every class, and I say it again to you--come and see me
in my office and tell me how you are getting along here. And I mean
this for every one of you. If I wasn't certain that I am going to be
able to help you I wouldn't ask you to do this. If I didn't care I
might do as some others do--take your money and let you go along in
the class work as you choose to without bothering myself whether you
made good or not. But that is not my way--not this studio's way at
all. You must make good, for your own sake--and for the sake of this
school's reputation. Now remember, there is absolutely no charge for
my advice or counsel about anything that concerns you--your health,
your reducing, your improvement in dancing--anything you want to know.

One day a girl came to me for the first time after she had been in the
school about four months. I asked her in some surprise why she hadn't
been in to see me before. "Why, Mr. Wayburn," she said, "I understood
that you charge a high price for consultation, and I didn't feel that
I could afford it."

Not only do I not charge anything for counseling you, I esteem it a
favor to myself to be allowed to advise you. Candidly, I have never
yet had a girl or boy take my courses here who has made a success of a
dancing career who didn't write to me or talk things over with me
first. If you don't come, you cannot get my ideas, cannot cooperate
with me in matters that concern you.

Come to my office at any time. Between 11 and 1, or 4 and 6 are
usually the best times. If I am busy with some important matter I may
have to ask you to wait awhile or come in at some other time. I'm a
pretty busy man some of the time, myself!

Weigh yourself and tell me about your weight.

NED WAYBURN'S ACROBATIC DANCING

[Illustration]

There is a very decided distinction to be drawn between acrobatics
pure and simple, and acrobatic dancing, which is quite another matter.
It is, of course, acrobatic dancing that you see on the stage
accompanying and accentuating the more formal dancing steps in musical
comedies, revues, and spectacular performances, and it is this
acrobatic dancing that receives wide attention in the teaching of the
dancing art in the Ned Wayburn courses.

There are properly two divisions into which acrobatic dancing is
naturally separated:

(1) _Bending exercises_; including the back bend, hand-stand,
inside-out, front over, back limber, cartwheel, tinseca, nip-up, the
various splits,