How to dance like meechie
Meet Meechie And Toosi, The Dancers Bringing The Joy Of Atlanta To The Entire World
The models for The FADER’s Fall Fashion editorial are SheLovesMeechie and TheRealYvngQuan, Atlanta-based dancers whose videos bring to life the lyrics of great songs, and whose Instagram and YouTube channels are becoming a new kind of radio for music to be promoted and discovered on. Cara Stricker photographed that story, and to go along with it directed this dance video, choreographed by Meechie and Toosi, as Quan is known to friends, and soundtracked by Lil Yachty.
Meechie, 21, and Toosi, 19, both began dancing as kids, but neither has formal training. They connected after both had made names on the internet, and are together best known for their innovations on a dance called the Hit Dem Folks, which originated about two hours south of Atlanta, in Columbus, Georgia.
Meechie and Quan have performed with Yo Gotti and Rae Sremmurd, and made a fan and friend in pro football player Odell Beckham Jr. Currently, they’re traveling on Drake’s Summer Sixteen tour, dancing with Future. Their place at that show is a testament to the renewed prominence of dance in rap music today — where songs go viral faster if they’ve got viral dances attached, or at least are enjoyed more. But among the thousands of teens who’ve cammed themselves hitting a hit, Meechie and Toosi stand out because they have star power, radiating out from their big-ass grins. Their moves are democratic, but their happiness is aspirational.
“We make fun. We make it feel like you can do what we doing,” Toosi said in August, in a conversation with Meechie that’s excerpted below. “I'm smiling cheek-to-cheek in every video. Back then in dance, people were battling each other. We're not battling each other. We're just expressing ourselves. ”
Meechie: I moved to Atlanta from New York when I was 13. I’d already used to dance, when I was younger, when family came over. My momma a nurse, and my daddy in construction. After I first moved to Atlanta, I wasn't talking to nobody. I used to just be on the computer all day, looking at other dance videos. I always knew I was gonna do something involved with the computer. I was watching my niggas Dragon House dance to dubstep, like non-stop. Then I watched Les Twins, Chris Brown, South Dallas Swag, and a dance called skitzing — I got it from this nigga named Sparrow in Dallas. Now I’m like all that mixed into one. I take a little sauce from it all, and put my own sauce.
When I first started making videos, I used to use a tripod. I had videos up on Facebook first. I was in the tenth grade. I’d get hella comments on Facebook, but wouldn’t see the amount of views. So I started putting videos on YouTube, to see how many views I’d get. I’d get 300 here, 500 there. When Vine came, I made a Vine at the gas station, dancing to some Texas shit. I was dancing to the lyrics and shit. In like 20 minutes, I seen I had like 100 re-Vines. Next day I’m refreshing it and it keeps going up. So I’m like, “Damn, might as well just put up Vines and shit.” Now everybody wants to be Instagram dancing. When we upload videos, I'll put the clip on Instagram but I'll tell people to watch it on YouTube, so I'll see the views.
Toosi: My parents are from South Carolina. My mom moved to Atlanta when I was in the third grade. She works for this German engine company. She's like an engineer. It’s pretty cool for a woman to be an engineer like that. I think she wanted me to follow her into engineering and stuff. But that's not me. I just couldn't see myself going that route. I knew I could do something more, like bigger. I couldn't just have a regular job.
In high school I was a hooper. I played basketball. The coach hated me. But when you go to practice you dance, but I was definitely not taking dance classes or taking it serious. I just always knew I danced, since I was little. I always had rhythm. But it was never like, "I'm gonna dance when I grow up." I was really doing it for fun. But when people really started messing with it, like "do more,“ I kept doing it. It just took off from there. My mom wasn't messing with the dance wave until I started bringing in those checks. The money came in about 10 months after I started dancing.
I met Meechie like two years ago, October 2014. We lived three exits away, but we never came across each other. He hit me up on YouTube, then he hit me up on Instagram. Like, “Yo, where you stay at?” I’m like, “Norcross.” He’s like, “Yo, that’s 10 minutes away from me!” He pulled up probably like two hours later and we made like 6 videos.
“We paint a story. While this rapper is talking about something, we take time and visualize what the fuck they’re talking about.” —Meechie, @SheLovesMeechie
Meechie: In dance it just be little phases. When we had the Nae Nae, everybody was doing the Nae Nae.
