Barrie Dance Studio

The rock and roll super group – a group made of musicians who are well-known for being in other groups, or, solo stars who band together into one entity, like the comic book heroes X-men or The Avengers – has a long history in rock music. The super group Blind Faith was comprised of guitar giant Eric Clapton and drummer Ginger Baker from Cream, joined with Steve Winwood of Traffic. Clapton also joined with legendary Allman Brother Duane Allman and super drummer Jim Gordon to form Derek and the Dominoes, who recorded the classic rock album ‘Layla and Other Assorted Love Songs.’

Oftentimes in jazz, musicians from different groups (who are great solo artists in their own right) will come together and create great music. However, this is not always the case. Groups made up of great performers – those used to working alone or being the “star” – can sometimes be less than the sum of their parts, as egos clash and the group becomes like a bad basketball team, where everyone wants to score and nobody wants to pass or play defense. Koko Dozo, however, is a dream team. Each member of the group, which includes Polarity/1, Rubio and Amy Douglas, is an equal contributor, with the entire group utilizing each member’s skills and talents. Once more, there are no egos clashing. Quite the opposite occurs, as the members provide support and encouragement for one another. On the group’s debut ‘Illegal Space Aliens,’ Koko Dozo shows that individual and group expression can meld into one, and – just like a good jazz band, baseball team or this year’s Boston Celtics – can result in something even greater than the sum of its parts.

[Mark Kirby] What kind of music was played in your homes when you were growing up?

[Polarity/1] I started off with my dad’s records. My earliest faves were Cab Calloway, Tito Rodriguez and other salsa music, Elvis, James Brown, Chuck Berry, Beatles and Led Zeppelin. Then there was the radio and television shows like American Bandstand, Soul Train and the Ed Sullivan Show.

[Rubio] My parents were fundamentalists and went through this period of being afraid of having any secular music in the house, so for a while we had nothing but this old 8-track with Pat Boone and Bob Dylan’s one Christian album. No, I’m not making this up. I used to stay up nights just surfing the dial on this crappy transistor radio I had and absorbing everything I could get my ears on.

[Amy Douglas] I come from a family that played instruments. Growing up, I was fortunate to have parents that liked music quite a bit. My dad was all about jazz – Thelonious Monk, John Coltrane, Miles Davis, Brubeck, Duke, Bird and Diz, etc. – so I get my love of jazz from him and my grandparents. My mom was a huge fan of artists like Carol King, Joni Mitchell, James Taylor, Paul Simon, Jim Croce and Elton John (still one of my personal heroes to this day). She was also a huge fan of Smokey Robinson and the Miracles, The Temptations, Philly soul, and anything Gamble and Huff touched, from Harold Melvin and the Blue Notes to the Spinners and all in-between. She liked Black music in general. Also heavily on rotation in the house growing up was Aretha Franklin, who served as my initial influence into opening up my head and wailing away, and Stevie Wonder, who was one of my greatest influences of all.

[Mark Kirby] What incident or moment ignited your passion to perform or otherwise get into music?

[Polarity/1] When I was in high school I discovered Brazilian music, Appalachian folk, Eric Dolphy, 16th century Japanese court music, Bob Dylan and Mahavishnu Orchestra. My thing with Dylan got me to buy a guitar so I could express my rage over the inconveniences of life on earth. Within weeks I was writing clueless protest songs about important political issues I never bothered to read about.

[Rubio] I’ve had a passion for music as long as I can remember. I used to go nuts over it even as an infant apparently. I started taking lessons at age four. When I was 11, I formally made a decision to dedicate myself to music. I was classically trained on piano and organ as a kid. As a teenager, I started getting heavily into metal and prog rock and things like that.

