Speaker 1: When I say men dancing, what's the first thing you
Speaker 1: think about? What's the first thing that comes to your mind? Reluctance. Um.
Speaker 1: I feel like there's a societal expectation that you stay composed, um,
Speaker 1: or that you should be embarrassed in many situations. I
Speaker 1: don't know it bums me out, but it does. My
Speaker 1: name is Julie Douglas and this is the Stuff of
Speaker 1: Life today. I'm joined by correspondent and How Stuff Works editor,
Speaker 1: Eve's Jeff Cote, and we're talking about men dancing. And
Speaker 1: for the record, Julie, you're a woman and I'm a woman,
Speaker 1: Yet we're talking about men dancing. Why do we even
Speaker 1: decide to tackle this topic? I believe it all started
Speaker 1: with our male coworkers who we observed mostly head bobbing
Speaker 1: instead of dancing to music at our company holiday party. Yeah,
Speaker 1: and that sent us down a rubbit, all of thoughts
Speaker 1: on what it means for gods to move their bodies
Speaker 1: to a beat. In this episode, Eves explores what it
Speaker 1: means to be a man taking on dance and talks
Speaker 1: with Emory University professor George Stabe. It was just great
Speaker 1: to do things to music, and it can feel really
Speaker 1: authentic and natural to do that. And if we can
Speaker 1: connect to something like oh, I can relate to this
Speaker 1: in one we or another, that's when magic happens. And
Speaker 1: Duke Universities Professor Thomas de France discusses race, identity and dance.
Speaker 1: Black lives are expressed through culture and especially through music
Speaker 1: and dance. We love music and dance, we need it,
Speaker 1: we engage it. And finally, Eaves talks to a couple
Speaker 1: of regular Jo's are co workers Christopher Hessiadas, Dylan Fagan,
Speaker 1: and Jonathan Strickland to find out why they do or
Speaker 1: don't dance. But there's something subversive about about a bunch
Speaker 1: of men dancing, right. I mean, as we've we've mentioned
Speaker 1: a couple of times men dancing. The reason why they
Speaker 1: we're even here talking about this is because the idea
Speaker 1: of men dancing together in American mainstream culture is noteworthy.
Speaker 1: Maybe you've seen awkward dads and viral videos trying sometimes
Speaker 1: too hard to do the latest dance craze, or fraternity
Speaker 1: members strolling in unison, or your brothers and uncles and
Speaker 1: cousins dancing at family reunions and wedding receptions. But despite
Speaker 1: how common dancing is and how long humans have been
Speaker 1: doing it. Dancing is emotionally complex. It's the departure from normalcy,
Speaker 1: the rope movements that get us from A to B,
Speaker 1: and for men it can be super problematic. Only two
Speaker 1: years ago, ABC reportedly nixed idea of two men dancing
Speaker 1: together on Dancing with the Stars, and it may entertainment
Speaker 1: news when two guys share at the floor for the
Speaker 1: first time on the reality show early last year. Now
Speaker 1: DeMarco and Kio Mazepe dancing together starts here and ends there.
Speaker 1: That's twelve seconds of two guys dancing together if you
Speaker 1: weren't counting. So people are uncomfortable with men dancing, especially
Speaker 1: with each other. Who cares? You might say, haven't we
Speaker 1: given enough space to men's grievances? They and all their
Speaker 1: problems have dominated history after all. But this men dancing
Speaker 1: is a matter of acceptance, of freedom, of expression, of equity,
Speaker 1: of living our personal truths, ideals we could all get behind.
Speaker 1: And if you think about it, the actions and characteristics
Speaker 1: that make up gender can be considered their own performances.