Toosi: Then everybody's doing the Whip. Everybody's doing this, that. But the Hit Dem Folks originated from Columbus, Georgia. They claimed it: Downtown BTW [Booker T. Washington] projects.
Meechie: There’s a video on YouTube, it's an old nigga just talking about, “It's the Hit Dem Folks. Yeah." And it’s the whole hood, everybody's doing that shit. We were watching that video. At first, I thought niggas was just like, flexing. Posing.
Toosi: We posted a video of us doing the dance. Then a bunch of people commented like, “Y’all doing the wrong things.” So we were like, “Let’s get the research right. We gon get it right.” You can’t just jump in somebody’s game and be good. But we kept working at it. Instead of doing it how they did it, we did it to where it fit us. To this day, we still don’t do it like them. We turned it into our own slang. It’s still the same dance but it's our style. And our style is one of the more popular styles.
Meechie: [On the Summer Sixteen tour with Future] the two other dancers with us are from Columbus.
Toosi:We call these dudes the creators. They were a part of the creation of the movement. I don't know why we get the credit, but we let the people know where it come from. But innovators, and creators and innovators always clash. Whether the creators are upset because the innovators are the people who are more known, or the innovators are not giving them credit, stuff like that. Creators always just beef with the innovators.
Meechie: We paint a story. Other people just put on a song and up and do some shit. They do the same shit at the same time, every time. I don’t even think they listen to the song they’re dancing to. But if you watch our videos, all of them look different. While this rapper is talking about something, we take time and visualize what the fuck they’re talking about.
Toosi: We bring the lyrics to life. We turn a song into visuals, to where people can understand. I paint the song for you.
Meechie: Sometimes people comment like, “I ain’t know what the fuck this nigga was talking about till I seen this video. Now I can picture what they saying.”
People hit us to dance to their songs every day. I used to be like, “They giving me bread. I'ma do it." But then I had to sit back and look at it like: I don't have to accept everybody bread. If we're dancing to some weak ass shit, that makes us look bad. I’ll listen to a song. If it got potential, then I'll move forward with it. But if it doesn't have potential, nah. Some labels will be like, “Aight, we have this person. We want you to do this single.” I be like, “Bruh. I know what’s going on. I know what people are going to copy. And this ain’t it. Go ahead then. But I’m telling you that this shit just don’t sound right. I can’t hear this over and over again.” But they just be tripping, like, “We gon do radio.” They be thinkin they gotta do shit like they did 10 years ago.
Toosi: They don't know that we are the radio. They still don't understand that. Everybody on our YouTube commenting like, “I’m on your page just for your music. I need your playlist.”
Meechie: We try to not do the big, big, songs, because labels can shut it down. YouTube deleted [our video dancing to] “Jumpman” the minute I posted that shit. And Instagram deleted the [21 Savage and Metro Boomin] “X Bitch” video. If it’s an artist we know — Rae Sremmurd or people like that — we can contact them like, “OK, we want to do this song, could y’all clear it for us?” I don’t know why our Justin Bieber video is still there. It’s meant to be up.
“Atlanta should be the capital of the United States. We’re the music culture, we’re the dance culture. I don’t know why people don’t understand that.” —Toosi, @TheRealYvngQuan
Toosi: Dance is up there at its peak right now. In the 80s, breakdancing was pretty big. That was one of the biggest things. But this era now might be the biggest for dance, because we got social media. People want to be dancing. Back then, if you were dancing in the middle of a party, people would be like, “You’re so lame. Why are you dancing?” Right now, you get all the girls if you know how to hit them folks.
Meechie: I was at the 21 Savage “Red Opps” video shoot. The whole time there’s a nigga in the back, wearing a pistol. The nigga was looking at me, and I’m like, “Why is this nigga looking at me like that?” I was talking to myself: I’m a good kid, I don’t be doing that shit. We ain’t got no beef. Then the nigga was like, “You Meechie?” I didn’t even wanna say yeah. Then he said, “You be killin that dancing shit.” I’m like, “Bro! The fuck! I thought you was gonna shoot me, nigga!” He said everybody be watching our shit, just sitting and watching and getting turnt. Cause the shit is fun!
