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Jive

Jive is an energetic and lively partner dance style that originated in the United States in the early 1930s among African American communities, evolving from earlier swing dances such as the jitterbug, Lindy Hop, and boogie-woogie, and performed to upbeat swing, jazz, or rock and roll music at tempos around 176 beats per minute.^[1]^[2] It features bouncy knee action, quick footwork with small jumps and kicks, sharp direction changes, spins, and occasional lifts, all while keeping partners in close proximity on a compact dance floor.^[1] First publicly demonstrated by performer Cab Calloway in 1934, jive gained widespread popularity in the 1940s through swing clubs like the Savoy Ballroom and spread internationally, particularly to Europe during and after World War II, where it adapted to local music styles.^[3] In 1968, it was standardized as one of the five dances in the International Latin category of competitive ballroom dancing, alongside the cha-cha, samba, rumba, and paso doble, emphasizing its athleticism and flair in modern dance sport competitions.^[1] Beyond dancing, jive originally denoted a form of slang or jargon in the African American jazz subculture of the 1920s and 1930s, rooted in Harlem and Chicago, where it described playful deception, exaggerated talk, or the stylish vernacular of "hepsters" and musicians.^[4]^[2] This linguistic style, possibly influenced by West African languages or English "jibe" (to taunt), served as an insider code for community expression and cultural rebellion, popularized through recordings by artists like Louis Armstrong and lexicons such as Cab Calloway's 1938 Hepster's Dictionary and Dan Burley's 1944 Original Handbook of Harlem Jive.^[4]^[5] Terms like "dig" (to understand), "chick" (woman), and "in the groove" (in sync) exemplified its rhythmic, inventive wordplay tied to the swing era's music and social scenes.^[4] The term also encompasses a variant of swing music from the 1930s big band era, characterized by flowing rhythms and less complexity than later jazz forms, often accompanying the dance and slang in the same cultural milieu.^[2] Overall, jive represents a vibrant thread in African American cultural history, blending movement, sound, and language as forms of creative self-expression during a period of social and artistic innovation.^[4]^[6]

Linguistics

Jive slang

Jive slang, also known as jive talk or Harlem jive, emerged as a distinctive argot or jargon within African American Vernacular English, primarily used by jazz musicians, performers, and hipsters in the urban jazz scenes of the 1930s and 1940s.^[4] It served as an expressive form of slang that captured the rhythm and improvisation of jazz, often functioning as playful or deceptive speech to convey insider knowledge or exclude outsiders.^[6] Representative examples include "hep cat," referring to a knowledgeable person attuned to the jazz world; "square," denoting an uncool or naive individual; "that's the jive," meaning that's the truth or the real deal; and "don't jive me," a warning against deception or fooling around.^[7] The historical origins of jive slang trace back to Harlem during the Swing Era of the 1930s and 1940s, deeply influenced by African American communities and the vibrant jazz culture centered in nightclubs like the Cotton Club.^[8] Rooted in the Harlem Renaissance's extension into the swing period, it developed as a linguistic response to the social dynamics of Black urban life, blending everyday speech with the performative energy of jazz improvisation.^[4] This era's migration of African Americans to northern cities like New York fostered a coded vernacular that reflected resilience and creativity amid racial segregation.^[6] Key characteristics of jive slang include its exaggerated rhythmic delivery, mimicking the syncopated beats of swing music, and its use as playful nonsense or deceptive talk to build camaraderie or confound eavesdroppers.^[4] As a coded language, it acted as an "inner-circle" idiom, allowing users to communicate subtly in mixed or hostile environments, often through figurative expressions that critiqued mainstream society.^[4] For instance, phrases like "kicking the gong around" alluded to drug use in a veiled manner, drawing from underworld influences to maintain discretion.^[8] Notable early users included jazz legends such as Cab Calloway, who popularized jive through his 1931 hit "Minnie the Moocher," a million-selling record featuring scat singing and slang-laden lyrics that introduced the vernacular to wider audiences.^[9] Calloway further codified it in his 1938 Hepster's Dictionary, a guide to jive terms that bridged Black jazz circles and mainstream culture.^[7] The slang gained broader exposure via media, including the 1941 film Hellzapoppin', where performers like Slim Gaillard incorporated jive-like scat and nonsense speech in musical sequences, amplifying its appeal during the swing era.^[10] Linguistically, jive slang featured inverted syntax for rhythmic effect, such as "got your boots on" to mean being "hep" or aware; alliteration in playful phrases like "hi-de-ho"; and borrowings from diverse sources, including African linguistic retentions via AAVE phonology, and underworld slang for coded references to vice or rebellion.^[11] This fluid structure emphasized sound play and metaphor, evolving rapidly to reflect jazz's improvisational spirit.^[12]