[Amy Douglas] I think growing up as a child in the 1970s served as a constant source of inspiration and was a catalyst. From just listening constantly to my parents’ music, and then turning on the TV or radio, it seems like virtually EVERYTHING influenced me. But if I had to narrow it down to a few choice moments, I’d say playing Stevie Wonder’s “Songs in the Key of Life,” seeing Chaka Khan on Soul Train, seeing Bowie everywhere on TV, hearing all the Beatles’ albums, and most important, hearing Led Zeppelin, my favorite band of all time. Between the TV shows Soul Train, Midnight Special and Don Kirshner’s Rock Concert, there was no shortage of good stuff to draw on. I think the combination of hearing all this stuff as a child was like a bomb going off. Certainly, I take almost all my visual cues from Donna Summer, P-Funk and Chaka.

[Mark Kirby] Describe your musical backgrounds. Did you study formally in school? Or take lessons?

[Polarity/1] When I was 14 I bought a plywood guitar with a book of tunes that had chord diagrams, and then I starting writing my own songs. A couple of years later I took a few lessons and learned how to play major and minor seventh chords so I could add some jazz and bossa nova flavor to my songs.

I spent a semester at Berklee School of Music in Boston, which was a weird move, being that I couldn’t functionally read music and my brain isn’t wired for formal learning. But I could write notation a little bit and tried to prove that I was Berklee-worthy by hot-dogging the homework projects – like scoring an arrangement of Monk’s “Epistrophy in 7/4,” which nobody could play. I was redeemed a few years ago when I notated a 7/4 thing for Pete McCann and Gregg Bendian to play on “Munton’s Revenge” on the Polarity/1 ‘Speechless’ album. They nailed it pretty quickly. What was good about the year at Berklee was that even though I couldn’t learn in a normal way, [with] what they were throwing at me, I was able to sort of “visualize” all these concepts like chord functions and voicings. It all came in handy much later on in unexpected ways when I would create quite complex things without “knowing how” and be taken seriously. In that sense I’ve had a very real musical training.

[Rubio] I had lessons up until I was 16, mostly classical music. When I was younger, we had a deal where I got free lessons in return for performing for Kawai, showcasing their instruments in malls and conventions. Because of that, I had some performance training as well. By my 17th birthday I was playing full-time with bands and earning my keep.

[Amy Douglas] I started doing music from age six onward. I first discovered I could sing when my elementary school teacher wrote my mom a letter saying, “Ask Amy to sing for you sometime.” My grandmother taught me piano initially, and from there I took lessons. From 6th grade on, I was one of those disgusting “Music Big Concert School” kids. I started learning music theory in junior high and I got a lot of credit from the state of New York, won the Louis Armstrong and Eubie Blake music scholarships and then went to study Jazz Theory and Composition at New York University. UUUUUUGH.

[Mark Kirby] What were some of your earliest musical experiences?

[Polarity/1] My earliest gigging experiences in high school were great antidotes for bad looks and bad conversation-starting skills. Music-making has been all good except for one rough period where I got a real-world lesson about where my strengths and weaknesses were. My songs started off in folk and rock. Then they got jazzy and funky. Then I wanted to bring elements of the late John Coltrane, Mingus and Mahavishnu. So I created a band with all jazz guys instead of folk-rockers which was most[ly] cool – except that I wasn’t that kind of player with that kind of training. Since my only interest in the guitar was for songwriting, I had no chops and couldn’t contribute much on the instrumentals the other guys were writing. And they needed a serious jazz/metal guitar player. So I got fired from my own band. It triggered a move into a radically different direction, where I had to start from scratch and discover what my own creative process was, make a commitment to it and then succeed on my own terms. And with that kind of focus, I found that there were a whole lot of different things that I did really well with my own vision and method and developed big chops with it.

[Rubio] It was rough from age 11 to 16 because I basically had to disappear into a hole and hibernate in order to switch from organ to piano, and didn’t perform live at all during that time. It was a definite case of withdrawal. My first few rock bands were rough, too. I was nicknamed “Wendel” because that was Gomer Pyle’s actual first name in the TV show. I’m sorry to say that at the time the name fit perfectly. I was more than a bit naive. I’m very grateful for those times, though, because I learned a lot very quickly.

