I’ve been tuning in here and there on America’s Best Dance Crew and seen some pretty nice stuff. Crew dancing is not usually my bag (although the kids are certainly talented), so I don’t normally jump up and down about it.

But last week was Disco Week on ABDC, and first that made me perk up. The crews were going to be given a disco song, and they had to incorporate some movement from the song/video clip AND put in a disco dance lift. Easy peasy, right? Well, just tell that to the Heavy Impact Crew who are just that–heavy. AND sooooo much fun to watch!! Just look at these guys. They embrace their differences, rub the bellies and just get to work. Sincerely, although there were great things about all the dances that night, I don’t think I enjoyed any group as much as Heavy Impact. Plus their song was “You Should Be Dancing” by the Bee Gees. Nuff said.

Just watch them tear up the dance floor. That is passion, enthusiasm, and love for dance:

I HEART me some Heavy Impact boys.

I am nothing if not nostalgic. While watching the latest episode of America’s Best Dance Crew I spied this amazing clip of the Jackson 5 performing live on Soul Train. I quick did a search for it.

This is classic, timeless and pretty darn cool. Sure, it has the standard group moves in it, and “Dancing Machine” was such a huge hit for the Jackson 5, it really put them on the map.

But just watch MJ take stage do the robot. Smooth, effortless, super quick and very robot-like. Watch him do a fast turn, walk with his head moving side to side, then smile like “hey, that was FUN!” Amazing.

Michael Jackson was certainly a born artist and entertainer. We miss you. Sigh.

Was there ever a more iconoclast dance movie than Saturday Night Fever? Ok, let’s narrow it down to contemporary dancing (yes, yes, I know about The Red Shoes). Probably nope. Just take the poster for instance:

The pose, the suit, the icon.

Saturday Night Fever was originally seen by Paramount Pictures as this little nothing of a vulgar movie with bad language, nudity, and even a rape scene. Plus, it was doomed by the waves of “Disco Sucks” moving across the US. In the VH1 documentary on the movie, the producer of the movie soundtrack talks about having the masters to the album in the trunk of his car, driving down Hollywood Boulevard and reading the “Death to Disco” bumper sticker on the car in front of him. But then, movie producer Robert Stigwood did something completely unprecedented and brilliant. He released the Bee Gee’s single “More Than a Woman” from the soundtrack a full month before the movie was to be released (of course, this happens all the time now). It hit number one, and paved the way for the movie to follow.

Even greater story than that is a fascinating tale about how John Travolta was shown the original cut of his now famous solo dance on the floor with the colored lights. He was dismayed that it was pretty much all in medium and closeup shots and you missed all the hard work he had done on the dance. He sat down with the editor and helped him re-cut it from scratch, to show everything and really feature those disco moves he did so well. Thanks John, because now we can see this:

Pretty damn amazing, and iconic. Here’s to the genius of Saturday Night Fever!

Gimme a little D-I-S-C-O! I was born in the seventies (ok, that ages me now), and have disco running through my blood. My first album I ever owned happened to be the soundtrack to Saturday Night Fever. And it was on 8 Track–although they were out of fashion when I was old enough to be aware of music, but I got to take the old stereo and 8 Track player up to my room and have it all to myself. Thanks Dad!

When I first saw this routine on Season 5 choreographed by Dorian Sanchez and danced by Janette Manrara and Brandon Bryant my jaw was on the floor. I had no idea disco dancing could be like THAT. And friggin’ HARD as hell to do! Fast, furious, and pure hands-up-in-the-air, “hooa-hoo”-ing fun! Plus, Janette’s dress is super cute and she looked fantastic in it. And what better song than “Loving is Really My Game” by Brainstorm??!

This is what disco is all about, baby. Let’s get to it:

W-O-W, what an evening last night on So You Think You Can Dance!

The Top 8 were set to perform, and right off the bat I was super confused. Wait, what’s going on? Something’s wrong. Then I saw it: Ashleigh did not do her beginning solo. What had happened? Host Cat Deely took a few moments before calling Ashleigh to the stage, and she walked on with her arm in a sling. Oh, injury. How really, really sucky. Apparently she completely dislocated her shoulder that very day doing a dress rehearsal, and was not being cleared by the doctors to dance. And boy, did she want to dance. But she kept it together, and after the next break she came back on stage to give her 888 number, asking for votes. This is really a sad predicament for her. Can her performances and hard work from the past weeks keep her in this competition? I put her in my “long haul” list, and I really hope so. It will be very interesting to see how the results unfold tonight.

On with the night, Ryan and Kathryn were up first with a Dori Disco routine. This is another great pairing, with a fun and difficult routine (and the Discos are usually ball busters). Kathryn looked SO gorgeous in her skimpy halter dress (which, interestingly enough was Dori’s doing, I didn’t realize that the choreographers had a huge hand in the costuming, interesting!). Ryan looked…well, disco-y. They did excellent work together and looked like they were having a ball, especially Ryan. He’s such a great partner-ing partner. Kathryn kicked butt and did super well in this new style for her.

