21. Daily Herald >> Crossing Centuries >> Our Nation Fads Harem trousers and the Ouija board. dance fads the fox trot and the tango. dance fads the Charleston, the black bottom and the shimmy. http://www.dailyherald.com/special/crossingcenturies/2a/3rest.asp

Tripping through the decades 100 years of pop America: The look, the lingo, the cars Quick take: A woman could get arrested for smoking in public. Fads: Ping pong and speeding. Fashion: Formal and romantic, with shoulders (both sexes) broad and padded. The look? Gibson Girl. Slang: Artillery (as in beans) ... atta boy! ... beat it ... Chi (Chicago) ... do the bear (court a girl) ... give the shake (as in hands) ... Gone through Hades with his hat off (audicious) ... lu-lu (excellent) ... on the marry ... scallywampus (a good for nothing) ... zowie! Driving forces: '01 Oldsmobile Runabout, Ford Model T. Reality check: It was a slower time, but not entirely innocent. Snow and coke were both slang for cocaine. Big debuts: Tinker toys and lincoln logs. Fads: Harem trousers and the Ouija board. Dance fads: the fox trot and the tango. Fashion: For women, a looser look with simple, straight lines - and ankles showing. For men, stripes: striped trousers for day wear, striped blazers at night. Slang: Oh, boy! ... give the glad hand (shake) ... baby vamp (a popular girl) ... crumb (an unpopular girl) ... the altar (toilet) ... keep your shirt on ... clout the sphere (hit the ball) ... hurry up and get born (get with it) ... get hep (or hip) ... snow again, kid, I've lost your drift (say it again). Driving forces: 1912 Cadillac.

22. Eastbayexpress.com | Sauciest Salsa Dancing | 2005-04-06 Caribbean dance fads like rumba, conga, mambo, chacha-cha, and pachanga came (and went). Salsa rose in the 1970s, sauced by a new mix of old and new beats http://www.eastbayexpress.com/bestof/2005/bestarts/bestarts47.html

ARCHIVE SEARCH HOME LETTERS DINING ... CAREERS Sauciest Salsa Dancing Best of the East Bay 2005: Sports and Leisure Other Best Ofs Best of the East Bay 2004 Best of the East Bay 2003 Best of the East Bay 2002 Best of the East Bay 2001 Award Winners Did you or your business win a East Bay Express Best Of award? Show your pride and put an eAward on your website. Choose a size: 120 x 60 120 x 90 250 x 50 Club Montero's Address: 1106 Solano Ave., Albany, 510-524-1270 ClubMonteros.com Since 1913, when Vernon and Irene Castle introduced the tango to New York City, Latin dancing has fascinated North Americans. Caribbean dance fads like rumba, conga, mambo, cha-cha-cha, and pachanga came (and went). Salsa rose in the 1970s, sauced by a new mix of old and new beats and steps. Today in the East Bay, a multicultural cast of salseros y salseras eastbayexpress.com Thrillingest Theater Catchiest Rock Band Snazziest Set Design Most Mixmasterful Local DJ Moodiest Theatrical Illumination Hippest Museum Curator Praiseworthiest Local Film Tear-Jerkingest Movie Night Most In-Your-Face Movie Experience Nuttiest Flush on the Flop Most Mysterious Dinner Page-Turningest Author Friendliest Community Theater Coolest Imaginary Private Eye Most Refreshing Reagan Recollections Stunningest Actress Most Transformative Translator Frailichest Literary Fest Spankingest S/M Publisher Beastiest Blog Least Sanctimonious Cal Student Blog Muck-Rakingest Youth Radio Show Most Listenable Radio DJ Folksiest Amateur Theater Trustworthiest Weathercaster

23. Strong Chorley Adlington Folk Dance Club /strong 7.45 until 9.45 pm £1 per evening including refreshments. dance fads come and dance fads go but Folk Dancing outlives them all. http://www.lancslinks.org.uk/linkscontent/mycommunity/localcommunity/chorley/fol

Skip Navigation My Community Local Community Blackburn ... Chorley Folk Dancing Chorley Borough Council Fylde Hyndburn Pendle ... Wyre Are you Bored with Television? Would you like to make New Friends? Are you free on a Wednesday Evening? Come and Try us First four weeks free CHORLEY AND ADLINGTON FOLK DANCE CLUB St James' CE Primary School Devonport Way, Off the lower part of Eaves Lane, Chorley Wednesday from September to May 7.45 until 9.45 pm Dance Fads come and Dance Fads go but Folk Dancing outlives them all. NO DANCING EXPERIENCE IS NECESSARY Come with or without a partner, all are welcome FOR MORE INFORMATION TELEPHONE Margaret Joyce Rosemary Marjory

