Magic Pill

HAHHHAHA Yes, the Shatner get a life skit is the one I was talking about.

The irony is that my last name is one letter off from Sulu's and pronounced the same. 8) I'm such a trekkie I married into the last name of one of the characters.
I add this post as a defense for my 'Lanza Six Count Lindy', but NOT as a defense for my insensitivity regarding my crude uncalled for remarks about WCS. I am guilty of that and am gratefully humbled by the advice given by Dwise1 and DancingMommy.
I had a dream about a moth ago and I put the dream into a true story called, 'Little Joe and Big John'. In my teenage years, during the late 1930's I was forced into a boxing match by my peers to fight Big John a bully of the block who was much bigger and over a year older. In the second round I landed a lucky round house to his jaw that ended the Boxing match with a technical KO. Big John turned out to be a very friendly citizen after the technical KO. In my dream last month, Big John and I met once again and after a congenial meeting as I left, John said, "Thanks for teaching me a good lesson."
Nw my post:
The test of a professional instructor is, 'Do the students retain the lesson just ended or do the students forget what was just taught when the door hits their asses as they leave'.

Why is the Lanza Six Count Lindy a fail-safe effective teaching method?
1) It is a simple uncomplicated method and anyone can TEACH or LEARN to dance the Lindy within minutes and the basic moves are unforgettable;
2) It is a guide line with an universal application for LEADING or FOLLOWING Lindy Dancing with whomever from wherever;
3) The Six Counts can be used to describe almost any Lindy configuration, and by adding < And (&) > Counts the most advanced configurations can be graphically described > . see page 133 in my book "Lindy By Lanza", the Savoy Slide;
4) There is a consistency to the Lanza Six Count Lindy formular without limiting creativity or styling;
5) The Six Count becomes an Universal language so when changing teachers the terminology is consistent between teachers from different dance studios, instead of contradicting and confusing;
6) Lindy dancing can have a continuos rhythmic euphoria because of the basic Lindy techniques are intrinsic in the simple Six Counts that make transitions from one configuration to another automatic;
7) The Six Count can also be easily adjusted to be used for Advance Whip Rhythms
< 1 & 2, 5-6, > instead of < 1 & 2, 3 & 4, 5-6 >
8) LSCL eliminates teaching any Tricky Configurations that are not leadable or followable.


"Slow, Quick, Quick Slow, Quick, Quick, Slow, Slow


LADY, ON THE 1... &2 ALWAYS travels or turns only on these 3 steps;
LADY ON THE 3... &4 ALWAYS takes 3 steps in-place;
LADY ON THE 5 -- 6 ALWAYS Rocks Back, takes 2 steps.

MAN ON THE 1... &2 - 3... &4 takes 6 steps in-place, rotating with the direction of his leads;
MAN ON THE 5-- 6 ALWAYS Rocks in the direction of his leads;
MAN ON THE 1... &2 ALWAYS gives his leads.


1) Starting the dance by Rocking Back changes the sequence of the numbers and the techniques and starting any ballroom dance by both partners moving backward is awkward;
2) Mixing Triple and Eight counts with the Six Counts is totally confusing;
3) Lack of Resistance because of lose flexible arms;
4) Falling back on heels in Rock Steps slows agility;
5) Rushing Rock Steps as a Slow Quick instead of a Slow Slow.
Uncle Joe
The Dancers Best Friend
Only a few years ago the term, 'Six Count' was NEVER mentioned in Dance Forum except in my Magic Pill. If there are any Swing Historians out there, would you dig up any statement mentioning 'Six Count Swing' or Six Count anything before April, 2001, when my book, 'Lindy By Lanza' was a first published and distributed to some 200 Dancers mostly in LA including the Entrepreneur of Camp Hollywood, Hilary Alexander.

I have had copies mailed to me and read through Skippy Blair's book and both of Laure Haile' s books and there was never a phrase in those books that mentioned Six Count Anything. And those two very talented ladies who were good friends of mine are prime authorities of WCS who I respect with a reverence for their contributions to WCS.

But 'Lindy By Lanza' is the first book published internationally, that mentions 'Six Count Lindy' and explains it as a Teaching Method and describes in precise detail the complete breakdown of the Teaching Method.

