S The kids are - Square Dance · The kids are And we are Dancing Again. Northeast Square Dancer,...

DANCERThe Northeast SquareThe Northeast Square

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EW

September2016

The kids are

And we areDancing

Again

2Northeast Square Dancer, September 2016

Copy 770 Pages 41 Volume 66 - Number 1 September 2016

[email protected]@squaredance.ws

706-413-0146

Northeast Square Dancer Northeast Square Dancer 782 Jays Way782 Jays WayRinggold GA 30736Ringgold GA 30736

““Our Only Excuse For Existence Is To Be Of ServiceOur Only Excuse For Existence Is To Be Of Service””

DEADLINE for AD and NEWS COPYDEADLINE for AD and NEWS COPYfor for November 2016 is September 17November 2016 is September 17

The Northeast Square Dancer Magazine is published by PEJ Enterprises and is available at www.squaredance.ws.All rights reserved. The Northeast Square Dancer, New England Square Dance Caller and associated logos are copyrighted.

Contributing EditorsEd Foote

Corben GeisPhil Gatchell

Karen ReichardtKen Ritucci

Buddy Weaver

Publishers and EditorsEd & Pat Juaire

Birgit MaguireJim Mayo

Paul Moore

38 Cartoon 9 Club News Riverside Squares 8 Comment - Jim Mayo 41 Dances 3 In My Own Words - Glenn Ickler 39 Lack of Smooth Dancing - Ed Foote 10 Moore Thoughts - Paul Moore 4 Reviewing Round Dances - Phil Gatchell 40 Round Dance of the Month - Birgit Maguire 12 Sew It Goes - Karen Reichardt 14 Square Dance Music Review - Buddy Weaver 41 Workshops

Bradford Country Squares ...................... 30Callers Black Book ................................... 29DOSADO Music ....................................... 16Fairs ’n Squares ....................................... 16Great Plain Squares................................. 27Hayloft Steppers ........................................ 6Heel & Toe ................................................ 19Maguire, Birgit & Richard ....................... 36Northeast Callers School ......................... 24Nubble Lighthouse Keepers .................... 22Riverside Squares .................................... 21Silver Sounds ........................................... 33Tumbling Leaves Festival ....................... 26Winnipesaukee Squares .......................... 34Wolf Rockers ............................................. 17

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In my on Words

When Progress Goes Too Farsubmitted by Glenn Ickler, Fairs ’n Squares

Some of us who attended this year’s New England Convention learned to square dance when nobody would think of attending a dance – ANY dance, much less a convention – wearing sloppy shorts and a mustard-stained T-shirt.

However, “casual wear” has been acceptable at conventions for several years now and at this year’s convention it was not uncommon to see dancing couples who looked like they just fi nished weeding the garden or wandered in from a homeless shelter. What I’m saying is, casual has progressed (or is it regressed?) to downright sloppy and some people are dancing in clothes they wouldn’t wear to K-Mart.

After I hung up my creased, wrinkle-proof dancing trousers at the end of the convention, I picked a book titled “Needle Notes for Square Dancers” off the closet shelf. Jo bought this book at our fi rst New England Convention in 1986 because she planned to make some of our dancing duds. It was written by a creative seamstress named Judy Ross Smith and was fi rst printed in 1971, and reprinted in 1972, 1974, 1975, 1976, 1978, 1980 and 1982.

The fi rst 83 pages are directions for constructing women’s skirts, blouses, dresses, shrugs and belts. But it is the section labeled “KEEP YOUR MAN NEAT” that intrigues me. A few excerpts about men’s dance apparel illustrate how times have changed:

“Short sleeves – I hardly need to mention them! There is only one rule that applies, and that is DON’T!! … A wet, hairy arm is just no fun to hold onto.”

“Ties – Always worn to a dance.”

“Trousers should be trim fi tting. They don’t have to be Western cut, but most men fi nd they look slimmer and trimmer if they are Western style. They can be bought for as little as $4.00 in the discount stores {remember, this was 1971}. … Do not presume to wear dungarees at any time, as we are not barn dancing anymore.”

Poor Judy Ross Smith would have been horrifi ed at this year’s convention where dungarees looked downright dressy compared to some of the lower-limb covers I observed – everything from sweat pants to the aforementioned baggy shorts.

But Judy Ross Smith would have loved the Fairs ’n Squares. I am proud to say every club member I saw at the convention was properly and attractively dressed. Good show!

Do you have comments?Send them to: [email protected]



ReviewingRound Dances

PHIL GATCHELL40 Vine St, Melrose MA 02176

[email protected]

I’M NO STRANGER TO THE RAIN by Carolyn and Tony AhartPhase 3, Two Step; available from Amazon. Music note; please cut the fi rst 24 seconds of the music then slow to 41 rpm, per the Ahart’s. Traveling box, hitch 6, twirl/vine 2, for-ward two steps, turning two steps, progressive scissors, fi shtail, side stairs eight, strolling vine, face to face and back to back, basketball turn, circle away, strut, Susie q’s, twisty vine 4, traveling doors, lace across, maneuver, pivot 2 and step apart, point.

NOW AND THEN by Charlie Brown and Linda CooleyPhase 2 + 1 (Fishtail) + 1 (Lariat) Two Step; available on MCA 79070 (fl ip of “Drinking Champagne”). Forward two steps, progressive scissors, fi shtail, forward locks, face to face and back to back, basketball turn, turning two steps, circle box, lariat, broken box, travel-ing box, left turning box and quick side closes.

THAT’D BE ALRIGHT by Jerry Carmen (Jerry sent this to me)Phase 2 Two Step; available from Amazon. Circle away 2 two steps, strut together 4, left turning box, progressive scissors, forward-lock-forward, hitch, hitch and scissors, vine apart and together, forward two steps, turning two steps, face to face and back to back, scissors thru, basketball, turn, limp 4, vine 3-wrap-unwrap-change sides, traveling box, lace up, twirl/vine 3 and acknowledge.

YOU DUN STOMPED MY HEART by Charlie BrownPhase 2 Two Step; available from Amazon. This is an excellent dance for teaching or re-viewing because of its repetitiveness. Side draw close, forward two steps, scoot, lace up, face to face, back to back, rock side-recover, circle away and together, vine-wrap-unwrap-change sides, right turning box, vine eight and apart point.

EVERYDAY I LOVE YOU by Jerry Buckmaster and Zodie ReigelPhase 3 + 1 (Alemana) Rumba; available from Amazon. Note: Head Cues ONLY. Alemana, lariat, time steps, chase, shoulder to shoulder, side close-vine 4, fence line, through to ser-piente, crabwalks, new yorker, progressive walks, cucaracha, wheel and side corte.

UNCHAINED WALTZ by Debbie and Paul TaylorPhase 3 + 1 (Diamond Turn) + 1 (Syncopated Vine) Waltz; available on CD “Music Takes Control: Standard” volume 1. Box fi nish, diamond turn, left turns, hover, maneuver, im-petus, through-syncopated vine 2, interrupted box, spin turn, cross hovers, man roll, lady roll, turn left-chasse banjo, back-back/lock-back, whisk, through hover, back-turn-chasse, canter, dip back-twist and reward.

There’s always light at the end of the tunnel.



ME & THE I.R.S. by Charlie Brown & Linda CooleyPhase 2 + 1 (Fishtail) Two Step; available from Amazon. Forward twos steps, hitch double, face to face and back to back, basketball, turn, scoot, progressive scissors, vine, wrap, un-wrap, change sides, back away, strut, box, side close, left turning box, side two step, fi sh-tail, broken box, traveling doors, forward-lock-forward and side touch.