[Amy Douglas] I played my first pro gig at age 12 and did my first pro session at 13. I told my parents I didn’t want to go to school anymore. From then onwards, it got darker. My first pro gig was at a supper club on Long Island. Between dishes of steak and shrimp, I sang a combination of jazz standards and disco classics. It was a blast.

[Mark Kirby] Describe your individual musical journeys from the first bands to Koko Dozo.

[Polarity/1] I started off writing songs until I hooked up with the SIM (Studio For Interrelated Media) department at Mass Art (Massachusetts College of Art) when I was discovering Cage, Xenakis, George Crumb, Joan LaBarbera, Steve Reich and others. I made a decision to not use melody, harmony or rhythm in any way that resembled songs or jazz. And since I was also a visual artist at that time, the art scene provided venues for this new direction. So my visual stuff, music and lyric-writing got re-channeled into performance art and composing for choreographers and experimental theater. I also formed a group called Vocal Repercussions that did totally improvised vocals-only performances, where abstract vocal sounds morphed into words, free-associated texts, rhythms and harmonies. Then I moved to NYC and got obsessed with groove. I studied African drumming, played in samba bands and had a hip-hop thing with rapper D.A.V. called Medicine Crew. Hip-hop was an easy transition because I was already into looping and collaging, but in an abstract mode, and my performance poetry worked in a rap format. I was always into groove since I was little – funk, salsa, African drumming, calypso, samba and reggae. A couple years later I got back into songwriting and all that stuff merged into songs and electronica when I became Polarity/1. And that led to film scoring and collaborating with Rubio on Audioplasm, which led to Koko Dozo. And recently I circled back to the art scene, scoring for Battery Dance Company and Quorum Ballet from Lisbon.

[Rubio] My very first band I was in was ruled with an iron fist by this absolute tyrant and it was a real wakeup call. Those were also very fun times, of course. After a couple years in my hometown of Winnipeg, Canada, I moved to Toronto for six years before coming to NYC in 1997. I’ve done just about every kind of gig you can think of in that time, both live and in the studio.

[Amy Douglas] I had been gigging steadily in my own bands, ranging from funk to rock. I was part of a group of downtown artists known as the “Homocorp” scene. I was [also] a part-time member of the Squeezebox Band – the same Squeezebox they recently released a film about at this year’s Tribeca Film Festival – and basically spent my 20s either gigging, doing sessions or hanging with drag queens and getting into trouble.

[Mark Kirby] How did the three of you meet and get together?

[Rubio] I had met Polar in 2003 through a mutual friend, a drummer called Curtis Watts, with whom we had a mutual interest in samba. We hit it off and started working together sporadically. In the fall of 2005 we decided to completely redesign Polar’s studio with my help and work on each other’s projects. That blossomed into us working together on some production stuff, mainly soundtracks for documentaries, and an instrumental collaboration called Audioplasm.

[Polarity/1] Rubio and I were working on the Heavy Meadow album at the same time he was working with Amy in her “Red Hot Mama” show. He suggested the three [of us] get together to see if we could come up with something interesting.

[Amy Douglas] I had a show called “Red Hot Mama,” which was a rock vaudeville show, and I had hired Rubio as the keyboardist, and we really hit it off. When the show folded, he introduced me to Polar, the two of them having done a project called Audioplasm. I am way happier in Koko Dozo than I’ve been in just about anything I’ve ever done. We got together on a super hot summer day in 2007 and realized we had a great capacity to make incredible music based on our collective musical passions and influences, which also include a group devotion to Brazilian music, Afrobeat, and Latin music, so we really had quite a stewpot brewin’ by the time we started to write songs.

[Mark Kirby] How did you arrive at the name Koko Dozo?

[Amy Douglas] At the risk of hurting myself by patting myself on the back, I have to take the credit for it. My ex-boyfriend had mentioned wanting to do an avant-garde project and he threw out Koko Dozo as a trial name. When we were thinking about names, I threw it out there, and the guys liked it. I think it’s fab. [My ex-boyfriend] did so little for me while we were together, [so] at least he gave the band a great name.

