Danny Kaye sings "Ballin' the Jack"

Have you ever wanted to learn to dance Ballin' the Jack? Here is your chance.

Danny Kaye shows you how it's done when he sings "Ballin' the Jack" in this video clip from the movie "On the Riviera" from 1951. The woman looking at him is actress Gene Tierney.



Ballin' the Jack is an old dance that according to the book Social Dancing in America: A History and Reference Volume 2 Lindy Hop to Hip Hop, 1901-2000 (page 7-8) was invented in California around 1901-1905 and then was popularised through the theatre production Darktown Follies in 1911.

"Another popular dance from the Darktown Follies was Ballin' the Jack. Historian Willis Lawrence stated that the term "Ballin' the Jack" was a nineteenth century railroad expression that meant "travelling fast and having a good time"."

If you know of any other sources of information about the dance, let me know.

What do you think of Danny Kaye showing how to dance Ballin' the Jack? Tell me.

Lindy hops the Atlantic

Exactly 80 years ago today at May 20th in 1927 Charles Lindbergh started his historic solo flight across the Atlantic ocean from New York to Paris which took 33.5 hours. When he landed some newspaper exclaimed "Lindy hops the Atlantic".

A while after (according to the stories I've heard) there was a reporter visiting a ballroom in New York, and he asked the dancer "Shorty" George Snowden what he was doing. "I'm doing the Lindy hop" Snowden answered. Thus the name of the dance was born.

You can see a replica of Charles Lindberghs plane "Sprit of St. Louis" in Balboa park in San Diego.

Excerpts from Social Dancing in America

This is the third part of an interview with Ralph G. Giordano who recently published his book Social Dancing in America: A History and Reference Volume 2 Lindy Hop to Hip Hop, 1901-2000.

[Part 1: How come you wrote a book about social dancing in America?]
[Part 2: Which dances do you write about in the book? ]

Part 3: Can you share some interesting facts about Lindy hop?

I can give you some excerpts from the book:

"Most Americans only saw the Lindy Hop in newsreels of the Harvest Moon Ball competitions and movies such as A Day at the Races (1937), Buck Privates (1941), Hellzapoppin’ (1941), Ride ‘Em Cowboy (1942), Groovie Movie (1944) a nine-minute movie short, and Killer Diller (1948). Each provides some of the best acrobatic performance and smooth style versions of the dance ever filmed.

The acrobatic aerial dance movements were eye-catching stellar performances by the best professional Lindy Hop dancers in the country. They were extremely fast paced and choreographed for maximum effect on the movie scene and definitely not for simple enjoyment on a social dance floor."

"The comedy A Day at the Races, starring the Marx Brothers did well at the box office. At the time, the Marx Brothers were one of the top Hollywood box office attractions. Scenes in the movie offer an excellent contemporary singer Alan Jones singing in the "crooning" style made popular by Bing Crosby. In various dance scenes Groucho Marx performs a Tango, Fox Trot, Rhumba, and Charleston.

The film also has an ensemble dance scene between Harpo Marx and some African American children and another scene of African Americans adults performing the Lindy Hop. Unfortunately a large segment of America did not get to see either the Harpo scene or the Lindy Hop scene. Since these scenes involved "racial mixing," they were censored out of distribution copies throughout the south and other areas of the United States. (At that time, this was a common practice of all Hollywood movies).

Copies with deleted scenes continued to air well into the 1970s on television stations. It was not until the very late 20th century that the movie was shown intact. By that time the age of the movie regulated it to specialty cable stations dedicated for movie buffs that regulated the segregation to obscure trivia status."

Herräng Dance Camp 2007

Herräng Dance Camp is the worlds largest dance camp for lindy hop, boogie woogie, balboa and tap dancing.

This year they celebrate their 25th anniversary and the dance camp will be going on for five (five!) weeks this summer. Unbelivable! Herräng dance camp is truly the Mecka of swing dancing where people from all over the world come to dance. Here you can find the best instructors and there is just so much going on in Herräng that you can dance 24-7 if you like. Here are live music with swing and jazz bands, great swing disc jockeys and also blues nights.

This year, besides a massive amount of lindy hop, there are more balboa courses than last year and they have added some African-Cuban dancing (Rhumba, Mambo, Cha-Cha).

If you heard rumours about Herräng dance camp - they are probably true - it's a fantastic place to be. And, just like Mecka, if you're a swing dancer you must go here at least once in your life. Chanses are that you will be coming back.

If you want to read more about what Herräng Dance Camp is like, check out Lloyds stories from previous years.

Social dancing in America: List of dances included in the book

This is the second part of an interview with Ralph G. Giordano who recently published his book Social Dancing in America: A History and Reference Volume 2 Lindy Hop to Hip Hop, 1901-2000.

[Part 1: How come you wrote a book about social dancing in America?]

Part 2: Which dances do you write about in the book?


