The Sacred Science of Black Line Dances: Electric Slide, Cha-Cha Slide & The Wobble

Transcript

The Sacred Science of Black Line Dances: Electric Slide, Cha-Cha Slide & The Wobble

[00:00:00]

Intro Theme

Welcome to the Show

Sir Daniel: Greetings and welcome to another episode of Queue Points podcast. I am DJ Sir Daniel.

Jay Ray: And my name is Jay Ray, sometimes known by my government as Johnnie Ray Kornegay III.

The Cultural Significance of Line Dances

Jay Ray: And Sir Daniel, we are about to talk about something that is near and dear to Black folks everywhere.

Sir Daniel: Okay, come on for the, um, for the bars in the beginning of

this episode. Come on. No, but you're absolutely right. Jay Ray. I believe, and I've said this on countless occasions, um, especially as a DJ, that line dances are. A through line or a, a direct storytelling of Black history here in [00:01:00] America. And I've always wanted to find out about the origins of specific line dances, and we're gonna talk about three in this episode because they are absolutely important and germane to the history of Black Americans and Black people were worldwide in this country.

And. In the D

Jay Ray: Mm-hmm.

Sir Daniel: how we tell stories and how we show community and unify with each other in the spaces of celebration.

Jay Ray: Yeah. Yeah.

Confessions of Line Dancing Skills

Jay Ray: Um, one of the things I find so interesting about line dances, it is how it, it's universally beloved confession, you know this, but the people on the show won't know this. I am. Historically bad at line dancing, love dancing, love dancing, bad at line dancing. However, I can do two of the [00:02:00] dances on this list so I can do the electric slide, um, and I can do the wobble.

So we're talking about the electric slide, the cha cha slide and the wobble. I have never done the Cha-Cha Slide. I have seen the Cha-Cha Slide done, but don't ask me to do it. Yeah, I can't do that one. Do you know what? I've never asked you this. Do you line dance? I've never seen you line

Sir Daniel: I, so we're, I guess we should call this episode Confessions on the Dance Floor because I am not a big line dancer myself. I will bust out the electric slide every now and then,

but the child, okay, I have to admit, I. There is a slide dance that I kind of, that I just heard it so much.

I heard it probably too much because there's a song, there's songs associated with all of these dances that we're

about to discuss and. because they gain so much popularity and they, people automatically [00:03:00] engage with them. And I, as a dj, you do want things, you do want to play songs that people will engage with automatically, and it's an easy win.

It's the cheat code. It's like, ah, yeah. I'm gonna put this, um, five minute record on. I'm going to eat the plate that Auntie has made has made for me.

'cause I haven't eaten all day lugging around this equipment and, and DJing for you all. But I'm gonna throw this record on that plays for about five minutes. I'm going to eat this,

Jay Ray: And they gonna have a ball out there.

Sir Daniel: They're gonna have a ball. I'm gonna enjoy this, um, this plate of baby shower food and I'm gonna enjoy watching you all get your life. But, and also, and we've spoken about this, there is something about. Being collectively involved in these dances that allows for people who aren't necessarily always able to engage socially or engage, [00:04:00] um, on one-on-one dancing.

It allows for them to participate and still feel a sense of community. So we're gonna, we'll discuss that as well.

But

yes. So what's the first dance you.

Jay Ray: Yeah. You know what?

The Electric Slide: A Historical Perspective

Jay Ray: Let's just go to kind of what I think both you and I being Gen Xers would consider to kind of be the OG of line dancing, and I think as two people growing up in the north. This was kind of a phenomenon for, for us right now. Of course, I ended up going to the Midwest child and they were like, baby, no, we do this out here.

But in where we were on the East coast and the north, it was like, what? But the electric slide, we are gonna start with the electric slide now. Quick backstory. So the electric slide as we have come to love it as a dance, came to be in the late eighties, so like 1989. Um. [00:05:00] Somebody fabulous. I'm sure Black modified a dance that had been around since the seventies, right?