[Mark Kirby] What is the musical concept of the band?

[Amy Douglas] It’s a really huge one. First and foremost it’s to virtually force people to have to really listen to what we do, and to help audiences that have been pandered to and been reduced to some sort of lowest common denominator grow some brain cells back. The music is obviously a ton of fun, it puts you in the mood to do some serious dancing and there’s more than a healthy dose of silly swirling around in the mix. But really listen to the words and you’ll hear that we have some deep issues we’re struggling with and we do address them in our songs, ranging from our distrust of our government, to the polarization of culture in our home of New York City and a whole bunch of other things. Our musical concept is to shrink the globe as well; the internet has made the world a smaller place and we wanted to find a way to fuse cultures, languages, styles and influences together in a way that reeks of New York City life, but will appeal to an audience that is truly global.

[Rubio] Generally, Polar handles the arrangements and the drum and percussion elements. I come up with harmonic ideas, play most of the keyboard/bass-type things and mix the tracks. Amy is the voice of the project and handles melodies. Obviously, there is a lot of overlap. There is one song I arranged and produced (“Boomchi”). Polar and I each do one lead vocal (“Kokodozonomics” and “The Heart,” respectively). There are songs where Amy did the chord structure and played keyboards. Polar is very avant-garde and always pushing the envelope. Amy is very melodic and tends to create things that are catchy and mass-appealing. I’m kind of in the middle.

[Polarity/1] We have an open source attitude about music. Between us, we’ve worked just about every genre category there is and we don’t feel any compulsion to restrict where we go. Each song has a strong identity of its own but they all sound like Koko Dozo. Conventional wisdom dictates that our way of working will guarantee that we’ll never find an audience. But we know that’s bullshit. The post-corporate online music business has made it okay for people to trust their intuitions about the music they discover. An amazing variety of people are responding. We’re reaching young electro heads, world-beaters, dance-clubbers, boomers, electronica geeks, and po-po-pomo gonzoid hairy-backed noiz gimps living in the basement of the basement on diets of sticky buns and penis butter and toe jam sandwiches. The parents and the kiddies like us too. And we write in different languages (English, Spanish and Portuguese) which reaches out even further. Also we have this whole bargain-basement-space vibe that makes things really fun.

[Mark Kirby] What is the story behind the Sun Ra-esque (a new word!) dress and alien mythology?

[Polarity/1] Here’s the story: we came from outer space and landed on Earth to exploit its resources – and for other reasons that we’d rather not discuss. We’re from the low-rent part of the universe where you wear whatever is lying around in the alley on garbage pickup day. That, coincidentally, is the same galaxy where Sun Ra came from.

[Amy Douglas] {Laughter} Well…the word “alien” permeates much of what we do and we like to riff on the term. Alien, as we mean it internally, is the feeling of not being comfortable in one’s skin, feeling out of synch with the world around you, feeling like the constant outsider. And we decided to really play with the word, and we decided that a space age “alien” theme would suit us wackos pretty well! Besides, it gives me an excuse to wear wigs and glitter, which I feel I was born to do.

[Rubio] We really wanted to put the fun and craziness back in music. Too many projects take themselves too seriously these days, which is BEYOND ironic.

[Mark Kirby] Describe the writing, recording and producing process for this CD. Were you all in the same studio at the same time?

[Polarity/1] Since we work in my studio, I’m there for the whole process. Generally, I show Amy and Rubio a track that I think would work for Koko Dozo. It might be just a sketch, almost complete, or anything in between. I might have complete lyrics as well (“Face On The Dancefloor,” “Kokodozonomics”) or just a rough idea for lyrics that Amy and I will collaborate on (“Shine”). Or Amy and/or Rubio will take one of my tracks and turn it into a song (“Second Time,” “The Heart”). Sometimes Amy has a song and I build a track around her chord changes, melody and vibe and help with the lyrics (“Down”). Rubio and Amy wrote “Boomchi” together and Rubio produced that track.

