Not gonna teach your boyfriend how to dance lyrics
I'm Not Gonna Teach Your Boyfriend How To Dance With You by Black Kids
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The Black Kids hail from Jacksonville, Florida and consist of Reggie Youngblood, (guitar, vocals), Ali Youngblood (keyboards, vocals), Dawn Watley (keyboards, vocals), Owen Holmes (bass) and Kevin Snow (drums). This was their debut single and it was originally found on their 2007 self-released EP Wizard Of Ahhhs.
In this song Reggie Youngblood is mocking a girl's boyfriend with "two left feet," all the while worrying that he's nothing without his superior moves. He explained to the Guardian newspaper: "I like that about human nature. That you can think the world of yourself one moment and then the next you're a cowardly, awkward, sniveling piece of s--t. It's all there lurking and it's so random what's going to come to the forefront.
"
Reggie Youngblood explained to Vice magazine the background to this track: "Well, Jacksonville is a sort of anomaly, in that despite being a somewhat culturally bereft city, we have amazing dance parties at which we dance like motherfu--ers. So, in this environment, I've repeatedly found myself in situations where girls love to dance with me ('cause I can move, baby) but usually go home with someone else, who can't dance for s--t. It's a problem."
In the same Vice magazine interview, Youngblood explained the band's name: "It is REALLY hard to come up with a name that hasn't been taken. You think of something you like, Google it, and sure enough, someone's beat you to it. So, we thought, we really must have something that most people won't touch. And it should sound cool. I find it hilarious when someone black asks Owen or Kevin (who are both white) what band they play in, because they're not quite comfortable saying it aloud. If I'm with them, I just keep very quiet and relish the awkwardness.
"
- More songs from Black Kids
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| You are the girl that I've been dreaming of |
| Ever since I was a little girl |
| You are the girl that I've been dreaming of |
| Ever since I was a little girl |
| One! |
| I'm biting my tongue |
| Two! |
| He's kissing on you |
| Three! |
| Oh, why can't you see? |
| One! Two! Three! Four! |
| Word's on the streets and it's on the news: |
| I'm not gonna teach him how to dance with you |
| He's got two left feet and he bites my moves |
| I'm not gonna teach him how to dance, dance, dance, dance! |
| The second I do, I know we're gonna be through |
| I'm not gonna teach him how to dance with you |
| He don't suspect a thing, I wish he'd get a clue |
| I'm not gonna teach him how to dance, dance, dance, dance! |
| You are the girl that I've been dreaming of |
| Ever since I was a little girl |
| You are the girl that I've been dreaming of |
| Ever since, ever since |
| One! |
| I'm biting my tongue |
| Two! |
| He's kissing on you |
| Three! |
| Oh, why can't you see? |
| One! Two! Three! Four! |
| Word's on the streets and it's on the news: |
| I'm not gonna teach him how to dance with you |
| He's got two left feet and he bites my moves |
| I'm not gonna teach him how to dance, dance, dance, dance! |
| The second I do, I know we're gonna be through |
| I'm not gonna teach him how to dance with you |
| He don't suspect a thing, I wish he'd get a clue |
| I'm not gonna teach him how to dance, dance, dance, dance! |
| One! |
| You're biting my tongue |
| Two! |
| I'm kissing on you |
| Three! |
| Is he better than me? |
| One! Two! Three! Four! |
| Word's on the streets and it's on the news: |
| I'm not gonna teach him how to dance with you |
| He's got two left feet and he bites my moves |
| I'm not gonna teach him how to dance, dance, dance, dance! |
| Oh! Dodododododododo dance, dance, dance, dance |
| Oh! Dodododododododo dance, dance, dance, dance |
| Oh! Dodododododododo dance, dance, dance, dance |
| Oh! Dodododododododo dance, dance, dance, dance |
| Dance, dance, dance, dance, dance! |
I want to dance.
10 misconceptions about dancing The desire to learn how to dance is natural and natural in the modern world. You can list the reasons, starting with obvious and popular pragmatic desires, for example, to start moving or losing weight, ending with unconscious and even existential ones.
This is due to the fact that dances are at the subtle intersection of the inner and outer worlds, physical and spiritual. Above this, music becomes a driver that cannot leave anyone indifferent.
In dancing, there is magic inside a person, which is not always noticeable when viewed from the side. At the initial stage, it is the external picture that attracts to dances, and sometimes repels, as it seems too frivolous and superficial.
But there are even stronger obstacles that stop many people from starting dancing. These illusions and delusions roam the minds of the majority, and are often afraid to ask about them directly, or they ask the question about it so often that they are no longer ready to hear an honest direct answer.
I will try to do it in this article.