Speaker 1: So what's it like to be a dancing man in
Speaker 1: a world that cares so much about upholding the mantle
Speaker 1: of masculinity. What's it like to swivel your hips and
Speaker 1: buck the authority of social norms and a culture that
Speaker 1: often rejects vulnerability and encourages conformity. A scene as basic
Speaker 1: as a man dancing can become a psychological labyrinth, and
Speaker 1: we're going to enter it here. This is four ish
Speaker 1: when Janet Jackson's Pleasure Principle came out. It was my
Speaker 1: after school project every day to memorize that whole video,
Speaker 1: and my sister and I, if we could drink, we
Speaker 1: would have chugged champagne after we figured out this one
Speaker 1: scene where she was in front of a mirror doing
Speaker 1: all this intricate hand stuff that storage State the artistic
Speaker 1: director for State Dance and a senior lecturer in the
Speaker 1: dance program at Emory University in Atlanta. This is which
Speaker 1: is wait. George was born in Tehran, Iran. At age nine,
Speaker 1: I was with my mother picking up our cousin from
Speaker 1: the ballet class, and I remember watching it and thinking, Oh,
Speaker 1: that looks fun. I want to do it. And I
Speaker 1: asked my mother can I do that? And she said no,
Speaker 1: boys don't do this. Years later, after getting a degree
Speaker 1: in political science in a stint at Georgetown's Law school
Speaker 1: doing legal research, impressive career choices that would appease his parents.
Speaker 1: He says it was an impromptu duet at a freshman
Speaker 1: frat party that inspired him to take modern and ballet classes,
Speaker 1: and upon graduation from college, I remember distinctly telling my parents,
Speaker 1: I did this for you. Now grad school and dance
Speaker 1: is going to be for me. That didn't come without doubts,
Speaker 1: feeling embarrassed as a new dance professor in a room
Speaker 1: full of scientists, his mom telling family members he was
Speaker 1: a French professor. He went from being a stranger and
Speaker 1: one strange and to another. But that was okay because
Speaker 1: he felt liberated in those moments when I'm just lost.
Speaker 1: It could actually feel like, I guess, a drug trip
Speaker 1: where you're completely not aware of stuff, or you are
Speaker 1: aware that I've completely abandoned and let go and I
Speaker 1: don't have to pull myself back at all, and that's
Speaker 1: kind of crazy. Imagine a tantrum, like when you have
Speaker 1: that tantrum and the breakdown or laughing fit or a
Speaker 1: crying fit um where no one's around to see it
Speaker 1: in the most pristine, sublime way, that's kind of how
Speaker 1: I feel or like to go to. You know, it's
Speaker 1: not necessarily I want you to see my passion. I
Speaker 1: want to feel it myself, and if other people notice it,
Speaker 1: that's great to him. Dance class was a place with
Speaker 1: many doorways, a place to explore, make mistakes, and try
Speaker 1: new things. But the line between introspection and perform a
Speaker 1: it's fine, you're taking all that emotion and putting it
Speaker 1: on the world stage in front of judgmental eyes. And
Speaker 1: even though it doesn't happen all the time or in
Speaker 1: every culture, George says that sometimes negativity can start to
Speaker 1: creep into spaces that aren't as accepting. There's only one
Speaker 1: clans left, but it happens to be the coolest one
Speaker 1: of all. That way dancing is for girls, well you
Speaker 1: should have gotten near earlier. Okay, steady board taking ballet
Speaker 1: doesn't make you any less of a man. That constant
Speaker 1: reminder that um like, oh you would be thought of
Speaker 1: as a sissy, or this is not a real career,
Speaker 1: or you must be gay, or all of these things
Speaker 1: do creep in and when you're gonna get your real job.
Speaker 1: Because the body, as it twists, spins twirls in jar
Speaker 1: rates is the focus. Dance can often reinforce or negate
Speaker 1: perceptions about gender in sexuality. For men dancing at a party,
Speaker 1: whether they are married or single, it's amazing ritual in
Speaker 1: a way. And even in Greek culture, Persian culture, Armenian culture,
Speaker 1: there often be the men who danced together and then
Speaker 1: the women dance together, and then if they do I
Speaker 1: mean by gender, and if they do connect with different genders,
Speaker 1: it's in a sort of benign circle. So I think
Speaker 1: it's almost like a peacock streading, you know. And I
Speaker 1: think you might even find that in country western lined.