Uh, to go to this song, uh, by Marcia Griffith, uh, Jamaican Legend Jamaican, uh, uh, reggae legend, uh, called The Electric Boogie, which. Was written. Yeah. Written by Bunny Whaler of the Whalers. Right. He wrote this song in 1982, the original version that Marcia did, uh, which is the one we have come to know and love.

There are some different, some variations, but that came out in 1983, so let's take that. Right. The original version of the song came out in 1983. It gets picked up by DJs in the late eighties. Here in the United States and they start playing it, and now there's a dance

associated with this song that all of a sudden.

Everyone is doing, and I learned [00:06:00] how to do it in the late eighties. Shout out to my aunt Yvonne. She lives about three blocks from me and when she used to babysit us. So, uh, when we would get outta school, uh, before my parents got off, we would go to my Aunt Yvonne's house and she would look after us until like five or six when, uh, our parents, uh, 'cause it was me and it was like.

Four kids, right? And they were all dispersed right about five or six o'clock. But one of the things that she taught us all to do, and I don't know where she learned it, I have to ask her, was she was like, Ooh, I have a dance, I'm gonna teach y'all. And she taught us how to do the electric slide. And so every day in, uh, the late eighties, so this is like 88, 89, we are in her house.

You know, doing our Dance to Electric Boogie by Marcia Griffiths.

Sir Daniel: Your story is so heartwarming. Mine, not so much. I [00:07:00] learned the electric slide, more like trial by fire. You know how there are some, I learned it in. The trenches

literally being thrown in on the dance floor. And I, this is, I love Black people so much. We are so passionate about, um, our past times

because I think the passion comes in in. in, in, in, um, in making sure that we do pass down these, these recipes,

these these very important parts of, of the culture because it's a, again, it's, it's how we showed community and how we showed love and, and unity and, and passing that down is so important. One thing, I'm not a spades player

Jay Ray: Me either. This is why we are here, sir Daniel. Me either. I respect it.

Sir Daniel: I

Jay Ray: It's scary at that table though, that people be scary.

Sir Daniel: So that's the, that the intensity that I'm talking about that people had for spades is the intensity in which I learned how to [00:08:00] do the electric slide.

It was like,

Jay Ray: I'm so sorry.

Sir Daniel: and, and, and it's like, come on, you, you messing up the, the electric slide. You, and you don't want to be the person that messes up the electric slide.

So it's like, come on, come on. Get that rhythm. Get that rhythm right. We're gonna pull your Black card if you don't. Learn this and true indeed, it is easy to pick up because there are maybe, there's what, maybe three intricate steps

to it?

Jay Ray: Yeah. It's, it is the, the, the, there's the going bag, the going forward. There's the, the dip

Sir Daniel: and then the

Jay Ray: and then the

Sir Daniel: back, and then the grapevine.

Jay Ray: the, oh, they call it the grapevine. Yeah. The.

Sir Daniel: that's a, that's a technical term. I'm getting fancy on you.

Jay Ray: You are so fancy.

Sir Daniel: it's the grapevine kick and you just swing it around and repeat

that. And so I think once you do get it, and I, it's like, oh, there's like a, something opens up in the heavens. You're like, oh, I'm in syncopation with everybody else. [00:09:00] I can, I'm in unity with you all. We, we are one here on this dance floor and we are, and that I do believe that is a real feeling

that we all get.

Jay Ray: No, that is, I think the thing, and you, you, you mentioned this earlier, but I think this, this idea underscores it. There is. Especially with Black people, a spirituality that comes with, we love doing stuff together. We love singing together. We love just kind of being in spaces. So line dances, I think, have the same spiritual, uh, feeling that we get.

And it's multi-generational too. So you, I, like I said, my aunt Yvonne taught me how to do the electric slide, and now me as an adult who would be her age now. Can still teach that dance to young people. So it's like, no, you passed this on and we could all do it [00:10:00] together at our events, at our barbecues, at our reunions.

