Title and Author

Melbourne Rockabilly Meltdown: August 22, 23, 24 2008

Perth Rock'n'Roll HQ

Rock Around the Clock: Dance and Jive Away @ Burswood

Email response:

Rock 'n' Roll Watered Down? from Rock'n'RollDance.com

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

The Facebook Phenomenon - staying in touch '09 style

... and call back by Marilyn

Some problems reported with this file. Takes a while to load so seems to stutter occasionally. It plays straight through on replay. Just takes a while to fully load. Thanks Mike for recording these.

WA Rock'n'Rollers: a caring, supportive community

 Editorial Uploaded 28/5/09

After talking to some of our non-dancer friends, who're also supporting elderly parents, we felt driven to write this article. They asked "What'll happen to us if we become that sick or needy? Who'll support us if our children live in other cities, or countries; our siblings are scattered abroad; and our parents have passed on?"

Well, having observed the dance scene at close quarters this past year and a half, we don't feel so worried about the future. We've watched dancers and musicians get together to support members in extremis.

There've been dances organized to support dancers, musicians, family members and the general community. Events to support people coping with: cancer; diabetes; becoming an orphan; death of a loved one; injury; flood; homelessness through bushfires; and confinement to a wheelchair. There've also been events to support Princess Margaret Hospital, Cancer Research and Father Brian's Blanket Appeal.

Dancers and band members have given generously of their time, and dollars, to support these causes. At times there've been so many events in a month we've been surprised any of them attracted enough attendees to make the effort worthwhile. We've been amazed watching dancers struggling with their own serious health and financial issues, give generously to help others...but that's not all.

When one of the dancers, or musicians, is in crisis, we've watched others gather to supply meals; do laundry, ironing and vacuuming; offer lifts to hospital, pathology, radiology, chemotherapy, or doctor visits; and provide psychological support. Rock'n'rollers seem willing to put themselves out for others. The community rallies to support both its own, and the general community.

As with any group, the scene has its fair share of difficult and dysfunctional personalities, but there are many kind, generous and caring people, happy to give time, and money, to help others in need.

Let's hope we can maintain this community spirit, and peer support, as we move into poor health and old age. In this way we can maintain quality of life, independence, and our community capital.

My friends asked where they would find this level of support in the community if they're not dancers. We're sure other groups and clubs provide this level of support to members, but the rock'n'roll community isn't a single group, or club - its just a group of people with a common interest, yet they regularly get together, overcome the petty in-fighting and group differences, to help others - this is moving, commendable and reassuring. It makes us proud to be identified as part of this community.

If you want to contribute your experiences/opinions/ideas on this article you can post your ideas/experiences/opinions on the Perth Rocks Facebook Group Discussion Boards or email in a response to perthrocks@optusnet.com.au

Swing Etiquette - as published by Perth Swing Dance Society  - applies equally to Rock'n'roll and rockabilly
Social dancing is what swing is all about, and just like any other social situation there's a level of etiquette required to make sure everyone has a good time, which is the whole point! In general, if you're polite and considerate, and pay attention to your partner and others around you, then you're doing fine! Here are a few swing etiquette tips to think about when you go out social dancing...

When you're not Dancing - Don't stand on the dance floor, and especially don't stand there while you sip a drink! If at all possible, stand well out of the way and encourage others to do the same. If you notice a hazard on the dance floor (usually it's a spilled drink), then make sure people don't dance into it, and if need be, alert the bar staff so they can clean it up. If you see something dropped on the dance floor, like a leaflet, just pick it up.

Buy a drink! Since most of the swing gigs we attend don't have a cover charge, the only way the venue is making money is through drink sales. If we don't buy drinks, the venue can't afford to pay the band, and we'll lose a great gig. Though we know it's hard to drink and dance, and all we usually want to drink is a long glass of cold water, do make sure you buy at least one drink a night at every venue, especially if you are taking advantage of their free water. Even if it's just a coke or OJ, we must support the venues that support us!

Asking for or accepting a dance - Never turn down a dance because you don't know the person, you're nervous or they don't dance at your level - absolutely the best way to improve your dancing (whether you're a beginner or advanced), is to dance with different people, at different levels and with different styles. Remember, this person has got up the guts to ask you to dance - so get up the guts and dance with them! Don't be afraid to ask people, no matter what level you are, and remember ladies, it's the 21st century now, so you can ask the guys to dance too! Finally, don't monopolize one dance partner all night, no matter how much you like to dance with them!

Though we'd love to dance every song, not all of us have quite that much energy! If you're too tired to dance, politely explain this to the person asking (they'll understand), and perhaps promise to dance with them later on. If you've declined an invitation from one person, it's impolite to accept a dance with someone else for that song.