There are many examples of contemporary dance instructors sharing their thoughts about not expecting to be in the dance industry. Once upon a time there was a man and was engaged in adult, serious business. Sometimes even very serious. A person could have children and even grandchildren. I saw dances only on stage or on TV. For reasons unknown to himself, he ended up in dances. At first, everything seemed like entertainment and a useful pastime. But time has passed, and a person catches himself thinking that he thinks about dancing not just every day, but really all the time. A couple of years pass, and he already becomes a teacher or organizer of some event.
A similar path can start at 15 or 55 years old. The only difference will be in the self-perception of the starting stage, that it’s too late to dance. In fact, for each age there is its own dance direction, which can reveal it to the greatest extent at this stage.
Hip-hop or breaking is closer to children and teenagers, and Argentine tango is closer to adults. It's never too late to start dancing. You need to make the right choice of dance style based on several parameters: age, gender, music, goal. There is a dance direction for any arrangement.
Misconception 2: Men don't dance
Our culture has a number of restrictions related to dancing. Most of these causes are psychological and lie outside the realm of rational reasoning.
First, in our culture, in principle, dancing for pleasure or self-expression appeared relatively recently. 20-30 years ago dance clubs were only for children. To start dancing even in adolescence was considered exotic.
Secondly, the aesthetics of the body in our country for men is not in the focus of attention. In general, this can be attributed to the fact that Russian men try hard not to draw attention to their appearance and clothing. Men in our country use other tools for this.
Third, dancing is associated with entertainment and alcohol. If a man feels serious and respectable, then he either does not have time or desire for this.
Nowadays the general cultural background has changed and the result is that men are learning to dance. It becomes as much a sign of masculinity as clothing, hair or beard.
Unfortunately, many misconceptions remain even among those who have already started dancing. Dance teachers do not always pay attention to this, as it seems to them that this is a matter of course.
Fallacy 3: special training is needed
For an outside observer, there is always a cognitive dissonance about what dance is. What he sees on the big stage in the form of a show with sweeping movements and splits is obviously dancing. Breakers doing unimaginable elements in the air and on their hands, competing with each other, also seem to be dancing. Pensioners in the park waltz. Dancing again, but for some reason everyone is so different.
How to understand that this is a dance, and what physical criteria should be in the body.
In fact, any self-expression through the body to music can be attributed to dance. There are a number of reservations, but they are not essential. For self-expression, a person uses the set of plastics that he has. Subtlety and technique do not depend on extreme ways of self-expression, and it often happens that splits and somersaults interfere with a meaningful dance. The development of plasticity and the expansion of the body's capabilities are part of the preparation of the dancer, but not an end in itself.
Fallacy 4: You must learn to dance in pairs
In couple dancing, the final learning outcome is that the couple dances at a party. It would seem that you should always train together to get the desired result. This is not true. Let's take an example from boxing. An indicator of a boxer's skill is a fight with an opponent, but this does not mean that he constantly has to fight.
Also, the ability to dance is built on the possession of one's own body and the ability to interact.
The skill of the teacher is the correct selection of methods so that the student masters the skill. Based on the skill, you can engage in creativity and self-expression in dance. Not everyone knows, but it is no coincidence that almost all social dance dancers have a serious dance background, which is based on the development of individual techniques.
The same can be attributed to the interaction in a pair. The ability to separate in oneself the one who leads and the one who follows the lead is impossible within the framework of studying the sequence of movements in pairs. For this, there are special exercises that make the skill more versatile. For this, the presence of a permanent couple is not necessary, as well as the regular presence of a partner in general.
IMPORTANT! You can’t experiment at a party, and everything should be in its place there: men dance with women.
Getting rid of illusions is a complex internal process. If you leave them to yourself, you can even get the opposite result.
Fallacy 5: plastique and stretching are mandatory attributes of dance
Much depends on the genre of dance that you want to master. In previous articles, I have already mentioned that different dance styles are suitable for different ages. It is appropriate to dance hip-hop in adolescence or youth, Argentine tango is a more adult dance, it is important to enter classical choreography at a young age.
The degree of necessary plasticity and sensitivity to the dance direction also correlates. For example, breaking requires great physical effort and dexterity. Elements are built on acrobatics and high speed of execution. Who are they more suitable for? Obviously young people.
There is a lot of interaction in salsa. It is necessary to feel the partner subtly, to be able to show a variety of figures and elements.
Twine or acrobatics are completely inappropriate here. However, a variety of ways to show oneself are required. Accordingly, the dance is youthful, but not at all childish.
The older the dance, the less stretching or acrobatics is required. The main emphasis is on the quality of technology, the variety of ideas and the ability to show plasticity.
Misconception 6: Mirrors are necessary for learning
There is a set of instruments that dancers use to learn how to dance. The fact is that the dancer needs to receive feedback on how his movements look from the side. It is impossible to dance and see yourself from the side at the same time. The most common tool is a mirror. But not the only one.