Chapter 1: Animal Dances, The Castles, and Ragtime: 1901–1919
- Cakewalk, 1890 to 1900 (African American)
- Two-Step, 1890 to 1910 (American vernacular)
- Texas Tommy, 1901 to 1905 (African American)
- Ballin’ the Jack, 1901 to 1905 (African American)
- The Slow Drag, 1901 to 1905 (African American)
- Animal Dances: 1910 to 1920 (American vernacular)
Turkey Trot,
Chicken Scratch,
Monkey Glide,
Grizzly Bear,
Bunny Hug.
- Fox Trot, 1910 to 2000 (American vernacular)
- The One-Step, 1910 to 1920 (American vernacular)
- The Castle Walk, 1915 to 1920 (American vernacular)
- Hesitation Waltz, 1910 to 1920 (American vernacular)
- Apaché, 1910 to 1920 (Paris)
- Maxixe 1910 to 1920 (Brazil)
- Argentine Tango, 1905 to 1920 (South America / Caribbean.)
- Tango, 1905 to 1925 (South America / Caribbean.)

Chapter 2: The Charleston, Flappers, and Jazz: 1920 – 1932
- Black Bottom, 1919 to 1927 (African American)
- The Charleston, 1922 to 1929 (American vernacular and African American)
- Fox Trot, 1910 to 2000 (American vernacular)
- Lindy Hop, 1927 to 1945 (American vernacular)
- Rhumba, 1930 to 2000 (Cuba)
- The Quickstep, 1921 to 1929 (American vernacular)
- The Shimmy, 1922 to 1924(African American)
- Varsity Drag, 1927 to 1929 (American vernacular)

Chapter 3: The Lindy Hop, Jitterbug, and Swing: 1932 – 1947
- The Big Apple, 1938 to 1940 (American vernacular and African American)
- Conga, 1938 to 1945 (Brazil and South America)
- Fox Trot, 1910 to 2000 (American vernacular)
- Jitterbug, mid-1930s to 1945 (American vernacular)
- The Lambeth Walk, 1938 to 1940 (Northern Europe)
- Lindy Hop, 1927 to 1945 (American vernacular)
- Rhumba, 1930 to 2000 (Cuba)
- Samba, 1939 to 2000 (Brazil)
- The Shim Sham, mid-1930s to 1945 (American vernacular)


Chapter 4: The Mambo, American Bandstand, and Rock ’n’ Roll: 1947 - 1960
- The Bop, late-1950s (American vernacular)
- The Bunny Hop, 1953 to 1960 (American Vernacular)
- Cha-Cha, 1955 to 2000 (Cuba)
- The Fish, late-1950s (American vernacular)
- The Hand Jive, late-1950s (American vernacular and African American)
- Hokey Pokey, 1947 through 2000 (American vernacular)
- The Madison, late-1950s (American vernacular)
- Mambo, 1954 to mid-1960s (Cuba)
- Merengue, late-1950s to mid-1960s (Dominican Republic)
- Polka, 1947 to mid-1960s (Czech)
- Square Dancing, 1947 through 2000 (European English)
- The Stroll, late-1950s (American vernacular)
- Tarantella, 1947 through 2000 (Italian)

Chapter 5: The Twist, Doing Your Own Thing, and A Go-Go: 1960 – 1969
- Boogaloo, 1966 to 1969. (Afro-Cuban and Puerto Rican)
- Bossa Nova, mid-1960s (South American)
- The Bostella, 1965 to 1966 (Paris, France)
- “Doing Your Own Thing,” 1965 through 2000 (American vernacular)
- The Fish- solo dance, 1961 to 1962, (American vernacular)
- The Freddy, mid-1960s (England)
- The Frug, 1962 to 1968 (American vernacular)
- Go-Go Dancing, 1964 to 1968 (American vernacular)
- Hippie Freestyle, 1965 to 1974 (American vernacular)
- The Jerk, mid-1960s, (American vernacular)
- The Limbo, 1950 through 2000 (Caribbean)
- Mashed Potato, 1961 to 1963 (African American)
- The Monkey, 1963 to 1964 (American vernacular)
- The Pachanga, 1961 to mid-1960s (Cuba and Latin Caribbean)
- Solo Dance Fads, 1961 to 1966
- The Swim, 1964 to 1965 (American vernacular)
- The Twist, 1960 through 2000 (African American)
- The Watusi, 1961 to 1962 (American vernacular)

Chapter 6: The Hustle, Saturday Night Fever, and Disco: 1970 – 1979
- American Hustle, 1975 to 1979 (Latin American)
- The Breakdown, 1974 to 1976 (African American)
- The Bump, 1975 to 1979 (American vernacular)
- The Bus Stop, 1975 to 1979 (American vernacular)
- Disco Line Dances, 1975 to 1979 (American vernacular)
- Disco Freestyle, 1975 through 2000 (American vernacular)
- Latin Hustle, 1975 to 1979 (Latin American)
- The Lock, 1974 to 1976 (African American)
- The Hustle, 1975 to 1979 (Latin American)
- The L. A. Hustle, 1975 to 1979 (Latin American)
- New York Hustle, 1975 to 1979 (Latin American)
- Reggae, 1975 through 2000 (Jamaica)
- Scooby Doo, 1974 to 1976 (African American)
- Shout!, 1978 through 2000 (American vernacular)
- Time Warp, 1977 to late-1980s (England)
- Toga, 1978 through 2000 (American vernacular)
- Y-M-C-A, 1978 through 2000 (American vernacular)