Dancing with your partner - This is a social dance, so engage with your partner! Make eye contact, be aware of how they move, and smile!
Some people like to chat on the dance floor and others don't. If you're partner clearly doesn't want to talk, just concentrate on the dance. Besides, isn't dancing just another form of communication?

Try to dance to the level of your partner and always keep it fun! Remember leads, your job is to make your partner look good, and ladies it's your job to be in-tune and follow. Nobody likes a "dig-me" dancer (that goes for girls and guys), and leads, you're not going to impress your partner with fancy moves if you can't lead them and/or she can't follow them. Sure, challenge your partner, but don't over-challenge them. Fun first, ok ?

Leads, if your partner doesn't quite pick up a move or variation the first time, lead it again a little later. This is a fantastic way for follows to learn, and you'll be very popular with the ladies.

Here's another way to be popular with the ladies - leads, be careful of your partner's makeup and hairdo! Some of those hairdo's took hours to do, and that fire engine red lipstick will definitely stain your clothes (or hers) if you bump her. Make sure you leave enough room for her to clear your arm in underarm turns, etc. If something goes wrong, just smile and keep dancing! Don't blame your partner and don't expect an apology, it was neither of your faults. Remember, there's no such thing as a wrong move, just a new move! Don't dip a girl if you don't know her (or her dance level) very well. Some girls feel very uncomfortable about dips since it completely throws off their natural balance. Be considerate, and if in doubt, end with something else.

Here's a big one - never instruct on the social dance floor, unless specifically asked! We go to classes to learn, but we go out social dancing just to have fun!

Floor Craft - Leaders, it's your job to keep your lady safe. Be aware of the environment around you, including the stage, furniture, bystanders, and of course other couples. Dance appropriately for how crowded the dance floor is and always be careful where you lead your partner. The same goes for ladies - try to be spatially aware, and keep an eye out for any dangers behind your partner's back. If you do collide with another couple, be sure to apologise and make sure no damage has been done.

Sometimes it is difficult to share a dance floor with people dancing a different style (foxtrot, rockabilly, Latin, etc.), but remember, they have just as much right to the dance floor as we do. Just be especially careful to avoid collisions, be patient, and if it's really too difficult, move elsewhere on the dance floor. It may help to know that most travelling dances (like the foxtrot, whereas swing is a stationary dance), move around the dance floor in an anti-clockwise direction, and if you are sharing the dance floor with these dancers, it is safest to stay in the centre, while the others dance around the outside.

NEVER do aerials on a crowded social dance floor - it's just plain dangerous, for you and for everyone around you. The same goes for dips, tricks or kicks which might be bigger than your average moves. Use common sense, and save these moves for the jam sessions. While we're on the topic of aerials, remember that aerials are dangerous and difficult, and you should never attempt them unless you've been properly trained and are with a partner with whom you're very familiar.

Cleanliness - Swing dancing is definitely a contact sport, and you can't expect anyone to want to dance with you if you don't have a certain level of cleanliness. Be sure you're clean and deodorized before you start dancing. Bring your deodorant along with you, and let yourself cool down (and dry off) every now and again throughout the night. Breath mints aren't such a bad idea either.

If you tend to sweat a lot, wear an undershirt, and always bring a change of shirt (or two or three!) and a towel. There's nothing worse than Lindy Hop with someone dripping wet...except maybe Balboa with someone dripping wet! And we're not just talking about the guys here, the same goes for ladies.

Clothing - Try to wear appropriate clothing. In general, ladies, tops that reveal a large amount of midriff aren't particularly appropriate, and some leads may not feel comfortable leading you on bare skin. Strapless tops aren't usually a good idea, and the same goes for guys with tank tops and the like. Make sure your clothing is comfortable and you have a full range of movement. Tops that are overly baggy can be difficult to dance in, and any clothing which you need to keep adjusting during a dance is not good.

Remove any potentially dangerous accessories (watches, rings, bracelets, necklaces) which might catch, tangle or hit someone while you dance. Don't carry keys in your pocket when you dance! Dance in appropriate shoes (high heels are great for rockabilly, but not so good to Lindy Hop in) with soles that allow you to move without slipping, and support you sufficiently.

Ladies, be careful of long ponytails - no one likes to get whipped in the face with flying hair during spins and turns.

After the Dance - Though it doesn't really need to be said, when the song is finished, thank your partner! If it was a wonderful dance, tell them so. Oh, and if there's a live band, do show you're appreciation by applauding.