WHAT’S THE PRESSURE by Guido and Ingrid GircourPhase 3 + 2 (Alemana, Triple Cha) Cha Cha; available from Amazon. This song was the Belgian entry to the Eurovision Song Contest 2016. It made 10th place. Circle Cha, alema-na, open break, crab walks, spot turn, break back to open, sliding door, back basic, cucara-cha, chase with triple chas – interrupted with fence lines – fi nish the chase, vine 4, chase peek-a-boo, traveling door, whip, chug apart and hold.

MAY IT BE by Lee and Irene RogersPhase 4 + 2 (Right Turning Lock, Hover Cross Ending) Waltz; available from Casa-Musi-ca. Chair-recover-slip, left turn, back waltz, open impetus, through-semi chasse, weave 6, forward-forward/lock-forward, maneuver, over spin turn, semi chasse, slow side lock, right turning lock, diamond turn, cross hovers, hover cross ending, double whisk, wing, closed telemark, man chasse roll right to skaters, open right turn, sway right and left, slow cross lunge with arm sweep to over sway line.

ON MY WAY by Carolyn and Tony AhartPhase 4 + 1 (Change of Sway) Waltz; available from Casa-Musica. Step forward ronde, box fi nish, open reverse turn, hover corte, back whisk, diamond weave 6, urn, hover, wing, open telemark, in and out runs, drag hesitation, back-back/lock-back, outside change, hover fallaway, slip pivot, check-develope, back-hover semi, progressive cross hovers, open natural, impetus, spin overturn draw, canter, through promenade sway and change sway.

WAKE UP DANCIN’ by Fred and Lina AyersPhase 4 + 2 (Triple Traveler, Riff Turn) + 1 (The Square); available from Amazon. Lunge apart with arm sweep, basic, underarm turn, reverse underarm turn, lunge basic, right turn outside roll, man switch, open basic, lariat, traveling cross chasses, lunge side and roll, triple traveler, twisty basics, the square, slow riff turns, promenade sway and over sway.

WHENEVER YOU COME BACK TO ME by Jerry Carmen (Jerry sent this to me also)Phase 4 + 1 (Open Hip Twist) Rumba; available from iTunes and Amazon. 1/2 basic, un-derarm turn, hand to hand, crabwalks, new yorker, spot turn, fence lines, break back to open, progressive walks, doors, circle away and together, chase, cross body, aida, switch rock, whip to a handshake, open hip twist, fan, hockey stick, merengue, alemana, back corte – raise left arms and hold.

ASHOKEN FAREWELL by Tim EumPhase 6 Waltz; available on CD by HarpSong “Sean’s Dance”, track 6. First taught May 2016 at Dixie Round Dance Council in Chattanooga, TN with Pauline Angress. Serpiente, cross hesitation, pivot to hairpin and shape, back passing change, double reverse, split ronde, contra check and switch, outside spin, turning lock, open natural, same foot lunge, quick open reverse transition, open fi nish, through jete point and through to quick throw-away over sway. There is MUCH more in this dance. If you teach Phase 6 Waltz, then please check this out.


PENNY ARCADE 2016 by Jerry Buckmaster and Zodie ReigelPhase 2 Two Step; available from Amazon. Note, cue sheet has ‘head cues’ only. Traveling box, forward two steps, strut, circle away and together, double hitch, lace across and back, left turning box, back away, together-lift-turn, vine, wrap, unwrap, change sides, traveling doors, slow open vine 4 and side-draw-close.

MAY THE FORCE BE WITH YOU by Russ BoozPhase 3 Cha Cha and Foxtrot; available from iTunes and Amazon. Cucarachas, alemana, lariat, new yorker, open break, whip, crabwalks, shoulder to shoulder, break back to open, sliding door, swivel 2 and cha, traveling doors, twirl vine, reverse twirl vine, step kick-twice, marchessi, strolling vine, point step-twice, hover, maneuver, spin turn, ½ box back, diamond turn, step back to back and guard your partner.

PROVOCAME by Terri and Tim WilabyPhase 3 + 1 (Triple Cha) + 2 (* in 4, Side Chase) Cha Cha; available on CD: GRANDES EXITOS. Reverse underarm turn in 4, new yorker, lariat, break back, forward and back basic, circle away and together, crabwalks, fence line, hand to hand, basic, whip to triple chas, chase with underarm pass, traveling door, time steps, spot turn, side chase and side corte.

UNCHAINED WALTZ by Debbie and Paul TaylorPhase 3 + 1 (Diamond Turn) + 1 (Syncopated Vine) Waltz; available on CD: MUSIC TAKES CONTROL. Box fi nish, left turns, diamond turn, left turns, hover, maneuver, impetus, thru-syncopated vine, interrupted box, spin turn, cross hovers, turn left-chasse, back-back/lock-back, thru hover, canter, dip back and twist.

DEEP PURPLE 4 by Lee and Irene RogersPhase 4 Foxtrot; available on CD: GREAT ROCK AND ROLL LOVE SONGS. Start in ‘skaters,’ sway left and right, open reverse turn, back lilt, man man-thru & chasse/lady-roll 3, chair-recover-slip, reverse wave, back feather, weave ending, hover, promenade weave, change of direction, closed telemark, ½ natural, quick heel pull & run 2, drag hesi-tation, ½ diamond, quick diamond 4, 3 step, monkey walks and much more.

RENT THE BARN ~ Contact Richard Eckert ~ 413-967-9048 ~ [email protected]

A BANNER CLUB Info: 413-967-9048 www.hayloftsteppers.org

The HAYLOFT STEPPERSThe HAYLOFT STEPPERSHOME OF THE Off Route 49

PODUNK ROAD - STURBRIDGE, MA 01566

Saturday Square Dancing in SeptemberEarly Rounds 7:30 pm ~ Square Dancing 8 - 10:30 ~ MS & PLEarly Rounds 7:30 pm ~ Square Dancing 8 - 10:30 ~ MS & PL

3 Kevin Bersing / Roy Williams - Salute to Books 24 Phil Farmer / Beverly MacKay

Sunday 25 ~ Advanced DanceAdvanced Dance ~ 2 - 4:30 pm - no roundsPhil Farmer

http://www.hayloftsteppers.org



SHE THINKS MY TRACTOR’S SEXY by Charlie Brown and Linda CooleyPhase 4 + 2 (Open Hip Twist, Sweetheart) Cha Cha; available from Amazon. Chase, fence line, alemana, lariat, hand to hand, open break, whip, new yorker, time step, open hip twist, fan, fl irt, sweethearts, aida, switch cross, chase with peek-a-boo, break back to triple chas, underarm turn, traveling doors and side lunge.

SUNNY AFTERNOON by Dale and Leslie SimpsonPhase 4 + 1 (Triple Traveler) + 1 (Tunnel Exit) Slow Two Step; available from Amazon & iTunes. Vine 8, face to face and back to back, basic, switches, open basic, solo turn 6, lunge basic, side basic, sweetheart runs, underarm turn, triple traveler, tunnel exit, outside roll, left turn inside roll, right turn outside roll, traveling cross chasse and side corte.

ONE MORE SHOT by Ed and Gloria KilnerPhase 4 West Coast Swing; available on WARNER BROS 0490, originally released in July 1989 at URDC. Coaster, sugar push, basic, throwout, underarm turn, chicken walks, shuffl e away, and together, lady change point, strut and turning basic.

