Old News and Views

Editorial - Reflections on our USA Music and Dancing Trip  (14-Aug-08)

A must read for musos and dancers as we've tried to answer many questions posed to us prior to leaving

One of the more interesting aspects  of our trip has been trying to understand the local dance and music (and food) lingo. It's as if we speak two different languages. For example, with dance:

1. The "Rockabilly Rockers", who were the demo dancers at the International Rockabilly Festival in Jackson Tennessee, do what we call "line dancing".

2. The dancers we've observed who do anything resembling what we call "rockabilly", are southern USA dancers, or British dancers, who call themselves "boppers". In Nashville the dance clubs are called "Bop Clubs" and this includes "bop", "shag", "lindy hop" and all kinds of "swing".

3. The northern USA dancers who do something resembling our "pub jive", "boogie woogie" or "rock'n'roll" call themselves "East Coast Swing" dancers".

4. The dancers we've observed who call themselves "West Coast Swing" dancers look less stylized - much more movement, action and bounce.

With music we have heard:

1. An Elton John tribute artist discuss whether he, or Tina Turner, is the "Queen of Rock'n'Roll". A title also claimed, if we remember correctly by Bobby Brookes Hamilton, a Little Richard tribute artist. Generally Wanda Jackson is called the "Queen of Rockabilly", but depending on your definition of Rock'n'Roll, we think perhaps she's the one worthy of the title.

2. In the USA the "Rockabilly Festivals" all play what we call rockabilly, swing and rock'n'roll. It is inclusive of the music of the 50s and 60s. Rock'n'roll seems to refer to the wider context from early rockabilly to AC/DC and Madonna and on..... When we say we're dancers/rock'n'rollers they haven't a clue what we mean....as far as we can see there is no dance style here called "rock'n'roll".

In Australia we're regarded as pretty ordinary dancers. In the south USA we've observed very few people dancing in music venues. People have been amazed and "wowed" by what we do. It has surprised us, as we thought in the country that gave birth to rockabilly and rock'n'roll, we'd look pretty ordinary.

We have included a quote from a USA researcher who wrote her Masters thesis on Lindy Hop. We think it applies just as well to rock'n'roll and rockabilly. In the end it seems that is why people here are enjoying watching us....we have fun with it, don't take it too seriously and don't worry what others are thinking about us. A young couple here said "when they're our age they want to dance like us, what should they do? They just got married." Celia said "Find a good teacher, don't listen to everything they say, don't take it all too seriously, have fun with it and don't worry too much about what you look like doing it. We don't dance competition or exhibition. Often that takes the fun out of it and puts stress on relationships. Keep your dancing as something you do together for pleasure".

The Lindy - Margaret Batiuchok - Submitted in partial fulfillment of the requirements for the degree of Master of Arts to the faculty of the Gallatin Division of New York University. May 16, 1988

"I will reiterate throughout my belief that the best dancing comes from the "street" or social dancers, not from dancers trained in schools for ballroom competitions. I don't feel most dance schools understand the feeling of the Lindy ..... The Lindy originated in black dance halls and the more authentic style uses African rooted movements, connection with the earth, vertical bounce, side hip movements, and a relaxed, not rigidly-held torso. A sense of abandon and joy comes from immersing oneself in the music and its rhythm. Students should be taught authentic movement and music and then be encouraged to create their own patterns within the feeling and rhythmic structure of the dance and the music." http://www.swingcraze.com/ussds/LindyHop/LindyThesis/Rest.html

For you budding musicians out there in Australia, think carefully before throwing it all in and coming to Memphis or Nashville to try and make it. Bands have to compete for the chance to play in the best honkytonks on Broadway in  Nashville, or blues venues on Beale Street in Memphis. These musos told us they get $20 a head a night and have to make up the rest through tips. After every song they pass round the tips bucket or come round trying to encourage tips and CD sales from the audience...it's a tough gig!

A Pat on the Back for Local Rockers (uploaded 18 July 2008)

Editorial 

It was great to see the response to "Jump for Joy", the benefit event to help injured rocker Joy Jacob keep afloat until she's able to work again. Rock'n'Rollers and Rockabilly dancers, musicians, fans and DeVille's Pad got together, ran a fantastic event, and raised a good bit, to help Joy out. 