Traditionally, once the song had finished, the lead would escort his lady back to the place where he had first asked her to dance. Though this might be a little formal these days, don't just abandon you're partner on the dance floor as soon as the song has ended.

With just a little commonsense and consideration, everyone can enjoy social dancing and get down to what it's really about - doing the dance we love, making friends and always having fun!

It's too bad oldies radio sucks so horribly, because there's a rich tapestry of untamed early rock and roll going unheard by all but a few. Rockabilly seems to make a big splash in popular music about once a decade with increasingly cartoonish affectations (Stray Cats, Chris Isaak, Rev. Horton Heat). But with the exception of regional pockets of enthusiasts (epitomized locally by outfits like the Cranktones), the real deal gets relegated to "roots" festivals and folk-purist academe -- maybe because at its best, it's still just too hog-spankin' wild for mass consumption. Yeah, the Sun Records catalogue has been repackaged more times than rat meat in a Chicago bologna factory. But that's a testament to how the fusion of hot-blooded R&B and booze-headed hillbilly skronk still resonates every time rock and roll gets crazy and dangerous on three twangy chords and a jug of whatever's handy. Albert "Sonny" Burgess, one of the boogie-fueled white kids who sought out Sun in rockabilly's post-Elvis heyday, is living proof. At the ripe old age of 65, Burgess is about to release a new solo disc, Sonny Burgess (Rounder), and it's a scorcher -- a rocket from the roots-rock crypt with much of the same caustic kick of the wax he cut 40 years ago.

On the new album's "Big Black Cadillac," the pulpy, bloody-murder howl that infused his '56-'57 rockabilly classics "Red-Headed Woman," "We Wanna Boogie," and "Ain't Got a Thing" (recently collected on AVI's Hittin' That Jug: The Best of Sonny Burgess) rears up anew, huffing and leering like an atomic-powered, fin-tailed street demon that's just blown the doors off every hot rod on the strip. It's the same approach Burgess honed in his hometown of Newport, Arkansas, where his band the Moonlighters did some gigs with Elvis Presley in 1955. The next year, the Moonlighters added a blast of raunchy trumpet and a second guitarist, changed their name to the Pacers, and persuaded Sun honcho Sam Phillips to put out "Red Headed Woman" b/w "We Wanna Boogie" as their first single. Although less visible than the King and the Killer and Carl Perkins, Burgess was rockabilly's real wild child -- hootin' and hollerin' and flat-out screaming, pouncing off the stage in mid performance with the Pacers to lead the audience in Indian war dances and human pyramid-building, then jumping back on the bandstand and tearing up the fretboard. Which makes him a hero if you're into any kind of wild-ass rock and roll.

Producer Garry Tallent (former bassist for the E Street Band; he also contributes rhythm guitar) has assembled a crack squad of session musicians and songwriters, making this new album a worthy companion to the one Burgess released with the Sun Rhythm Section (on Flying Fish), the festival-touring band of Memphis rawk veterans. The new ensemble -- steeped in a close approximation of Sun-style slapback echo -- is anchored by Tallent's ragged strumming and John Gardner's sparse but crisp skin-beating, with Roy Huskey's muscular upright-bass slaps and Burgess's stinging, laser-precise leads providing crucial propulsion. Burgess's cousin Larry Cheshire, a former Nashville songwriter, provides a handful of ballads including the Orbison-esque "Hang Up the Moon" and a remorseless anthem, "Hell Yes I Cheated."

Thanks to Tallent, Bruce Springsteen contributes his unrecorded "Tiger Rose." And on the album's cameo coup, original Elvis Presley guitarist Scotty Moore and the Jordanaires chip in for "Bigger Than Elvis," Burgess's tribute to the cat who first blew his mind on rockabilly. But the album's brightest moments are the visceral fire-and-brimstone rockers like "Catbird Seat" and roadhouse R&B shouters like "Look Out for Number One," where Burgess breaks rockabilly out of the yellowing pages of history, re-animates it with a jolt of lightning, and carries it screaming out the door.

-- Carly Carioli http://www.rockabilly.net/articles/burgess.shtml

What happened to the "Soul of Scarborough Beach": reflections on Venice Beach and  Scarborough Beach past and present

Editorial -7 April 2009

The Facebook Phenomenon - staying in touch '09 style

Editorial - 18 March 2009

Facebook, a social networking site of more than 175 million people worldwide, can effect massive change in the way we interact with others. As with any new service or technology, there are both significant benefits, and pitfalls. Using any open, free service safely is generally a matter of exercising common sense and caution. This article aims to articulate some of the benefits and identify some of the black holes, while providing a short checklist to minimize the dangers of identity fraud and unwanted communications.