Toosi: We make fun. We make it feel like you can do what we doing. I'm smiling cheek-to-cheek in every video. Back then in dance, people were battling each other. We're not battling each other. We're just expressing ourselves.
Meechie: Odell [Beckham Jr.] had seen our videos. He hit us like, "Can y'all come to New York?" So we gone. He flew us to New York and we was at his crib for two days. I think he’d just turned 24. He got loud music, games. Nigga's a kid for real. And we just big ass kids, you feel me? So it's late as hell, we playing games, and then we hear music, so we be turnt. So we’d be dancing, and we’d teach him. So then nigga got right! At the end, we’re about to leave, and he’s like, “Y’all got something to do or something?” So he paid to extend the tickets.
Toosi: We was out there for a week. He didn't want us to leave. We was having so much fun. It’s just good vibes.
Meechie: Metro [Boomin] called us the cheat code in the studio. We’re in the studio and he’s playing a beat, and the shit hard, so we up! He said, “We can’t have these niggas doing that, they some cheat codes! If they dancing to it already, then we know it’s gonna be a hit!
Toosi: The dance is really meant for trap music. That’s where the dance came from. That’s what it is. When it's like a hard beat, like a Metro beat or a Southside beat, it just takes it to the roof. We can do Justin Bieber and Taylor Swift too. But when we do trap, it's like crazy. This dancing was made for this era.
Meechie: Next I think we might just dab into choreography, too. Making videos we was in gas stations, we was in the parking lots, then we just turn on the song. But on this tour, Future ain’t say it, but we got the word that Future said, “We want this shit to look organized. So come up with some shit.” So we deadass choreographed four songs in a day and a half. Came up with the whole routine in 36 hours. Now it’s all these people that are like, “I want to learn.” So we might just have to do a class and go to D.C., New York, Miami. Make a little route. Tell em that we got Odell right, we got Future right. Now this nigga Future out here dancing like a motherfucker.
Toosi: Atlanta is the dance capital. We should be the capital of the United States. We're the music culture, we're the dance culture. Atlanta is the culture. I don't know why people don't understand that. You go to a party in the United States, you're gonna hear Atlanta somewhere.
See more photos of Meechie and Toosi in The FADER's Fall Fashion editorial.
Director: Cara Stricker
Featuring: SheLovesMeechie & Yvng Quan
Producers: Naomi Zeichner, PET, VAVLT
Executive Producers: Joseph Patel
Co-Producer: Robert Semmer
Production Coordinator: Madison LaClair
DP: David Vollrath
Steady Cam Operator: Steve Cantrell
AC: Doug Durant
Gaffer: Greg Tango
Editor Wranger: Michael Bell
Fashion Editor: Shibon Kennedy
Photo Director: Frank Seidlitz
Photo Assistant: Jonnie Hokklo
Fashion Assistants: Ian Mcrae & Pauline Seng
Grooming: Colby Smith
Designer Credits: BVNDO, LACOSTE, Nike, Token
Compositor: Michael Bell
Editor: Cara Stricker, Michael Bell
Colorist: Cara Stricker
Music: Lil Yachty f. Skippa Da Flippa, “Good Day”
music / Hip-Hop
music / Pop
music / Experimental
music / Rock
music / Rock
Youtube Star SheLovesMeechie Dances from the Garage to the Stage
Photo courtesy of SheLovesMeechie
Rap music was birthed to inspire dance, and there has always been a lane in hip-hop for those who work on their feet rather than a mic. Whether it’s kids jerkin in L.A., bopping in Chicago, or hitting the whip dance and the nae nae in Atlanta, the last few years have been especially kind to the fleet of foot. With platforms like Instagram, Vine, Worldstar Hip-Hop, and YouTube accessible to the masses, if someone is dancing, someone else is more than likely recording. 20-year-old Atlanta-based dancer SheLovesMeechie amassed attention in recent months as his skillful interpretations of rap songs found a perfect home on Vine. A typical performance finds him freestyling moves alongside the rapper’s lyrics, like in his take on Chief Keef's “Earned It”, where Keef says “You motherfucking frog, little Kermit,” and Meechie takes a Frogger-like hop.