DeVille's was a perfect venue for the event! Trickster Music and a whole bunch of musicians donated their time and effort, which as you can see from the video footage and comments, was an awesome show! As emailed by Bill, Suzanne and Chas, 'we must say that whoever missed it, missed out on a $200 concert, as the level of entertainment on the night was second to none", or as Steve and Phyllis wrote "that show on Thursday night WOW, absolutely brilliant, every singer and musician seem to have lifted their game on the night". What a credit to our local musos! 

Many also donated prizes and bought tickets for the huge raffle on the night, and all who attended contributed through the door donation. 

It was great to see that when one of our own is in adversity, the Rock'n'Roll community can pull together, put on a show like that, and raise money for a good cause. From all reports Joy was awestruck, amazed and extremely grateful! 

Bill, Suzanne and Chas also wrote we "just hope that they do a 'Take Two' so that we can enjoy our local talent once again at a great venue". We agree, we'd love to see more multi-performer events in Perth. It was a wonderful showcase for local talent and great evening of entertainment!

Idiots Guide to Rockabilly (19 June 2008)

Seems like there's an Idiots Guide for everything right? Now you're lucky enough to have gotten your hands on the new Idiots Guide to Rockabilly!

“The Worlds” – Who’s to Blame?

 Editorial (2 June 2008)

 We may not be popular for taking on this subject, but we have gotten so much feedback on the topic we feel it needs to be opened up for discussion. We don’t want to put down the event, or discourage people from participating, just do so from an informed and realistic perspective to minimize disappointment.

 We had a significant number of people voicing disappointment with the World Freestyle Rock’n’Roll Dance Championship. Well, our feeling is, do some research, and thinking, before you get into a “prestigious event” (“The Worlds” wording). People can call an event anything they want, as long as the name isn’t copyright already. They can describe their event as “prestigious” if they want to. You need to do your research, and think on it, and figure out if it’s genuine, or advertising hype.

 If you want to participate in the World Gymnastic, or Swimming, Championships you first have to win, or place, in your local town event, then your state championship, then your nationals. You don’t get to compete in the Worlds just by paying a $40 entry fee. This should have rung bells for most people.

 We’ve not attended the event. We did however research it when we first heard about it, and then made a judgment based on our own research. We recommend dancers wanting to participate in competitions apply the same sound reasoning, and rigorous research, to this experience they would apply to buying a car or large screen TV - do your research before you start making an investment.

 Participating in an event of this sort will always have positive consequences. You’ll get extra coaching, do more practice, and invest in new shoes and gear. All this will have positive spin-offs – you’ll get fitter, be a better dancer and look spiffy – but be realistic about your expectations and sensible about your expenditure. Keep things in proportion and you won’t be disappointed. We’re sure all who participated and prepared for the “Worlds” had positive spin-offs – We’re also sure all are better dancers now, all are fitter and all now have great gear for Wintersun and beyond.

Sunset Coast Rock’n’Roll Festival: What’s wrong with Perth?

 Editorial  (25 May 2008)

 Dancers and band members have inundated us with requests to get an annual local rock’n’roll festival/weekend up and running in Perth. We’d also love to see it happen. Other states seem to be able to get these things off the ground. What’s wrong with Perth?

 Summersun was an attempt to address the west coast festival deficit. Many dance schools and dancers failed to support it, as it was felt it was “owned” by an individual. Perhaps, for something like this to get off the ground locally, it needs to be run as a not-for-profit event. In this way, financial support can be widely accessed via grants and sponsorship. Many people claim that committee members brought personal agendas into the planning of events and meetings resulting in financially non-viable events. Whether run for profit, or not for profit, breaking even, at least, should be a goal if the festival/weekend is to become an annual event with ongoing support. Sponsors like financially responsible management.

 To get an event of this sort up and running takes vast expertise, and sustained energy. It needs a group of enthusiastic people, with diverse skills and interests, willing to put in time to shape an event where all dance schools, clubs and dancers feel welcome and included. As a result the organizers will need broad representation, and a vast skill base to be effective.

