"The dancers went wild." Later, Handy described a crowd's enthusiastic response to his own band playing blues music in 1909: "In the office buildings about, white folks pricked up their ears. Stenographers danced with their bosses. Everybody shouted for more." Later, he incorporated elements of habanera music into his blues music, because he had observed that Black people danced even more enthusiastically when these elements were present. In 1914, he played the song "Saint Louis Blues" for the first time. At the time, the tango was fashionable, so he used a tango-style introduction before transitioning suddenly into a blues style. As Handy recalled, after a moment's hesitation, the audience threw themselves into the dance with abandon. At this point, blues began to come into its own as a genre. A tune called "Slow Drag Blues", composed by Snowden, was recorded c. 1915–19 by Dabney's Band. According to Albert Murray, blues idiom-dance movement has nothing to do with sensual abandonment. "Being always a matter of elegance [it] is necessarily a matter of getting oneself together. Practitioners of this style do not throw their bodies around; they do not cut completely loose. A loss of coolness and control places one squarely outside the tradition." Dancing to blues music was sometimes called "slow dragging", a term that was used by Black dancers in Chicago through the 1940s. By the 1960s, the term "belly-rubbing" had gained acceptance. In the 1970s, both Black and white people began to refer to very close slow dancing between couples simply as "slow dancing". The degree of affection the partners had for each other generally determined how closely the partners danced, and there were widely varying levels of proficiency and styles of footwork. In fact, the very nature of a vernacular dance culture ensures the survival of socially and culturally useful or valuable dances. Many of the steps specific to dances associated with popular blues songs of the 1920s were adapted for new musical structures in jazz, and new dance forms such as the lindy hop. Early African-American blues dances were very simple in their core movement and allowed for a wide variety of musical interpretation, embodying a black aesthetic approach to rhythm, movement and melody which permeated black music. They were often a simple one-step or two-step and though some movements may have been adapted and integrated into some mainstream popular dances, blues dancing as a distinct dance