Evolution and cultural impact

Following World War II, jive slang experienced a decline in the 1950s as it became mainstreamed through broader adoption in popular culture, coinciding with the emergence of beatnik and hippie slang that incorporated and diluted its distinctive elements. The beatnik subculture, popularized by figures like Jack Kerouac, drew from jive's jazz roots but shifted toward existential and countercultural expressions, reducing jive's prominence as a specialized argot.^[13] However, jive saw a revival in the 1970s through the disco and hip-hop scenes, where its rhythmic, playful phrasing influenced funk-infused language and early rap vernacular, adapting to new urban expressions of identity.^[14] Jive's influence extended into standard English slang, with terms like "jive turkey"—denoting a foolish or insincere person—entering widespread use by the mid-1970s, as evidenced in popular media and dictionaries.^[15] The Bee Gees' 1975 hit "Jive Talkin'" further popularized the phrase to describe deceptive or exaggerated speech, bridging jive's jazz origins with disco-era pop.^[16] Modern usages persist, such as "that's jive" to signify insincere or misleading talk, reflecting jive's enduring role in colloquial deception descriptors.^[17] Culturally, jive slang played a vital role in Black empowerment and resistance during the era of segregation, serving as a coded language for self-expression and community solidarity amid systemic oppression.^[6] It appeared prominently in literature, such as Chester Himes' Harlem detective novels, where jive-infused dialogue captured the gritty, resilient vernacular of Black urban life in the mid-20th century.^[18] Similarly, comedian Richard Pryor's routines in the 1970s drew on jive's flamboyant, rhythmic style to satirize racial dynamics and personal experiences, using it to challenge stereotypes through raw, authentic humor.^[19] This linguistic form paralleled non-verbal expressions like jive dance, both embodying jazz culture's improvisational spirit. Jive spread globally through jazz imports, influencing British English slang in the 1940s and 1950s as American musicians and records introduced terms like "jive" for teasing or lively talk into UK jazz scenes.^[20] Its roots trace to Wolof "jev" (playful deception) in West Africa, carried to the Americas via the transatlantic slave trade, where it evolved into jive slang and later spread worldwide through jazz and cultural exchanges.^[21] Despite its richness, jive faced criticisms and misconceptions, often stereotyped by outsiders as nonsensical or comical jargon, overlooking its sophisticated rhetorical devices like inversion and metaphor for social commentary.^[22] Academic analyses highlight how such portrayals in media reinforced racial biases, ignoring jive's function as a deliberate code of resistance and cultural preservation.^[23]

Performing arts

Jive dance

Jive dance originated in African American communities in the United States during the early 1930s, emerging amid the Great Depression and the booming popularity of jazz music. It evolved from earlier swing styles such as the Lindy Hop and jitterbug, which were performed in urban jazz clubs and ballrooms like Harlem's Savoy Ballroom. It was first publicly demonstrated by performer Cab Calloway in 1934.^[3] The dance's name derives from the jive slang used in jazz-era African American culture.^[1] At its core, jive features fast-paced footwork characterized by bounces, kicks, flicks, and spins, performed in a partner hold akin to other ballroom dances but allowing for energetic separations and connections. Dancers emphasize a lively, syncopated rhythm with a characteristic "bop" or bounce in the knees, often incorporating figures like the rock step, chassé, throwaways, and spins. In competitive settings, it is danced to music at approximately 176 beats per minute in 4/4 time, though social variations may use slower tempos around 128-160 beats per minute.^[1] Jive was standardized as the fifth dance in the International Latin category by the International Council of Amateur Dancers (later the World Dance Council) in 1968, distinguishing it from more improvisational American swing variants through defined syllabi of figures and technique. This formalization built on earlier European adaptations during World War II, creating a structured style for competitions while preserving its energetic essence. Jive has since been integrated into ballroom syllabi worldwide, promoting its teaching in progressive levels from beginner to advanced.^[1]^[24] Regional variations highlight differences in style and application: American jive tends to be more acrobatic, incorporating aerial lifts, taps, and jazz elements derived from its Lindy Hop roots, often seen in performance-oriented settings. In contrast, British jive, developed in the 1940s, adopts a simpler approach with repetitive four- or six-beat patterns, prioritizing accessibility for social dancing over complex maneuvers.^[25]

