How long dance
Charlie Puth Just Wanted To ‘Dance Like An Idiot’ For New ‘How Long’ Video | News
Charlie Puth’s new video for his funky hit-in-the-making “How Long” takes the adage “Dance like nobody’s watching” to crazy new heights. Literally.
In the Emil Nava-directed video, released on Thursday (October 19), Puth grooves down the sidewalk, jigs in a lobby, struts up the side of a building, and shows off his fancy footwork in mid-air, La La Land-style. It’s a slick, smiley, frivolous side of Puth we haven’t seen before in his music videos, and according to him, it’s something he decided to do so he could be vulnerable and, well, “dance like an idiot.”
Speaking to MTV News over the phone, Puth explained what it was like getting out of his comfort zone and into his dancing shoes (and a very tight harness).
MTV News: Congrats on the release! How does it feel to have the video out there in the world?
Charlie Puth: It feels good. It’s definitely a different video. I’m trying to finish up my album, so I haven’t been able to see reactions yet, but I did check the YouTube comments, which is something I’ve been doing since, like, 2008. I saw pretty positive stuff, so that’s good.
MTV: What was your favorite comment?
Puth: I think someone sarcastically asking me if I could teach them my very, very complicated dance moves. Because clearly I’m not a dancer, as everyone figured out very quickly. But I thought it was pretty cheeky.
MTV: As you said, this is something pretty different for you. We haven’t really seen you dance before. What made you want to do that for this video?
Puth: Because I can’t dance! I’m very self-deprecating; I’ve been making fun of myself since the day I was born. If I did one more video where I was making out with a girl, I was going to throw up. I was so sick of that, so I decided to do something completely different.
The song, the lyrics — it’s kind of part two of “Attention,” where there’s a somber tone to it but a happy beat. And I don’t really know why I’m dancing to this song. I don’t know why I’m flying in the air. I just wanted to do something random. There’s really no reason. Everyone’s going to come up with all these theories, like, “Oh, he’s dancing to celebrate that he’s free.” No. I just wanted to dance like an idiot.
dance-gif
MTV: Yeah, I love that the whole time, you’re smiling and you look so happy and amused. It’s an interesting juxtaposition, because the song is all about apologizing for cheating on this girl.
Puth: We filmed the video from 7 p.m. to 7 a.m., so I think I was just smiling because I was going a little crazy. I had this harness on and I was flying in the air in downtown L.A., and I was smiling because I was thinking to myself, “Wow, I can’t believe I’m actually doing this.”
MTV: Were your moves choreographed at all?
Puth: Nope! Made them up on the spot, which is honestly not that impressive.
MTV: How did it feel to get out of your comfort zone and dance on camera? Were you nervous or insecure at all?
Puth: A little bit at first, because I always forget how many people are watching me when I’m filming. When I was thinking of this video concept in my head, I was like, “I’m going to be in my own little world, it’s going to be morning, there’s going to be no one around.” Then I forgot about the crew of 80 people that was on the video set.
MTV: If you had to rate your moves on a scale from one to ten, where do you think you fall?
Puth: Probably a two. The hilarious answer would be a one or a zero, but I give myself the two because I made the college try. I call them wedding dance moves. Maybe I will make a tutorial on the Charlie Puth wedding dance moves, but all it is is a video full of moves that white people would do at weddings.
MTV: When you’re dancing solo around the lobby of that building, I got major Fatboy Slim vibes.
You know that “Weapon of Choice” video where Christopher Walken’s dancing around the hotel?
Puth: Yeah, that was definitely a reference. That’s one of my all-time favorite videos.
MTV: So you were aiming for that?
Puth: I think so, but less intense. Not as many backflips.
wallwalk-gif
MTV: It’s a really surprising moment when the first chorus kicks in and you start walking up the wall of this building. How did you make that happen?
Puth: We had a stunt team there who works with Tom Cruise and all these actors when they’re in the movies. I had this tight harness — it was so tight, I couldn’t breathe sometimes. They just said I had to get used to it. I pulled my pants down in front of everybody and put this harness on. It was so painful, and I literally had to walk up the wall vertically at 4:00 in the morning having not slept at all. It was a really tough day, but it looks natural, so that’s good.
MTV: Yeah, it looked great. What about the scene where you’re flying — were there any special effects there?
Puth: No effects. It was literally just a harness and me clenching onto my private area. That was at 6:00 in the morning, and the police were yelling at us because we were throwing haze in the middle of the street, and cars were going by when they weren’t supposed to. It was kind of intense, and I’m in the air and you see me smiling because I’m like, “Why did I do this?”
