They're dancing to "Yeah (Como Goza Mi Morena)" which is totally my favorite Chino Espinoza Y Los Duenos Del Son song, although I did like them better when David Lee Roth was still part of Los Duenos. Anyway, Melissa is really friggin' hot for seventy; she shimmies and shakes in a dress that uses less fabric for the entire thing than in one leg of Ade's pants. Ade does his best not to eat her dust, and near as I can tell, he succeeds. Speaking of having control over your body, Melissa really does, crouching over halfway and slowly pulling herself up on Ade's body. Facing outward, she crouches and holds onto Ade's legs behind her, and he swings his legs around a little. I really liked it.
Nigel calls it pretty good, and advises Melissa not to purse her lips to be sexy because she's naturally sexy and should just let the moves do it for her. He praises Ade's stature and says he could have sizzled a little more. Ellen: "Are you two carpenters? Because you NAILED IT." Heh. She thought it was great. Mary thought the execution of the material was nailed, but says Ade needs to drop his hip weight into the floor a little bit more. It's one of those interesting moments where Mary displays her dance expertise with specific advice that is absolutely incomprehensible to me but obviously valuable to the dancers. Good job then that most of the time she screams nonsense about a hot tamale train. She says the feet for both of them were kind of sliding all over the place. "You lose that sexy line," she says. I respectfully disagree. She says it was a teeny bit below what she expected. Nick Rhodes tells Ade that it was his worst performance this season, because it was just kind of thrown all over the place, and he wasn't getting "down and dirty." Nick Rhodes was expecting him to "uhhh." By which I mean Nick Rhodes grunts. Nick Rhodes does think that Melissa did a great job of breaking down the hip alignment, or something.
Janette's up next for her solo, and she must have lost a bet, because she's dancing to Celine Dion, a song that, judging by its lyrics about being on her knees, is either about praying or giving head. "I go down with a smile on my face," yells Celine Dion. I had to pay attention to something, because Janette's routine was the same thirty seconds of contemporary that we always see. Lift up her leg, step forward, get on the floor, look like you're rising and stretching out of bed with a smile on your face because you're in a television commercial and you can smell the processed meat cooking for Sunday morning breakfast. She dances it really well, though. Because she's a good dancer!