Chapter 7: Breakdancing, Country Dancing, and the Swing Dance Revival: 1980 - 2000
- Breakdancing, 1970 to mid-1980s (African American)
- Country Line Dancing, 1990 to 2000 (American vernacular)
- Country Dancing, 1980 through 2000 (American vernacular)
- East Coast Swing, 1990 through 2000 (American vernacular)
- The Electric Slide, 1989 through 2000 (American vernacular)
- Hip-hop, late-1980s through 2000 (African American)
- “House Music,” mid-1980s through 2000 (American vernacular)
- Krumping, late-1990s through 2000 (African American)
- Lindy Hop Revival, mid-1980s through 2000
- The Lambada, 1988 to 1991 (Brazil)
- Macarena, 1993 to 2000 (Spain and South America)
- Moonwalk, 1983 to 1990 (African American)
- Rave, mid-1980s through 2000 (Urban American),
- Salsa, 1980 through 2000 (Latin American and Caribbean)
- Square Dancing, 1947 through 2000 (American vernacular)
- Swing Revival, 1992 through 2000 (Urban American),
- Shag, 1947 through 2000 (American vernacular)
- Slam Dancing, 1980 to mid- 1990s, (England and Urban American),
- Two Step, 1980 through 2000 (American vernacular)
- Vogueing, 1990 to 1995 (Urban American),
- West Coast Swing, mid-1950s through 2000 (American vernacular)

Interview with Ralph Giordano, author of the book Social Dancing in America

This is the first part of an interview with Ralph G. Giordano who recently published his book Social Dancing in America: A History and Reference Volume 2 Lindy Hop to Hip Hop, 1901-2000.


Part 1: How come you wrote a book about social dancing?
[Part 2: Which dances do you write about in the book?]

[Part 3: Excerpts from Social Dancing in America]

[Part 4: Do you include Balboa in the book?]

[Part 5: Tell me about the next book you're writing: Satan in the dance hall]

[Part 6: Contents of volume one 1607-1900]

I teach part-time at the City University of New York and have been writing for historical journals and the thought of combining an historical/cultural work with my own love of social dancing was intriguing.

I definitely wanted to write a scholarly contribution to the very much overlooked American cultural development of Social dancing, however, I wanted to present it in a writing style that would appeal to the average individual. I have discovered in my time within dance clubs, especially the swing dances, that many individuals enjoy dressing in period costume and are quite interested in the history of their favored dance style.


My wife and I have danced in over 23 states in America and six other countries, and visited hundreds of dance clubs, probably a thousand or more if you include outdoor dance events. A very good tool that I learned from architecture is the empirical study of the movement of people when they do not know that they are being observed. In that same sense I was obviously heavily involved in actually dancing or learning a dance style. In the kinetic motion of dancing it is extremely important to just try and move with the music. In that same end it was extremely important being within the social dance environment and also visiting the Cecil Sharp House in London as well as taking a series of classes in English Country-dancing. My wife and I attended and it became an invaluable aid when I was researching the written description of the 18th century dances that I fully understood them because of our time actually performing the steps.

So as it turns out, to date this is the first book of its kind that has put together both a general interest reader and a scholarly work that discusses social dancing in a complete social, cultural, economic, political, and historical context. Many social dance books of the period simply provided descriptions and step-by-step instructions on “how to dance” as opposed to why people dance. My book also provides a consistent theme that contemporary dances and the associated music and fashion were more often attacked by forces of social morality and often labeled the newest dance trend as “scandalous.”

This book is not a book to teach people “How to Dance” there are literally thousands of publications and hundreds of dance studios available to do just that. This book is an attempt to provide a clear understanding of what was involved in the basic patterns and rhythms of the dance, the origins, the popularity, but most importantly to place each in a historical and social context. This book is about the dances themselves and their importance in a social context. Therefore, each chapter contains a brief introduction of the social, political, and cultural climate. The book is about how individual Americans; mainly couples interacted in a social dance setting.

Dance lindy hop, balboa and swing at Dekadans tonight

Just a reminder, tonight I will dj swing music for your dancing and listening pleasure at the swing music club Dekadans. Dance lindy hop, balboa or whatever other dance you like.

I've found some new music gems that I would like to play. Come and check them out.

Dekadans is located at Västgöta nation, Västra Ågatan 18 in Uppsala. From 20 o'clock till 23 o'clock. Entrance fee: 20 kr.

Social Dancing in America: A History and Reference Volume 2 Lindy Hop to Hip Hop

A new interesting book about dancing and lindy hop by Ralph G. Giordano has been published: Social Dancing in America: A History and Reference Volume 2 Lindy Hop to Hip Hop, 1901-2000 .
From the book description:

"relates the history of the most popular social dances, where they began, which dances survived the test of time and why, and what attracted American men and women to social dancing in these periods. Unlike other books on social dancing that taught people "How to Dance," this books not only describes the dances, but also WHY Americans danced."

Have you read this book? Please tell me what you think of it.