MTV: When did the concept for the video come to you? Is that the type of thing that you’re ever thinking about while you’re making a song?
Puth: I think it was when I started laying down the vocals, I thought to myself what the video would be like. I just wanted to be a little vulnerable for this video, and I said that word over and over again in my head. What’s vulnerable? Well, doing something that people feel, which is dance, and dancing very poorly.
.. but on purpose. And it’s literally how it all came together: “For this video, I will dance in downtown L.A. like an idiot. In a suit. And that’s going to be the video. There’s going to be no explanation as to why I’m doing it.”
MTV: You said that “How Long” is the second part of “Attention.” Was it supposed to pick up that same night as the “Attention” video, after you get into a fight?
Puth: Actually, yes. Correct. You’re very observational. I guess it being part two, I would’ve left that house in “Attention” and threw a suit on. Took off my casual party clothes and put on a sweaty old suit and then danced in downtown L.A. So there is truth to that.
MTV: Will there be a part three of that saga?
Puth: No, I think I’m ready to share a new story.
MTV: There’s one scene where you’re looking at this painting of a woman whose eyes are covered, and she’s engulfed in flames. What is that scene all about to you?
Puth: That’s the girl! The real girl.
The girl that I didn’t want in the video or portrayed in the video, but I just wanted a little bit of symbolism there.
MTV: Are you ready for fans to start theorizing about who it is?
Puth: Well, I guess I asked for it. It would be weird if I left that part out of the story. That said, “Attention” and this song go hand in hand. And, you know, I guess you can see it. You can see the painting.
Pop Music
Choreographer on Charlie Puth video reignites debate about dance copyright on Fortnite
Business News Digital Legal
By Chris Cooke | Published on Thursday 31 March 2022
The choreographer behind the dance routine in the video for the Charlie Puth song ‘How Long’ has sued Fortnite maker Epic Games alleging that a so called emote available within the gaming platform utlises his choreography without licence.
It’s by no means the first time Epic has faced a legal claim of this kind, with a flurry of lawsuits filed over Fortnite emotes a few years back when the gaming platform first became a global phenomenon.
Though many of those legal claims stalled, partly because of complexities around registering the copyright in choreography in the US. However, lawyers working for LA-based choreographer Kyle Hanagami hope this case is stronger.
If you’d like a formal description of Fortnite emotes, Hanagami’s lawsuit provides one. “Epic has created a marketplace for entertainment content that happens to be within Fortnite”, the lawsuit explains. “As a free-to-play video game, Epic allows players to download and play Fortnite for free. Fortnite is supported by in-game transactions where players can purchase virtual currency, called ‘Vinderbucks’ or ‘V-Bucks'”.
“The players in turn use V-Bucks to purchase customisations in an electronic marketplace for their in-game avatars”, it goes on. “These customisations include new characters, pickaxe modifications, glider skins, clothes and emotes (movements or dances). There are four types of emotes: common emotes, uncommon emotes, rare emotes, and epic emotes.
The ‘rarer’ the emote, the more expensive or harder it is to obtain”.
The emote that is accused of ripping off Hanagami’s ‘How Long’ dance routine is called It’s Complicated”, which is apt, because when it comes to the copyright in dance routines things are quite complicated. Copyright does protect choreography providing it is fixed (so written down or captured in some way), although generally copyright seeks to protect dance routines rather than individual dance moves.
As in music cases, where the courts are generally uneasy about concluding a few notes of a song can be protected by copyright in isolation, with choreography there’s the debate about how we distinguish between moves and routines.
Now, in the US there is a copyright registration process, which means we have some clarity on whether any one work is sufficient to be protected by copyright, because if it is accepted by the US Copyright Office then we can assume it is. Although, as with music cases, there can still be problems down the line if someone lifts a key element of the copyright protected choreography, but only that element, so we are back to debating “can that element be protected by copyright in isolation?”
Though, with many of the initial choreography cases against Epic a few years back, the plaintiffs had only actually begun the process of registering the copyrights in their choreography as they sued the gaming firm.
With the registration process still going through the motions – and the complexities over when a dance routine is original and substantial enough to have copyright protection – those lawsuits stalled.
However, the copyright in Hanagami’s routine from ‘How Long’ has been registered. It was properly formalised in Puth’s much streamed music video. And the routine is possibly more substantial than with the movements Epic was previously accused of ripping off. Although, at the same time, the It’s Complicated emote only uses part of Hanagami’s routine and has movements not included in the ‘How Long’ choreography so – you know – it’s still complicated.