 We’d love to see a Sunset Coast Rock’n’Roll Festival get off the ground. But let’s start small. Maybe with a day, weekend or long weekend. See if we can get it right. Then build on it, when we have perfected the formula, and the right set of individuals to run it. We suggest looking at the second half of the year, as there are plenty of festivals in the first half. We’d like to see it not-for-profit, so grants and sponsorship can be accessed. And it won’t be us running it. We’ve had many requests, and we do have some of the expertise…but this website is our contribution to Perth Rock’n’Roll. We do it free of charge, and it takes any time we can currently spare. We’re happy to provide support through the website, and in preparing grant applications, but this is an opportunity for others to make a contribution.

Marco Agostino, a home-grown Elvis: a bit of Perth Music History (24 April 2008)

 You all know Marco as the front man for Tornado Alley Cats (see the video on our video page)…well, now you’ll get to see him as Elvis, in Green Door’s Elvis 68 Comeback Tribute. Marco was born and bred in Perth. His music career began at 15, in the early 80s, when he started singing at his family’s Italian Restaurant, Cicero’s, in Northbridge. Here he was known as the “Singing Waiter”, entertaining customers with rock’n’roll and Elvis ballads. Marco now has a long and varied music career, but always returns to his music roots: Elvis, rock’n’roll and rockabilly.

 After his stint at the family restaurant, Marco, and his brother Sam, moved around the corner to Lake Street to run Young Joe’s Pizza Bar. Here Marco performed in between pizza making - out front, on the sidewalk, every Friday and Saturday night. Marco became known as “The Singing Elvis Pizza Boy” and had a regular following at Young Joe’s, which became the haunt for rockabilly and Elvis fans in the late 80’s.

Marco also played in a three piece group with local legends, Ivan Zar (Blues steel guitarist) and Ben Franz (ex Dixie Outlaws and upright bass player). They played Elvis classics, to huge crowds that spilled out onto to the street and stopped traffic.

Marco then joined the local rockabilly band, The Howlin’ Moondoggies, as the front man. You may have caught them at The Aberdeen, Lone Star Saloon, The Good, the Bad and the Ugly, P and O Hotel-Freo, or The Como. In the late 1990’s the band headed to Sydney to check out their rockabilly scene. There they released a number of CDs and featured on well-known radio and television shows.

With the tragic death (2006) of well loved rockabilly singer, Tyson Feifar, of The Salt Trio, Marco joined the remains of the band and the name was changed to The Tornado Alley Cats. Between gigs keeping us entertained at the Mustang, The Cats toured Australia and attended Tamworth and Wintersun. During this time they released two CDs.

Marco, and his band, will now bring alive the ELVIS 68 COMEBACK TRIBUTE at the Oasis Resort, Swan Valley, on Friday, 9th May. This is a no-eye-candy-dancing-girl-show, just good raw, rockin’ Elvis songs from the unplugged NBC TV performance, made famous as the 1968 Comeback Special. This is a dinner and show package, so for all who enjoy Elvis’ music and all you local Elvis fans, book a seat for a show that’s never been seen in Perth before!

Perth Rock’n’Roll HQ (12 April 2008)

 Editorial

 If anywhere deserves the title “Perth Rock’n’Roll Headquarters” it’s the Mustang Bar, Lake Street, Northbridge. Where do you go to find a great swing, rock’n’roll or rockabilly band on the weekend if you don’t know about Perth Rocks or the Rock’n’Roll Gig Guide – the Mustang. Rockers who’ve been out of the loop for a while know if they want to catch up on what’s on, they’ll get the news at the Mustang. 

There is a whole lot of shakin’ goin’ on every night of the week –  

• Monday – rockabilly
• Tuesday – salsa
• Wednesday – rock
• Thursday – rock
• Friday – swing
• Saturday – swing, jump blues, rockabilly, rock’n’roll
• Sunday – country rock

 On any night, and especially on Friday to Monday nights, the dance floor is jumping with dancers – and good dancers! It’s entertainment just to go and watch. And if you like what you see, you can find out where you can learn to dance like that yourself. What’s more, on some nights there are free dance lessons to give you a taste before you take the plunge.

The Mustang is pivotal to the Rock’n’Roll scene in Perth. Just imagine Perth Rock’n’Roll scene without it!