Speaker 1: I think that happens there. I'm not very familiar with that,
Speaker 1: but I almost think there's like, hey, watch me do
Speaker 1: this fancy foot thing and TOAs my cowboy had around.
Speaker 1: I hope I'm not offending anyone, but I just don't
Speaker 1: know that stuff. But I think it that's what it
Speaker 1: isn't if you go to clubs, it is that either
Speaker 1: the men or in the background just kind of watching
Speaker 1: and praying on the women there, or they're going to
Speaker 1: go out there and kind of show off a little bit.
Speaker 1: And in that respect, it's okay. I think the moment
Speaker 1: you put it on stage and put a weird costume
Speaker 1: on and try to express yourself in a different way
Speaker 1: other than sexually. Then it's a bit naughty, I guess,
Speaker 1: or not naughty but taboo. Sure, dancing is often visceral,
Speaker 1: igniting hormones and firing up our most basic desires. But
Speaker 1: it isn't just a physical act. It's a process of
Speaker 1: learning and discovery. The body becomes a means of discourse.
Speaker 1: Movements become questions, gestures become demands, and interactions become statements.
Speaker 1: It peels back the layers of assumptions and perspectives that
Speaker 1: we hold. You know everybody, and I don't. I see
Speaker 1: sometimes like just because if you let yourself connect to
Speaker 1: something abstract, you might find out more about yourself as
Speaker 1: opposed to being fed a story, kind of like those
Speaker 1: Hollywood blockbusters. You might want to go to see one
Speaker 1: because you don't want to to think so much. But
Speaker 1: when we're invited to think and explore uncomfortable territory, that's
Speaker 1: what dance can do. And if you're patient enough and
Speaker 1: let yourself be in the room for the hour or
Speaker 1: so that you're watching the thing, that's when it speaks
Speaker 1: and not to mention bringing community together, to move together,
Speaker 1: to share stories through their bodies. It's so valuable. George
Speaker 1: is a pro. He's trained in the art of dancing,
Speaker 1: performs in front of crowds and as a dancer with
Speaker 1: the capital D. But sometimes the spotlight is on guys
Speaker 1: who aren't so well skillful. Could you describe your typical
Speaker 1: dance style? Uh, I do the t rex. That's Donathan Strickland,
Speaker 1: the host of Ford Thinking. That's where you get a
Speaker 1: little the foe arms up and like you got your
Speaker 1: your hands kind of curled into fists and you're just
Speaker 1: sort of bouncing up and down a little bit to
Speaker 1: the beat. You're not really doing anything in particular because again,
Speaker 1: as I said, awkward, And here's an awkward dance story
Speaker 1: recounting about Dylan, producer at how Stuff Works. When I
Speaker 1: was in college, I had a radio show with um
Speaker 1: my friend, and we had a green screen and decided
Speaker 1: we're going to make some promotional videos for our radio
Speaker 1: show and put it on Facebook. And I didn't know
Speaker 1: what to do, so we thought, well, how we dance,
Speaker 1: And so we'd danced for like three minutes at a time,
Speaker 1: and then we'd find a song that fitted we we
Speaker 1: would not have a song beforehand. Um, So you know,
Speaker 1: there was one video that was Technotronics Pump Up the Jam,
Speaker 1: and that just like lined up perfectly, and so we
Speaker 1: put that there and I realized halfway through it I
Speaker 1: was really feeling it, and I did what I called
Speaker 1: the spitting dinosaur, which is like this, like it's more
Speaker 1: fluid than that, but Dylan's putting his hands behind his
Speaker 1: ears and waving them around. It was from growing up
Speaker 1: watching Jurassic Parks. The Jurassic period is great with the
Speaker 1: frill dinosaur. The frill dinosaur that's that spits poison. Yeah, that,
Speaker 1: and I thought, hey, look look guys, it's the spit
Speaker 1: and everyone's like that. I like that movie if it
Speaker 1: works for you going in. Yeah, I remembered from my
Speaker 1: high school days, from my college days, where dancing, engaging
Speaker 1: in that activity was unless you were amazing, it was
Speaker 1: just considered something that was lame or stupid, or or
Speaker 1: you felt lame or stupid for wanting to do it.