1. A new window to the world

We first went on Facebook to communicate with our daughters who were living in London. We could see their pics almost instantly: their new apartments, where they were travelling to, what they were doing with friends. It was great. We could also "chat" freely and directly through Facebook while working on the computer. It made their three year stay away go much faster, and we felt we missed little that was happening in their lives.

More recently our rock'n'roll mates have asked to be our Facebook friends. We hadn't expected this. We didn't want to open up our kids early childhood pics to the world. They were up for family only. So we created a closed "family" group for viewing of those pics, and left our other albums open to "friends", or "friends of friends".

 1.1 Grouping Friends

By grouping your friends into lists, you can communicate with them a lot more simply. Your friends will never see what lists you've added them to - so don't worry if you added them to the group "people I don't like much", they'll never know!

 2. Safeguarding your identity

Facebook's privacy features actually go far beyond those of many competing social networking sites, but users are simply not choosing their privacy options carefully, and have not learnt how to behave safely online.

 This year we put Celia's mother on Facebook. In doing this we realized we had to provide her with a list of "rules" to operate in Facebook safely. Here's the list we provided:

 2.1 Don't put your correct birth-date on Facebook. You don't want to facilitate identity fraud. If you choose to disclose the correct day, at least keep the year different. We also have concerns about exchanging birthday info through Facebook as we're not sure how well protected this data is. As a result, we play it safe and choose not to disclose that data through Facebook.

Also worth noting, when you post birthday wishes, don't specify what birthday it is, "Happy 50^th!", as that reveals the birth-date of the individual you're well-wishing. They may not be grateful if this data is used to steal their identity.

 2.2 Generally post your photos for "friends only". Some photos may be posted for "friends of friends", but think carefully before doing this, as this can cover a very large and varied group over which you have no say, or control.

 2.3 Think before you click. Don't accept anyone who asks as a friend. Consider, "Do you think it's appropriate for this person to be able access all data on your Facebook site?", "Is this person really a friend?" "Are you comfortable with them being able to read all your data on Facebook?".

 Remember, you are free to ignore or reject requests. People will not be informed if you ignore or reject their friend request. However, they will notice they don't have access to your data. Also remember, you can remove people if you have a change of heart, or begin to have the creeps about them having access to your page.

 Alternatively, you can choose to give them access to only certain pics and data by customizing groups.  For example: create a "family" group, or a "rock'n'roll friends" group, a "not really friends" group, or a "strictly wankers" group with very, very limited access (my name only!!!). In this way you can accept them as a friend, but restrict their access.

 2.4 Don't get preoccupied with the kudos of having more Facebook friends than your peers. In a recent interview with The Economist, Cameron Marlow, a research scientist at Facebook, shared some interesting stats on Facebook users' social behaviour patterns - while many people have hundreds friends on Facebook, they still only actively communicate with a small few. Or, to quote the author of the article, "Humans may be advertising themselves more efficiently. But they still have the same small circles of intimacy as ever".

 The average male Facebook user with 120 friends:

• Leaves comments on 7 friends' photos, status updates, or wall
• Messages or chats with 4 friends

The average female Facebook user with 120 friends:

• Leaves comments on 10 friends' photos, status updates, or wall
• Messages or chats with 6 friends

The stats are only marginally higher for people with 500 friends.

 3. The New Perth Rocks Facebook Group

The Perth Rocks Facebook Group was established to offer a more interactive side to Perth Rocks. It was set up as a closed group to better assure your safety and privacy. This means members must be invited, or Officer approved. Individuals using the site inappropriately will be warned, or removed when necessary. 

4. How to best use the new Perth Rocks Facebook Group

There are a variety of opportunities to input data directly, and communicate, with others through this new Group.

4.1 Discussion Boards

Discussion Boards are places where you can post ideas, articles or information on a topic, inviting dialogue from others. To see all Discussion Board topics you need to click "See all" on the right-hand margin.

 For example:

• "What are you doing on the weekend?" can be used to get groups together at gigs, or for someone who's planning their weekend to choose a gig where they're likely to meet up with friends or get a dance;
• "Dance partners wanted" provides a more private way to advertise for a dance partner, also here you can upload the info yourself and change it whenever you choose;
• "Gear - wanted or for sale" provides opportunity to advertise or find rnr gear;
• "Reflections and reviews" provides opportunity for you to upload ideas or reviews of gigs you've attended; and
• "Upcoming events" is an opportunity for bands, dance organizers, friends of bands, and promoters to provide extra information about gigs.