Rock’n’Rollers aren’t Friendly (03 April 2008)
By Dr Cecilia Netolicky

 We receive a number of email complaints on the local rock’n’roll dancers – they’re too exclusive and don’t mix in with new people. Some women complain that when they go to dances they don’t get asked to dance. Men complain that when they ask women, they often get turned down, so they get discouraged.

 Women who complain they attend dances and rock’n’roll pubs and don’t get asked to dance need to wake up. It’s the 21^st century. We burnt our bras, fought for equality, and won! Choose your own partner. Ask him to dance. There’s nothing saying you have to sit around and wait for a guy to ask you. Rules have changed since the 50s and 60s. Get up and take control of your life – begin by asking someone to dance. At worst they can say “no”. Men have had to face rejection all along. Now women need to take the same chance.

 When we first began learning rock’n’roll dancing we were told never to turn down a request to dance. While I sympathize with this philosophy I’ve been know to turn down requests. I don’t dance with men I’ve noticed just about rip your arms off when dancing, I don’t dance with drunk men, and, as I’m happily married, I don’t dance with men who look like they’re coming on to me.

 Some people who’ve come in from the pub jive scene feel the rock’n’rollers are less friendly. The pub jivers have generally been taught by the same teacher, as a result they dance the same style and know the same leads and signals. Rock’n’roll is taught by many teachers, often with quite different leads and signals (and sometimes footwork). This makes it difficult for dancers to cross between schools or clubs. More experienced dancers can generally cope with this, but beginners find they are restricted to doing basic, change of place and American spin. Men complain it gets monotonous repeating the same three moves for a whole song, or having your leads continually misread.

 So, next time you’re feeling rock’n’rolllers aren’t that friendly, maybe think about what’s behind it. Some of the blokes who don’t have partners don’t have partners because they’re shy, and some have received many knock-backs, and so, are reluctant to try again. But, whether you’re male or female, take your future into your own hands, choose your own partner, then you’re much more likely to get what you want. As I said to my brother when his second marriage broke down, this time you choose the woman, don’t get sucked into someone else’s dream. Decide what you want, and go for it!

Email response:

(22/3/08)

We have included an extract from the article "You Lead! (You wicked woman!)" from Rock'n'RollDance.com.

contributed by Gareth

Traditionally, the man leads in most types of dance….. There are some very good reasons justifying this gender-role allocation unrelated to any special leadership talent of men, but they will be dealt with in another article. What we are concerned with here is the classic and very common cry by a man during dancing of "You led!" (How dare you?)

It’s all too easy to superficially observe what appears to take place and label the occurrence according to what is believed to have been seen instead of delaying judgment, then carefully observing and considering what might have happened. I believe it is exactly this practice which gives rise to an accusation of a women 'leading' while dancing. The man accuses the woman of having usurped his authority and decided for herself what she, and consequently he, will do next. This accusation is very often false.

 Women who virtually always 'follow' in dance don't suddenly 'lead' for no reason. What they do in reality is 'go off half-cocked'. Like starters in a race who jump the gun, they are nervous and on edge, inclined to spring at the slightest provocation [Perth Rocks addition- isn’t that good following?]. They pitch into a spin or a turn at the merest hint of a lead, whether real or imagined.

 For the man, this can be quite disconcerting. In freestyle dance he is (hopefully!) analyzing many things at once, such as precisely where the woman is at any particular point, the speed of the song, the close proximity of other dancers etc. When the woman charges into a move which he [Perth Rocks addition – thinks he] has neither signalled nor considered making, the difficult job of effective leading becomes a lot harder. What often happens next is that he himself then 'goes off half-cocked' and accuses the woman of having usurped his authority, something which she has not intentionally done. Her nerves have simply got the better of her and she has responded to a signal that she imagined or misinterpreted. This does not amount to a deliberate 'lead' [Perth Rocks addition - by the woman, it may be she picked up a slight movement that she thought was directing her to the next move].