Rubio is the guy with the engine-ear. He comes in when a track is pretty much laid out and starts tweaking things. Then he’ll add his keyboard solos, sometimes bass and the more harmonically dense keyboard stuff. I do keyboard parts that don’t require big chops. Then Amy comes in and we track vocals. Rubio and I finish the mixes with Rubio in the big chair. Joe Lambert masters everything at Trutone Studios. He’s done all the Polarity/1 stuff and Heavy Meadow too. Lately Amy has been playing some keyboard parts.

[Rubio] As far as recording, we were generally all there. I personally NEVER record final voices without someone else in the room to give me a sense of perspective. Polar did a lot of editing on his own but often that job fell to me as well. The mixes were generally done with Polar and me, and we would send roughs to Amy for her input.

[Mark Kirby] What is your live show like? Is there a full band?

[Amy Douglas] It’s a full-on brigade of madness! We operate as a trio, currently using our tracks and the addition of live keys and guitar, bass and percussion.

[Rubio] I would love to have a live band, but right now circumstances and logistics just don’t allow it. The three of us do perform live, though. Polar plays electronic drums, guitar and hand percussion, I play keyboards live and we all sing. We use versions of the tracks that are customized for live shows, so what you hear on stage is not necessarily exactly what you’d hear on the studio version.

[Polarity/1] Our shows are fun for us, and I suppose audiences love to watch grown people making funny noises up there and bouncing around like homeless space mutants. Amy’s wigs and Rubio’s Viking helmet are worth the price of admission. And gazing at my psychedelic death-ray yarmulke is a life-affirming way to blow off shabbos.

http://www.kokodozo.com
http://www.myspace.com/kokodozo

Copyright (c) 2007 Jess Harley

Sometimes all you need to get motivated to start a fitness program is some new threads. There was a time when the only sorts of fitness clothes were leotards and spandex pants. Not to many women were comfortable in wearing something like this. Thankful though in our day and age there is a wide selection of clothes to fit anyone’s needs. For some people, especially once they start to lose weight, it becomes just as important to look good as it does to feel comfortable!

The first things to consider when looking for workout clothes are are they comfortable and not restricting? If you are going to be doing a high impact cardio workout you want to make sure that your clothes will be easy to move around in. The material should be flexible and breathable. You don’t want to have soaking wet pants or a top after a good workout.

Check out the material that the clothes are made of. Wicking-material clothes are a good choice for runners or speed walkers. This type of material helps the evaporation of sweat and is quick cooling. You can also wear it under warmer clothing for when you are outside during the colder months. Fleece is another excellent choice. It keeps you warm without being bulky and is also water resistant. There are also nylon and supplex clothes too.

So how do you know which one is right for you? It all depends on your activity. If you are a runner, you might want to go with the wicking material to help keep you dry as you run. You can even look at clothes that are made with what is called 100% moisture transfer polyester. These clothes will take moisture away from skin and keep you dry and comfortable.

You also want to make sure you do not get anything heavy to wear and it is a good rule of thumb to wear lighter clothes than temperatures might be. If you dress yourself to warmly you might find yourself sweating more than you should which will put you at a bigger risk of dehydration. So make sure your clothes have plenty of breathing room. In fact if it is very cold out, you should think about dressing in layers. That way if you get to warm you can simply remove a layer. In the warmer weather, you might want to wear light colored clothes to reflect the sun’s rays which will help you stay cooler.

What you wear on your feet is just as important as what you wear on your body . There are many types of footwear out on the market today so it is very important to choose the right one. You want to make sure you have plenty of cushioning for high impact activities and most importantly make sure they are comfortable for you. The most important thing to keep in mind is that you want to be comfortable when you are working out. Make sure you are comfortable in your clothes, so that working out will be that much more comfortable for you.