 Once you have clicked "See all" you can open any topic and add to the discussion directly. Or, if there is no relevant Discussion Board, you can also start a new topic by clicking "Start new topic". Generally when starting a new topic it's best to put a general entry first.

 For example:

"What are you doing on Friday night?"

First entry: "This Discussion Board provides you with a chance to get together with other dancers on a Friday night".

Second entry: "We're going to the Quinn".

 The way Discussion Boards work is Moderators can delete entries as they are no longer relevant (eg, Friday has passed). But, if the first entry is deleted, the whole Discussion Board topic disappears. So, as long as you put a general first entry, the topic can remain week after week and the Moderators can delete the stuff for last Friday, but leave the Discussion Board up so people can start inputting data for next Friday. 

4.2 The Wall

You are free to write directly onto "The Wall". Here you can post ideas and info that doesn't generate associated dialogue.

 For example:

"Jerry Lee Lewis Tribute Show on tonight, don't miss it. No entry charge!!!"

"Great rockabilly gear on sale on web on..."

 4.3 Posting Photos and Videos

You can post photos and videos directly onto the site. Please check people in the pics are happy with this happening. Or you can post pics of items for sale.

 5. Some Concluding Remarks

The success of this Group is largely dependent on you. If you guys use it, it'll grow and become more useful. The more you guys contribute and participate, the better it'll get, and the more you'll get out of it.

 We've started the ball rolling. We'd like to see you guys take up the ball and play. We've had many requests to make Perth Rocks more interactive and provide opportunity for people to enter data directly. Here's your opportunity. Let's make this a useful, safe and enjoyable experience. So, we also ask you to inform one of the site Officers if you have any negative experiences through the group so we can immediately address it. We want people to feel safe from scams and harassment, so please help to assure the positive experiences of others through your vigilance and honest communications.

If you're on Facebook, and interested in joining the group send a request via Facebook to become a member -  http://www.facebook.com/groups.php?ref=sb#/group.php?gid=54357924630

 Celia and Josef

The Greaser Culture is alive and well and lookin' for love
By BETTIE PUDGE

In honor of this weekend's upcoming Viva Las Vegas Weekender at the Gold Coast, I thought I'd write a little ditty on what rockabilly is and where people who might identify with the rockabilly lifestyle can find other like-minded, single individuals to use their best pick-up lines on.

What is rockabilly?
In a nutshell, it's an affinity for things from the 1940's to the 1960's. Old cars and motorcyles, music, movies, clothing, tattoos, Pabst Blue Ribbon, hair grease, pin-up models, etc. There is even a separate genre of music called "rockabilly" which is part 50's rock and part country. Somehow, the term "rockabilly" has been used to describe most things retro.

What do rockabilly boys and girls look like?
The majority of the men and women who identify with the rockabilly culture have a certain "look" or uniform. They usually stick out amongst a sea of Dockers-wearing normal people. The men are usually spotted having pompadours, sideburns, and/or slicked back hair. They sometimes sport arms full of colorful tattoos of cards, booze, and scantily clad pin-ups. They wear their jeans cuffed, have their wallets on chains attached to their belt loops, and aren't against rolling up a pack of cigarettes up in their shirt sleeve for safe-keeping. The women, on the other hand, are usually more well-kempt than their male counterparts. Women make it a point to have immaculately done hair and make-up done in a 1940's style. Most often than not, you'll see a slew of gals with "Bettie hair" (referring to 1950's pin-up model Bettie Page). I, myself, have Bettie hair. I'm a big fan of it. It's easy to maintain. Women, although usually ultra-effeminate, can and do have arms full of tattoos that can rival the men. If you spot someone that looks like they literally stepped out of 1950's time warp, you're probably looking at a rockabilly cat or kitten.

Grease or no grease, fact is that there are plenty of single people within the rockabilly community. With niche dating sites cropping up willy nilly, you knew it wouldn't be long before rockabilly dating sites started appearing, right? There's a need for rockabilly singles that Match.com and Yahoo Personals can't fill. These new sites make wading through the bushels of normal people much easier. Granted, with niche dating sites, the pickings are going to be slim! With patience, the sites are sure to fill up with great catches in no time!

Please check out the following links to get started on your rockabilly profile:
http://www.greaserlove.com
http://www.worldwideretro.com/nuke/index.php
http://www.rockabillydate.com
 

  "WHAT you been up to in the past 17 years" Brian Setzer asked.

"Waiting for you three cats to come back," was the reply of many of the 3,000-plus who would have crawled over broken glass to be at this gig.

Online petitions to concert promoters, begging letters to band members and prayers to the original rock'n'roll gods had been answered, and after almost two decades since their last show here, the Stray Cats were back in Australia.