Next was Molle and Jakob with my favorite Viennese Waltz–EVER. I’m serious, here, this is a wonder to behold. Fresh, young, full of breath and life. Thank you choreographer Jason Gilkison!!! And thank you to Mollee and Jakob for dancing a picture of young love in springtime, with very intricate steps, fast and energetic (not your usual Viennese Waltz, I’m telling you). They had a beautiful connection, and looked beautiful, Jakob in his white pants/vest/shirt and Mollee in her white blouse and ankle-length sunny yellow pleated skirt, complete with a bow in the back. Fantastic, on all sides, and even though this was only the second of 8 dances, I am not afraid to say my favorite of the night!

Another potential power couple was next: Ellenore and Legacy. They got Travis Wall and a Contemporary number that I was SO excited to see from the rehearsal footage I could taste it. Travis had a concept of two killers that are married and want to kill each other at the dinner table. Very “Mr. and Mrs. Smith.” Unfortunately, for me this was a little to literal in the fight choreography and a bit one note. I saw a lot of hate and anger and not much lust/love, which it absolutely could have had (would have made for a better dynamic). They used a napkin for most of the dance and traded it back and forth during moves, which I thought was just distracting. And Ellenore’s dress was awful, just looked like two strips of fabric. OK! That said, they danced it extremely well, were very fearless with difficult moves and nearly impossible timing, and they did have a good connection.

Then came Russell and Ashleigh’s Shane Sparks Hip-Hop number. The rehearsal footage showed fantastic clips of Shane teaching Ashleigh how to shake her booty. Super funny! Looking back ( I watched it a couple times), this was probably the BEST Hip-Hop dance of the entire season, very “old school” as judge Nigel Lythgoe said. Russell just exploded off the stage with energy, enthusiasm and smiles. He shines like a star and does excellently. Unfortunately, his partner was so distracting because she was not nearly the caliber of dancer that Russell is (or Ashleigh for that matter). And I thought that was odd, considering she’s Shane’s assistant. Oh well.

Mollee’s solo is the only solo I’m going to mention in this post. And why? Because SHE ARRIVED. To the show, to her womanhood, to the party. I saw this girl for the first time this season with her solo to Alicia Keys’ “Heartburn”, which she also sang along to during her dance. Now, I will say that she had improved last week with Russell and was stunning in her Waltz with Jakob earlier in the night. But this is a dancer who made an entrance here, and I was riveted. She flirted, had fun, flipped and twirled and had me wrapped around her finger. Yeah, this is what dance is all about! Well done to her.

Whew. I get no downtime as Kathryn and Ryan are next with a Jason Gilkison Cha Cha Cha. I learn that Jason is responsible for Burn the Floor, currently on Broadway (where have I been?), no wonder he’s standing out for me. And know how I said his Viennese Waltz was the best I’ve ever seen? This Cha Cha Cha is the BEST Cha Cha Cha I’ve ever seen (enough Cha’s for ya?). Jason rocks the Casbah, baby, I’m in love. I was glued to the screen during this dance, it amazed me. Kathryn and Ryan had a hot chemistry and connection, flirt-y sultriness. Ryan looked so hot in his hat and suspenders, and Kathryn was SO sexy in her fishnets and feathers–great use of feathers, by the way, long straight ones as a skirt instead of the fluffy emu-type. Ryan and Kathryn attacked the choreography with great relish, which was syncopated so well with Joss Stone’s song “Put Your Hands On Me”, great choice. Can I have a cigarette, please? They climb on judge Mary Murphy’s Hot Tamale Train, which she has only done one or two times this season.

Mollee and Jakob once again wipe up the dance floor with a Joey Bowling Broadway number to “Easy Street” from Annie (excellent music choices for this show, that is one of my faves). They are lovely and amazing and cute and mischievous. Did I mention they danced amazingly? This style also suited them well, and Nigel encouraged Mollee to get over to Broadway, they were waiting for her. This looked easy and joyous for them. Brilliant.

Ellenore and Legacy were up once again with a Nappy Tabs Hip Hop dance about aliens. This was good fun, but not fantastic, like I was hoping. The choreography didn’t really push them to their limits of what they could do, although it started off well, with the backwards masks. Shame on Tabetha and Napoleon for not really challenging these two.

After Ryan’s solo, he interrupts Cat while she’s giving his number to give Ashleigh’s number. This is a man who loves his woman. I was touched. What a mensch.

Last is Russell (and Ashleigh’s) Bollywood. And Bollywood it was, with a bit of funk and soul injected from Russell. You could just see it in his movement. Bollywood is so relentless in it’s movements and hand/head/finger/foot positioning (we learn that a wrong hand position can offend in India), and Russell was right there the entire time, never looking tired, and always having that sparkling smile ready. The execution was superb, and judge Adam Shankman said that he radiated pure joy for the art of dance. I whole-heartedly agree. Bonus that Russell’s partner was up-to-speed with him, and when I saw the move that dislocated Ashleigh’s shoulder (leap and swing over the head and around to in front of his legs), my shoulder hurt a little, too.