Speaker 1: But there's something subversive about about a bunch of men dancing, right.
Speaker 1: That's Christopher editor at How Stuff Works. As we've we've
Speaker 1: mentioned a couple of times men dancing. The reason why
Speaker 1: they we're even here talking about this is because the
Speaker 1: idea of men dancing together in American mainstream culture is noteworthy,
Speaker 1: is not necessarily the standard mode of operating. So if
Speaker 1: you're already in a culture where you feel kind of
Speaker 1: set aside, whether it's nerd culture, gay culture, nerdy gay culture, uh,
Speaker 1: the act of dancing is you're embracing the fact that
Speaker 1: you're sort of accepting your status as an outsider and saying,
Speaker 1: you know what, let's celebrate this. Let's let's yeah, we'll
Speaker 1: be outsiders that uncomfortable territory. Those moments of surprise are
Speaker 1: a border something Thomas Defrance called slippage. It's the place
Speaker 1: where things don't quite work. It's the if we think
Speaker 1: of it as a physical space, it's the spot on
Speaker 1: the ground where a literal slip happens. And it's also
Speaker 1: the remains of that slipping. When you slip, there's a
Speaker 1: slippage that's left behind. So I love this word because
Speaker 1: it's a it's a noun, but it's all so an
Speaker 1: adjective and and something of an adverb. It has all
Speaker 1: of these different balances, and it implies this this kind
Speaker 1: of place where things don't quite add up, something doesn't
Speaker 1: quite shive the way you think it's going to. He's
Speaker 1: a professor of African and African American Studies and Dance
Speaker 1: at Duke University. Queerness and dance, to de France, is
Speaker 1: that slippery, unpredictable, and sometimes unsettling place between what we
Speaker 1: assume about gender and dance and how certain dances buck
Speaker 1: those notions. You know, your little niece who you've never
Speaker 1: seen really move, suddenly bust bust the dance out at
Speaker 1: the birthday party with all this fierce power and energy,
Speaker 1: and maybe she slides to the floor in a vogue
Speaker 1: astraw like. There's something queer about that moment because it
Speaker 1: surprises us. And that's what I mean by queer when
Speaker 1: I use it in terms of queer gesture. It's the
Speaker 1: physical movement that suggests something really unexpected, so emboyant probably
Speaker 1: and also unusual and non noormative. We need queer gestures
Speaker 1: in our lives because they remind us that there's there's
Speaker 1: more to learn, there's more to do, there's explorations to
Speaker 1: have among each other and with ourselves, that we're not
Speaker 1: stuck in our jobs and stuck in our kind of
Speaker 1: every day now is that we have the capacity to
Speaker 1: express and explore corporeal rature your body telling a story,
Speaker 1: and that's what that phrase means, telling a story with
Speaker 1: your body without words, but through gesture and doing it
Speaker 1: in a queer way, in a way that surprises the
Speaker 1: people who are receiving a story or witnessing your dance.
Speaker 1: Queer corporeal gesture is a way to narrate our possibility.
Speaker 1: It's a way to perform how we can surprise ourselves
Speaker 1: and keep learning things. Think of it as a sort
Speaker 1: of resistance or subversion of norms, but it's more than
Speaker 1: just a statement. It's surviving through expression. I think that
Speaker 1: concept is really important when we're thinking in any way
Speaker 1: about African American expressive, expressive arts and black lives in
Speaker 1: the United States. There's a way that how our lives
Speaker 1: are organized and circumscribed. Things almost work, but they don't quite.