The new lawsuit actually acknowledges the previous litigation, reckoning that Epic has actually started licensing some choreography for its emotes in more recent years, but only when it reckons it can get a very good deal.
“On information and belief, because of the lawsuits, Epic began to approach some artists about licensing choreography”, the lawsuit states.
“However, on further information and belief, Epic typically approaches young and/or less sophisticated artists, like those who are catapulted to fame on social media platforms like TikTok, about licensing choreography for pennies on the dollar”.
It then adds: “Hanagami, a sophisticated businessman and established choreographer who is aware of the value of his choreography generally and the registered choreography specifically, was never approached by Epic about a licence”.
Commenting on the new lawsuit, Hanagami’s lawyer David Hecht told reporters: “Epic is profiting from my client’s hard work, and their infringement could not be more blatant. Epic’s sale of Kyle’s registered choreography as an item in the Fortnite Item Shop without his knowledge or authorisation is fundamentally unfair”.
“He felt compelled to file suit to stand up for the many choreographers whose work is similarly misappropriated”, he added. “Copyright law protects choreography just as it does for other forms of artistic expression.
Epic should respect that fact and pay to license the artistic creations of others before selling them”.
READ MORE ABOUT: Charlie Puth | Epic Games | Fortnite | Kyle Hanagami
90,000 12 life hacks, to quickly learn how to dance from Mamita Dance
Dances
Author: Pavel Gather
Psychologist, Lecturer Salsa and Tango
Dances
Author: Pavel Pavel
Psychologist, Lecturer Salsa
on At the start, you always want to get a quick result. When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow.
This is the most common story of those who believe that the mere act of attending a pair dance class is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.
1. Listen to music
The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores.
An addition that will help you dance better is your active participation in the music. Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.
2. Watch videos of good dancers
It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself).
Meaningful video viewing is about building an understanding of HOW dancers make a particular impression on a partner or viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.
It is important to distinguish a show from a disco dance, a staged performance from an improvisation, a stylized dance from an authentic one, etc. Ask for recommendations and dance teachers will always throw off a couple of videos of worthy landmarks.
Tango Z. Showreel.
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3. Dance in salsatecas/milongas/discotheques
A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”.
In fact, the partygoers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future). It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.
4. Dance with partners or partners not of your level
The conventional wisdom that you need to practice in groups of your level does not withstand the test of experience.
Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere.
It's important to understand that not only does it work one way and you have to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.
How it works. A more experienced partner needs to be "stretched". It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too.
Dancing with partners of your level doesn't make you grow. Dance with both beginners and more advanced dancers
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5. Learn to dance for a partner and for a partner
Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead. For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner.
In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.
6. Do not memorize the links
Always try to look deeper and understand the through principle and idea of movement.
Understanding what and how is done will make it possible to independently generate any sequences and chips.
Human memory is limited and there will always be a moment when something will escape and your repertoire will be limited by the size of RAM.
In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations. And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.
7. Develop your body
Many years of experience in teaching couple dance shows that as soon as everyone pairs up in a class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you.
The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up.
It is vital to tune the body and understand how it works.
You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship.
8. Try on the images of inspiring dancers
A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive. Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.
With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself.
Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently.
9. Dance to offbeat music
Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.
The truly new is born outside of the usual. Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them.
Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style
10. Try your hand at basic dance directions
dances exist according to their own non-choreographic laws.
This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles.
Do not think that choreography is only applicable on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.
11. Look for battle sensations
Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of big cities.
If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them).
I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.
The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.
Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular feature, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements.
12. Communicate with professionals
The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way.
Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.
Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion.
Your skill will lie in finding the scope of the idea even in conflicting opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.
Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances. Regardless of your level, the suggested 12 life hacks can get you off the ground and greatly accelerate your dance growth. There is no way here without your motivation and activity. Take your dance development into your own hands. 9Ol000 Dangerous sexuality
Salsa: destroyers of stereotypes
Couple dancing as a source of strength.
Self-destruction of the couple dance community
The Salsa series as a mirror of the community
Mamita Fridays: salsa, bachata
Destroying the myths about leading pair dances
Does dancing make us better?
The seven deadly sins of teachers
Why we will never dance bachata like the Dominicans
Why tango?
Dispute over musicality
Selection of dances according to alcohol preferences
Where to find inspiration for dancing?
Terrible tango nuevo
Distribution of roles in a salsa party
Argentinean tango through the eyes of a salsa dancer
Is there a predisposition to dancing?
