the Hustle

History

Based on older dances such as the mambo, the Hustle originated in Hispanic communities in New York City and Florida in the 1970s. This was originally a line dance with a Salsa-like foot rhythm, that after some fusion with swing and eventual shortening of the count to "&1 2 3", became the present "New York" Hustle.
[edit] Van McCoy's song

A line dance which was called Hustle became an international dance craze in 1975 following Van McCoy and the Soul City Symphony's song, "The Hustle". Tipped off by DJ David Todd, McCoy sent his partner Charlie Kipps to the Adam's Apple discotheque of New York City's East Side. The forthcoming album was renamed Disco Baby and McCoy was named "Top Instrumental Artist" of 1975. (Jones and Kantonen, 1999). When released, the song reached the top of the Billboard Pop Singles chart the week ending July 26, 1975.
[edit] Hustle Line dance

There was also a popular line dance known as The Continental Walk, which was danced to the eponymous record by Archie Bell. In the Continental Walk dancers dance backwards, then forward, then to the right and then to the left. They jump forward and backward, and click their heels. They do some quick tap steps and then turn to the left to face a new wall. The Continental Walk was the first followed by the Bus Stop which had monthly variations. The Bus Stop was the best known and most frequently performed line dance in the discos of 1976 & 1977. This dance was also referred to as the "LA Bus Stop Hustle." A detailed description of the steps along with an instructional video of this hustle line dance is available here. (See also external links below.)

This line dance was a version of Merengue with steps to rotate the dance direction orientation to another wall. The most popular current version (1980–2008) is called "The Electric Slide".

The original NY mainstream Bus Stop and Hustle trend ended and freestyle took over when recording artists Chic released the song Le Freak in 1978. Everyone else in the country started in 1978 after Saturday Night Fever was released.
[edit] Depicted in Saturday Night Fever

The 1977 movie Saturday Night Fever showed both the line and partner forms of hustle, as well as something referred to as the "tango hustle" (invented just for that film by the cast, according to the DVD commentary). Afterwards, different line dance and couple dance forms of the Hustle emerged. Although the huge popularity faded quickly as the hype that was created by the movie died down, the hustle has continued and is now a "ballroom dance"; it has taken a place besides swing, cha-cha-cha, tango, rumba, bolero, nightclub two step and other partner dances in America.
[edit] New York Hustle

The couple dance form of hustle is usually called New York Hustle or Latin Hustle. It has some resemblance to, and steps in common with, swing and salsa dancing. As in the Latin dances, couples tend to move within a "spot" on the dance floor, as opposed to following a line of dance as in foxtrot, or as opposed to tracking within a slot as in West Coast Swing or LA Hustle.

One similarity between hustle and swing is that the lead takes the rock step on his left foot; however, if the dance is taught by counting, the rock step happens at the beginning of the count – "and-one, two, three" rather than at the end of the count as in swing – "left, right, rock-step". This can confuse beginner leads who are used to triple-step swing, because the lead rock-steps on the right side of his "track" in the swing basic but on the left side in the hustle basic.
[edit] Common steps

* Basic - similar to the basic from single-step swing, except rock step is at beginning
* Turn - 180° clockwise turn taken between 2 and 3 count, followed by a rock step
* Left Turn - 180° counterclockwise turn taken between 1 and 2 count, followed by a rock step
* Side Break - lead sends follow out still holding her left hand, then picks her back up
* Wheel - couple in double hand-hold pumps arms like a bellows; couple as a whole rotates 180° clockwise
* Inside Turn or Loop Turn - similar to the loop turn from swing; follower twirls 360° counterclockwise

The Story of Van McCoy

Starlighters album.

The Starlighters. The young quartet that started it all for Van’s musical legacy. Listen to the Starlighters in our discography section. Purchase their work in our store.
The genius of his music still lives and continues to delight and inspire people all over the world.