24. Savoy Story 1951 Many of these dance fads held popularity for only a fleeting time; some will be again revived by an upcoming generation, just as The Charleston is now http://www.savoyballroom.com/exp/context/1951savoystory.htm

1951 Savoy Story Preserve Our Culture CONTEXT ORIGINAL DESCRIPTIONS ALL ABOUT THE SAVOY as written by the Savoy Staff on the ballroom's 25 anniversary in 1951 (This version is slightly edited to correct typo's in the original text and to omit references to other sections of the original booklet which have not been reproduced on this site.) Ulma "the Duchess" Brown, Savoy Hostess Let's lift the shadow of the past! Let's roll back the pages of time to the cold, cold winter of 1925 - a little more than a quarter of a century ago - the 'good old days' of the flapper and the shiek, the flivver and the silver flask; the roaring twenties - that dizzy era of 'speakeasies', rumrunners, mob violence, grafting 'revenooers' and of bobbed-hair 'it' girls' and smart-suited drug store cowboys. It was the hey-day of flaming youth! Let's, reflect back to the two very young men, Moe Gale and Charles Buchanan, who were about to develop a silvered dream into a golden reality. The very young Gale, fresh out of college, was associated with his dad, Sigmund, in the finance business - but was possessed of a flair for showmanship and an ambition to carve a career in the amusement business which intrigued him. The very young Buchanan was a budding realty man, but too, with a sub-conscious feeling to seek his future in the world of entertainment.

25. Historical Dances On VHS And DVDs The 20th century opened with wild cakewalk / animal dance fads; moved through the effervescent Blackbottom and Charleston of the 1920s; diminished to the http://www.centralhome.com/ballroomcountry/history_of_dance.htm

Historical Dances on Video and DVDs Learn the dances from the Italian renaissance, Baroque, Victorian Era and 19th and 20th century dances. Learn to dance the Waltz, Gallop, Polka, Schottische, Polka Mazurka, Fox Trot, Horse Trot, Kangaroo Hop, Duck Waddle, Squirrel, Chicken Scratch, Turkey Trot, Grizzly Bear, Castle Walk, Tango, Maxixe, Hesitation Waltz, Minuet, Allemande, and Contredance. America Dances! 1897 - 1948 Video VHS - $49.95 DVD - $49.95 More than 60 Original Film Clips From: • Silent Films • Newsreels • Instructional Films • Feature Films America Dances! offers the original movements and images of the people who actually created them. This is an original resource offered for both aficionados and scholars! This DVD represents 20 years of film collectables by Dance Historian, Carol Teten, Artistic Director of the internationally known dance company, DANCE THROUGH TIME. DVD technology allows the new HOW TO DANCE THROUGH TIME series to include enough material to please the most demanding historian as well as the casual dance enthusiast. The DVD includes the original written sources, which are the historic foundation for the dance steps. 75 mins. (2003)

26. SDHS: Directory Of Specialists In Early Dance Expertise The history of social dance in Western culture; Specialties Social dance fads, their steps, and their relationships to social mores http://www.sdhs.org/work/directory.html

Directory of Specialists in Early Dance Baroque dancer Paige Whitley-Bauguess in costume All those listed are current members of the Society of Dance History Scholars and have given permission to publish their names, notes on recent professional activities, and contact information. Their listing here does not imply endorsement by the Society of Dance History Scholars. Lisa C. Arkin Expertise: Nineteenth- and early twentieth-century dance, character ballet, folk dance Specialties: Instruction in period dance technique, performance, lecturing, dance history, choreography/staging Dance company: Institutional affiliation: Independent scholar Professional activities: Author, with Marian Smith, "National Dance in the Romantic Ballet," in Rethinking the Sylph: Perspectives on the Romantic Ballet, edited by Lynn Garafola (Wesleyan University Press, 1997). Author, "The Mazurka and the Krakovia: Two Polish National Dances in Michel St. Léon’s Dance Notebooks, 1829–1830," in SDHS conference Proceedings (1997). Author, "Continuity in National Dance Technique in Early Nineteenth-Century and Early Twentieth-Century Sources," in SDHS conference

27. PopMatters With this fragmented, manyheaded movement has come the outrage that accompanied most of the other dance fads that riddled recent times and, I guess, http://www.popmatters.com/columns/warner/040623.shtml