Speaker 1: And this is why I think we have this amazing
Speaker 1: social justice movement right now, because we're still trying to
Speaker 1: deal with the legacies of the path that have created
Speaker 1: this um circumstance where it's very hard for Black Americans
Speaker 1: to kind of find ourselves and find our way forward,
Speaker 1: and especially for our youngest, our youngest family members, um
Speaker 1: are always having a hard time figuring out how to
Speaker 1: be a black person. In the concept of the US
Speaker 1: for Black men in America, he says, a lot of
Speaker 1: dance is simply about navigating how to exist, and there's
Speaker 1: science to back that up. Some research says that because
Speaker 1: there's evidence of humans dancing in cave paintings from thirteen
Speaker 1: thousand years ago, it has a genetic basis that dance
Speaker 1: likely popped up around the tom Homo sapience did and
Speaker 1: is linked to good social communication, a hand equality to
Speaker 1: have when your survival depends on bonding, and community support.
Speaker 1: Black Americans have also always had to monitor our physicality.
Speaker 1: We turned that into dance, and we've always turned that
Speaker 1: into dance. In the nineties twenties we called it eccentric dance,
Speaker 1: and now in the twenty tens, there's a form of
Speaker 1: movement called bone breaking, and this is a physicalization of
Speaker 1: a kind of shifting body, a body that can do
Speaker 1: unusual things. So we're turning that need to corral or
Speaker 1: physicality in order to survive in a relatively hostile environment
Speaker 1: and hostile daily environment, and we turn that into expression
Speaker 1: and turn it into dance. And that's what we see
Speaker 1: in bone breaking. We see this this kind of physicalization
Speaker 1: of how to be shifty and odd with the body
Speaker 1: to suggest something really unusual and and expressive a creator. No,
Speaker 1: he's not talking about actual bone breaking. It's a social dance,
Speaker 1: which is one that involves group participation that has roots
Speaker 1: in bed mooin and dance battles. Dancers can tot their
Speaker 1: limbs into apparently impossible and painful poses, dislocating their shoulders
Speaker 1: and realigning their arms, pushing the limits of their bodies
Speaker 1: and creativity. In this case, pain depicted is pain internalized,
Speaker 1: and that coping through movement isn't just limited to dance
Speaker 1: floors or social dance. It can extend into other realms
Speaker 1: of expression, like protesters who raise their hands in an
Speaker 1: outcry against Michael Brown's shooting, or celebratory end zone dances
Speaker 1: on the football field. We have a penalty marker on
Speaker 1: the field. Here's John Perry's fun Sports from like conduct
Speaker 1: of the excessive celebration of her twenty two. That penalty
Speaker 1: will be forced there Go Defrance calls this the policing
Speaker 1: of black culture. Or imagine the opposing postures of President
Speaker 1: Donald Trump and former President Barack Obama when they met
Speaker 1: in the Oval Office. Legs spread, lips taught back stiff,
Speaker 1: our brows furrowed. Our bodies often betray our thoughts even
Speaker 1: when we don't say, let alone understand them. But dance
Speaker 1: isn't passive. It's a deliberate channeling of emotion that takes
Speaker 1: courage and audacity, a willingness to be outside of the
Speaker 1: everyday experience. As Defrance puts it, an impulse to dance
Speaker 1: is a desire to speak with the primal, essential language,
Speaker 1: and it's not easy to be bare stripped to our
Speaker 1: essence when our identities are exposed. The great things about
Speaker 1: Black social dance is that it always challenges the space
Speaker 1: for jender nor maturity. It always does so even if
Speaker 1: we have Chicago steppanding, which is built upon two roles
Speaker 1: leader and a follower, Well, in Black social dance, that
Speaker 1: follower role done an awful lot of leading to. So
Speaker 1: we can call these roles masculine and feminine, or the
Speaker 1: male role or female role, but in practice that's not
Speaker 1: really how they play out. There's always going to be
Speaker 1: places where um, the female role or the feminine spaces
Speaker 1: leading the interaction, and there's going to be places where
Speaker 1: the woman, if you will, is shining and she's going
Speaker 1: to do something really extraordinary and amazing. So this is
Speaker 1: one of the reasons we love social dance so much.