Van’s musical venture started when his brother, Norman, Jr. and a few high school buddies formed a street corner singing group called the Starlighters. Van became the lead singer, writer, and music director for the group. They quickly moved from school programs and talent shows to recording their first 45rpm single, The Birdland, named for a popular dance of the late 50s. The group appeared on stage in Washington, D.C. (Howard Theater), Philadelphia (Royal) and New York (Apollo). Vi Burnsides, a musician from the famous Sweethearts of Rhythm all female band, took the Starlighters with her to enhance her performance tours on the east coast corridor. This gave them their first exposure to audiences in theaters and stages in major cities away from home. The Starlighters ended as military draft, marriage and college called them away one by one.

Van, who had entered Howard University, left after two years and moved to Philadelphia, and later to New York, to begin a serious music career. The late Reginald Morrison, a local building contractor and relative of a Starlighter backed his first solo music venture. Jocko Henderson, a popular Philadelphia Disc Jockey, was the first to play Van’s records and later formed Vando Record label with Van.

Van was hired by the late Florence Greenberg as a staff writer at Scepter Records. He worked with Messrs. Lieber and Stoller and with writer/producer, Clyde Otis. David Kapralik, A&R at Columbia Records, hired Van as a songwriter with April Blackwood Music. Van wrote hits for Chad and Jeremy, Ruby and the Romantics, Irma Thomas, Nancy Wilson, Barbara Lewis and others. He also formed the original Peaches and Herb duo. Impressed with the smooth and mellow quality of Van’s own voice, Columbia’s famed, “Mitch Miller,” produced an album of beautiful ballads sung by Van McCoy. Nighttime is Lonely Time, is now a collector’s item.

Van continued with his real love, writing and producing music for other artists. He wrote for Aretha Franklin, Gladys Knight and the Pips, Roberta Flack, Vikki Carr, Tom Jones, Nina Simone, Jackie Wilson, Gloria Lynn, Brenda and the Tabulations, Nat Cole, Melba Moore, Stacey Lattisaw, David Ruffin, The Shirelles, Chris Bartley, Chris Jackson, and the list goes on-and-on.

He wrote some of the music for TV classic, Woman Called Moses, the story of Harriett Tubman. Mae West, the legendary actress, produced and starred in her own movie, Sextette, and asked Van to write the theme song, and to make a cameo appearance in the film. He was a frequent guest on the Tonight Show and appeared on the Mike Douglas Show.

His last eight years were spent in partnership with writer/producer, Charles Kipps in McCoy-Kipps Productions. Van formed the Soul City Symphony orchestra, and with singers Faith, Hope and Charity, produced several albums and gave many performances. In 1975 he recorded the Grammy nominated Disco Baby album with the Grammy winning, Gold single, The Hustle. The Disco explosion of the mid-70s propelled Van and the Hustle into a worldwide tour, and later to a great show at the Avery Fisher Hall in New York City.

Van McCoy was overwhelmed by the sudden burst of stardom and life in the fast lane. He never got back to the mellow life and fun career he had so dearly cherished. The 39 year old star was stricken with heart failure in his fashionable home in Englewood Cliffs, New Jersey and died July 6, 1979 at Englewood General Hospital.
More About Van McCoy

Who was this man whose music is still touching all parts of the world decades after his untimely death in 1979? Van Allen Clinton McCoy was born in Washington, D.C. on Jan. 6, 1940 (1944 incorrectly reported elsewhere). He was the younger of two very talented sons of Lillian (Ray) and Norman S. McCoy, Sr. He grew up on Columbia Road, Northwest, in a loving Christian home that included his beloved “Dar Dar,” maternal grandmother, Mrs. Mary Lindsay Ray. His parents were very active members of the, now historical, Metropolitan Baptist Church which became a central part of Van’s life also.

He attended neighborhood public schools, Monroe Elementary, Banneker Jr, High, and then Dunbar High School. Van was an excellent student who loved mathematics and worked hard to bring home “A’s.” Washington, DC had to integrate its racially segregated schools and Van was transferred to all white, Roosevelt High School. His musical talent along with his friendly and easy going manner soon made him a hit with all of his schoolmates. Though apprehensive about the school change, Van made a quick adjustment, was an honor student the two years he spent at Roosevelt. He graduated and promptly entered Howard University to major in Psychology.

