The Roots of Steppin (Part 3)

The origins of this dance promotion began quite unexpectedly. On the day in question, I was making a routine sales call on Mr. Rickey’s. At the time, I was deeply involved in structuring marketing plans for the company, specifically overseeing promotions targeting the black market. As I visited Mr. Rickey’s, I happened to walk into a back room where a dance event was taking place. Though I had seen the dance before, I had never witnessed it on such a grand scale. The enthusiasm was palpable, with a long line of eager participants waiting for their turn to dance.

While there, I ran into Reggie and also reconnected with Dimples, both of whom were involved in the dance scene. After chatting with them, an idea sparked in my mind. Given my role in marketing, I saw immense potential in leveraging this dance as a sales promotion. I was so captivated by the energy and engagement that I returned to the office the next day and formally drafted a proposal to integrate this event into our marketing strategy for the following year. This was around 1989 or 1990.

To execute the plan, we needed a radio partner. At the time, our company had a relationship with WGCI for promotions within the black market. However, after reviewing our target demographic, I realized WGCI wasn’t the ideal fit for this particular initiative. I convinced our company to shift the partnership to V 103, despite their lower ratings. V 103 aligned more closely with the audience we wanted to engage, making it the right choice for our promotion. After presenting our vision to V 103’s team, they agreed to come on board. That year, they secured a $250,000 radio buy—an amount far exceeding what they typically received, as most of our marketing funds would have otherwise been allocated to WGCI.

V 103’s role in this initiative was strictly promotional. They did not finance the program; instead, every dollar came from Anheuser-Busch. V 103 was responsible for handling the promotional logistics, including producing T-shirts, organizing preliminary events, and spreading the word. Merry Green, who was the Director of Promotions for V 103 at the time, played a pivotal role in executing the program according to my vision. While she managed radio promotions, I was the one actively engaging with the community, attending club events, and ensuring the campaign resonated with our audience.

The structure of the contest was designed to be fair and engaging. We held elimination rounds across multiple venues, selecting 50 dancers—25 for Original Steppin’ and 25 for what we called Freestyle at the time. We collaborated with various bars, including Mr. Rickey’s, The Rose, Taste, and The Flick, to host these preliminary competitions. Participants were assigned to specific bars and judged by their peers, ensuring transparency and credibility. To further legitimize the process, freestyle dancers were judged by individuals familiar with the street dance scene.

Participation in the contest came with notable incentives. Everyone who took part received a Budweiser V 103 T-shirt. Those who advanced to the final 50 were awarded silk Budweiser V 103 jackets. Initially, we experimented with celebrity judges, but we quickly realized the importance of community involvement in selecting winners. The final competition had significant cash prizes: $10,000 for first place, $5,000 for second place, and $3,000 for third place—amounting to a total prize pool of over $30,000.

Admission to the event was set at $5 per person, a nominal fee considering the scale of the competition. The revenue generated from ticket sales was donated to charity, with the first beneficiary being D’Amico Youth Services on the North Side.

As the contest gained traction, we introduced additional elements to enhance the experience. In the second or third year, we organized a celebratory boat ride for all finalists, offering a dinner cruise as a reward for their dedication. During the live event, we also gave away audience prizes, such as Chandler Shoes gift certificates, fur coats, and other luxury items.

At the outset, I never anticipated the contest would grow to such proportions. My initial objective was simply to create an engaging marketing campaign. However, the enthusiasm surrounding the event helped it evolve into a nationwide movement. Over time, documentaries, television programs, and structured dance classes emerged, expanding the culture beyond its original Chicago roots.

Despite misconceptions about the dance community, it was never solely composed of hustlers or street figures. The participant pool was diverse, including professionals such as doctors, nurses, and businesspeople. While some gang members were involved, their presence ensured safety and order during events, demonstrating a collective effort to support a positive community initiative.

Ultimately, this contest was my brainchild, and it played a significant role in my career advancement. Our sales increased by approximately 30%, demonstrating the campaign’s effectiveness. Though the contest continues in some capacity today, the initial excitement and company backing that fueled its early success were irreplaceable. Reflecting on its growth, Over time, leadership of the contest changed. Pete Frazier later took over after Merry Green’s involvement ended. I recognize that Pete Frazier maximized its reach after I laid the groundwork. He expanded its presence beyond Chicago, attracting national interest.