The Forever Tango soundtrack provides the music. They hook their legs, and kick, and spin. It does kind of look like Joshua has to think about it a little more, but I could just be reading into it knowing that Chelsie's got a little more experience with this style. Nicely performed.
Nigel praises Chelsie's legs (both the shape of them -- gross, Nigel -- and what she did with them). Then he talks about the size of Joshua's ass (as a lead-in to talk about Joshua's strength, I guess). He thought the routine was strong. Mary says Joshua really set the mood, since he committed to the kicks, and made it believable. She tells Chelsie that tonight's tango was sexier than the last one she did. Therefore, they're both still on the hot tamale train. Needless to say, she screams. Toni Basil says the Argentine tango "is the most street of all those ballroom partner dances," says Toni. OK, I'm done with Toni.
Mark talks about being inspired by The Phantom of the Opera growing up in Hawaii, and he was the only boy dancer in school and "a weird little kid" to boot. He talks for a minute, and dances for thirty seconds to Santogold, and I cannot remember anything about it ten seconds after he finished.
Courtney and Will are doing their Taboleon hip-hop routine. This one is a slow one, the theme of which is getting the chance to turn back time (Courtney) and spend one more moment with the one you love (Will). I hope my eyes stop rolling in time for me to be able to actually watch the dance.
Courtney's actually holding an hourglass on stage, and the title misspells Alicia Keys' name, which is awfully nice. I guess it was too much for me to hope to enjoy two Taboleon routines in one evening. Slow down the hip-hop, and what we really have here is more like a contemporary piece, with an hourglass prop and a mini photo album.
I wake up in time to hear Nigel start out by saying that Taboleon have done some amazing pieces for them this year, and I honestly thought he was going to say that he didn't like this one. Of course, that doesn't happen. He says this is the first scene he's been affected emotionally by hip-hop, almost like contemporary. Well, pardon ME, but we already have contemporary routines to get all weepy about. I'd really prefer that hip-hop made me feel like getting my ass out of my chair and moving.
As for Mary, she starts babbling about how she has certain expectations of dancers. "You didn't meet my expectations. [Pause while she puts on her stern face and we all pretend to think Mary actually hated it and just wait for her screamy compliment.] YOU BLEW MY EXPECTATIONS OUT OF THE WATER!" She says. Toni talks about "street" again. Toni is older than my parents.