Van enjoyed his happy and fun filled childhood and adolescent days. He sang in the church and school choirs, performed on local programs with his brother, Norman, Jr. and spent every leisure minute at the family piano. Music was all around him; his mother and God-mother sang in local choirs and were always rehearsing at his house. The McCoy boys spent many summers in Florence, South Carolina with paternal grandparents, Rev. Clinton and Mrs. Mary McCoy; a small church pastor whose wife played the piano, sang and taught music.

Van and his piano and brother, Norman, Jr., who played the violin, were family treasures and the boys delighted in performing for all who visited the home. They attended a Saturday music class for children at Howard University, under the tutelage of Dr. A. H. Johnson. There Van learned to read music and discovered it had its own unique language of notes. He found how to use the notes to create his very own music. Once Van got started, he just kept going.

This pleasant, patient, easygoing kid got along well with people of every age. He loved his family and was a homebody. Van seemed to breeze along with no particular problems other than recurring skin eruptions that later kept him out of military service. He had a great sense of humor and could be a “cut-up” with his brother. Van’s music ability made him very popular with an ever increasing number of his peers and the McCoy home became youth "headquarters".
In 1954 the McCoy’s met a young woman, Mattie Goodrum (Taylor), who had recently relocated from Atlanta Georgia. Her father, a long time family friend, was in town and brought her with him on a dinner invitation to the McCoy home. The boys were very curious as she was the first "lady cop" they had known. But as she continued to come around, there was always fun and laughter and they looked forward to her visits. They quickly decided she was the perfect "big sister." She had the right credentials to chaperone their basement parties, and could take them to the beach and amusement park. Soon he had a doting older sister and brother as his sounding boards and buddies, and the fun was on. With his mother Lillian as chief supporter and advisor, Van made bigger and bigger strides in his music career.

Van never married; his songs were his “children.” He was at one time, engaged to marry Kendra Spottswood, the “girl next door” sweetheart, whom he met in 1961 when he first moved to Englewood New Jersey. She loved to sing and was soon harmonizing in the studio with Van and Norman. For the next five years they were inseparable. Van recorded her as Kenny Woods and later as Sandi Sheldon. They had big fun in the studio turning out singles together with such names as Jack & Jill and The Fantastic Vantastics. Their engagement and music ventures ended when Van delayed wedding plans to take the contract with Columbia Records.

His brother was twice married and had four children who became Van’s pride and delight. They visited him often and remained close to him until his death. He treasured his role as “Uncle Van” to all of children in the family and showered them with handpicked gifts from his travels.

The first crushing blow in Van’s life was the sudden death of his mother, from a brain hemorrhage, in October 1973. Shaken and dazed, Van tried to tune out his sorrow with more work. He picked up the plans Lillian had begun for Dar Dar’s 100th birthday celebration and in August 1974 gave his grandmother a gigantic party on the grounds of his beautiful Washington, D.C. residence. In August 1975 he gave her an even bigger 101st birthday party and she presented him with the certified gold record for the Hustle. Mrs. Ray got to her feet and danced a few bars of the Hustle with Van and then with distinguished guest, D.C. Mayor, the late Walter Washington. This sent the media, cameras and guests wild with excitement.

In August 1976 Mrs. Ray, died peacefully at Van’s home, where she lived. Norman, Sr., joined the Van McCoy staff and traveled with his famous son to help comfort him. However, grief and despair carried him downhill physically and emotionally until the end. His funeral was held at his beloved home church and he is buried at Lincoln Cemetery, Suitland, Maryland.

Viva McCoy

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DO THE HUSTLE

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Do The Hustle
Do The Hustle

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DO THE HUSTLE

Do The Hustle

DO THE HUSTLE

Do The Hustle