RIGHT HERE WAITING FOR YOU by Randy and Marie PreskittPhase 5 + 1 (Continuous Top) + 1 Alternative Basic) Rumba; available on Album CFD 11 or download CD from VNDANCE. Cucaracha, develope, hockey stick ending, open hip twist, fi gurehead, continuous top, open break, sweethearts, skaters wheel, progressive walk and spiral, aida, switch rock, underarm turn, alternative basics, cuddles, lady spiral, fan, spot turn, circular serpiente, trade places, chase with underarm pass, natural top 3 and slow contra check.

AT THIS MOMENT by David Goss and Ulla FigwerPhase 6 Waltz; available from Amazon. Explode, roll across, lunge with arm sweep, hover, banjo wheel, closed change, maneuver, over spin turn, quick lock-slow lock, slow hinge, pivot -quick fallaway whisk, big top, change of direction, telespin, right lunge, running open fi nish, double reverse, double reverse overspin, throwaway oversway, link, curved feather, back passing change, tumble turn, continuous cross hovers, open reverse turn, outside spin & twist, promenade sway and embrace.

WEAVE ME by Harold and Meredith SearsPhase 6 Foxtrot; available from Amazon. Feather, feather fi nish, corte and recover, weave 6, promenade weave, diamond turn, drag hesitation, outside change, bounce back 4, open reverse turn, change of direction, check and weave, whisk, front vine 8, chair-recover-slip, quick feather fi nish, impetus, turn right and chasse, back rising lock, quick 3 fallaways, natural telemark, continuous hover cross, zigzag 4, traveling hover cross, teleweave, hover telemark, same foot lunge and change of sway.

Only those dances that have readily available un-modifi ed, per ROUND-A-LAB Guide-lines, music are reviewed (music modifi ed per RAL guidelines are reviewed). Enjoy these dances and remember to LISTEN to the music before you buy it – it may not be your style. If you would like a copy of a cue sheet of a reviewed dance, please ask.

Anyone wishing to have their dance reviewed in this column should e-mail a FULL cue sheet and an mp3 of the music (cued if possible) [note: I destroy all music sent to me after the review is completed] to Phil at [email protected].



JIM MAYO

Comment

Callers worry that dancers will be bored. Not all callers, certainly but a solid majority. For the last 30 years, at least, callers have been trying to make square dancing “more interesting”. Before CALLERLAB, in the early 1970’s, we had a method that many dancers who remember those days say they really liked. At every dance you went to the caller taught one or two calls in the early sets that no one (or at least few) had ever heard before. They then used those calls for the rest of the evening. That was a great fl oor leveler because it gave both new and experienced dancers a near equal chance at dancing successfully.

Today we’ve done away with “new” calls. We have lists that all have accepted and callers now must provide variety with calls that everyone knows. That is, they must provide variety if that’s what they think dancers want. I’m not so sure. I think that a large share of dancers would be happy if they could just spend the night dancing successfully the fi gures they know well. I think the ones who are bored are the callers, not the dancers. I think just dancing to a different caller is variety enough. Maybe your club caller needs some variety but a guest caller that you dance to only occasionally is variety enough without any fancy choreography.

I have lots of experience to support this point of view. I’ve danced to a caller who apologized to me for using the same fi gure in the fi rst three singing calls. I hadn’t noticed. I also did an experiment with a group of callers. I called two sequences for them and then stopped and asked if any of them could repeat those fi gures for me. They could not. When I repeated the exercise with only one sequence, only one of the four callers in the square could repeat the fi gure for me – and they knew I was going to ask. Dancing distracts you from the choreography.

Callers and caller schools spend a lot of time trying to teach callers how to provide variety. I think dancers would be happier if caller schools spent more time teaching callers to make the dancing smoother and better timed. Few callers can manage choreography well enough to keep it changing and well timed in the same tip. I gave up using different fi gures in a single singing call more than 30 years ago. Today few callers use only one fi gure four times through. I can assure you that few dancers would notice if you did.

NSD782 Jays WayRinggold GA 30736

706-413-0146

How To Contact NESDM [email protected]



CLUB News

RIVERSIDE SQUARES, Danvers, MABy Peter and Anne Schwind

Come on down to Riverside! Our fall Fun Night is September 7 at 7:00 with an intro-duction to modern square dancing by Ted Lizotte, a former Riverside class caller. Enjoy a FREE night of dancing and refreshments, including soup, chili and other goodies. The multi-cycle classes will begin on September 14 with Ken Ritucci, class caller. And if you are booked on the 7 and 14, come September 21! There is usually a review at 6:30 and class is 7:00. Where? In September, back to our regular location, All Saints Episcopal Church of the North Shore in Danvers.

Lots of things have been happening! The pictures say it all. See our May 2016 class graduates (left) with their certifi cates. Ken Ritucci is kneeling in front and Joyce Kutz (a member/caller who conducts the reviews) is standing in the center. One graduate could not attend the ceremony. On our Facebook page you can access two vid-eos of class, April 7 and Halloween dancers in costumes.

The Peabody Centennial celebration was May 15. Riv-erside presented a demonstration with audience partici-pation and distributed new eye-catching brochures.

On May 23, Joyce Kutz called a fantastic class dance. Three guest callers (also Riverside members) also participated. What a special treat! In the picture right to left Bill Ackerman, Joyce, Peter Baldwin, and Dave Smith. Thank you!!!

On June 11 Riverside presented our fi rst summer dance. What a great time with caller Don Bachelder and cuer Jo Yakimowski (check photo)! We wel-comed many folks from several clubs.

Our fi rst dance of the regular season will be September 10. Bill Mager will be calling and Bob Boudrow cueing this Mainstream dance with two Plus tips. As usual there is early A1 at 7:30. Join us!

For more information about all activities and the complete schedule, see our ad on page 21 or www.riversidesquares.org or www.facebook.com/riversidesquaresinc.

Now that September is here, we hope to see you in Danvers in a square!

http://www.riversidesquares.org

http://www.facebook.com/riversidesquaresinc


PAUL MOORE

MooreThoughts

Unintended ConsequencesWhen some activity we are involved in does not go as well as we hoped (or we didn’t get

our way), we often look for someone or something to blame. When we can place the blame, we get excited because identifying the culprit is a big step to solving the problem.

I hope no one took that first paragraph seriously. Assigning fault does next to nothing in fixing a problem. But we can feel better because we can say, “It’s his fault, not mine. He set up the situation I am stuck in. All I can do is make the best of a bad situation.”

Ever since the number of people involved in square dancing began to decrease, square dancers and callers have tried to figure out why. The blame game began. The most obvious target was CALLERLAB. For example, some critics say since CALLERLAB held its first convention in 1974, it worked its way into the National Square Dance Convention.

The critics continue that in 1976, when the largest National was held in Anaheim, there were CALLERLAB level or program signs all over the place – Mainstream, Plus One, Basic, etc. The numbers attending National Conventions began to drop.

Twenty-five years later, when the National was again in Anaheim there were less than half the number that attended in 1976. The 50th NSDC held in 2001 was the largest one in the twenty-first century. The fault must lie with CALLERLAB because of all of the levels: Basic, Plus (not Plus I & II, but a combined list), Advanced, Challenge, not to mention lev-els in Round Dancing and even in Contra Dancing.

The critics say that CALLERLAB with all of its complexity of levels, and figure defini-tions, etc., took the fun out of square dancing.

Of course these critics and blame setters rarely look at what has happened in society as a whole. Occasionally they mention TV and DVDs. They do not see that participation in almost all social group activities have fallen off. The membership in groups like the Elks and the Shriners are not near what they had been in the 1960s or 1970s.

