours behind a set of drums, so that's easy for me.

As a dancer, I'm a work in progress, and it's obvious to me that the better dancers are seeing the dance in their head. The music's playing and they close their eyes and watch the dance in their mind. They take small or minimal steps, sometimes turning and making smaller movements but clearly dancing it in their head as if they were dancing full out.

They know the material so well, they can watch the dance unfold in their mind, in real time or at different speeds. Stronger performers also use this visualization technique to learn and practice new materials, rather than just review well rehearsed moves.

What about you?

Have you closed your eyes and imagined leading or following a cross-body lead? Or have you visualized doing basic and some foundational footwork? If you're a lead, have you seen yourself doing a complicated sequence in your head? Or practiced the latest moves from a class, YouTube clip or DVD? As a follow, have you practiced your styling moves as if a lead was going through a series of moves with music?

If not, you should. And start the process today. Stop reading this article now (OK, after this paragraph), and try doing a salsa basic in your head. Then try a cross-body lead, some simple footwork exercises and maybe a more complicated sequence or shine. Because it's all in your head, you can also change perspectives. You might try playing out the scene from your viewpoint, or see yourself in a mirror, or even from the point of view of a person in front or behind you.

(Try it yourself now! Shut your eyes and do a few simple moves, or if you're more advanced, try a sequence from a different point of view. I'll wait and you can finish the article after your practice.)

Pretty cool!

Some people will find it very easy to do, others will find it not so easy. It doesn't matter where you start today, if you do it regularly, you can get better at it and it pays off over time. You'll dance better sooner, with less wear and tear on your body. Over time you'll learn faster than you did in the past, partially because you can practice more.

Injured dancers and athletes use these techniques all the time, and the best use it when they are fully healthy too. You can also replace some of your physical practice with this mental practice, and when done well it's very effective.

See yourself doing basic and try imagining the steps in your head. The more senses you engage the better. The more you practice in your mind, the better you get at it.

Learning to see your performance in your head is a time-honored technique used by dancers, world-class athletes, martial artists, and many others.

You can practice dancing anyplace in your head when you have a sliver of quiet time. You don't need a large dance studio; your shower is large enough to make this happen. Avoid doing it while driving, on a first date, operating heavy machinery or taking extra strength drugs. Otherwise, almost anyplace is fair game.

A couple hints you should consider:

The more realistic you make it in your mind's eye, the better
Start simply by doing simple footwork and build from there
See yourself dancing with someone you enjoy
Visualize the club, practice room, or dance studio with mirrors
Hear the music in your head as you practice the movements
Feel free to slow the music down, doing each step perfectly, or correcting yourself if you make a mistake
Try the same moves at different speeds, ranging from painfully slow to blistering fast

This is a vast subject way beyond the scope of one article. If you want some interesting details on practicing techniques, check out "Fight Your Fear and Win", "Performance Success" and "Audition Success". All three are excellent reading and provide interesting insights to improve your dancing. (Click on the titles above to see details at BarnesAndNoble.com).

The author (Don Greene) is a performance coach who works with Olympic athletes, world-class musicians and others. (Read his impressive bio with the books above.) While he discusses seeing movement in your head, he goes way beyond and has some great insights into higher performance and learning.

The "Fight Your Fear..." title was my third I read because I thought, "I'm not afraid..." While I don't love the title, it has some outstanding tips for being a better student, teacher and social dancer. All three are worth the read, but I'd start with Fight Your Fear or Performance Success first, then read the others.

Social dancing is for fun, and many of us generate our own self pressure to be better. (Not a bad thing unless taken to an extreme.) If you want to advance a faster and make more progress in less time, the visualization techniques used by experienced dancers, Olympic athletes, and advanced musicians provide interesting models for dancers.

Let me know how seeing the dance in your head works for you via the comments link below.

The insurance man told me that the accident policy covered falling off the roof,
but not hitting ground.
--Tommy Cooper