At any event, young and old can participate, and that is a Black culture through and through.

Sir Daniel: Through and through. You're absolutely right. Those rites of passage. The, the, the, the, the, the, the, uh, wedding

receptions, the, the baby showers, the graduations, all rites of passage. And the thing is, even if you're not at a family event, whenever. Here's the beauty of the electric slide. Whenever it's happening,

whenever, it's almost like church, when two or more are gathered and they're doing the electric slide, it's like a, it's a, it's a call

every, all of us know that we can fall in in any moment. There's no gatekeeping, there's no, you can't do this. No. You are absolutely supposed to join in

and you're supposed to be able to fall right in and create this synergy [00:11:00] of of this movement, this body movement, wherever we go.

And you are absolutely right. It's a, it's a spiritual level

that it goes onto. So, um, yeah, and the electric slide, like I said, does not require you to. Know the people that you're doing it with. And I think that's so important for people who are not necessarily, like I said, at the be top of the, um, the intro aren't necessarily, um, gifted at doing performing intimacy intimate

Jay Ray: Mm-hmm. Mm-hmm.

Sir Daniel: And we, and we. Intimacy doesn't necessarily mean a sexual thing. Intimacy is just that when two, when two or more people are gathered and are just having a, a moment of, of intimacy, of closeness, of

sharing. And so that's probably one of the things that is most remarkable about this history that we passed on to each other.

Jay Ray: Yeah. Um, and, and I think [00:12:00] this is actually speaking of history, right?

The Cha-Cha Slide: From Fitness Class to Global Phenomenon

Jay Ray: So the history of, uh, the Cha-Cha Slide is super fascinating right now. What, and I think what's most interesting, so of all three of the songs that we're talking about, the Cha-Cha Slide actually has instructions in the song. So if you don't know how to do it, that's okay.

He's actually telling you exactly what to do now. Clap your hands. Clap, clap, clap. Right, so that's like Right, exactly. Do, exactly. So all you have to do is be able to follow instruction.

Sir Daniel: But what's so funny about that is there's still people who get in their heads and they're like,

Wait,

Jay Ray: Wait, I got a what?

Hop.

I want a clap here.

Sir Daniel: Hey, listen, this is for the people. There's some people that can, um, chew gum and walk at the same

time off the rip. And then there's some that have to practice it.

Jay Ray: I,

Sir Daniel: And, but again, I think the Cha-Cha Slide, what I've [00:13:00] seen over the decades and decades that I've seen the Cha-Cha Slide, um, performed, um, at different functions is just that again, the moment. This is where I really became, I feel like I became a dj.

I realized that there, I had to include these songs in a, in my repertoire because somebody, I, I need that person that's there, that's a wallflower to be able to join in at some point.

I gotta think about them also, because I always saw it everywhere I went. There was always people that would, they would not engage. Until you put on a line dance until the Cha-Cha Slide came on and that was their jam.

Jay Ray: Yeah,

Sir Daniel: that was the, probably the only time they got out there and they got their life and they, and those people need to be included as well.

So I

think that is something that's super important about [00:14:00] this music and the dances that coincide with them. But there's a very special, um, history about this, um, this song and

this dance and how, what it was actually created for.

Jay Ray: Yeah. So, um, first of all, shout out to DJ Casper and the Cupid Shuffle DJs. Yes. Rest in peace to him. So. Back in the olden times, y'all, um, before Planet Fitness, the olden days before Planet, before LA Fitness, there

Sir Daniel: Oh

Jay Ray: fancy gym called bs. You know, they had commercials. and.

Sir Daniel: You had to be, I think you had to be sexy in order to go into valleys and you had to wear the, you had to be dressed

in

Jay Ray: Oh, like the, like fly, like the leotard and the whole

Sir Daniel: You had to be sparkly and, and be, have a full face of makeup apparently, and, and

have your hair completely done in order to go to BS [00:15:00] and shout out to Sheena Easton in her BS era.