But, once we can say with certainty that CALLERLAB is at fault, we can now look at what CALLERLAB has done, then undo it. Well, square dancing became very fractional-ized, so we need to go back to just square dancing. One floor for all.

Send your club news & photos to:[email protected]



Starting in the early 1960s, before there was a CALLERLAB, callers and dancers were complaining about too many new figures. And they had good reason to complain. As many as 200 new figures a year were being published in callers’ note services. CALLERLAB set out to analyze the figures to see which ones were truly new (not just combinations of old figures jammed together and given a name). For a call to survive it must be danceable, that is flow smoothly, time out with music, etc. Most of all, the figures must meet the ap-proval of callers and dancers alike.

To measure the approval rating of calls, CALLERLAB asked a large number of callers from around the country and the world to respond to suggested calls that could end on the lists. That endeavor was pretty successful in helping to update and stabilize the lists.

But said some, where is the input from the dancers? So they tried counting how many times a figure was actually called at dances. This frequency counting has been used by several groups with the theory that if the lists change to what dancers want to dance and callers want to call, people will come flooding back into square dancing.

That idea was a big flop.

Callers thought they had solved the problem, but it did not really cross their minds that non-dancers have no idea about lists. Non-dancers are attracted to square dancing because of what they see and hear of it. If dancers are enthusiastic about square dancing, they are more likely to bring new dancers in. On the other hand, if people try square danc-ing and feel like they have been driven out because they cannot keep up with the number of figures and the ways that callers can put them into sequences, they drop out. And they tell their friends that they tried and it was no fun.

There have been a number of attempts to create programs where there is much less to learn.

There are two kinds of simpler programs: one is an entry program, whose goal is to get people hooked on square dancing and then send them up the ladder of programs. The other kind of program is a destination program. One example of this type of program is the Community Dance Program, which limited the number of figures to be learned, but it did use those figures in a variety of formations and with a greater variety of music. In the same style is the modern, live-music contra dance – attend the pre-dance workshop to learn the basics, then dance the rest of the night.

The Community Dance Program did not catch on with modern square dance callers. And contra dance became a separate world.

So, the problem remains: how to attract and retain dancers. One plan is to create and advertise a program that lasts only 15 weeks (not a whole year) and obviously has a short-ened list. The vote is not in on this program, but it has attracted the attention of a number of callers nationwide. The unproven part of the program is what do the new dancers do after they have completed the 15 week course? Are the callers/teachers going to offer an on-going series of dances at that level? Or is it expected that the new dancers will then move into a new program with more figures? Can these new dancers mix with dancers who have gone through the traditional CALLERLAB program? Does the new program meet the needs of dancers and callers across the country, or is it designed for RV park residents and callers?

continued on page 13


KAREN REICHARDTWWW.SQUAREDANCESEWING.COM

[email protected]

Sew it goes

Sewing for StyleWhat we choose to wear says a lot about us. If you and I are walking down the street

toward each other as strangers, before we are close enough to speak, we have already communicated. What you wear has already spoken to me about a number to things. Your gender (usually), your age, your social class, and perhaps even a good guess at your oc-cupation. I can also make assumptions about your personality, your ethnic origins, your opinions and what kind of mood you are in. You can say the same things about me. The way we dress is a form of language. It is important to know what we want our clothing to say about us and how to have it say the most fl attering things.

People in the theater and movie business know all about wardrobe. They take the greatest care with all parts of their costumes. Clothes defi ne their character before the ac-tor says a word. Con-artists know this and they spend much of their money on their ward-robe to make a good “front.”

How you are dressed effects your mood and attitude. If you are hanging around the house in your robe and slippers you are relaxed and will not be getting much done. If you take a shower, fi x your hair and get dressed, you will be energized and ready to accomplish something.

People want to belong. Look at the number of people wearing ‘team’ T-shirts. Showing ‘support’ for ‘their team’ makes them part of a group. When you are a player suiting up for a game makes you part of the team and puts you in a competitive mood. Dressing up for a square dance puts you in a party mood. It doesn’t have to be an eighty-yard crinoline. A simple prairie skirt and a peasant blouse can have the same effect. They are your special clothes for dancing. A friend once told me, “You look good in square dance clothes.” I won-dered about this for a while until I realized I am happy in square dance clothes. That hap-piness makes the clothes look good. Square dance clothes make you feel like a dancer and when you feel like a dancer, you are a dancer.

Color - Depending on your skin tone and hair color certain colors look great on you while others make you look like ‘creature feature’. There is nothing you can do to change this fact. Putting on more foundation make-up and dying your hair will only make it worse. You can dye your hair as long as it is a shade that goes with your skin tone. I ‘went blonde’ once and with my olive skin tone I looked sea sick.

We usually choose the colors that are right for us instinctively. They are the colors that make us feel happy. If people compliment you when you are wearing your green sweater you will gravitate toward another green item when shopping. The seasonal color system works well for most people. Once you have your colors and an understanding of what works and what doesn’t, you will be able to save a lot of time energy and money.


http://WWW.SQUAREDANCESEWING.COM


There are volumes written about what to wear to look thinner. Those rules may be effective when applied to a tailored business suit but on a full skirted square dance dress with a 80 yard petticoat the rules get bent. Black is often touted as a fashion cure all. Black will not make you look slimmer, more fashionable or younger. Black is a color, not a magic spell. It will just make you look black and everybody knows that you are wearing black to look thinner. If you have the right skin tone for black it can be very dramatic but it is not the right color for everybody.

Every year the fashion dictators come out with a new decree. Brown is the new black. Purple is the new black. This is just a ploy to get to your purse. If you know what colors are best for you and what styles suit your body you will not be rushing out to buy the ‘lat-est color’ or ‘newest style’. Be true to yourself. Looking good does not mean looking like a movie star. It means being comfortable in what you are wearing and dressing appropri-ately for the occasion. Listen to your Mother, “Stand up straight, shoulders back, and head high. Walk with confi dence and pride.”

The most important accessory for any dancer is a smile. Most people won’t remember exactly what you were wearing, but they will remember the nice person. Talk to everybody in the hall. Find something nice to say about everything. Good moods are contagious. If you see someone without a smile give them one of yours.

Those who have designed and are promoting this new program are very sincerely try-ing to increase participation in square dancing. Unfortunately, I see a lot of unanticipated consequences that will not be easy to repair.

If we are looking for a program that is both entry and destination, I can’t think of anything better than the CALLERLAB Basic program. I have not met a new dancer who wouldn’t love to stop at Basic and just dance for a length of time. If somehow we could let new dancers get comfortable with the Basics and give the dancers time to learn to dance with grace and style, we would retain more dancers than we lose. How much better it is to make our dancers happy with square dancing and thereby change the reputation of square dancing.

Bob Osgood said it well when he said that “No one ever dropped out of dancing because it was smooth and comfortable.”

Moore Thoughts - continued from page 11


706-413-0146




Square DanceMusic Review

BUDDY [email protected] ~ www.buddyweaver.com

A SIMPLE TIP TO HELP DANCERS

So many times we’ve seen the callers who are singing along while the dancers are doing the Promenade Home, then call out “Sides Face, Grand Square” but the dancers are still 4-6 beats (steps) away from home.

Some dancers will abruptly stop short and attempt the call even though it can’t be done; some will get to home position and begin the call but the caller is 4-6 beats ahead of them. The dancers may cut short the Grand Square in an attempt to catch up with the caller crying out “Allemande Left and Weave the Ring,” Others never catch up.

The bottom-line is the dancers are out-of-sync with the music because of the caller. You may be the caller who has found himself in this situation many times and don’t know what to do. Let’s address it.