Jive in music

The term jive was used to describe the lively swing jazz music of the 1930s and 1940s, characterized by upbeat, flowing rhythms and reliance on brass-heavy big bands that drove energetic performances.^[26] Popularized by bandleaders such as Duke Ellington and Count Basie, jive captured the exuberance of the swing era, with ensembles expanding to 13 or more players to create a full, homophonic sound that contrasted with the polyphonic ensembles of earlier jazz styles.^[27] This style thrived in urban centers like New York, fueled by radio broadcasts and recordings that disseminated its infectious grooves nationwide.^[27] Central to jive were syncopated beats, call-and-response patterns between sections, and ample room for improvisation, all delivered in simpler, more danceable structures compared to the complex harmonies and rapid tempos of bebop.^[28] Unlike bebop's small-group intensity, jive emphasized collective swing—a rhythmic propulsion that created a visceral, forward-moving feel, often rooted in blues forms and Tin Pan Alley song structures like AABA.^[27] These elements fostered a playful, communal energy, occasionally incorporating jive slang into lyrics for added flair, as seen in the scat-like vocalizations of performers like Cab Calloway.^[26] Iconic recordings and events underscored jive's prominence, including Cab Calloway's "Jumpin' Jive" from 1939, a swinging anthem that exemplified the genre's rhythmic bounce and became a staple of the era. Jive sessions at Harlem's Cotton Club further highlighted this vibrancy, where Ellington and Calloway led lively performances blending brass fanfares with improvisational flair, drawing crowds through the 1930s.^[29] By the late 1940s, jive's upbeat rhythms influenced the transition to rock 'n' roll in the 1950s, as rhythm and blues acts adapted swing's backbeat and energy for smaller combos.^[30] In performance, jive spotlighted the rhythm section—drums and bass providing the essential "bounce" through steady, swinging pulses on beats 2 and 4—while brass and reed sections traded riffs in call-and-response.^[28] Live jive bands filled ballrooms across the U.S., with leaders like Basie's orchestra delivering head-chart arrangements that allowed spontaneous solos amid the big band's power.^[31] Jive waned with the big band era's decline after World War II, as economic pressures favored cheaper small-group formats and bebop's innovation overshadowed dance-oriented swing.^[31] Its legacy endured, however, through a neo-swing revival in the 1990s, when groups like Big Bad Voodoo Daddy recaptured the upbeat brass-driven sound with modern twists, reintroducing jive's joyful rhythms to new audiences.^[32]

Commerce and technology

Jive Records

Jive Records was founded in 1981 by Clive Calder as a subsidiary of the Zomba Group in the United Kingdom, initially focusing on emerging music genres before expanding operations to the United States in 1983.^[33] The label quickly gained traction in the hip-hop scene, signing early acts and establishing itself as a key player in urban music. In 1991, Bertelsmann Music Group (BMG) acquired a minority stake in Jive, providing distribution support while allowing independent management to continue.^[34] This partnership evolved, culminating in BMG's full acquisition of Zomba—including Jive—for $2.74 billion in 2002, marking one of the largest deals for an independent label at the time.^[35] Following BMG's merger into Sony BMG and Sony's buyout of Bertelsmann's stake in 2008, Jive operated as an imprint under Sony Music Entertainment.^[36] The label's roster propelled its growth, beginning with hip-hop pioneers like Whodini, whose 1984 single "Friends" became a breakthrough hit blending rap with mainstream appeal.^[37] The 1990s marked a commercial explosion, as Jive signed R&B sensations R. Kelly and Aaliyah, whose debut albums solidified the label's urban dominance, alongside teen pop icons like Britney Spears—whose 1998 release "...Baby One More Time" sold over 10 million copies in the U.S. alone—NSYNC, and the Backstreet Boys, whose synchronized hits dominated global charts.^[38] These artists drove Jive's transition from niche hip-hop to blockbuster pop, with compilations such as Jive's Greatest Rap Singles (1990) highlighting its foundational contributions to the genre.^[39] By the early 2000s, Jive and its parent Zomba achieved peak performance, generating over $1 billion in annual sales and $300 million in profits, fueled by the teen pop boom and digital shifts.^[38] However, the label faced challenges, including a 2002 lawsuit from the Backstreet Boys alleging unfair contract terms and royalty disputes.^[40] Jive's focus remained on R&B, hip-hop, and teen pop, though its pivot from urban roots to mainstream acts drew criticism for diluting its original identity. In 2011, amid Sony's restructuring, Jive was integrated into RCA Records, with its artists reassigned and the imprint retired.^[41] Controversies persisted, notably around Britney Spears' long-term contract with Jive, which intersected with her 2008-2021 conservatorship, raising questions about artist autonomy and label oversight during her career peak.^[42]

