Relations to the wurlitzer

[Cornish Pixie]

As my name suggests i am having a love affair with the wurlitzer. Cos i love it so much does anyone know any other moves based on it apart from
wurlitzer spin and drop
wrapper
Wurlitzer tunnel
info appreciated

[MartinHarper]

There's the "open wurlitzer", which is a wurlitzer with a change of places during the initial bit.
There are lots of moves which finish with a wurlitzer exit
JazzJive has a move called a slingshot that's based on the open wurlitzer - it has an additional change of places during the spin, and some suggested styling.

[Lou]

Originally Posted by MartinHarper

There's the "open wurlitzer", which is a wurlitzer with a change of places during the initial bit..

Otherwise known as Henry's Fling (but who Henry is, I don't know). Also there's the Flingy Flung, which has been described somewhere else on the Forum, and Bill's Move (but, again, who is Bill?)

[jockey]

Originally Posted by thewurlitzerrocks

As my name suggests i am having a love affair with the wurlitzer. Cos i love it so much does anyone know any other moves based on it apart from
wurlitzer spin and drop
wrapper
Wurlitzer tunnel
info appreciated

I know an Aussie move called 'Copperhead Road' (see old Camber video where Simon De Lisle and partner teach it nov 2000(?)): man's r to ladies lft (the whirlitzer lead in..);wrap her in to man's right side; man points ahead with left hand meaningfully, weight on left foot; transfer weight to right foot and left hand passes across and points the other way and man wraps himself into his own arm before flicking back across to other side; catch r to r. Gottit?!!Nigel and Nina know it.It's a great move.

[Gadget]

which one is the "wurlitzer" again?

[philsmove]

My all time favourite, is a version of the Wurlitzer seducer

Sorry If my description is a bit vague and some of you will know the moves by other names

Travelling Wurlitzer

Flingly flug “freeze”

(Verbal signal “drop”)

Wurlitzer seducer

[MartinHarper]

Originally Posted by Gadget

which one is the "wurlitzer" again?

Different versions: here's one.

Start L-R
1. Step back. Boy offers right hand as signal.
2. Step in. Girl takes right hand with her left. Boy's left hand goes palm to palm against lady's right.
3. Boy pushes with left hand (kinda like a push spin, but more gentle), girl starts to rotate ACW, boy uses his right hand to control the spin and stop her rotating more than about 90°.
4. Boy spins girl CW.
5. Catch either hand, step back.

Step three is the tricky bit for me. I think the secret is to lead the girl to start turning with my left hand, and use my right hand to stop her. Previously I've used the right hand both to start and stop the mini-turn, which I suspect is wrong.

Another variation is to spin the girl CW at step 4, intead of ACW.

[Whitebeard]

Originally Posted by Martin Harper

4. Boy spins girl CW

and then:

Another variation is to spin the girl CW at step 4, intead of ACW.

Think your clock's oscillating about a bit Martin!!

I'd love to be able to mirror the lady's spin on this move. Now, somewhere, there's a thread on spinning.

[Gadget]

Originally Posted by MartinHarper

Start L-R...

Aahhh, that one.
The core of the move is that pose for the lady, while holding her left hand: If you do any move with that pose, then it could conseavably be called a "wurlitzer variation".

There are about ten standard variations that you can apply to any move...

1) Swap hands the simplest method of altering the way a move looks and what you do out of it. If you would normally swap hands, workout a way to swap back, or keep the same hand.
In the wurlitzer, the lady is expecting to return from the open position to a spin. Insert a 'ceroc spin' style block and catch the lady's left wrist with right hand, then spin her the opposite way

2) Step to meet lady normally you meet half way, or the lady does some traveling; stop her, and move yourself so that you are in the position you would have been if she had moved.
The lady has opened opened out. Lead her to stay there and step/pivot in to face and mirror her.

3) Lead lady in to you instead of meeting half way, let her travel to you, even move away to make the point.
Instead of leading a free-spin, lead a slower wrap exit. (too far away for a fast wrap)

4) Elongate Make a part of the move last two or three beats longer than expected
Once the lady is out there, apply slight downward pressure in the lead to encourage her to stay there for a beat or two.

5) Shorten Stop thinking on the move after the lady has opened out - don't finish it, just go straight into something else.
Turn with the open out while raising the hand and finish as per the begginer's 'shoulder-drop'

6) Reverse Do what you just did, but backwards.
From the open out, lead the lady back to the flat-handed hold, but lower it into a normal hold as you step back, releasing the other hand.

7) Repeat Pick a part of the move and do it again, and again {just to prove it wasn't a fluke the first time }
Like the above, draw the lady back in to the flat hand hold, then push away again, and in, and out, then finish as normal.

8) Turn away Turn your back on your partner, then continue into another exit
As she opens out, follow her direction of movement and trap the left hand on your left hip with your right hand (left over) Step back and to left slightly, offering left at right hip as lady steps in to your side.

9) Invert Do what you would normally lead the lady into
From the flat hand, do not push and lead the lady to remain stationary while you step back 90º with the left foot, then put yourself into a freespin infront of the lady

10) Match Match the lady's movements - normally mirroring, but can be copying in some moves
Open out with the ladyand both free-spin together.


That's without introducing any seducers or arm twisty things and without blending one move into another and calling it a variation. You can apply these concepts to any move and come up with (at least) ten 'new' ones. That means from a begginer's routine, you now have 40 moves.

How many variations were you looking for?