Prior to the call Promenade, there was a string of calls that probably started at Home Position moving the dancers toward the Swing and Promenade. One of the most common sequences used in singing calls today is HEADS SQUARE THRU – DO SA DO – SWING THRU – BOYS RUN – BEND THE LINE – RIGHT & LEFT THRU – FLUTTERWHEEL – SLIDE THRU – SWING & PROMENADE.

Using the CALLERLAB Timing Chart, which details how many beats each call should take to execute, this sequence of calls should take 68 beats. The problem is our square dance music stanza is 64 beats so this figure will cause the dancers to fall 4 beats or 4 steps behind every time it’s called.

Fix it. Omit the call DO SA DO. By dropping that call you have given the dancers 6 more beats which would allow them enough time to keep up.

How about the popular sequence of HEADS SQUARE THRU- DO SA DO –SWING THRU – SPIN THE TOP – RIGHT & LEFT THRU – SQUARE THRU THREE – SWING & PROMENADE? It times to 64 beats, which pairs perfectly with 64 beats of music in the stanza designated for the figure, so why aren’t some dancers able to dance a perfectly timed figure?

Because perfection doesn’t allow for sticky floors, bad sound, dancer mistakes, physically impaired dancers or callers who don’t start calling ahead of beat number one.

Think about the last comment. If the caller says “well now those Heads Square Thru…” then the dancers are 3 beats behind. It took 3 beats for the caller to say the words “well now those.” What if the caller was waiting for people to finish the last sequence?

Fix it. Omit the call DO SA DO. By dropping that call you have given the dancers 6 more beats which would allow them enough time to keep up.


http://www.buddyweaver.com


In fact the call DO SA DO, aside from it’s historic value, plays one important role in modern square dancing as it is a terrific call when there is a change of body direction from one call to another. An example of this change and the value of DO SA DO can be seen in the sequence: CIRCLE LEFT – ALLEMANDE LEFT – DO SA DO – BOYS STAR LEFT.

Without the DO SA DO, the flow of Allemande to Boys Star Left would be awful. In singing call figures, the DO SA DO is often used as a filler and is probably not necessary. For example:

The call sequence HEADS SQUARE THRU – SWING THRU offers perfect body flow. Adding the call DO SA DO is like adding the word “like” or “basically” to your conversation. It’s not necessary and in most cases ruins the flow of what you are saying.

A singing call in this month’s review uses the sequence HEADS SQUARE THRU – DO SA DO - TOUCH A QUARTER – SCOOT BACK – BOYS RUN – RIGHT & LEFT THRU – DIXIE STYLE TO A WAVE – BOYS CROSS FOLD – SWING.

The figure is well timed but if the dancers are falling behind then removing DO SA DO would help them keep in time with the music. Coming from a SQUARE THRU most calls that start with a Right Hand, TOUCH A QUARTER, RIGHT & LEFT THRU, BOX THE GNAT, SPIN THE TOP, etc. tend to flow better WITHOUT a DO SA DO.

The call sequence HEADS SQUARE THRU – DO SA DO – STAR THRU offers nice flow. Removing the DO SA DO would make the girls use their left hand twice in a row and that is the mark of a poor caller. So the call DO SA DO is necessary before the STAR THRU but is NOT necessary if the calls were HEADS SQUARE THRU – SLIDE THRU. The latter helps dancers keep in time with the music and offers much better body flow.

On a personal note, a few years back, I was dancing at a convention and after a few hours felt pain in my right hip. As I thought about this ache, I realized how many times “DO SA DO TO A SWING THRU” had been called that day. This combination had me walking forward to the right, backing up to the left then abruptly pivoting forward on my right hip. That combination is a “DO SA DON’T.”

In closing, a well timed dance figure delivered by a caller giving the dancers the first beat of music while the dancers are able to move in time with the musical phrase, should be everyone’s goal but for those times when perfection is out-of-reach, fix it. Examine your dance sequences to determine when the call DO SA DO is needed and delete the filler to help your dancers stay in time with the music and dance longer into the night.

SINGING CALLSSLOW HANDAcme 125 by Scott BennettMP3 from Acme web siteTempo: 126 Rhythm: Shuffle

Great dance beat with a two-step feel. Clear leads played by guitar, piano, and steel make the tune easy to follow. Lots of fill notes from the same instruments. A relaxing, modern country rendition of a contemporary classic country song originally done by Conway Twitty. A great vocal by Scott Bennett using proper word meter.Heads Square Thru – Do Sa Do – Swing Thru – Spin the Top – Right & Left Thru – Square Thru Three – Swing


HOOKED ON A FEELINGArrowhead 101 by Dean SingletonMP3 from Arrow web siteTempo: 126 Rhythm: Shuffle

Cool introduction using vocal “ooh gah chaka” capturing the feel of the original song. Good dance beat. Music is chords played by guitar and organ. Lots of great guitar work in the background. A keyboard plays a light lead on the breaks. Pretty music on a contemporary classic pop song (Blue Swede). Callers will have to know the tune. A relaxer. Dean does a good vocal using proper word meter.Heads Promenade Three-Quarters – Sides Square Thru Three – Circle to a Line – Touch a Quarter – Circulate – Boy Run – Pass Thru – Left Allemande – Promenade

LUCKY STRIKEArrowhead 102 by Dean SingletonMP3 from Arrow web siteTempo: 132 Rhythm: Shuffle

Strong dance beat. The tune is easy to follow with strong leads played by keyboard instruments. Vocal “oohs” on many stanzas offer nice filler. Many places where the instrumental drops out to feature the percussion. This is a modern pop song (Maroon 5) that is played in the same style. Could be a driver. Dean does another good vocal using proper word meter. Tracks include music with and without leads or background vocals. Adjust speed.Four Ladies Chain – Heads Promenade Halfway – Lead Right – Circle to a Line – Pass the Ocean – Eight Circulate Once and a Half – Box the Gnat – Swing

Square Dance Workshops for New Dancers and Brush-ups! Starting September 15 7:30-9:30 PM

Fall Session - 12 Th ursday Nights

Fairs ’’n Squaresn Squares

Dances & Workshops at Scott Hall, First Parish Church, 24 Vernon St, Framingham MA Info: 978-368-8272 www.fairsnsquares.comwww.fairsnsquares.com

Round Dance Workshops for New Dancers and Brush-ups!Starting September 19 7:00-8:30 PM

Initial Session is 6 Monday Nights

Saturday, September 24 ~ 8:00-10:30 PM ~ MS & PLJERRY MAURICE - Calling & DAVID GOSS - Cuing

Square and Round Dance music is available from DOSADO.comPaul & Mary Ellen Cote ~ 9727 Sugar Tree Court, Houston TX 77070

www.DOSADO.com ~ 713-955-5957

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SHE’S A LADYArrowhead 120 by Dean SingletonMP3 from Arrow web siteTempo: 124 Rhythm: Shuffle

Good dance beat. Clear leads from keyboard make the tune obvious. Lots of keyboard and electric guitar work in the background making a full sound. The tune is seventies pop (Tom Jones) that is played in a modern pop/rock style. Mid-way up the energy scale. Dean does a good vocal using proper word meter.Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Run - Half Tag – Scoot Back – Boy Run – Slide Thru – Swing

BECAUSEChic 1012 by Tom MillerMP3 from Chic websiteTempo: 126 Rhythm: Shuffle

Great dance beat. Easy to follow the song with clear leads from guitar and keyboard. The guitar also brings fill notes. Pretty music. The song is sixties pop (Dave Clark Five) that is played in a contemporary country/pop style that should relax the dancers. Tom makes a guest appearance doing a great vocal using proper word meter. Tracks include music with and without leads or background vocals.Heads Square Thru – Do Sa Do – Swing Thru – Spin the Top – Right & Left Thru – Square Thru Three – Swing