Needless to say, I am very torn about the finale. They all deserve to be there, including Ashleigh. I want everyone to win. But then, it wouldn’t be a competition, would it? Well, I voted for everyone and put a few extra votes in for my favorites.  Who will be in the finale for season 6? Tune in tonight and find out!

(Images courtesy of FOX Television)

Excitement is in the air as it’s now in America’s hands to vote for their favorite dancers on So You Think You Can Dance. So make sure you DO VOTE, or lament as your favorite dancer is sent home.

I love a good Disco routine, and opening the show with Karen and Kevin doing a Hustle to “Come To Me” was just what was needed to kick things off right. Karen and Kevin are finally really gelling as a couple, and it showed in this dance. They had great connection, and Karen (once again, miss hottie) really sparkled, but in the same way that she has the past few weeks, completely overshadowing Kevin. And as I watched Kevin, I thought “wow, this guy does not have lines like a hip-hopper.” His arms were fabulous, his jete popped magnificently, and his double pirouette was excellent. Once or twice there was a shadow of awkwardness, but they were very synchronized as a couple.

My pick as favorite dance of the night was Ashleigh and Jakob, doing a Mandy Moore Jazz routine to Frankie Goes to Hollywood’s ”Relax.” The addition of a cane to the mix did nothing to diminish their dancing, nor distract. Where Noelle and Russell got sidelined a little by their rackets last week, Ashleigh and Jakob integrated their cane directly into their dance, so it became an extension of their movement. There was real relish in their dancing and I thoroughly enjoyed backing up to watch this again. Mandy put together a great piece with super hip movements–and managed to include another Jakob famous leap that blended in well.

Next was Pauline and Peter with the unlukiest draw from the hat, the Quickstep. Fortunately, JT and Thomas created a fantastic routine for them, incorporating great characters and story: an Army GI falls for an island hula girl. This is a great departure from the traditional ballgown/tails, no story Quickstep. Joy, personality and boisterousness erupted from Pauline and Peter as they danced, even if precise technique didn’t. I only spotted one big misstep, and overall they were really fun to watch.

Newcomer choreographer Andy Blankenbuehler created an adorable Broadway number for Kathryn and Legacy. As is the norm for Broadway, big characters and story were at the forefront for Kathryn and Legacy to sink their teeth into. It was a simple tale of the sports loving boyfriend and the put-upon girlfriend.This piece was just so frickin’ cute, I really loved it. They worked great as a couple but Legacy really outdid himself, bending his B-Boy moves seamlessly into the Broadway standard, amazing me with a backwards flip/headstand into an easy chair. This guy is growing in leaps and bounds as a dancer. Judge Adam Shankman wanted more anger from Kathryn, and I found myself agreeing with him, as it would have added a deeper dynamic to the couples relationship that would have cooled the cuteness slightly and made for an even better routine.

New couple Channing and Victor seemed to have gotten the luck of the draw, as they are both Contemporary dancers, pickedConteporary out of the hat, and had Stacey Tookey crafting for them. I really liked this routine that portrayed a toxic relationship and was set to Rachel Yamagata’s “Be Be Your Love” (amazing song). Channing and Victor danced with explosive, emotional movements that were stunning and told the story of two lovers who should save themselves the heartache and call it quits. I saw great connection in their very first dance together with lots of dynamics and sensitivity in their movement. Their emotional roller coaster definitely got to me. Judge Nigel Lythogoe, however, raked them over the coals for not being absolutely brilliant. I can see his point, as they’re both in their element and were able to super-humanly excel. He simply felt they didn’t take it to the next level, and sure told them so. Ouch.

With another big stretch, Ryan and Ellenore took on a Lil’ C Hip-Hop routine where they attempted to find their “swagger.” Swagger they definitely got, and they did pretty good. This was a huge change for Ryan who expanded himself greatly here. Unfortunately this piece just wasn’t a favorite of mine, the choreography fell slightly flat for me, and it lacked excitement. Oh well.

Next we went from flat to disasterous, with Mollee and Nathan’s Salsa. Gustavo Vargas gave them a super cool routine to do, but this was just so far out of both of their scopes that they really struggled with it (and looked like it, too). They were not in synch with each other on many moves, looked awkward on the lifts, and there were several moments where I had to back up the DVR, saying “what just happened there?” This was super tough, and I give kudos to the kids for attacking it with what they had. Mollee rolled those hips fantastically and looked very sexy in her dress.

The evening ended with a bang when Noelle and Russell performed their Sean Cheeseman Afro-Jazz routine. I adore African dance movement, and Noelle and Russell did not dissappoint, throwing their bodies around in the frenetic movement. Sean gave them characters of a princess and a frog, and their story came through as they attacked it and gave their all. I will make no bones about it, Russell is my personal favorite on the show, and I was so happy to see him in something that he could easily excell in (Afro-Jazz is not totally 180 from Krumping). Noelle, as well was able to shine with this movement as her Contemporary style lends itself well to Afro-Jazz. And yes, Russell is still on the Hot Tamale Train. Woo Hoo!

That’s it for this week, please please PLEASE vote for your favorites, or they may not be there next week!

(Images courtesy of FOX and buddytv.com)