COLUMNS archive blogs ANGLO VISIONS That Old Devil Called Dance [23 June 2004] column archive by Simon Warner 8- Dance by Debbi Germann From LastPlace.com e-mail this article print this article comment on this article After catching two of the best gigs of the spring season at the splendid and still quite new Bridgewater Hall in Manchester, the home now of the world famous Halle Orchestra, I was prompted to think about dance and dancing and its present status in England, specifically, but in the Anglo-Saxon West, more generally. I had not been attending a symphonic concert on either occasion, but rather, performances of quite a different sort. The first visit to the venue saw one-time Talking Head David Byrne unravel his quixotic, world rock: angular sounds wrought from New York and South America, Italy and North Africa. A little while after, Joe Zawinul, the keyboard giant who once co-led the magnificent Weather Report, unveiled a similarly eclectic evening of pleasures: Congolese chants, Indian ragas, and mariachi horns melded in an extraordinary collage of prog funk. You can sense that both Byrne and Zawinul's repertoires were riddled with the rhythms of possibility: infectious intersections of beat and swing. And, at the Byrne event, after a handful of numbers, the fans in the stalls began to filter forward, moving and grooving to the band. Efforts to restore the dancers to their seats, first by gentle request and then via the more threatening presence of a muscular bouncer, proved impotent. One and two were quickly joined by 10 and 20, and the audience were speedily on their feet around the hall.

28. Closingup The fun, fast, partnered dance still intimidates some, but it thrills many 80 s and 90 s dance fads jumping by yourself, moshing, head banging, etc. http://www2.kenyon.edu/Depts/IPHS/Projects/swing1/dance/closingup.htm

And the Dance Goes On... The Musician/ Dancer Dynamic The spread of Swing popularity Racial Issues Continuing popularity of Swing Which came first, swing dance or swing music? Like the chicken and the egg, we may never really know. The dynamic relationship between musician and dancer seems to obscure the answer. However, as Howard Spring notes in his article Swing and the Lindy Hop, the first public references to the Lindy Hop were in 1928, just before the music started to change. He feels this suggests that originally it was the dance that set off changes in the music. For example, the musicians began to use fewer "two bar breaks", which interrupted the momentum of the music, during the 1930's as swing dance gained popularity. Versions of classic songs like the "King Porter Stomp" by Fletcher Henderson and his Orchestra became "riffier" with a more driving beat. However, as Swing solidified, the dancers took from the musicians in much the same way as musicians took from dancers. Frankie Manning, Savoy lindyhopper, reported that he would often "catch" ideas from the band while dancing and the drummer or soloists would "catch" his steps - often reinforcing the beat or adding drum shots. Likewise, with the introduction of aerials, tempos rose because flights could be more easily executed with a driving beat behind them. The excitement of both performers - musician and dancer - reinforced the other. The phenomenon created was intoxicating and rapidly spread in popularity.

29. Book Review The American Historical Review, 109.5 The There is not enough about the dissemination of dance fads, and the narrative is generally time compressed, allowing the reader to lose a sense of http://www.historycooperative.org/journals/ahr/109.5/br_69.html

You have not been recognized as a subscriber to the AHR online. About 226 words from this article are provided below; about 499 words remain. If you are a individual member of the American Historical Association, you may: login here if you have already registered for online access. register your subscription Set up your online account for the first time. AHA members can go to the AHA individual membership section to locate their member numbers. If you are not a member of the American Historical Association, you can: Join the AHA and receive many member benefits including print and electronic issues of the American Historical Review. Purchase a research pass to gain two hour access to the entire History Cooperative web site. You will have full access to current issues of the American Historical Review (104.3-present). Note: the Research Pass does not provide access to JSTOR's holdings of the American Historical Review. Instititutions can: Subscribe to this journal and receive print and electronic issues. Activate your existing subscription so that we recognize your IP number ranges.