Meechie's videos reach hundreds of thousands, sometimes even eclipsing the views of the artists’ official visuals, but lately his biggest successes are instead dedicated to specific dances like the whip, yeet, and even the still-regional “Hit Dem Folks” dance, which mimics a basketball player dunking. His talent and personality have opened up opporunities to perform with fellow turnt-up stars Rae Sremmurd and even guest in the video for Future's "Commas," so I called up the dancer, who spoke to me with contagious enthusiasm, to find out what it’s like to go from recording in his garage to building up over 200 hundred million views on Vine.
Noisey: How did you get started dancing?
SheLovesMeechie: I really just used to be in the crib a lot watching YouTube. I used to watch videos of other people dancing. I’d watch Chris Brown or [Beyoncé backup dancers] Les Twins.
What got you thinking: "Hey, maybe I can try to do this myself"?
Like I said, the videos I was watching of Les Twins. Every time I seen them dance and move they bodies, I was like, "O my God, that’s fire" and I would try to do that, so I started learning how to body wave and move my body to the beat in different ways and just really learned off of that.
When you were doing your first videos were you recording yourself, or did you have a friend help?
My first video, I was out in the garage. I was just playing some music, and my friend just started recording me. In my head I really didn’t feel like, "Man I was moving," but when he played it back to me, and I’m hearing the song, I was like, "That’s kind of cool."
Once you hit YouTube how long did it take to getting the thousands of views you’re getting right now?
It really started for real when Vine came around cause I used to always make videos on YouTube and would always promote, like tweet the video a thousand times, and I’d only get a couple hundred views or a couple thousand views. But ever since I started putting the dancing on Vine, and it went viral on there, people started to pay attention: "Let me check him out on YouTube." That’s when I really started to get more views.
Who was one of the first artists to reach out to you like "Hey, I really like the stuff you’re doing"?
I really think that it was Soulja Boy, because when I came out to L.A. the first time I was on Fairfax just shopping and then I had walked past this car and he had rolled down his window and he had called my name like ‘Meechie’ and I was like that’s ‘Soulja Boy, that’s crazy I used to be like watching all of his videos way back then’. Then for him to see me and stop me to and be like ‘Yo Meech what’s up’. I was like ‘Dang that’s crazy’.
One of the other acts I know you’ve been working with recently has been Rae Sremmurd. How’d you connect with them?
They came in town to do a show at Georgia State, and my homie Curtis from Two-9 was like "Yo I need Meechie on stage to be turnt up…" I got on stage for a little bit of his set and a little bit of Rae Sremmurd’s set right afterwards, and after I started doing the whip dance they started vibing with it. Then after the show they were like "You was killing on that dancing level." We just kept in touch and the relationship grew.
You’ve been on the road and performing with them. What do you add to their set?
I get the crowd hype. While they rapping the crowd is just paying attention to their rapping, but when I come out—or me and my homies come out—on stage and they see the dancing it’s like, "O my God, he going crazy," and they get hype. So I always turn the crowd up. Once me and crew get on stage and start performing and dancing to the words, that always keeps the crowd momentum going crazy, and that’ll make the artist go even crazier because the crowd is going crazy.
Since you're used to creating on your own, what's it like going into other rappers' videos?
It’d be dope. My favorite video is the “Commas” video. My homie hit me up like Future finna shoot this “Commas” video and he wants you dancing and I was like, "Whoa, for real?" I was shocked. I was like, "I guess people must really like this dancing stuff" if he was going to reach out to me to be in his video. And once the video went, I was looking at the comments: "Meechie in there going hard," "Meechie going crazy," and it was crazy cause they only seen me for a split second when they did see me. The amount of comments people saying "Meechie going hard," "I came here to see Meechie"… I was like "This is really cool. I really like this." When I first started dancing I didn’t think it was going to be anything like this.
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How to dance in Harris Fashion, console commands
You can express your emotions in Harris Fashion not only through chatting or certain movements, such as greetings. There are also dances that can be bound and used at any opportunity.
Dances in Harris Fashion
There are default dances in the game that can be assigned as commands. They all start with the phrase "act". To enter them, you need to open the console and start typing the phrase. You can find the input line using special options in the settings, for example, set "tilde" to display the command line. nine0003
The list of basic movements includes:
- robot – robot dance. Repeats jerky movements several times;
- muscle - sensual, love dance;
- laugh - character's laugh;
- bow - pulls the bowstring;
- cheer - any random movement. Maybe dance or body movements;
- wave - the once popular wave dance; nine0018
- becon - calls to him;
- agree - agree or thumbs up;
- disagree - discontent, threatens another character;
- forward - continue or do more;
- group - a movement that calls everyone into one group;
- halt - raised hand, signals to other users;
- zombie - funny zombie dance;
- dance - default dance moves.