Which is more effective: individual or group lessons?
Sexual connotations in partner dancing
7 tips for those who want to learn how to dance
September 9, 2020Reno5Life
Dancing is a great way to make friends with your body and gain self-confidence. And yes, they can be mastered at any age.
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01. Choose your style
The idea here is the same as for sports: if you secretly hate yoga or iron exercises, you are unlikely to go to workouts week after week. To achieve noticeable progress in dancing, a beginner will have to practice a lot and regularly, so it’s better not to torture yourself and choose a direction that really ignites.
You can focus on the music that you like - you need to catch the drive from movements to it. It is music that forms the style of dance and its energy, so decide what is closer to you: for example, funk lovers should try popping or locking, folk fans may like Irish dancing, and if you respect jazz, swing and everything like that, take a closer look at lindy hop.
Another criterion is the nature of the movements. Some are closer to dynamic, as in hip-hop, others are smooth and sensual - for this in tango. There are also health restrictions to consider. So, twerk is not suitable if there are problems with the lumbar spine, with sore knees it is better not to get involved in shuffle, and it will be difficult for an aged person to master house.
2. Set a goal
Photo: Iakov Filimonov / ShutterstockYou can start dancing at any age, but it's important to keep in mind why you started it in the first place. It is perhaps too bold to expect that in half a year of classes it will be possible to reach the level of international dance championships from scratch. But if you want to try dancing in order to develop plasticity and learn to feel the body better, great, go ahead.
Don't expect to get it right the first time. When you learn from scratch, difficulties are absolutely normal, the main thing is not to score in classes. Over time, both the correct posture and a beautiful gait will be developed, and as a bonus you will also get self-confidence - with freedom of movement, freedom from complexes will come.
3. Don't give up on sports
Some dances in themselves make for a good workout. A vigorous shuffle will replace cardio, and a break can give a load to almost all muscle groups. And yet, without preparation, it will not be easy.
A more or less good stretch is needed in any type of dance, and, for example, strong arms and strong abdominal and back muscles are also useful for pole dancing. You can combine dancing with strength exercises, but you need to give the body time to recover and not plan classes in a row, but allocate at least a day of rest between them.
And don't forget to warm up before dancing. So that the training does not end with an injury, the muscles and joints need to be prepared for the load. You can allocate 10–15 minutes for a warm-up, it should include simple articular gymnastics (at least elementary rotational movements of the shoulders and knees), tilts and dynamic stretching.
4. Take some lessons from a trainer
Especially if you have never danced before. Those with experience can learn new styles at home with video tutorials, but that's because they already know how to control their bodies. Beginners are unlikely to succeed, but disappointment in themselves and demotivation are guaranteed - if you can’t repeat elementary movements, then there’s no point in doing it.
Nothing really strange here. Without preparation, it is difficult to just take it and start moving freely. At least the basic elements are better to master under the guidance of a pro, and when you feel that you are coping, supplement these lessons with home workouts.
5. Learn something new in every class
When you repeat the same set of exercises and movements over and over again, classes turn into a good way to pass your free time, only you can forget about progress. Acquaintance with new elements is the same mandatory part of any workout as a warm-up. It doesn't matter if you work with a mentor or on your own.
Do not immediately try to copy cool dancers. First, study the basic movements, then try to combine them into bundles until you hone them to automatism, and then experiment and improvise, creating something new based on familiar elements.
6. Record yourself on video
It is not necessary to record the entire workout from the warm-up, it is enough to record only those moments with which you have problems.
These can be separate movements or bundles that are not given in any way. Review the video and, if possible, objectively assess what is wrong: perhaps there are technical problems that are difficult to notice in the process. When you understand what's wrong, try to repeat the movement and record it on video again - and so on until you achieve a good result.
This approach will help you find errors and track progress. You can not even limit yourself to memorized ligaments, but improvise - then see how it looks from the outside.
7. Find like-minded people
Photo: Iakov Filimonov / ShutterstockIf you need an extra reason not to miss classes, then meeting new people can be a good motivation. It is easier here for those who train in a group. Often the dance school becomes the center of a close-knit community, where people come not only for the sake of classes, but also just to spend time together at dance parties.
Finally, the more partners around, the more experience.
Do not limit yourself to dancers of your level of training and practice with those who are stronger or weaker than you. In the first case, you will be able to improve your skills, and in the second, you will try yourself as a coach - this, by the way, is a good way to learn to take more initiative and understand the very principle of movement in dance, and not just memorize the alternation of chords.
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