30. Dance Magazine: On Broadway: Put A Line Of Tap Dancers On Stage, And The Show St of the choreography in Hairspray is based on teen dance fads of the 60s; but everyone s favorite number, Timeless to Me, is a classic soft shoe duet. http://www.findarticles.com/p/articles/mi_m1083/is_5_78/ai_n6143350

@import url(/css/us/style1.css); @import url(/css/us/searchResult1.css); @import url(/css/us/articles.css); @import url(/css/us/artHome1.css); Home Advanced Search IN free articles only all articles this publication Automotive Sports FindArticles Dance Magazine May 2004 Content provided in partnership with 10,000,000 articles Not found on any other search engine. Related Searches Broadway theater / Forecasts and trends Tap dancing / History Tap dancing / Appreciation Tap dancing / Performances Featured Titles for ALAN Review Afterimage American Drama American Music Teacher ... View all titles in this topic Hot New Articles by Topic Automotive Sports Top Articles Ever by Topic Automotive Sports Dance Magazine May, 2004 by Sylviane Gold Save a personal copy of this article and quickly find it again with Furl.net. It's free! Save it. Throughout most of the 1920s, '30s and and '40s, tap ruled Broadway musicals. It was the dance vernacular, a home-grown popular entertainment that had sprung from the uniquely American intersection of African and Irish dance forms. With its upbeat rhythms, relaxed posture and freewheeling energy, tap seemed to breathe the air of democracyespecially once it migrated from the country's theater stages to its even more popular movie screens. But when the forces unleashed by Agnes de Mille and Jerome Robbins transformed the dance element in musical theater from a pleasant diversion to an integral part of the plot, tap dancers suddenly became scarce on Broadway. History had decreed that the dancing now had to be related to a musical's characters, and Puerto Rican street kids and Austrian nuns would hardly be credible doing time slops. Dream ballets and integrated dance numbers replaced flashy kick lines, and for a while, it looked as if tap would go the way of the cakewalk and the waltz, pretty, much disappearing from our musical theater.

31. Streetswing.com - Dance History Archives - Main Dance Index - D Drum Dance, n/a, c.1940s, Desi Arnez, La Conga,. Duck Trot, The, New York, 1950, Cab Calloway, dance fads? Dune Dance, USA, n/a, n/a, $ Film of Dune Dance http://www.streetswing.com/histmain/z1d.htm

Home A B C ... XYZ Name of Dance Origin Date Creator/Choreo. Note /See Also D' Hammerschiedsg' sellen German n/a aka: Blacksmiths Apprentice Dance n/a DC Hand Dance Washington, DC n/a East Coast Swing , Pony Swing, Jive Dabke or Debke Levant Debka Carmiel Erev Ba, Folk , Tfilati Middle Eastern Dance, Folkloric, Belly Dance Dallas 2 Step Dallas, TX. Walk Walk Triple Triple Dallas Shuffle, Texas Two Step , Country Western dance Dance-a-la Graphonola USA c.1924 Albee Theater Dance After Husking n/a n/a Virginia Wheel Dance of Death Paris? Cemetery of the Innocents-Paris Dance Macabre, Halloween, Dance of the Demons, Dance Of The Shadows, Totentanz, Plaque Dance of the Demons USA n/a Halloween, Dance of Death, Dance Of The Shadows

32. FolkFire Articles Archive, V5,n5 in the dance repertoire as a living tradition but were only dance fads or crazes which are now done only by dance historians and recreationists. http://www.folkfire.org/v5n5.htm

FolkFire Articles September / October 1998 Hop on the Lindy A Dance of Our Own Home Index of Articles Hop on the Lindy by Patricia Dresler It don’t mean a thing if it ain’t got that swing. That swing! But what is it? It goes by many names: swing, jive, jitterbug, Imperial, the Balboa and Lindy. In 1943, Life magazine called it America’s first true folk dance. Folk dance, you say? Yes, if you define it as expressing yourself through rhythmically patterned movements in a style determined by regional tradition. Scholars in their research find several interpretations of a particular folk dance passing from one generation to the next and from one region to another. In contrast, dance masters pedagogically teach social dance. Folk dancing is an expression of the life, history, and psychology of a people and is a basic part of their culture. Swing fits these definitions. Emerging in the late 1920’s in Harlem, New York City in response to the jazz music that developed in the late teens and 20’s, swing grew out of the Charleston, Breakaway, Collegiate, Texas Tommy and Vaudeville dances. These dances in turn got their roots from the Cakewalk, Ragtime and Minstrel shows of the 19th century. Why aren’t any of these the first “folk dance” of the U.S.A.? Primarily because they have not remained in the dance repertoire as a living tradition but were only dance fads or crazes which are now done only by dance historians and re-creationists. Folk dances are dances of the people. By the late 20’s, the American people were in an ever-expanding village, as dances and music could be spread throughout the country by phonograph, radio and the movies. Local enthusiasts could now emulate the top dancers of New York or Hollywood, but they continued to develop their own styles reflecting the personality of each region.