BECAUSEChic 2012 by Shauna KaariaMP3 from Chic websiteTempo: 126 Rhythm: Shuffle

Producer Shauna again does the same song in two different keys – one suited for male vocals and the other for female vocals. Musically, the same as Chic 1012. Pretty music. Shauna does another good vocal using proper word meter.Heads Flutterwheel – Sweep a Quarter – Pass Thru – Swing Thru – Boy Trade – Boy Run – Bend the Line – Square Thru Three – Swing

Pie NightPie NightCaller: Ted Lizotte Cuer: Bernie PorterSaturday, September 24 ~ 7:30-10 pm ~ MS/PL

Mason Town Hall, Valley Rd (Rte 123) Mason, NH 03048

Banner: Ken & Marge Manwiller 603-878-1718 ~ www.wolfrockers.com


706-413-0146


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TREAT HER LIKE A LADYCheyenne 2032 by Bryan BushMP3/CD from Cheyenne website or dealersTempo: 128 Rhythm: Shuffle

Danceable beat. Tune is easy to follow with clear leads from guitar, keyboard, and steel. Electric guitar reinforcing the sound throughout. Background vocals on every stanza add to sound. Mid-way up the energy chart and key change on close adds enthusiasm. A seventies Motown song (Brother Cornelius and Sister Rose) that is played in a contemporary country/pop style. Bryan makes his recording debut with a great vocal using proper word meter. Adjust speed.Heads Square Thru – Do Sa Do – Swing Thru – Spin the Top – Right & Left Thru – Square Thru Three – Swing

TRUE BELIEVERSCrown 216 by Charlie RobertsonMP3/CD from Cheyenne website or dealersTempo: 126 Rhythm: Shuffle

Good dance beat. Strong leads played by guitar and keyboard make the tune unmistakable. Lots of fill notes from the same instruments. The tune is a current country song (Darius Rucker) that is played in a similar style. The caller who could belt this song out would really make it pop. Charlie does one of his best vocals using proper word meter. Tracks include music with and without background vocals. BGV are courtesy of Shauna Kaaria. Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Ferris Wheel – Square Thru Three – Swing

HARPER VALLEY PTAGold Rush 240 by Lisa MintonMP3/CD from dealersTempo: 128 Rhythm: Shuffle

Good dance beat. Music is chords played by dobro, piano, and guitar. A laid-back country-sounding rendition of a contemporary classic country song by Jeannie C. Riley. Pretty music and key change on close adds interest. Callers will have to know the tune. Lisa does another good vocal using proper word meter. Adjust speed.Heads Promenade – Square Thru – Right & Left Thru – Eight Chain Six – Swing

RETURN TO HARPER VALLEYGold Rush 241 by Lisa MintonMP3/CD from dealersTempo: 128 Rhythm: Shuffle

Dance beat is good. Tune is easy to follow with clear lead played by guitar. Chords are done by keyboard with electric guitar in the background throughout. Interesting approach by the producer releasing both “Harper Valley PTA,” a story song from 1968 and the sequel story song, “Return To Harper Valley” from 1984. Lisa does a good vocal for both using proper word meter and similar figures. Adjust speed.Heads Promenade – Sides Square Thru – Right & Left Thru – Eight Chain Six – Swing

Your magnetic personality will draw people to you!!


ADDICTED TO LOVECrest 138 by Scott BennettMP3 from Crest web siteTempo: 126 Rhythm: Shuffle

Strong dance beat. Leads are clear making it easy to follow the melody. Lots of great fills around the caller. All music from organ, saxophone, and electric guitar. Musical dropouts on every stanza add a dramatic effect that captures the feel of the original song. This is a contemporary classic pop/rock song (Robert Palmer) that is played in a modern pop/rock style. Could be a driver. Scott does his usual best using proper word meter. Tracks include music with and without leads.Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel – Cntrs Pass Thru – Touch a Quarter – Scoot Back – Swing

PHILADELPHIA FREEDOMGold Rush 239 by Shawn BrownMP3/CD from dealersTempo: 128 Rhythm: Shuffle

Danceable beat. The tune is clearly played by piano lead throughout. Keyboard in the background on most stanzas and electric guitar kicks in on middle and closing breaks. Watch out for high notes on breaks. A seventies pop/rock hit (Elton John) that is played in a contemporary pop style. Mid-way up the energy scale. Shawn does his usual best with proper word meter. Adjust speed.Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Run – Bend the Line – Reverse Flutter – Dixie Style to a Wave – Boy Cross Run – Swing

FRIDAY NIGHT BLUESPeak 103 by Rob BairdMP3 from Peak web siteTempo: 126 Rhythm: Shuffle

Pretty piano introduction trademark of the original song. Good dance beat with a two-step feel. Tune is clearly played by guitar, piano, and steel. Lots of fill notes from the same instruments. A contemporary classic song (John Conlee) that is played in a laid-back contemporary country style. Rob makes his recording debut with a good vocal using proper word meter. Tracks include music with and without leads.Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Ferris Wheel – Square Thru Three – Swing

Heel & Toe Square Dance ClubHeel & Toe Square Dance ClubManchester, NH

Welcome BackWelcome BackSaturday, September 17Saturday, September 17

Ralph Peacock CallingMargene Jervis Cuing7:30 - 10:00 pm MS w/PL TipsBishop O’Neil Youth Center30 South Elm St, Manchester, NH 03103

Banner: Dick & Jeannine Mattson 603-424-9342 ~ [email protected]

www.heelandtoesdc.freeservers.comwww.heelandtoesdc.freeservers.com

Presidents: Roger & Irene Maurier 603-644-0446 or 603-391-7804 (cell) [email protected]



http://www.heelandtoesdc.freeservers.com


HELP ME MAKE IT THROUGH THE NIGHTRawhide Music 1141 by Buddy WeaverMP3/CD from Rawhide website or dealersTempo: 120 Rhythm: Boom-Chuck

Good dance beat. Unmistakable tune with leads clearly played by steel, piano, and guitar. Some nice guitar fills. A singing call to croon if the high notes are okay with the caller. Musically a country rendition of a contemporary classic country song (Sammie Smith). Good vocal using proper word meter. From Blue Star vinyl. May need to adjust speed.Heads Square Thru – Do Sa Do – Touch a Quarter – Scoot Back – Boy Run – Right & Left Thru – Dixie Style to a Wave – Boys Cross Fold – Swing

FROM ME TO YOURawhide Music 1142 by Jay HendersonMP3/CD from Rawhide website or dealersTempo: 128 Rhythm: Shuffle

Dance beat is good. Strong leads make the tune easy to find. Music from guitar, keyboard, and harmonica. A laid-back version of a Beatles song that will relax the dancers. Jay does a good vocal using proper word meter. Tracks include music with and without harmony. Originally done on Hi Hat Records. Adjust speed.Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel – Pass Thru – Touch a Quarter – Scoot Back – Swing

WKRP IN CINCINNATTI”Acme 126 by Scott BennettMP3 from Acme web siteTempo: 126 Rhythm: Shuffle

What a great blast from the past. Good dance beat with a Latin feel. Clear leads played by guitar, piano, and flute make the tune easy to follow. Lots of fill notes from the same instruments with an overall modern jazz feel. A relaxing singing call.