Some of the young cats and kittens in the crowd - looking every inch the part in their 1950s-inspired threads - weren't born when the Stray Cats led the global rockabilly revival of the early 1980s. For them, thank god for all the old concert footage on YouTube.

But the cruel sting in the tail was that last night's Fremantle concert was the opening night of their Farewell Tour. After such a long wait, they were really coming to say goodbye. Cue plaintive wailing at the end for just one more song.

The Cats, who undertook their sell-out Farewell European Tour last year, aren't calling it quits. Setzer says he's had his fill of international airports, lost luggage and sleep deprivation, so anyone who wants to catch the band in future will have to do so in their native America.

Setzer turns 50 this year, while bandmates Lee Rocker and Slim Jim Phantom turn 48. They're not spring chickens - though Rocker looks great for his age and Slim is still very slim. They might be middle-aged, but there's nothing tame about the show they put on.

Phantom's bass drum had to be drilled and screwed into the stage before the band came on. Just as well considering all his jumping around and pugilistic stick work.

As dusk fell at the outdoor venue, the band launched into their aggressive call-to-arms Rumble in Brighton. The adrenaline-charged opener took some of us older fans back to the days when the Stray Cats took London by storm in 1980 and 1981. Then, the band, with their massive quiffs and sharp clothes, infused some punk influences into their wild rockabilly.

Rocker got to share the vocals on 7 Nights to Rock and the pace quickened with Double Talkin' Baby, a no-nonsense, riot of a song. Something's Wrong with My Radio is about the fact that it's nigh on impossible these days to find original rock'n'roll on the radio dial.

Such is the banal, predictable, non-risque nature of commercial radio here and elsewhere it's hardly surprising that so many young people are unfamiliar with the music or even the term "rockabilly", despite its strong underground following in Australia and around the world.

The next two songs Cry Baby and Lust'n'Love were off the band's last studio album Choo Choo Hot Fish and would have been unfamiliar to those who came along just to hear their 1980s hits.

They didn't have to wait long as the audience crooned along to the alley cat anthem Stray Cat Strut followed by their irrepressible debut hit Runaway Boys.

Lee Rocker did one of several solos and throughout the one-hour, forty minute gig slapped his double bass as if his very life depended on it.

The late Gene Vincent and Eddie Cochran were remembered on Gene and Eddie and Sweet Gene Vincent. It's a great shame these legends were dead long before the Stray Cats arrived on the scene. Elvis, who as the "Hillbilly Cat" played rockabilly in his early Sun recordings (1954-1955) before finding fame with more commercial records on RCA, died one year before the Stray Cats got together as a band in Long Island, New York. But the late Carl Perkins got to play with them and acknowledged them as the new kings of the genre.

Gina and Bring It Back Again hail back to a turbulent period in the band's history, with the band splitting on a couple of occasions in the 1990s. Blast Off is a neo-rockabilly space rocket of a song. Who can resist lyrics like:

Well I didn't take a bath in 48 hours
So I took a detour and had a meteor shower
Had a date with Venus and I wanted more
So I gave Mr. Spock a pompadour

Which leads me to the "rockingest cat in the galaxy" Brian Setzer. In rockabilly circles, Brian Setzer inspires a mix of awe and jealousy. The outrageously talented frontman is a multiple grammy award-winning artist in his own right and one of the most gifted guitar slingers on the planet - make that the galaxy.

Last night he played his signature orange Gretsch, a cherry-red sparkle Gretsch, leopard print Gretsch, and a bright purple Gretsch, each worth more than $10,000. If he'd dropped the one he threw high up in the air and caught, Gretsch would have happily replaced it - they've named several of their guitars after him.

No Stray Cats gig is complete without Fishnet Stockings and Rock This Town, and Setzer's incendiary guitar playing on these was worth the 17 year wait. (It felt like a 17 year wait for a drink as well, with queues stretching for miles to the one beer tent.)

Rocker, Phantom and Setzer all have brilliant side projects that fill most of their time. But something magic occurs when these three guys come together. Their sound is tighter than ever and as powerful as it was when I first caught them - and lost a shoe in the melee - at London's Lyceum Ballroom in 1982. All that sound from one electric guitar, a double bass and the most minimal drum set.

The Cats came back for two encores. Please Don't Touch was followed up by Baby Blue Eyes, a classic rockabilly song by the legendary Johnny Burnette Rock'n'Roll Trio.

According to Google Maps, it is 25,490km by car and kayak from Fremantle to Memphis, but the penultimate song of the night took us a bit closer with 18 Miles to Memphis, which is vintage Stray Cats.