There might be some of you, who are looking for something a little more structured and instruction. Not to worry there is something for you also. Gyms all around the world are starting to offer dancing classes. Starting off there is Cardio Salsa. This class if offered at The Crunch gyms nationwide or you can look for it on DVD. It is a low impact high intensity workout that combines the hottest Latin dances such as the cha-cha, mambo, samba and more with traditional dance steps such as the grapevine, lunges and arm raises. What women are loving about this workout is that they can take what they learn on the videos or classes and take it to a night club if they want to!

Cardio Capoeira is also becoming another popular dance workout. It was featured briefly on the cool down segments of the hit exercise video Turbo Jam, but has come out on its own as a great workout. In fact for fans of the hit Movie Ocean’s 12 might remember it being featured as the Night Fox dodges the lasers to get to the goods, or you might remember Catherine Zeta-Jones using a similar dance in the movie Entrapment. Cardio Capoeira is a basically a form of martial arts that is disguised as dancing. It was used to train Brazilian slaves martial arts without letting their captors know. It requires a lot of kicking, spinning and even cartwheels. What makes this workout so powerful especially on your buttocks and quads is the move the ginga which links one movement to the next so you will find yourself doing this often.

Cardio Striptease is another dance workout that is sweeping the nation. There are a number of DVDs out that offer a cardio striptease workout. This routine is part burlesque, part yoga, and part gymnastics. There are no concise steps and the whole point of the routine is to allow you to move freely and beautifully and learn to express yourself. You never have to worry about holding any sort of poses but move from one move to another by using slow moving hip and butt circles. The aim of this workout is to tone the hips, buttocks, thighs calves and abs.

OF course you can always go the more traditional route and sign up for ballroom dancing classes which will still give you a great workout. Which ever one of these you choose, you will burning fat and calories while having a great time. You won’t even know you are exercising, that’s how much fun you will have.

Copyright (c) 2007 Jess Harley

If the only time you dance is at weddings, you have no idea what you are missing out on. First of all not only is dancing fun, it is also exercise! Think about your moving your feet, your arms, your twisting away and giving yourself a full body workout. Ever noticed how sometimes the day after a wedding, your body is a little sore, especially if you do not workout before hand? Celebrities, who take part in Dancing with The Stars, have reported an increase in weight loss. The most traditional way of getting a good dancing workout is to turn on some music and let yourself go and boogie down. It is also an excellent way to incorporate some bonding time with your kids too if you included them. There are days when Ill turn on the radio and me and my daughter will just dance our feet off.

There might be some of you, who are looking for something a little more structured and instruction. Not to worry there is something for you also. Gyms all around the world are starting to offer dancing classes. Starting off there is Cardio Salsa. This class if offered at The Crunch gyms nationwide or you can look for it on DVD. It is a low impact high intensity workout that combines the hottest Latin dances such as the cha-cha, mambo, samba and more with traditional dance steps such as the grapevine, lunges and arm raises. What women are loving about this workout is that they can take what they learn on the videos or classes and take it to a night club if they want to!

Cardio Capoeira is also becoming another popular dance workout. It was featured briefly on the cool down segments of the hit exercise video Turbo Jam, but has come out on its own as a great workout. In fact for fans of the hit Movie Oceans 12 might remember it being featured as the Night Fox dodges the lasers to get to the goods, or you might remember Catherine Zeta-Jones using a similar dance in the movie Entrapment. Cardio Capoeira is a basically a form of martial arts that is disguised as dancing. It was used to train Brazilian slaves martial arts without letting their captors know. It requires a lot of kicking, spinning and even cartwheels. What makes this workout so powerful especially on your buttocks and quads is the move the ginga which links one movement to the next so you will find yourself doing this often.

Cardio Striptease is another dance workout that is sweeping the nation. There are a number of DVDs out that offer a cardio striptease workout. This routine is part burlesque, part yoga, and part gymnastics. There are no concise steps and the whole point of the routine is to allow you to move freely and beautifully and learn to express yourself. You never have to worry about holding any sort of poses but move from one move to another by using slow moving hip and butt circles. The aim of this workout is to tone the hips, buttocks, thighs calves and abs.