 Note that this occurrence is quite distinct from two other tendencies. One is that of some men to give sadly inadequate leads. The other is that of some women to completely ignore the lead-follow relationship and just do what they want.
                                    complete article

(12/3/08)

We have included an extract from the article "Rock'n'Roll Watered Down?" from Rock'n'RollDance.com. We recommend all dancers read it as we've heard similar complaints are being voiced by publicans in Perth and we don't want to lose our regular dancing venues!

contributed by Gareth - 28th Dec, 2005

Rock 'n' Roll dance is no sinking ship but in South Australia at least, it could be headed for a watery grave. Publican after publican has lost patience with the 'dancing crowd' due to their drinking habits. It isn't that Rock 'n' Rollers drink too much, its the opposite problem. They drink too little! In Adelaide we are fortunate to have quite a few public bars with dance floors featuring Rock 'n' Roll bands and no cover charge. But if we don't drink, how does a venue operator make profits?

Rock 'n' Roll dancing and alcohol simply don't mix. Most songs we dance to clip along at around 100 beats per minute.....That's pretty fast dancing when your arms and legs make the number and variety of moves that Rock 'n' Roll requires. At that speed an intoxicated dancer would be in serious danger of causing injuring to them self, their partner or other dancers around them.....

Publicans have begun progressively replacing Rock 'n' Roll bands with those who play mainly 'nineties 'drinking music'. They argue that for every one dollar spent by a dancer, a drinker spends four.

Rock 'n' Roll dancing has held its own admirably over the years, long outlasting the popularity of the music that spawned it. That hasn't occurred for no reason. Its a great fitness activity and its good, wholesome entertainment. Its highly visible since it can be performed to a large range of modern music, hence it takes place in a lot of locations.

Regular dancers tend to be fit, happy and smiling. They are among the lucky people who have found something in life which they love to do that is inexpensive and freely available. It is, of course, up to dancers to be responsible and diligent in ensuring that they pay their way. However, in a world where obesity, drug and alcohol abuse, lack of fitness, mental disturbance, drink driving, hatred and self-possession are highly prevalent it would be a shame to witness the demise of such a socially responsible activity simply because it didn't meet the bottom-line profit requirements of capitalism.

What's Rock'n'Roll and What's Rockabilly (11/3/08)

For any of you interested in clarifying your understanding of what's Rockabilly and what's Rock'n'Roll we've included some links and quotes.

Quote from Rockabilly Music Tennessee: "The years between 1945 and 1960 represented the South's greatest period of upheaval in the twentieth century. In music, this period of transformation focused on what popular music observers identify as the rock-n-roll revolution, with the term "rockabilly" representing the first outburst of this new music, one that combined a range of southern musical traditions."

Some quotes from Wikipedia: "Memphis, Tennessee -The Saturday Night Jamboree - The Saturday Night Jamboree was a local stage show held every Saturday night at the Goodwyn Institute Auditorium in downtown Memphis, Tennessee in 1953-54. But of more historical significance was something that was going on backstage in the dressing rooms. Every Saturday night in 1953, the dressing rooms backstage were a gathering place where musicians would come together and experiment with new sounds - mixing fast country, gospel, blues and boogie woogie. Guys were bringing in new "licks" that they had developed and were teaching them to other musicians and were learning new "licks" from yet other musicians backstage. Soon these new sounds began to make their way out onto the stage of the Jamboree where they found a very receptive audience. Within a year these musicians were going into the recording studios around town and recording these sounds. A couple of years later these sounds were given a name: "rockabilly." The Saturday Night Jamboree was probably where the first live rockabilly was performed."

"Stylistically, the development of rock ‘n’ roll music was inevitable. However, the huge cultural impact of the music was anything but inevitable. This impact was due to rockabilly’s first and most important performer, Elvis Presley, who combined the musical excitement and rebellion of Hank Williams with the adolescent charisma of James Dean. Presley’s good looks, scandalously sexy concerts, and innovative music would make him the hero of an emerging demographic group: teenagers. As a result, his music and that of his successors would become the central unifying feature of youth culture during the second half of the 20th century. Rockabilly music cultivated an attitude that assured its enduring appeal to teenagers. This was a combination of rebellion, sexuality, and freedom—a sneering expression of disdain for the workaday world of parents and authority figures. It was the first rock ‘n’ roll style to be performed primarily by white musicians, thus setting off a cultural revolution that is still reverberating today."

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