33. Notes In Motion - Education: Residencies Costume • Flappers and social dance fads • Animal behavior and dance Dance and Culture • Folk dancing • Dance genres ballet, modern, tap, jazz, hiphop http://www.notesinmotion.org/edu_residencies.php

In-School Residency Programs Notes in Motion Educational In-School Residency Programs fall into two primary categories: Process and Performance Workshops and Coming Together Programs. In both types of programs, topics are created and crafted in conversation with the Notes in Motion artist and the workshop sponsor. Residency topics draw on the diverse strengths of Notes in Motion’s trained and experienced teaching staff and can serve a range of school populations and ages. The sample programs described below work best with Residencies of at least 10 sessions. Process and Performance Workshops Coming Together Programs In these programs, community and subject area unite to create unique learning experiences, new partnerships, and opportunities for personal and cooperative growth. Using Notes in Motion’s Movement Exchange Method, dialogue and critique from program participants is intrinsic to the curricula and plays an essential role in integrating program topics. Students take on leadership, bridging gaps of understanding between unlike subject areas. Some of these programs have a specific focus on interdisciplinary education with goals to illuminate the study of math, science, history, and other art forms through the study of dance. Other programs focus on bringing together different communities of varying cultural or artistic backgrounds or mixed-age groupings. In Coming Together Programs, dance acts as the communicative force and the connective tissue between areas of study and between students from diverse backgrounds.

34. The Harlem Hot Shots: Dance Styles Homepage of The Harlem Hot Shots. A Swedish show dance company. the dance bears a kinship to other contemporary dance fads such as the shimmy and the http://www.harlemhotshots.com/en/dancestyles/

Lindy Hop , whose name was inspired by Swedish descendant Charles Lindbergh’s solo flight across the Atlantic, is the physical and often acrobatic incarnation of swing music. Lindy hop originated at the end of the 1920s and culminated in the decades that followed. In Sweden, where the dance was often called jitterbug, it was considered by cultural journalists of the time as leading to moral disintegration and as being generally unsuited to Scandinavian temperament. Charleston Tap is percussion dancing in color and form. Its roots can be traced back to somewhere in the cultural synthesis of Africans and Brits in the USA during the latter part of the 1800s. The dance, which up to about 1950 was considered a must in the repertoire of any self-respecting theater or night club, is visual and extroverted as well as intricately detailed and full of feeling. Black Bottom , a reference to the black mud on the shores of the Mississippi, is intimately associated with androgynous two-toned shoes and the sounds of howling trumpets in decadent small night clubs draped in jungle motifs. Al Capone is said to have been a fan of the dance, although he was seldom personally seen up on the dance floor. According to dance literature, the dance bears a kinship to other contemporary dance fads such as the shimmy and the shuffle.

35. GetAngry.com: 05.2005 His Chicken Walk and The Hunch became two shortlived dance fads. posted by AF Grant at 122 AM 0 comments. Previous Posts http://www.getangry.com/blog/2005_05_01_archives.shtml

@import url("http://www.blogger.com/css/blog_controls.css"); @import url("http://www.blogger.com/dyn-css/authorization.css?blogID=9322479"); SONG WORDS KRITICAL AKKOLADES Buy "Monroe" Here: Join the Killville Militia today and get e-mail updates on upcoming shows, recordings and other junk that you need to have. EMAIL: Angry Johnny Goatis T. Ovenrude Sal Vega May 6, 2005 RIP Crankyville Trolly The Crankyville Trolly made its last voyage Thursday May 5, 2005. On route to North Carolina for shows in Charlotte, Winston Salem and Raleigh, the Crankyville suffered a massive stroke somewhere on the outskirts of NYC. This has forced the Killbillies to cancel all shows in North Carolina for this weekend. We are sorry about this, but assure you all that even though the Crankyville Trolly has passed on to the Great Boneyard in the sky, the Killbillies will be back in the South next month for shows in Norfolk, Richmond and Raleigh, with the Cranky ii. All hail the new Cranky. posted by AF Grant at 1:13 PM 0 comments May 5, 2005

36. Focus On The Music FIRST If we don t get off our high horse about TIMING so much, and start dancing to the MUSIC, Salsa dancing will be one of those dance fads we used to dance http://www.dancefreak.com/stories/Focus_on_the_Music_FIRST.html

37. Norma Miller, Evette Jensen: Swingin’ At The Savoy and the birthplace of such memorable dance fads as the Big Apple, Shag, Truckin , Peckin , Susie Q, Charleston, Peabody, Black Bottom, Cake Walk, http://www.temple.edu/tempress/titles/1214_reg.html