Of course you can always go the more traditional route and sign up for ballroom dancing classes which will still give you a great workout. Which ever one of these you choose, you will burning fat and calories while having a great time. You wont even know you are exercising, thats how much fun you will have.

There is no wonder that gym exercise can give you a better physical shape. However, are you enjoying it? Why not try dancing as another alternative? In fact you don’t have to go to the gym, since dancing can be done even at your home at your own time. Dancing can get rid of boredom due to your daily dull routine. Plus, it allows your heart to exercise. It is really a great feeling to learn dance at the comforts of your home since it offers some positive things.

Another advantage of getting involved in dancing is take novelty in your daily exercise routine. By doing this, you don’t have to do more repetitive steps and that spot jogging, by performing the energy dance; your heart effectively pumps while adding some extra beats to the pulse which is also great. Dancing at home is also one of the best sources of entertainment for you. And you don’t need to use some stimulation such as television to soothe your sense or listen to more boring music that will only destroy your eardrum. And because of the movement, the feeling that you will experience is incomparable. Moreover, the entire room is open for your dance routine and you will definitely enjoy training dance.

There are different ways as well as styles to learn dancing at the comforts of your home. If you choose ballroom, you can learn it leisurely as the movement is more tranquil. You can also opt for the energetic dancing styles such as samba or salsa. You can choose from any lesson types available to you. If you’re a bit shy, you can take a private lesson for yourself. If you love to socialize, you can also enroll the open house lessons where there are a lot of group of people with whom you can dance with.

There are many exciting new attire which is perfect to learn dancing. Better yet, it is good to find some great costumes compare to the old ones and also trainers. For the style of ballroom dancing, get on your high heeled shoes. There are available fine silks scarves and also golden jewelry which will definitely look good on you instead.

There are some interesting attire that will be perfect for you to learn how to dance or will make you enjoy dancing. In dancing, trial and error is one of the best means to choose the suit that matches your attire for dancing. Plus, you can also include add some dresses of your friends to try and even know exactly if they suit you really well. But never spend your money to expensive dresses unless it really suits you especially when dancing. But always go for the one that is comfortable for you and lets you show the real you while you are dancing.  When doing this routine, you have to make yourself become more comfortable so you can express well the moves and the emotions that you want to convey.

Dancing is one of the best aerobic activities you can do for daily cargo exercise and the best part it is fun. There are many styles of dancing that you can easily learn online. There are many reasons to learn to dance. The problem is that Dance Lesions can be expensive and time consuming endeavor. That is until now.

If you are looking for a high energy diet program that burns fat with incredible cardio workouts then you need to look no further. Dancing is one of the best aerobic activities know for burning fat and building muscle. Most importantly to any workout program is that it is enjoyable. You can have a great time learning to dance and at the same time dropping those unwanted pounds and toning your body’s muscles. It is a well know fact the most aerobic exercise involves dance in one form or another. Matter fact it has been said that learning to dance prefect exercise program you can get involved with. Matter fact you may learn to love it and liking you exercise program help you stick with it.

How would you like to learn to dance like the contestants on the popular television show Dancing with the Stars learn? You can now take professional dance lessons from of the best teachers anywhere all online from the comfort of you own home. He as trained the contestants’ from the famous Television show “dancing with the Stars”. Lewis’s Dance lessons can quickly teach you the following dances Cha Cha, Foxtrot, The Jive, The Rumba, Salsa, Samba, Tango and the Waltz from the comfort of your own home. You can take the lessons anytime you like and can learn at you very own pace.

Dance can also add the romance back into your life as well as keeping you lean and trim. Learn from the best at fraction of the price of nominal dance lessons all the while learning at you own pace in you own home. Start anytime you want at the pace you want. Have a look now here at Dance Lessons.