Jay Ray: absolutely. So, um, so apparently, uh, those, this is in the late nineties.

Sir Daniel: Mm-hmm.

Jay Ray: DJ Casper Outta Chicago. Classic step in line dance. The Midwest love them. A line dance. There is not a line dance that the Midwest don't love and they create a lot of them. Maybe some of them things be complicated. I

Sir Daniel: whole culture.

Jay Ray: it's a literally a culture.

When I moved to Detroit, uh, uh, to the Detroit area, I saw it firsthand. It's fascinating. But, um, anyway. DJ Casper, um, has someone, I think it's a family member who is, uh, teaches a class at a b's it's got a fitness class, right? And so, uh, DJ Casper creates this song, uh, uh, for the class. Okay. And gives these instructions, right, because it's for a fitness class for this Bally's class.

So literally the Cha-Cha [00:16:00] Slide is born out of literally a fitness necessity. There. The, the people in this class need to to do some. Steps they need to be able to move and, and, and move around. And so he creates this, this song, uh, based on Plastic Dreams by jd. If you've not heard that, you have heard that song, even if you think you haven't go and Google it.

Um, but so he does this version of, uh, the Cha-Cha Slide, and I think it was called the Cupid Shuffle at the time. Um. And it starts to move, right? It gets popular lo regionally. Um, he gets signed to a local record deal, um, and then has to recreate the song because it, it sampled another song and he creates this, this other version, which has bare bones instrumentation, and it starts to get picked up.

Nationally, so [00:17:00] it takes a couple of years, but by the early two thousands, the Cha-Cha Slide is, uh, being done kind of all over the, the country. So it becomes a, a major hit. It's done everywhere.

Sir Daniel: Cruise ships, weddings, um, baby showers, you name it. Wherever we are gathered, everybody is doing the Cha-Cha Slide. Jay Ray, I, I remember, I think it might have been the summer of 2001.

Jay Ray: Mm-hmm.

Sir Daniel: I know I heard that song ad nauseum each and every day, every weekend. Um, for about six to seven months straight. I mean, it was just a month.

It was added to radio.

Jay Ray: Oh, yeah, we were listening to that on the radio.

Sir Daniel: um, which is, which is, uh, which was unheard of at the time for a line dance. That was a [00:18:00] song that was just about instructions on how to do the dance.

Actually got into heavy rotation on radio and I think that has to be some type of record. Um, or an achievement for that record because it, I'm sure it went diamond, it

went all over the world. Um, they even had a video for it. I

think the video was super old, was old by the time it really caught on, but it's just amazing to me. Again, how these songs and these dances become so meaningful to the community. I think what I love the most is that even 30 years later, I. Seeing senior citizens,

Jay Ray, have you seen all these senior citizens dance clubs?

Jay Ray: Yeah.

Sir Daniel: It's, it's heartwarming and it's just, it's so, it's inspirational as well because it encourages us to [00:19:00] never stop moving.

Jay Ray: Yeah.

Sir Daniel: And so, I mean, I think that at the core of it, I think that is where the spiritual aspect of these songs is that it is a message to us to never stop moving. That is probably, that's why the dance moves

repeat and why we do them

Jay Ray: We do 'em in like circular, counterclockwise, or clockwise.

Sir Daniel: Because that what we're saying is, is that if we do this together,

we're going to get to this destination together. Uh oh. I just blew my mind that way. I just.

Jay Ray: Boom.

Sir Daniel: Boom. But seriously, I I, I, I love and appreciate these dances now more, especially as I get older

than I did when I was a kid.

Jay Ray: absolutely. So, uh, I agree with you. I'm right there and I guess this is interesting, so. I just thought of something. I think the reason why I did not really learn the Cha-Cha Slide, 'cause keep in mind, I learned the electric slide.