The night concluded with I Fought the Law, originally recorded by Sonny Curtis in the 1950s and made famous by The Clash. Setzer and the late Joe Strummer were close mates and collaborators, and the former lead singer of the English punk rock band would have no doubt approved.

In addition to all the wax they've laid down over 30 years, the Stray Cats have forged friendships with some of the biggest names in rock, like Robert Plant and the Rolling Stones.

But their greatest legacy has been exposing millions of people to a forgotten musical-style, encouraging people to explore the roots of rock'n'roll and to discover rare and obscure gems from the 1950s.

The Stray Cats weren't the only band in the late 1970s and early '80s who were playing rockabilly in small clubs and bars, but they led the charge. Like the pioneers of the 1950s, they were a catalyst for thousands of other artists and bands to follow.

It's a shame that Perth's talented rockabilly bands like the Rusty Pinto Combo or The Continentals weren't added as support acts - no disrespect intended to the slick surf guitar of Day of the Dead. If you went to last night's concert and want to know where you can catch red-hot rockabilly on a Saturday night, usually one of these two bands can be found at the Mustang Bar in Northbridge. Get out there and support the scene in Perth.

Looking Back on the Year: Perth Rock'n'Roll 2008 

Editorial (uploaded 10/11/08)

It's been nearly a year since we started Perth Rocks and it's been exhilarating observing, and participating in, the transformation of Perth's rock'n'roll scene over that year. The significant indicators of metamorphosis for us have been: 

• the co-operation of numerous dance schools, rock'n'roll venues, dancers, gear producers, musicians and promoters in the Perth Nostalgia Festival organizing group, and for the associated fundraiser;
• the ever-increasing number of requests from dance schools, bands, venues and events promoters to utilize Perth Rocks as a way to communicate with rock'n'rollers;
• the increasing number of roving reporters sending in data for the website for "Recent Events", "What's On", "Breaking News & Views", "New Articles", and our new "Nostalgia Page", and their growing understanding of journalistic appropriateness and use of images;
• the increasing number of rock'n'roll dance demo requests (for instance, just in the past couple of weeks there's been the Astor Cinema, Ace Cinema, UWA Arts Festival, Mandurah Seascapes LA Jive Event - and those are just the events we know about!);
• the incredible number of '50s and '60s style rock'n'roll events (just look at 15 November - there are seven separate special events for rock'n'roll apart from the regular Saturday night gigs, and those who don't advertise with us yet); and
• the increasing number of '50s and '60s style rock'n'roll, and nostalgia, festivals already scheduled for Perth for the beginning of 2009: Scarborough Retro Rock (January), Summersun (February) and the Perth Nostalgia Festival (March).

Over the past year rock'n'roll seems to have gained a new vigour. There's a renewed interest in partner dancing, in part stimulated by TV's Dancing with the Stars type shows. There are also more young people becoming involved in dance events, and demos, giving the whole scene a fresh look. There's less emphasis on competition-style-rock'n'roll-clothing at dances, and more dancers and dance schools focusing on a variety of rock'n'roll and rockabilly dance styles, and retro fashion, rather than what has come to be thought of as classic rock'n'roll dance, and gear, through the dance competition circuit. 

People are beginning to scrutinize old movies, and youtube film clips, where they are identifying a whole range of gear worn in the '50s and '60s apart from the competition style gear that fossilizes only a fragment, and social set, of the era. You just have to watch an episode of Happy Days to see everyone didn't dress like Richie Cunningham - only the middle class "good" kids adopted that style, there were plenty of rock'n'roll rebels - just look at Wanda Jackson and the Fonze. 

It's also been great to see both here, and in the USA, that new music is being written in the style of the era. We don't want to be dancing to the same limited song list in 2015 that we're dancing to now. We love "Rock Around the Clock" and "Shake Rattle and Roll", but it's great to hear new tunes like "Don't be Afraid of Your Age" (John England and the Western Swingers), and "Devil's Ride" and "Shake Your Hips" (Rocket to Memphis).

The year of observation has proved interesting. We hope to see rock'n'roll continue to grow. For the genre to develop effectively, without losing the core that makes it "rock'n'roll", means understanding its base - where it came from, what drove it, what it was trying to do, what made it good and what of all that has lasting quality.

Through our new "Nostalgia Page" we're trying to reflect on the roots of rock'n'roll. We'd love to hear your ideas on this, including anyone you feel should be featured on this page in the future. So, if you've got some ideas on what is "rock'n'roll", what made it great, why it should last, and who were its significant protagonists, send us an article, email or link to a youtube retro film clip (perthrocks@optusnet.com.au).