Like any auxiliary tool, mirrors have positive and negative effects. The positive is that they can receive feedback in real time and technically it is not very difficult. The downside can be dependence on mirrors. A situation where a dancer cannot capture the feeling of dancing, such as on stage or at a party.
For these purposes, you can use, among other things, video filming or proper preparation.
In many countries in Latin America, dance classrooms are not equipped with mirrors. Classes are held in bars or large halls. The dancers initially form the skill of focusing on the inner sensation, and not the habit of looking for their reflection in the mirror with their eyes.
Misconception 7: there is a lot of obsceneness in dancing
A common question from novice dancers who are taking their first steps in more contact couple dances is “in order to dance cool, there must be passion inside the couple?”. I immediately answer that no, not necessarily. Kizomba, bachata and Argentine tango attract many with their close contact. Like any other contact in our everyday life, in dances, contact can be different. We hug friends, parents, children. These hugs can wear many different shades. Sexual overtones are one of many.
The culture of dance also includes the boundaries of what is acceptable.
A compliment from a well-mannered person is different from a statement about female sexuality by a gopnik. Usually, those who study at a dance school already have an idea of what boundaries should not be crossed. A good dance from a technical point of view will never look vulgar or vulgar.
Dancers always have a choice about the boundaries of contact. Most prefer to leave a good impression of themselves, as word spreads just as fast in the dance world.
Misconception 8: the best dancers are the bearers of culture
Even the very question of the origin of this or that dance can be paradoxical and ambiguous, especially when it comes to its development and performance.
For example, the Viennese waltz did not originate in Vienna, but in Germany. Salsa has its main roots in the USA, not in Cuba. The famous Greek folk dance sirtaki was invented for the film Zorba the Greek and appeared only in 1964.
The same can be attributed to the development of modern dance styles.
Korea is known for its world-leading break dancers. People go to Turkey for Argentine tango, Spain is strong with excellent salsa and bachata dancers, in Egypt, Russians are considered the best belly-dance performers.
A good dance is based on quality training and diligence. Skin color, place of birth and age are secondary. Exotic appearance, unfortunately, is often a reason to be more superficial about one's own professional development. This becomes the reason for the low level of teaching among the bearers of culture. I am sure that few readers of this post will be ready to conduct a master class in Russian folk dance outside of Russia.
The mastery of mastering and teaching a particular style does not depend on the dancer's homeland. And "they absorbed the dance with their mother's milk" is nothing more than a common misconception.
Misconception 9: You have to know a lot of moves to learn how to dance
Focusing on learning a lot of moves often detracts from the essence of dance.
Of course, the sequence of figures is important. Especially at the start. Over time, the dancer should have an understanding of how movements can be generated independently. Accordingly, instead of memorizing millions of figures, you can understand how to create them.
From every system of improvisation that a dancer can use as an instrument, dozens, hundreds or thousands of variations are derived. This frees the head from trying to reproduce the exact sequence and definitely adds freedom in the performance of the dance.
The huge theme of musicality can be attributed to the same question. Not every pre-conceived or learned sequence will fit specific music. The dance should give freedom, and not drive the dancer into the shell of the ropes.
Misconception 10: dancing is homosexual
The unusually high attention to the body and flair from stories about professional ballet led to the spread of this myth, among other things. Unfortunately, such an idea still exists in the minds of our fellow citizens.
The dance industry is now very broad and is represented by many dance styles. Some of them can even be called homophobic. Dances reflect the general attitude to the world and it is different depending on the life position and worldview of a person.
In many dances there is contact between the dancers. In Russia, dance contact between men has always been perceived very intensely. In most other countries it is different. An example of the fact that this tension is associated only with the dance theme and does not apply to other areas is, for example, wrestling. When practicing techniques, men are in much closer contact with each other. Sometimes lying on the floor and holding each other tightly. The historical roots of Greco-Roman wrestling are also ambiguous from a sexual point of view. But in our country, unlike dance, they are perceived as acceptable and brutal.
Dance, like the culture of speech, makes a modern person more successful and self-confident.
The ability to control one's body, tune in to another person and the ability to be aesthetic in the plasticity of movement is valuable in the modern world. If we add here the pleasure of the process and the availability of dance as such, then the possibilities of this activity can hardly be overestimated.
It's sad when interested people are stopped by prejudices and myths that have nothing to do with dancing. Freedom in body movements begins with freedom of thought and willingness to change.
I hope that this review will help to take a different look at the dance culture for those who still have doubts about whether to start dancing.
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about the benefits and complexity of dancing - Bel.
ru April 19, 2021, 05:33
Photo: Anastasia Torbina/Bel.Ru
Everyone knows the saying that movement is life. And this means that dancing can be safely called life.