The song is originally the theme song from a television series of the same name. Callers should be aware the key changes up mid-way in each stanza and down for the next stanza. A great vocal by Scott Bennett using proper word meter. Tracks include music with and without lead.Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel - Right & Left Thru – Square Thru Three – Swing

MRS. BROWNRiverboat 508 by Elmer SheffieldMP3 from Riverboat web siteTempo: 128 Rhythm: Shuffle

Strong dance beat with an emphasis on the bass. Clear leads played by guitar, keyboard, and mandolin. Lots of fill notes from the same instruments. Tune is easy to follow. The song is known as “Mrs. Brown, You’ve Got A Lovely Daughter,” a sixties pop song (Herman’s Hermits) that is played in a contemporary country style. Mid-way up the energy chart. Elmer does a good vocal using proper word meter. Adjust speed.Heads Flutterwheel – Sweep a Quarter – Pass Thru – Swing Thru – Boy Run – Half Tag – Walk & Dodge – Partner Trade – Reverse Flutter – Promenade


MAGGIE MAYRhythm 1309 by Wade DriverMP3 from Rhythm web siteTempo: 128 Rhythm: Shuffle

Great dance beat. Clear leads playing the tune are guitar, mandolin, and fiddle. The same instruments play lots of fill notes around the caller. The song is a seventies pop song (Rod Stewart) that is played in contemporary country style. Mid-way up the energy scale. Wade does a good vocal using proper word meter. Adjust speed.Heads Pass Thru – Heads Promenade Halfway – Sides Square Thru – Swing Thru – Spin the Top – Slide Thru Twice and Roll – Swing

THE UNICORNRiverboat 509 by Jack O’LearyMP3 from Riverboat web siteTempo: 126 Rhythm: Shuffle

Dance beat is strong with an emphasis on the bass. Melody is clearly played by guitar, fiddle and flute. The song is a sixties pop favorite (The Irish Rovers) that is played in a contemporary country/pop style. Middle of the energy scale. Jack does a good vocal using proper word meter on a figure that will have the dancer’s hustling.Heads Square Thru – Right Hand Star – Heads Star Left – Right & Left Thru – Rollaway a Half Sashay (sic) – Touch a Quarter – Scoot Back – Star Thru – Promenade

LET IT GORiverboat 520 by Lydia Morrow/ Kumi TakahashiMP3 from Riverboat web siteTempo: 126 Rhythm: Shuffle

Strong dance beat with an emphasis on bass. Tune is unmistakable with strong leads played by piano, saxophone, and guitar. The same instruments plus keyboard provide lots of fill notes. A recent Disney hit from the movie Frozen with an instrumental that is country/pop. Could be a sing along. Two vocals, one in English, the other in Japanese. Both callers sound good and use proper word meter. Watch out one of the figures does not provide proper body flow. Multiple figures

Riverside SquaresRiverside SquaresPO Box 382, Danvers, MA 01923 www.RiversideSquares.org

All Saints Episcopal Church hall, 9 Holten St at Cherry St, Danvers MASaturday, September 10 ~ 7:30 - Early A-1 ~ 8:00 - 10:30 pm - MS/2 PLSaturday, September 10 ~ 7:30 - Early A-1 ~ 8:00 - 10:30 pm - MS/2 PL

Caller: Bill MagerBill Mager Cuer: Bob BoudreauBob BoudreauFree Fun Night – September 7 at 7:00

Wednesday Square Dance Workshops ~ September 14, 21 & 28Ken Ritucci - Class Caller

MS class 7-8:30 ~ PL 8:30-9:30 ~ Angel Plus Tip 9:30-9:45

Presidents: Linda & Dave Caron ~ 978-232-3559 ~ [email protected]: The Schwinds & the Baldwins ~ [email protected]

Take no risks with your reputation!!!

http://www.RiversideSquares.org




JOHNNY BE GOODRiverboat 630 by Masaru WadaMP3 from Riverboat web siteTempo: 131 Rhythm: Boom-Chuck

Good dance beat, one of only two boom-chuck rhythms this month. Strong leads make the tune easy to follow. Music from guitar and piano. Taken from a vinyl record and not up to Riverboat’s standards. The tune is classic fifties rock (Chuck Berry) and is known as “Johnny B. Goode” played in country style that could drive the excitement of the dance. Masaru makes a guest appearance doing a good vocal using proper word meter. From Red Boot vinyl.Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Run - Couple Circulate – Chain Down the Line – Star Thru – Pass Thru – Trade By – Swing

DON’T BE CRUELRiverboat 534 by Hiroshi NakagawaMP3 from Riverboat web siteTempo: 131 Rhythm: Shuffle

Dance beat is good. Strong leads playing the melody are guitar and electronic sax. Lots of keyboard instruments around the melody to make a full sound. Another fifties rock classic (Elvis Presley) that is played in country/pop style. Could be a driver depending on the caller. Hiroshi does a good job. Adjust speed and word meter. From Red Boot vinyl and a better production quality.Heads Lead Right – Circle to a Line – Right & Left Thru – Dixie Style to a Wave – Girls Circulate – Boys Trade – Recycle – Veer Right – Bend the Line – Slide Thru – Swing

ELECTION YEAR RAGRiverboat 642 by Darryl LipscombMP3 from Riverboat web siteTempo: 126 Rhythm: Shuffle

Great dance beat. Strong leads playing the tune are dobro, clarinet, and kazoo. Yep, kazoo. A real ragtime feel on this instrumental with lots of fill notes and jazzy horn parts. The song was originally written as a topical spoof for NPR in the late seventies by a little known songwriter, Steve Goodman. This instrument is full and should raise the enthusiasm of the dance floor. Darryl does a good job using proper word meter.Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Bend the Line – Square Thru on third hand Pass the Ocean – Recycle – Swing

NUBBLE LIGHTHOUSE KEEPERSNUBBLE LIGHTHOUSE KEEPERSSQUARE & ROUND DANCINGSQUARE & ROUND DANCING

CALLER: Kip Moulton & CUER: Linda Moulton

Sunday Nights - September 11 & 182 FREE Fun Nights 6:30-7:30 ~ followed by Plus teach 7:30-8:00

then MS/PL Dancing with Rounds 8:00-9:30

Sunday Night - September 25Class: 6:00 - 7:15 ~ PLUS 7:15-8:00 ~ Class: 6:00 - 7:15 ~ PLUS 7:15-8:00 ~ MS/PL with Rounds MS/PL with Rounds ~ ~ 8:00-9:30 8:00-9:30

WELLS ACTIVITY CENTER ~ 113 Sanford Rd (Rte 109) Wells, ME

WOODEN FLOORSOFT SOLEDSHOES PLEASECouples & SinglesWelcome

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SEVENTH SONRoyal 196 by Jerry StoryMP3 from Royal web siteTempo: 130 Rhythm: Shuffle

Good dance beat. Clear leads from guitar, steel, and saxophone. Lots of fill notes from the same instruments plus fiddle. Nice feel with instrumental dropout on the first half of every stanza then adding hand clapping to the second half of every stanza. The song is another fifties rock offering that is played in a contemporary country style. Mid-way up the energy scale and a key change in the close adds enthusiasm. Jerry does a fine vocal using proper word meter. Adjust speed.Heads Promenade Halfway – Sides Square Thru – Right & Left Thru – Eight Chain Six – Swing

YOU SHOULDN’T KISS ME LIKE THISSting 21414 by Thorsten GeppartCD/MP3 from Sting web site or dealersTempo: 129 Rhythm: Shuffle

Dance beat sits behind the music on the break stanzas and gets a boost from added percussion in the figure stanzas. Strong leads playing the tune are fiddle, steel, piano, and guitar. A song to croon. Contemporary country (Toby Keith) played in the same style. Key change on close adds to the feel. Thorsten sounds good and uses proper word meter. Adjust speed.Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Ferris Wheel – Square Thru Three – Swing

WHAT MAKES YOU BEAUTIFULArrowhead 103 by Dean SingletonMP3 from Arrowhead web siteTempo: 126 Rhythm: Shuffle

Excellent guitar introduction. Strong dance beat with percussion reinforcement including a cowbell. Music is mostly chords played in a contemporary style by a keyboard. The break and close have clear lead played by keyboard with even more percussive instrumentation. Lots of great guitar work in the background.