Jive Software

Jive Software is an enterprise communication and collaboration platform designed to facilitate internal social networking and knowledge sharing within organizations. Founded in 2001 in Iowa by Matt Tucker and Bill Lynch, the company initially developed open-source instant messaging software before shifting focus to enterprise collaboration tools. It relocated to Portland, Oregon, in 2004, where it grew into a key player in the Pacific Northwest tech scene. The name draws from jive slang, evoking lively and dynamic interactions among users.^[43]^[44] The platform's core features include customizable community spaces for threaded discussions, secure document sharing and version control, real-time activity streams to highlight updates and contributions, and AI-powered search capabilities that leverage natural language processing for quick information retrieval. It supports seamless integrations with productivity tools such as Microsoft Office for embedding documents and Salesforce for syncing customer data, enabling unified workflows across enterprise systems. Built on a Java EE architecture, Jive's initial product, Clearspace (launched in 2006), evolved into the full Jive platform, emphasizing scalability for large organizations.^[45] Jive experienced significant growth through venture funding, raising $15 million in Series A financing from Sequoia Capital in 2007, followed by additional rounds totaling over $57 million by 2010. The company went public in 2011 and was acquired in 2017 by Aurea Software (through ESW Capital) for $462 million, integrating it into Aurea's suite of customer experience solutions. It has been rebranded as the Jive Employee Engagement Platform, focusing on boosting productivity and culture in modern workplaces. Adopted by hundreds of enterprises, including Cisco and Dell, Jive powers internal communications for millions of users, with strong emphasis on mobile accessibility via iOS and Android apps and analytics dashboards that track engagement metrics like participation rates and content interactions.^[46]^[47]^[48] As of 2025, Jive has incorporated advanced AI enhancements, including automated content moderation to ensure compliance and safety, and personalization algorithms that recommend relevant discussions and resources based on user behavior. These updates support the rise of hybrid work environments post-COVID-19, by enabling remote teams to maintain connections through virtual communities and real-time collaboration tools, ultimately aiming to reduce silos and foster innovation.^[48]^[49]^[50]

Other uses

Scientific organizations

The Joint Institute for Very Long Baseline Interferometry in Europe (JIVE) was formally established in 1993 by the Consortium for VLBI in Europe as a foundation under Dutch law, with its headquarters located at the ASTRON institute in Dwingeloo, Netherlands.^[51] JIVE serves as the central organization for the European VLBI Network (EVN), an international alliance of radio telescopes that enables very long baseline interferometry (VLBI) observations by linking facilities across Europe and beyond.^[52] This infrastructure supports collaborative research in radio astronomy, focusing on high-angular-resolution imaging of astronomical phenomena. JIVE's primary mission is to operate and develop the EVN's central data processing facilities, coordinating observations from more than 16 radio observatories worldwide to produce detailed maps of celestial objects such as stars, galaxies, and transient events.^[53] The institute processes raw interferometric data through specialized correlators, which combine signals from distant telescopes to simulate a single, Earth-sized virtual telescope capable of resolutions down to milliarcseconds.^[54] Funded primarily by the European Union through programs like Horizon Europe and contributions from EVN member states, JIVE's operations emphasize technical innovation and user support for astronomers globally.^[55] Key achievements of JIVE include its pivotal role in the Event Horizon Telescope (EHT) collaboration, where EVN telescopes provided critical data for the first-ever image of the supermassive black hole shadow in the galaxy M87 (M87*) released in 2019, and the subsequent imaging of the black hole at the Milky Way's center (Sgr A*) in 2022. These milestones, achieved through synchronized global VLBI observations, have advanced understandings of black hole accretion and jet formation. Additionally, JIVE has facilitated groundbreaking studies of quasar structures, supernova remnants, and the large-scale evolution of the universe via high-resolution EVN surveys. In technical operations, JIVE employs advanced correlator systems to handle large volumes of interferometry data, enabling both post-processing and emerging real-time capabilities. As of 2025, the institute is actively integrating with next-generation facilities like the Square Kilometre Array (SKA) to enhance VLBI sensitivity and coverage, including the June 2025 incorporation of South Africa's MeerKAT telescope (an SKA precursor) into the EVN.^[56]

