Dance hall in its general meaning is a hall for dancing. From the earliest years of the twentieth century until the early 1960s, the dance hall was the popular forerunner of the discothèque or nightclub. The majority of towns and cities in the West had at least one dance hall, and almost always featured live musicians playing a range of music from strict tempo ballroom dance music to big band, swing and jazz. One of the most famous dance hall musicians was Glenn Miller. Other structural forms of dance halls include the dance pavilion which has a roof but no walls, and the open-air platform which has no roof or walls. The open air nature of the dance pavilion was both a feature and a drawback. The taxi dance hall is a dance hall with a specific arrangement, wherein the patrons hire hall employees to dance with them. The early days of rock n' roll were briefly played out in dance halls until they were superseded by nightclubs. United States Commercial dance halls in the United States began to appear toward the end of the nineteenth century and grew in popularity at the beginning of the twentieth century. These halls were generally frequented by working-class and/or immigrant teenagers that admired dance halls for their lack of chaperoning and convenience as cheap commercial leisure. The rapidly changing economy of the early twentieth century shifted the views many young adults had about the separation between work and leisure, increasing dance hall popularity from the 1900s into the 1920s. With increased financial freedom, as compared to prior decades, young immigrant and working-class women were able to access dance halls, generally placed within urban areas, that did not require chaperones. Dance halls allowed young working-class women the opportunity to step outside of their extremely stressful home and work environments while not costing too much, or anything in some cases. These city dance halls were especially popular with newly independent immigrant women from more rural areas as country-side dances were often more closely monitored and tended to host styles of dancing that were considered more socially acceptable for performance in public spaces. The styles performed in city dance halls had dancing partners physically close, performing movements that would allow for limbs and body parts to graze each other in ways not seen in other partnered dance forms of the time. Although interests in dance halls