The expression “swing” refers back to a certain American era, 1935-1945, and to a style of dance and band arrangements and performance using rhythmic ‘riffs’; an era that is now imbued with much nostalgia.
Two forms of swing music evolved simultaneously; recorded swing and performed swing. Recorded swing songs consisted of tightly written 3-minute arrangements. That was the time-limit allowed on the old 78 RPM records; after 3 minutes, the stylus hit the spindle. The swing heard at live performances, like at dances or over the radio, allowed for open-ended arrangements and longer improvisations.
With the advent of ‘swing,’ the role of the band leader also changed. Some of the older conductors, such as Paul Whiteman and Paul Ash who traditionally stood in front of a band and waved a baton, were slowly replaced by band leaders who were great instrumentalists in their own right. Men such as Benny Goodman, Glenn Miller, Tommy Dorsey and Artie Shaw would alternate between leading and soloing on each tune played. Other leaders like Count Basie and Duke Ellington led by playing the piano full time on each song.
The “sidemen” were also given more opportunities to solo during songs. Gene Krupa, Cootie Williams and many others gained their initial fame in this manner, often going on to become band leaders. Additionally, the entire band would sing or ‘scat’ an entire chorus. This was in keeping with the old Southern (American) tradition of “call and response.”

Dancing
Swing music’s popularity was very high throughout the late 1930’s and the 1940’s. America maintained swing’s popularity throughout the WWII years when both large and small ensembles toured Army and Navy camps both at home and abroad. At home, swing was heard at bond sale rallies and community concerts. The new sub-culture of women workers also adapted boogie-woogie and other novelty and jive styles.
Swing truly dominated the social milieu. Swing music became popular at every event from New York’s swankiest nightclubs to school proms, ‘Juke Joints,’ and even to Young Communist League parties. Every portion of society found some form of swing suitable for their dancing or listening. Country club couples foxtrotted to “Moonlight Serenade”; College students did “The Big Apple” as a circle dance; and Harlem ballrooms exploded with the aerial acrobatics of the Savoy Swingers and the Audobon (Ballroom) Lindy-Hoppers.
Emerging from a 50 year hiatus, “Swing” is again king, and the joints are jumpin’ on the west coast’s scene in Los Angeles and San Francisco, and they are hopping in New York.
The social aspects of swing’s upbeat, infections rhythm and sensual physical contact have proved particularly appealing. Many of today’s new swingsters were bored with the formless, contemporary free-style dancing and prefer to grab on to their real partners.
They’re dancing not only to the music of Benny Goodman and Louis Jordan, but also to the jump-jiving retro bands such as Big Bad VooDoo Daddy, Brian Setzer Orchestra, the Flying Newtrinos, Squirrel Nut Zippers and the Flipped Fedoras—with modern, updated and somewhat faster-paced versions of big-band-era music.
Swing offers a joyous alternative to a generation that came of age during the AIDS crisis—a time when sexuality was hidden under grunge. Swing is a return to elegance, to touch dancing and to wearing your sexuality on your sleeve.
Swing – the Lindy Hop – born in Harlem 70 years ago, is here to stay. Swing is definitely the thing.

Clothing
Many of the older crowd now shows up in casual dress, but the younger cats look sharp in gabardine suits, “zoot suits,” ties and fedoras, and the chicks look great in lace and crepe dresses, leaping and shimmying to tapes of swing-era classics.