Sir Daniel: [00:20:00] Yes.

Jay Ray: The Cha-Cha Slide comes in the late nineties, early two thousands. I am doing my own thing and I'm in clubs in spaces where this song doesn't fit.

Into those spaces, you know what I mean? I'm dancing to house music, or I'm dancing to hip hop, or I'm dancing to r and b, and this song kind of just doesn't fit neatly into like a set. And I'm still on the East Coast in the north, right? So I feel like it didn't happen.

The Rise of the Wobble

Jay Ray: Now, this next song, the last song that we're gonna talk about is a completely different story, but.

Sir Daniel: different monster.

Jay Ray: Completely different monster. And interestingly enough, in, in, in preparation for this show, um, learned that there's actually origins from Right, right. Where, where I'm from here in Philadelphia for the wobble. So Jesus, so the wobble by VIC, who's based, who's from Atlanta, um, [00:21:00] does this song, um, uh, called The Wobble, which does not have a dance.

Let's be very clear. The song, the Wobble, does not have a dance just like the Electric Boogie, right? The Electric Boogie was a song that Bunny Whaler wrote. He was inspired by, uh, electric Avenue, by Eddie Grant. We talked about Eddie Grant on our British, uh, our our Caribbean men, uh, show. Go and check that out.

But, um, and so this song was just a song called The Wobble, um, by VIC and. There's a dance called Nasty Girl. There's a, a line dance called The Nasty Girl out of Philadelphia. Um, didn't know about this dance. I wasn't in spaces where this dance would be done. So this is a, uh, a seventies, eighties line dance that is happening in the Philadelphia area.

Boom. You can look it up, sir Daniel. They, it is the wobble. You look it [00:22:00] up and you are like, oh, yeah, that's the wobble. The sway and all of

that. Yeah. So apparently what happens is there is a DJ somewhere in the south.

The Impact of the Wobble in Clubs

Jay Ray: So after the VIC song comes out, which is like 2008, that song comes out officially DJ pairs, or it somehow pairs that song with the nasty girl and listen, by 2011.

Crazy. And so I was in clubs in Atlanta at that time, and you could not escape the wobble. The dance floor literally became, everyone in the club is doing this, and so there was no not doing it. And so I was also doing it.

Sir Daniel: It is. So I, I have so many memories of that song. That song [00:23:00] and the dance where it was, it was polarizing to your, to your point, there would be a. A rush or a a, a, um, a class of people already on the floor

engaging, right? But as soon as that, that go-go beat came on.

Jay Ray: To do.

Sir Daniel: It was like a, it was like a shift change at a factory.

There were, there were just some people that were too cool for school

to engage in the wobble

and they immediately cleared out.

But baby, when I tell you there was. A whole barrage of new people that was ready to take their space, take up that space

and engage in the wobble. You can play that song from beginning to end

and they will do the whole, the entire routine from top to bottom of that song.

Again, because of those reasons that I stated, um, stated earlier, some people [00:24:00] just aren't. Um, able to, you know, to cut up

like a Jay Ray, um, dancing to house music.

Some aren't able to, you know, some aren't able to twerk, some aren't able to throw ass as the kids like to

say to to, to popular modern music. And so, but this moment. This, this capsule encapsulation of, um, of Blackness, of, of heritage, of all the things that, that we love as Black people allows everybody or those who want to engage can engage in that moment. But absolutely that song was so per, so polarizing. I just remember certain people, like if I had to, if I put it on, I would get daggers

Jay Ray: Really people would be like ICE grilling you because you put on the waffle.

Sir Daniel: roll their eyes so hard at me and just be like, and I would just have to shrug my shoulders.

Jay Ray: Hold on. But you gotta look at the people like [00:25:00] I, I

Sir Daniel: listen, I, the, the dance floor is not empty. I'm sorry. It's, it is a moment. It, it'll be over in

Jay Ray: It'll be, it'll be over in a minute. We coming back?