Now that Steve Pastor has a copy of 'Lindy By Lanza', he can make a personal evaluation of my statement that the 'Lanza Six Count Lindy' appeared in print before any other source publicly even mentioning the term or describing the rhythmic Six Count Lindy for Swing before April 2001.

It is always *******ing to set the historical Swing facts straight, don't you agree Steve?

Uncle Joe
The Dancer's Best Friend
In Dance Forum and in the dance classes that I have observed in LA in the past two years the Triple steps in Swing are divided as < Quick Quick Slow > instead of < Slow Quick Quick > as I do in my Six Count Lindy Teaching Method. Kayak and FlatShoes break up the `Triple as Quick Quick Slow. In the quote on DF Tang0man quotes Laure'' Hail as suggesting that the Triples are separated into Quick Quick Slow in order to dance in syncopation.

Dancing in Syncopation with the music is accenting the Quarter Up Beats, the # 2 & #4 beats in a 4/4 bar of music. Agreed?

Now when you express the first Quarter beat in a bar of music with Quick Quick (two Eighth notes), you are in fact accenting the down beat by varying the duration of first Quarter Note by Two Eighths therefore you are accenting a down beat which does not qualify as Syncopation even if you feel it does.

Another way to think of expressing the first Quarter beat is with an equal duration of one Slow weight change; there is no difference in duration between the first Quarter note and the duration of the weight change, and therefore no accent is felt on the Down beat.

If instead you hold the first Quarter note with a weight change of the full duration of the first Quarter note and you express the second Quarter note (the Up Beat) with a Quick Quick (two Eighth notes) (S Q Q), you are accenting the Up Beat, the even numbered Quarter notes in a bar of Music by changing the duration of the second Quarter note by two eighth notes, two weight changes i.e. Quick Quick.

And this qualifies as dancing in Syncopation with the music since you are accenting the Up Beat. It takes time to begin to feel the euphoric zone of dancing in syncopation, but once you do, you will get hooked not only on dancing in Syncopation, but on improvising your counter rhythms endlessly, which is the real high in dancing or in vocalizing or in playing an instrument when you get in the Zone where you are energized in a continuos euphoria. I've been on that trip cold sober.
The secret is < Slow Quick Quick >.

Uncle Joe The Dancer's Best Friend.


Active Member
Thanks UJ,

After being a member of DF for 3-4 years and seeing you post and repost the Magic Pill, I finally understand the point you are trying to make in you Magic Pill effort. Before, my reading of your description of six count swing sure didn't sound very different than anything I was seeing. The past few post you have made help a lot. I can understand you mission to change the way the upbeat gets emphasis.

Probably a similar debate occurs in Nightclub 2-Step. The Buddy Schwimmer version places emphasis on the downbeat different from the CW version. I don't have a name for who in the CW world began placing the QQs on the opposite beat, but it does really fit a lot of super slow music better. So there is a similar debate on QQS vs SQQ in another dance.

Sorry, I have to defer to much smarter folks in music theory for rendering an opinion on whether QQS or SQQ is a better fit for Lindy.
Here's the thing though (even though I would hesitate to count anything in triple steps in ECS as QQS or SQQ, since a S=2 and a Q=1, whereas the triple should be syncopated): NEITHER is inherently more correct than the other. Some steps require a different syncopation, some songs require a different syncopation. Yes, you should be accenting the 2s, and you can do that in many different syncopations. Accenting the correct beat is not about the syncopation itself, so much as how you do it. (Don't believe me? I've seen plenty of beginners accenting the 1 doing either something resembling SQQ or QQS.)
But 'Lindy By Lanza' is the first book published internationally, that mentions 'Six Count Lindy' and explains it as a Teaching Method and describes in precise detail the complete breakdown of the Teaching Method.
Mind telling who the international publisher is? WorldCat turns up nothing.
The best way to test which feels better is to try both, accenting with a slight lilting of the body (No Stamping) on the Q Q of the first Down Quarter Beat (One) and then the QQ on the second Up Quarter Beat (two).
You do not need to be a professional musician to feel music.

Use a full medium tempo song to get into the rhythmic zone uninterrupted for each, QQS and SQQ; it helps if your partner is on the same accent during the test, but not essential. I always accent on the Up Beats regardless where my partner accents.

I appreciate your objective approach.
Uncle Joe

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