Thanks for your support over the past year. 

Celia and Josef

Regarding Dance Partners wanted

Regarding Dance Partners wanted: We have recently had a number of people saying they want to post an ad for a dance partner and how do they go about it ... well look at the Wanted: Dance Partners, Band Members, etc  - page in the Website Menu above, or click on the underlined link in this text. Then send in your details by email, or give them to us at a gig. We have had some people successfully find partners through the page.  We put the page up at your request, now it's up to you guys to make it work ... to do that that you need to place ads, look at the page regularly, and contact advertisers. We generally recommend you use us a go-between to avoid unpleasant experiences. We email you out the respondents details. This puts you in the driver's seat ... you contact the respondent and organize a meeting and hand on phone number/email or what you feel is safe and appropriate at the time, rather than having your data available to all on the net. We take no responsibility regarding contacts made through the page, but we don't list anyone who we have received a complaint about. We don't investigate these complaints. We just remove the ad to be on the safe-side. So if you have a negative experience with someone you've met through your ad, please let us know. Once again, keeping this experience safe, is in your hands.

We've had a few complaints about the size/length of the website homepage.  There is a Website Menu you can use to navigate around the page so you don't have to scroll down, however, we've found many users are still not internet savvy and don't understand that underlining indicates links and shortcuts ... and as a result they haven't realized there are many pages to the website. Hence, they only look at the front page, or homepage. Also a number of users tell us they print off this page each Friday as they haven't a pc at home. As a result we made a decision to keep the vital stuff on a single page. We realize for the internet savvy this appears unprofessional, but you guys can use the menu to navigate around the page, we don't want to limit access to data for those less savvy.

Melbourne Rockabilly Meltdown: August 22, 23, 24 2008

By Alan Anderson (uploaded 8 September 2008)

 What a fantastic weekend we had. Steve, Phyllis, Kathy and myself made the journey to Melbourne again for the second annual Meltdown.

 Friday night we went to the Dandy Inn as a pre warm-up to see the Black Hill Ramblers. Shane, a true gentleman, made us feel most welcome and he and the boys put on a top performance that kept all the dancers happy.

 Saturday night saw us back at the Dandy Inn to see the Atomic Hi-Tones give it all. They really know how to get a dance floor instantly packed. A good crowd turned out and a few of our Victorian friends came along to show us more of that great Melbourne hospitality. Special mention to Cliff, Maryann, Jazza, Rosie, Wayne, Graeme and Little Maria.

 The night was then topped off with the Retro Rockets from Newcastle, NSW. We saw these boys at Wintersun so we couldn't wait for the Meltdown to see them again. These guys belt out their own style of full-on Rockabilly. Well done Brian, Cam and Dom for getting us ready for what was to come the next day.

 Sunday at the Ferntree Gully Hotel - This is what we came over for, eight bands and 10 hours of entertainment. Show and Shine for starters, a great roll up of some very nice machinery. I reckon I photographed every car. The bands fired up at 1pm and went through with only 15 minute breaks between. The organisation was second to none. All these guys had 50 minutes each to put on their best show, and that they did. The dance floor was packed the whole time. I thought it was bigger and better than last year, if that was possible. 550 people through the door, wouldn't we like to see that in Perth! What more can I say about the bands - Unbelievable, Fantastic, Incredible. I'm sure there are better words!

 Plenty of great stalls to get some of the nicest Rockabilly gear were set up, and there were plenty of happy shoppers.

 Well worth the trip and we can't wait for next year.

 Below are links to VicRock   http://vicrock.com.au  for more testimonials and pictures,

 http://vicrock.com.au/community/showthread.php?t=4535

 http://vicrock.com.au/community/showthread.php?t=4536

Rock Around the Clock: Dance and Jive Away @ Burswood

 By Melva Littlefair (2 September 2008)

 Tuesday 26 August 2008 (11am to 2pm) at Burswood Entertainment Complex, was an awesome, packed-out event. Everyone who went reckoned it was a really good time! Good music! Great band! Good food! And Good dancing! 

The day included a half hour dance lesson in jive and some line dances. There was a great light lunch of salmon, tuna and rare beef rolls, fruit and scones with jam and cream, and as much tea and coffee as you wanted to drink. 

The band played fantastic dance music and the rock'n'rollers had a great time filling the dance floor all the time. People who came to the day unable to dance, were rocking on by the day end. 

The venue was really classy, the organisers were friendly and competent and made everyone feel very welcome. 

Let's do all we can to encourage Burswood to do this more often!

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

 Editorial (12 April 2008)

 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."