Speaker 1: It gets it gives us a chance to explore alternative
Speaker 1: ways of being, to explore, for you know, really powerful
Speaker 1: men to explore our feminine sort of abilities, and for
Speaker 1: women to explore their power if those are hard of
Speaker 1: what masculine and feminine um contained. So Black social dances
Speaker 1: are always kind of getting into that space where it's
Speaker 1: not one or the other, but it's a both and
Speaker 1: course defined tradition doesn't come without backlash. Take Elvis, a
Speaker 1: performer who was controversial for different reasons in different circles.
Speaker 1: I had no idea that this performance of round was
Speaker 1: going to call it such a round. I still can't
Speaker 1: figure out what round. To his fans, he was a rebellious,
Speaker 1: pioneering sex symbol. To his detractors, his dancing was inappropriate
Speaker 1: or even animalistic, and too many black people, Elvis the
Speaker 1: pelvis was yet another symbol of appropriation, acclaimed for moves
Speaker 1: he seemingly lifted from black artists like Jackie Wilson. The
Speaker 1: problem wasn't the invitation, per se. The problem was Elvis
Speaker 1: getting cultural credit for elevating a sexualized performance style that
Speaker 1: black artists had already been doing. And we're shamed or
Speaker 1: simply I'm recognized. For historian Eric Lott says in the
Speaker 1: book Love and Theft quote, what appears, in fact to
Speaker 1: have been appropriated were certain kinds of masculinity. To put
Speaker 1: one of the cultural forms of blackness was to engage
Speaker 1: in a complex affair of manly mimicry. The Elvis debate
Speaker 1: goes deeper, as he's perhaps one of the most contentious
Speaker 1: figures of so called edginess or unorthodoxy and performance. But
Speaker 1: there's another huge factor that causes people to get riled
Speaker 1: up when dance questions norms, the way that norm ativity
Speaker 1: or gender normalcy is about being afraid, being afraid of
Speaker 1: the unknown or the unexpected. I mean, the only reason
Speaker 1: to be afraid of something is because you're not sure
Speaker 1: what it will mean for you in some in some
Speaker 1: weird way, although that happens a lot less than social dance.
Speaker 1: He points out, we're at a party, for example, the
Speaker 1: excitement of the moment of dance is most important. Think
Speaker 1: of popular dances you may have seen go viral, quant ETCETERA.
Speaker 1: Flamboyance doesn't get much flak. It's often celebrated and for
Speaker 1: black folks, especially to Francis, dancing is like air and water.
Speaker 1: It's always been a part of life. We danced at
Speaker 1: the high school reaunion. We dance at the graduation party.
Speaker 1: We dance at the birth, we dance at the coming home.
Speaker 1: We dance. Dance is important to us. We dance in church. Um.
Speaker 1: We even have movement things that we executed in times
Speaker 1: of morning. There's a way that music and movement are
Speaker 1: important to our practice of morning as well, so for
Speaker 1: us dances everywhere. He mentions the Nicholas brothers who jumped, twisted,
Speaker 1: and tap danced their way into people's hearts from the
Speaker 1: stage and screen in the early nineteen hundreds, and he
Speaker 1: talks about the high energy, dramatic street dance styles crumping
Speaker 1: and clowning, which grew out of the desire for an
Speaker 1: alternative to gangs and violence and for an outlet for aggression.