Story
Exclusive
Personal experience
I have been dancing since the second grade. Mom always wanted me to have perfect posture and a sense of rhythm. The first one didn't work, but the second one does. Thanks to dancing, I became not only more sensitive, but also open, free, liberated.
I have six years of variety dancing and three years of ballroom dancing. And not the kind that everyone thinks of when they hear the words "ballroom dancing". I did not learn cha-cha-cha, tango and others, I danced polonaise, waltz, various polkas and other types of dances that used to be danced at balls. So I danced at real cadet balls. All the girls had fluffy white dresses, high hairstyles, gloves. The guys were in uniforms.
Yes, it was a wonderful and magical time.
Then I graduated from school, my young man graduated from the Shakhty Cossack Cadet Corps and that's it, the balls came to an end.
Photo: Anastasia Torbina/Bel.Ru
For several years I missed dancing. I wanted movement, energy, drive, but something always prevented me from going to some circle. It seemed that I was already too old to do something like that ... This went on until December last year, when my friend dragged me into a dance studio. There was a group that included girls of different ages. After the first session, I was overwhelmed with energy and positivity. I wanted more and more, although the physical preparation left much to be desired.
Since then I have been attending classes twice a week. Dancing helps to leave all the fuss outside the hall, discard all negativity and give yourself completely to your favorite business. When someone asks me what is the most difficult thing in dancing, I always remember the classics. My teacher, Olga Vasilievna Stroiteleva, strictly watched how we pulled our socks and held our backs.
And I had no choice: I had to do everything, although I always wanted to do something more energetic, and not try to stretch my leg harder.
Folk dancing is not easy either. The difficult element has always been the overtas. This is a movement where the dancer needs to keep balance, spin around his axis, while doing a wide leg swing at the same time. After such training, I didn’t feel like eating for a long time, because everything around was floating and spinning.
In the fourth year of study, we had an open lesson, which was attended by all parents. And one of the elements of the exam was this hated obertas. And how proud I was of myself when I was able to do it and not fall.
Expert opinion
I asked coaches and professional athletes I know how they came to dance, what is the most difficult thing for them and what to do if you are a “log” and want to dance.
Elizaveta Grigorieva
Photo: Anastasia Torbina/Bel.Ru
Elizaveta Grigorieva, was a ballroom dancer, Shakhty
I got into dancing thanks to my parents.
They put me in this industry because I was too energetic a child. Fortunately for them, I was so tired after training that I was calm at home and went to bed on time. But, despite her age (5 years), she chose the type of sports activity herself, since from the age of three she attended ballroom dancing competitions in the city of Shakhty with her family and they could not take me home from there.
I always told my parents that I also want to be like those people on the floor. And in general, there were dancers in our family, as well as many acquaintances who danced, so we already had experience in this business and family love for this sport.
Dances are all different in rhythm, body movement, emotions, body positioning and so on, so I will say this: the most difficult dance is the one that is danced last in the round at competitions, that is, it is either a fast foxtrot or a jive. But in any case, all dances are beautiful and easy for those who have love for them in their hearts.
If you are a log, what should you do? The answer is simple - dance. With my own eyes I saw how a wonderful dancer was made from a "log" and the ear was "set". I myself danced the Latin American program quite woodenly until I was trained in training, so the point is the desire of the dancer, and a competent and good coach will correct all the shortcomings.
Oleg Bogucharsky
Photo: Anastasia Torbina/Bel.Ru
Oleg Bogucharsky, professional dancer, Krasnodar
My parents were dance teachers. My grandmother also taught. And it so happened that I also started dancing from an early age. That being said, it's family. Now I am very glad that it goes from generation to generation. I can't imagine what I would do without dancing.
It is difficult to judge which dance or movement is difficult. For everyone everything is individual. There are two factors involved: physical and psychological. For me, if you take the first factor, it is more difficult to dance folk dances.
There must be good preparation, you must be strong. And if the psychological one is a classic, it is necessary to fully feel your hero in it, to give all of yourself to history.
I think hard training is important in not being a log. Everything always comes with time. Man is a creature that can learn and get used to everything, there would be a desire. If you want to become plastic and graceful, then discard all uncertainty and go to a dance class.
Karina Aksenenko
Photo: Anastasia Torbina/Bel.Ru
Karina Aksenenko, 7 years old coach, Shakhty
It seems that she came to dance by chance, but if you think about it, she always danced. A friend brought me to the dance studio. As a result, she left a month later, and I still dance. As I say: "If you fell in love with dancing once, it's forever."
When you first start out, all styles are difficult. But for me, styles that use acrobatics, elements of stretching, flexing, that is, elements that sometimes go beyond dance, are especially difficult.