Sir Daniel: have, you'll have, you'll be able to get out there and shake what your mama gave you

in, in, in less than eight minutes.

So give it, give it a, give it to these people. Let them have this moment. And I had to be, I had to come around to it myself. I, I just to, it would make me cringe at times. I'm

not gonna lie. It would make me cringe. But I understand the, the higher power that it

serves and the higher purpose that it serves as a community. And sometimes as a dj, you have to serve that higher, um, that higher purpose.

DJ Tips for Playing the Wobble

Jay Ray: So this brings up a question that I, I have never asked you before. Um, two questions. One, is there a perfect time to play [00:26:00] the wob? Like, and what, what is a perfect time in your mind to play the wobble? And two, what comes after? Like what, what's your favorite song to play after the wobble that you know is like, if there is one that you're like, oh, this, this really blends well, it's great and the people still love it.

Sir Daniel: I would say that. I would say principally within the hour, once you get past that first hour of warmup tunes, um, where people, yeah, where the people are able to come in, um, circulate through the crowd,

talk to people, get a drink, um, get a plate. Um, if you are in, if you're in a, um, a space where there's inter, there's inter intergenerational.

Jay Ray: Mm-hmm.

Sir Daniel: Crowds where like a family event.

You have older people that want to engage. So you got, so you're [00:27:00] considering, okay, these people are not. older ones are not going to wait all night long for you to play this song

Jay Ray: Absolutely not. They going

home.

Sir Daniel: gonna stay. Yeah. They, they're not gonna stay. They only got, they got about an hour and a half in them to stand up and to, you know, and

to, to, to engage in a dance. So I say roughly within an hour of being at a party. And then you kind of, like, after you've done your mid tempos

and singalongs, then you kind of, then you go directly into. The wobble

and then you, 'cause it has that great intro

Jay Ray: Yeah. Yeah.

Sir Daniel: you.

Jay Ray: That's my song.

Sir Daniel: my song. The, the shoulders get hyped up. They start tipping towards the dance floor. They find a position, um, they find the people that they, that they know they

can, um, they can do it with, to line up with them. And everybody just gets [00:28:00] into, it's like, let's go Voltron for us. We're all in, we're all in formation here.

Let's do it now to the second

Jay Ray: Mm-hmm.

Sir Daniel: right after that. I like to because of the tempo

and because it already has a a go-go feel to it. I like to throw on the, but right after that,

Jay Ray: Oh, that's great. Oh, and the people, and it still keeps them in the same, yes.

Sir Daniel: they're still in the same, in the same dance spirit. Um, it's, you don't shock 'em

into, into going from one tempo to a extreme tempo. It, it guides them in. You can either do the but or you can do, um, before I let go because songs that still

still incorporate unity. Amongst the crowd and singing along.

Singing along is very important

as well. So yeah, that would be, that would be my go-to for playing the wobble or any kind of line dance that's [00:29:00] around that same tempo. 'cause I believe that's around a 98 or a hundred BPM if I'm, if I'm not mistaken.

So yeah, so you can easily go into a nice little go-go set after that.

Jay Ray: See, so see how dj Sir Daniel just hooked y'all up with a way to keep your crowd salivating. You know what I'm saying? At your function, you gotta keep people engaged.

The Cultural Significance of Line Dances

Jay Ray: And I think what this, this conversation that we just had and what these songs do is it continues our tradition, the Black tradition of community.

What you had when you said to me, so this. A decade ago that you said this to me, um, you were like very clear. You said it here on this show. Like, no, these songs are really important because it gives people an opportunity to be on the floor who may not have an opportunity any other time. And as a dj, so DJs.

If you are in an [00:30:00] environment where these songs fit, right, it's not a house set. It's not like you could get this into a hip hop set, no problem. Not the electric slide, but definitely the wobble, right? Get these songs in there because it is also, uh, their feel good songs and they, uh, uh, inspire people to be communal.