Speaker 1: During the aftermath of Rodney King's beating in Los Angeles,
Speaker 1: in if I hadn't start from him, I would be
Speaker 1: in jail for sure, or I would have got caught
Speaker 1: up in something that I would have him killed. Very
Speaker 1: early in my life because I was around a drama
Speaker 1: in violent but dance and always kept me away or
Speaker 1: sent nigger time from ritualistic and ceremonial dance like the
Speaker 1: hula tow line dancing to country Western music, dance holds
Speaker 1: a mirror to the social climate as a sign of
Speaker 1: the times. Dance can be as important to cultural documentation
Speaker 1: as records of war, policy and technology. It's an uninhibited
Speaker 1: declaration of self, showing us as we are, for who
Speaker 1: we are in every fleeting moment. As father of modern
Speaker 1: American dance, Ted Sean, who performed with an all male
Speaker 1: dance company throughout the US in the thirties and forties,
Speaker 1: put it, you see, a peter can paint something that
Speaker 1: it goes on the wall, or a sculptor makes something
Speaker 1: and it stays there. But this is the most ephemeral
Speaker 1: art you see. You do it, and it's born and
Speaker 1: dies in the very second you're doing it. We engage it.
Speaker 1: We let it be unusual, we let it be weird,
Speaker 1: we let it be queer, and we learned from it.
Speaker 1: We need society, yet so many of us feel left
Speaker 1: out and yearned to be understood and recognized. When you're
Speaker 1: struggling to be seen, especially when you're part of a
Speaker 1: marginalized group, asserting your existence through dance can be cathartic,
Speaker 1: powerful and pleasurable. And for anybody, dance can be a
Speaker 1: means of release that they often don't get to or
Speaker 1: want to say with words, for fear of being embarrassed, moralized, dismissed,
Speaker 1: or simply ignored. It gives men a chance to be genuine, creative,
Speaker 1: and present. And what more do we need now than
Speaker 1: open and honest communication. Maybe try dancing sometime. There's something
Speaker 1: about when you finally get out there and everyone around
Speaker 1: you is encouraging you that really, um, it's one of
Speaker 1: the best feelings. It's just like yeah, like when you
Speaker 1: get that head and no, like yeah, yeah, I like that,
Speaker 1: Like look what you're doing, Like yeah, like what you're
Speaker 1: doing too. And you don't have to dance with anybody.
Speaker 1: You can just dance by yourself. You know, if you're
Speaker 1: a guy and you're not sure if you like to dance,
Speaker 1: going to a go into your bedroom, closed the door,
Speaker 1: put on hot Pants by James Brown, the the song
Speaker 1: and or the article of clothing, and and see if
Speaker 1: you you know and and just try dancing a little
Speaker 1: bit and moved to the beat. And if you dig it,
Speaker 1: keep doing it. And if you feel like you want
Speaker 1: to test it out, go to and go to another
Speaker 1: town where there's a dance club and go dance are
Speaker 1: and see what happens. Or go crash a wedding where
Speaker 1: you don't know anyone and try that and uh yeah,
Speaker 1: do not actually take that. Thank you to Eve's Jeff Cote,
Speaker 1: who wrote and produced this episode. You can find more
Speaker 1: of her work on Eve's jeff cote dot com. Thank
Speaker 1: you to Thomas de France and George Stabe for the
Speaker 1: political and personal breakdown of dance. And thank you to
Speaker 1: Dylan Fagan, Christopher Hessiadas, and Jonathan Strickland for bearing your
Speaker 1: dancing souls. The Stuff of Life is written an executive
Speaker 1: produced by me Julie Douglas and co produced by Noel Brown.
Speaker 1: Original music is by Noel Brown, and editorial oversight is
Speaker 1: provided by contributing producer Dylan Fagin and Head of Production
Speaker 1: Jerry Rowland. This episode also featured music by Tristan McNeil,
Speaker 1: Aaron Grubbs, and Dylan Fagan. If you have a story
Speaker 1: you'd like to share with us, you can call into
Speaker 1: our podcast line at one eight four four hs W Stuff.
Speaker 1: We'll be doing a wrap up episode at the end
Speaker 1: of the season and we want to hear your voice
Speaker 1: in it, so leave us a message. You can also
Speaker 1: find The Stuff of Life on Facebook and Twitter, and
Speaker 1: you can email us at the Stuff of Life at
Speaker 1: how staff works dot com.