A celebration of a life of dancing the Lindy Hop Buy this book! View Cart Check Out Swingin' at the Savoy The Memoir of a Jazz Dancer Norma Miller with Evette Jensen paper 1-56639-849-5 $22.95, Sep 00, Available 304 pp 6x9 1 figure 52 halftones Norma Miller is a recipient of the National Endowment for the Arts National Heritage Fellowships, 2003 "This is an important book, bringing some much-overdue attention to the swing dancers who along with the musicians defined the era." Robert Tate Jazz Now Dancer, award-winning choreographer, show producer, stand-up comedienne, TV/film actress and author, Norma Miller shares her touching historical memoir of Harlem's legendary Savoy Ballroom and the phenomenal music and dance craze that "spread the power of Swing across the world like Wildfire." It was a time when the music was Swing, and Harlem was king. Renowned as 'the world's most beautiful ballroom" and the largest, most elegant in Harlem, the Savoy was the only ballroom not segregated when it opened in 1926. The Savoy hosted the best bands and attracted the best dancers by offering the challenge of fierce competition. White people traveled uptown to learn exciting new dance styles. A dance contest winner by fourteen, Norma Miller became a member of Herbert White's world-famous Lindy Hoppers and a celebrated Savoy Ballroom Lindy Hop champion. Swingin' at the Savoy chronicles a significant period in American cultural history and race relations, as it glorifies the popularized home of the Lindy Hop, and the birthplace of such memorable dance fads as the Big Apple, Shag, Truckin', Peckin', Susie Q, Charleston, Peabody, Black Bottom, Cake Walk, Boogie Woogie, Shimmy, and tap dancing.

38. The Long Week-End (Main Page) this survey of the interwar period not only includes surface aspects of the era—from plays and novels to dance fads and fashions—but also discusses the http://www.wwnorton.com/catalog/spring01/031136.htm

Robert Graves and Alan Hodge The Long Week-End A Social History of Great Britain 1918-1939 A classic social history by two distinguished writers who lived through the time. "The long week-end" is the authors' evocative phrase for the period in Great Britain's social history between the twin devastations of the Great War and World War II. From a postwar period of prosperity and frivolity through the ever-darkening decade of the thirties, The Long Week-End deftly and movingly preserves the details and captures the spirit of the time. The poet Robert Graves was also the author of Good-Bye to All That Alan Hodge was an editor and journalist. April 2001 / paperback / ISBN 0-393-31136-8 / 480 pages / 6" x 8" / History

39. COTTON Billy : MusicWeb Encyclopaedia Of Popular Music by 23 London Savannah Band at Southport, introducing USA dance fads like the Black Bottom; 24 at Wembley Exhibition, then dance halls in London, http://www.musicweb-international.com/encyclopaedia/c/C360.HTM

Encyclopaedia now available on CD-ROM COTTON Billy A B C D ... Home

40. DEE Joey And The Starlighters : MusicWeb Encyclopaedia Of Popular Music Hot Pastrami With Mashed Potatoes , two dance fads for the price of one. Dee made films Hey Let s Twist and Vive Le Twist. The band was a nursery for http://www.musicweb-international.com/encyclopaedia/d/D157.HTM

Encyclopaedia now available on CD-ROM DEE Joey and the Starlighters House band at Peppermint Lounge NYC: Joey Dee, vocals (b Joseph Dinicola, 11 June '40, Passaic NJ); Carlton Latimore, keyboards; Willie Davis, drums; Larry Vernieri and David Brigati, vocalists, dancers. As Chubby Checker's "The Twist' left top of chart late '61 Dee's "Peppermint Twist' replaced it: socialites swarmed to the Peppermint to do the dance that anybody could do. Only other top 10 was "Shout Part 1'; hit LP Doin' The Twist At The Peppermint Lounge incl. both. Nine Hop 100 singles '61-3 incl. "Hot Pastrami With Mashed Potatoes', two dance fads for the price of one. Dee made films Hey Let's Twist and Vive Le Twist. The band was a nursery for fledglings: three of four original (Young) Rascals were members (Eddie Brigati was David's brother); the Ronettes were Dee's dancers/vocalists until rescued by Phil Spector; in '66 Jimi Hendrix was there. A B C D ... Home

A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

Page 2     21-40 of 108    Back | 1  | 2  | 3  | 4  | 5  | 6  | Next 20