- Improved explosion effects - gExplo;
- Physical effects;
- New zombie NPCs;
- Knives from CS:GO;
- Star Wars lightsabers;
- Atomic bomb;
- Magic from Oblivion;
- Spider-man web;
- Weapon from Team Fortress 2.
Why do we need dancing in the game? nine0005
In addition to expressing their emotions, users can create funny videos and pictures.
To set motions to a certain key, you need to write "bind 'action key' "movement" in the command line.
The character will change for exactly a few seconds if it is an active dance. Some of the emotions are static, so they will disappear after a longer period of time.
To create beautiful screenshots, the player must download the original maps and be able to place the characters correctly. Binded buttons will work not only in single player mode, but they can also be used on servers. Some portals offer their own set of moves and dances. You can find their teams on the official website or by asking other users. The standard set of emotions consists of the commands described above, which are simply set to various keys and work when they are pressed. nine0003
- Addons and Fashion for Harris Fashion
- Apocalypse in Harris Mod
- Harris Mod
- Maps for Harris Fashion
- Combines in the mod
- MOD MOD and Super Mod Mod. Harris mod
- Player models for Harris mod
- Weapons for Harris mod
- Items and props for Harris mod
- Download Harris mod
- Vehicles for Harris fashion
- Horror cards for Harris fashion
Sword dances - an ancient form of dangerous and beautiful dances
Saber dance or sword dance is one of the ancient dance forms, which served to imitate such themes as animal sacrifices to improve fertility and fertility, imitation of battles and protection from evil spirits. There are several varieties of this dance. In the hilt dance, each performer holds their sheathed sword by the hilt, and the support dancers behind them usually form complex formations. Battle dances for one or more performers imitated real battle and originally served as military training. The dance of the crossed swords is performed over two swords, or a sword and scabbard, which lie crossed on the ground. There are also guerrilla dances that are performed in a circular formation, with the performers often holding swords in their hands. nine0003
Hilt dances are widely practiced in Europe, for example in the north of England, in the Basque country and in Spain. They are often performed as an integral part of folk festivals. Performances with the participation of such dances are closely connected with the plays of English mummers, as well as with the Greek folk game in Thrace. In such a dance, the movement of the swords stops at one point, forming a "rose" or "castle", while the sword is held in the air near the performer's neck, imitating decapitation. Often the "headless" falls "dead" to be "reborn" as a doctor, fool, or other supporting character. character. The roots of these dances lie in ancient rites of death and renewal, and it is possible that the dancer was once sacrificed to ensure fertility. Even today, such dances are believed to bring good luck or prosperity. nine0003
Dances imitating stylized combat have survived in modern Turkey (some performed with rifles instead of swords), in the Scottish diaspora of Canada, in Borneo, and elsewhere. The Pyrrhic dance served as an exercise in military training in ancient Greece until late antiquity, when it degenerated into a popular professional pastime. The Hassapikos or "Butcher's Dance" in Turkey and ancient and modern Greece (which is now a social dance) was performed with swords in the Middle Ages by members of the butcher's guild, which adopted it from the military. nine0003
Chinese sword dance
Crossed sword dances are common in Europe (eg Scotland and the Balkans) and also found in India, Borneo and other areas. Characteristic of these dances is that one or more dancers perform precise and often very complex steps between swords lying on the ground. The famous Scottish solo dance by Gilli Cullum, which is performed to the folk tune of the same name, was first mentioned only at the beginning of 19- th century. Its close relative, the English Bacca, is performed over crossed clay pipes that replace swords. There is evidence that such dances previously included fencing. In the Scottish Argyle broadsword dance, four performers brandish their swords before placing them on the ground in the shape of a cross. Perhaps the meaning of the ancient ritual was that if the swords even slightly touched each other in the air, then the dance was stopped.
Guerrilla dances survived especially in the Balkans and Turkey, which for a long time suffered from the invasion of foreign armies. As a rule, they are performed in a circular formation, and such a dance begins with the fact that the leader begins to spin, whistling through the air with his swords.