People and pseudonyms

Jive Jones, born Denny Ira Kleiman on August 30, 1980, in Miami, Florida, is an American singer, songwriter, and producer who rose to prominence under the stage name Jive Jones in the early 2000s. His professional moniker evoked the energetic rhythm of jive slang and dance from the jazz era, aligning with his dance-pop style. He debuted with the album So Cool in 2001 on Jive Records, led by the single "Me, Myself & I," which charted successfully in Europe and Asia, peaking at number 13 in the Netherlands and earning a gold certification in that market.^[57]^[58] Throughout the 2000s, Jones expanded into production and songwriting, collaborating with artists including Mandy Moore on tracks like "Cry" from her 2001 album So Real, and Anastacia on songs for her 2004 release Anastacia. He also contributed to PM Dawn's work and co-founded an online radio station to promote emerging talent. These efforts positioned him as a versatile figure in pop and alternative rock scenes.^[58] Following his initial solo success, Jones transitioned post-2010 to primarily behind-the-scenes roles, focusing on production, songwriting, and multimedia projects such as acting and visual arts under his established pseudonym.^[59]

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Joint Institute for VLBI in Europe (JIVE) - IMCCE
The Joint Institute for VLBI in Europe was formally established in 1993 by the Consortium for VLBI in Europe. The Institute is located in Dwingeloo, the ...
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European VLBI Network
JIVE's primary task is to operate the data processor for the European VLBI Network. JIVE also provides support to the world-wide EVN user community and supports ...
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JIVE Annual Report 2020 now available
Jun 30, 2021 · The Joint Institute for VLBI ERIC (JIVE) has as its primary mission to operate and develop the EVN data processor, a powerful supercomputer ...
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Joint Institute for VLBI ERIC - ESCAPE
JIVE is a European institute that provides support, conducts leading research and forwards technical development in the field of radio astronomy.Missing: history | Show results with:history
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RADIOBLOCKS: A New European Consortium - IRAM
Dec 12, 2022 · The Joint Institute for VLBI ERIC (JIVE) has as its primary mission to operate and develop the EVN data processor, a powerful supercomputer ...<|control11|><|separator|>
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New EHT images reveal unexpected polarization flips at M87 - JIVE
Sep 15, 2025 · The Event Horizon Telescope (EHT) collaboration has unveiled new, detailed images of the supermassive black hole at the center of the galaxy ...
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The EVN seminars are back this fall - JIVE
Sep 13, 2025 · In the first half of 2025, the EVN hosted two engaging talks that presented cutting-edge VLBI results relevant to the broader astronomical ...Missing: integration SKA AI analysis
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Jive Jones discography - Rate Your Music
Jive Jones discography and songs: Music profile for Jive Jones, born 30 August 1980. Genres: Singer-Songwriter. Albums include Now That's What I Call Music!
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Jive Jones Biography by LyricsVault
Jive Jones (born August 30, circa 1976) is an innovative producer, singer, songwriter and musician from Miami, Florida. He has worked with Mandy Moore, ...
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JIVE jones - Artist | LinkedIn
Artist · More than 30 million songs and productions sold worldwide, and counting!! · Experience: MXXXM Entertainment Group ltd.<|control11|><|separator|>