Sir Daniel: Absolutely, and it's just, it's just good old Black Blacky,

Jay Ray: It's good old Black.

Sir Daniel: Music. So, yes, I agree completely. And um, yeah, you know, thank you for indulging me in this Jay Ray

Ks we've been talking about

Jay Ray: Yes.

Sir Daniel: a, a episode, a series around this for the longest because I have always just been fascinated around how they get started.

Who, who's the first person to say, Hey, listen, watch this. Come here, lemme show you this. And then it just becomes. A, a, an international sensation,

specifically within, within the Black community. But then as we see today, [00:31:00] tons and tons of white people are engaging, especially white people that are engaging in country music. Love the

wobble. White people absolutely love the wobble.

Jay Ray: and I get, and I get that right. So coming from. You know, that kind of country music line, uh, uh, line dancing tradition, which there's a lot of Blackness in that too. I get that. So, Ooh, I never thought about this Sir Daniel. Like there is also this unifying power, I think, in these dances because I have seen the wobble in mixed spaces that it does the same thing, like the same involvement now, some of that, sometimes that, that rhythm be doing something a little different.

Sir Daniel: else. Yes,

Jay Ray: But the sentiment is the same and yeah, the community part. So thank you for raising that up. 'cause I think that's really important is, uh, line man, line dances and we [00:32:00] got more to talk about with line dances, but

Sir Daniel: We absolutely do.

Jay Ray: important.

Sir Daniel: They sure are. And so, you know, it takes a, a show like Q Point's podcast to bring that to you because we feel it's important

that we capitalize and that we underline this moment within Black culture, um, and try to seek out the, the etiology behind it

to, to give, um, honor to the innovators of these, um.

Of these cultural, um, touchstones that we have. So yeah, so you're gonna continue to get that.

Supporting Queue Points

Sir Daniel: Um, it does cost for us to

continue doing these things for you. We love doing it, but, you know, electricity costs, you know, website. Domains costs, those things. And so, uh, you have not, 'cause you asked not. So we are reaching out to you to dig deep and to continue to support us, support as a verb

to support us, not just with your, your likes,

your subscriptions, your [00:33:00] clicks, and your passing and reposts

of the show. We love that. But we also love. The financial, the, the, the financial and the digital coinage of it all to help us continue doing Queue Points and giving you quality.

You know, we wanna do live, we're doing live events, we're

coming up, and those things do take money to produce.

And so we, we enjoy presenting quality product to you and we will continue to do that as long as you support us.

Jay Ray: Absolutely. Thank you so much Sir Daniels. So for those of you checking us out, you can do that active support as a verb on our website, Queue Points.com. Uh, there's an option there for you to become a member. There's also an option for you to visit our store, store dot Queue Points.com. You could do both of those things.

Yes. Or you could do either one of those things or if not you, right? They're great gifts. Or you can just, you know, make sure that you find a way that any way that you choose to support one of those [00:34:00] ways is hitting subscribe. So if you can see our faces and hear our voices, uh, hit subscribe wherever you are.

Share the show with your friends, family, colleagues. If you like the show, chances are they will love the show. Inbox us. Let us know what your favorite line dance is. Is it the electric slide? Is it the Cha-Cha Slide? Is it the wobble? Are you just like, I love all three of them? Let us know. We would love to hear from you, so send us an inbox.

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Sir Daniel: Absolutely. And it's like I say, drink every ah, after every episode of Queue Points in this life, you have a choice. You can either pick up the needle or you could let the record play. I'm DJ Sir Daniel.

Jay Ray: My name is Jay Reo.

Sir Daniel: And this is Q Point's podcast. Dropping the needle [00:35:00] on Black music history. Not everybody. Clap your hands.

Jay Ray: Peace, y'all.

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