The song is a recent radio hit (One Direction) and could drive the energy of the dance depending on the caller. Watch out for high notes on the breaks. Dean does a good vocal using proper word meter. Tracks include music with and without background vocals.Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Ferris Wheel – Cntrs Touch a Quarter – Box Circulate Twice – Swing

I WILLChic 1013 by Joe SaltelMP3 from Chic websiteTempo: 122 Rhythm: Shuffle

Dancers will enjoy the beat reinforced with a bass vocal scat singing. Melody is clearly played by guitar and keyboard. Piano, guitar and keyboard instruments in the background to make a full sound. A softly played relaxing singing call from a Beatles tune. Joe does a good vocal using proper word meter. Tracks include music with and without leads or background vocals.Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Spin the Top – Right & Left Thru – Two Ladies Chain Twice - Promenade


I WILLChic 2013 by Shauna KaariaMP3 from Chic websiteTempo: 122 Rhythm: Shuffle

Musically the same as Chic 1013 except the key is different. Melody is clear and lots of instruments in the background. Pretty music. Callers with low voices take note – you could use the version keyed for women but sing one octave lower. This is a nice fit for high or very low voices. Shauna does another good vocal using proper word meter on an interesting figure.Heads Box the Gnat – Slide Thru – Single Circle to a wave – Left Swing Thru – Fan the Top – Right & Left Thru – Pass Thru – Chase Right – Swing

FEEL AGAINArrowhead 104 by Dean SingletonMP3 from Arrowhead web siteTempo: 132 Rhythm: Shuffle

Arrowhead has some innovative introductions and this song is another example. Great dance beat that breaks away on the 1st, 4th, 7th stanzas where percussion is light. Very good music coming from keyboard instruments playing the chords. Lots of keyboard instruments and light vocals playing in the background with added kettledrums. The song is a recent pop hit (OneRepublic) and is mid-way up the energy scale. Dean does another good vocal using proper word meter. Tracks include music with and without leads or background vocals. Adjust speed.Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Couples Circulate – Half Tag – Scoot Back – Swing

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When: OCTOBER 6 - 10 Where: Host Hotel & Hayloft Barn, Sturbridge, MA

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LEARNING TO FLYArrowhead 119 by Dean SingletonMP3 from Arrowhead web siteTempo: 124 Rhythm: Shuffle

Good dance beat. Music is chords played by keyboard and guitar. Middle and closing breaks feature electric guitar. Added percussive effects on every stanza bring a good feel. The song is contemporary classic pop (Tom Petty) and is played with a modern sound. Mid-way up the energy scale. Callers will have to know the tune. Dean does a good vocal using proper word meter.Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Spin the Top – Right & Left Thru – Square Thru Three – Swing

SWEETER THAN THE DAY BEFORECheyenne 2033 by Bryan BushMP3/CD from Cheyenne website or dealersTempo: 128 Rhythm: Shuffle

Danceable beat with an emphasis on bass. Tune is easy to follow with clear leads from saxophone and keyboard instruments. The keyboard also provides some nice effects. A relaxing singing call played in contemporary style. A gospel song with lyrics that praise the LORD. Bryan does another good vocal using proper word meter although he is a little hard to hear. Adjust speed.Heads Square Thru – Right Hand Star – Heads Star Left – Right & Left Thru – Dive Thru – Square Thru Three – Swing

500 MILESCheyenne Gold 719 by Chuck VeldhuizenMP3/CD from Cheyenne website or dealersTempo: 124 Rhythm: Shuffle

Great dance beat. Strong leads from piano, harmonica, mandolin, organ, electric, acoustic and steel guitar. Lots of the same instruments playing in the background make a full sound. One of Cheyenne’s best musical releases. A contemporary classic country song (Bobby Bare) that is played in a relaxing country style. Watch out for key change from break into third figure. Chuck does a great vocal using proper word meter.Heads Square Thru – Do Sa Do – Swing Thru – Spin the Top – Girls Trace – Spin the Top - Swing

MIDNIGHT ME AND THE BLUESESP 353 by Tom MillerMP3 from ESP web site and dealersTempo: 132 Rhythm: Shuffle

A different sound for ESP. Danceable beat with an emphasis the bass. Music is chords played by piano with steel guitar in the background throughout. A laid-back singing call played in country style. Originally a Mel Tillis country song. Callers will have to know the tune. Tom does a good vocal using proper word meter. Adjust speed.Heads Promenade Halfway – Right & Left Thru – Square Thru – Swing Thru – Spin the Top – Slide Thru – Swing

Time flies like an arrow. Fruit flies like a banana!!!


BRING DOWN THE HOUSEESP 1167 by Elmer SheffieldMP3 from ESP web site and dealersTempo: 125 Rhythm: Shuffle

ESP returns to their Southern Satisfaction Band for this release. Great dance beat reinforced with a banjo throughout. Leads are clearly played by guitars (acoustic and electric) with keyboard. Some hot guitar licks in the background add a rousing effect. A contemporary country song (Dean Brody) played in the same style that could excite the dancers. Elmer does a good vocal using proper word meter.Heads Promenade Halfway – Pass the Ocean – Extend – Swing Thru – Boy Trade – Boy Run – Bend the Line – Pass Thru – Chase Right – Swing

SNOOPY FOR PRESIDENTGold Rush 123 by Shawn BrownMP3/CD from dealersTempo: 125 Rhythm: Boom-Chuck

Good dance beat reinforced with banjo. Music is chords played by keyboard instruments. The tune was first released in 1968 and re-issued around other election years. Light-hearted lyrics and pretty country music make a singing call that is middle of the energy chart. Callers will have to know the tune but may also consider this for hoedown use. Shawn has two vocals included; both use proper word meter.Heads Promenade Halfway – Right & Left Thru – Square Thru – Do Sa Do – Swing Thru –Boy Trade – Swing

LONELY GOATHERDRiverboat 510 by Patty Greene/ Ko IwataMP3 from Riverboat web siteTempo: 124 Rhythm: Boom-Chuck

Super dance beat. Clear leads played by guitar, fiddle, and harmonica. The same instruments provide lots of fill notes. Tune is easy to follow and well suited for yodelers. A movie classic (Sound of Music) that is played in a contemporary country style; middle of the energy chart. Two called tracks are included – one in English and one in Japanese. Both get lots of words in. Various figures

2626thth Annual TUMBLING LEAVES FESTIVAL Annual TUMBLING LEAVES FESTIVAL“aLL roads lead to bennington college, bennington vtaLL roads lead to bennington college, bennington vt”

oCTOBER 14, 15 & 16oCTOBER 14, 15 & 16CALLERS: RED BATES, Bill Harrison, tim marriner

John marshall, don moger & KEN RITUCCICUERS: steve & irene bradt ~ BEVERLY MacKay

• 5 HALLS: MAINSTREAM THRU C-2 • MANY PACKAGES TO SELECT FROM • LIMITED CAMPING AT THE FRONT DOOR • GREAT MEAL PACKAGE - ALL YOU CAN EAT • CLAUDIA’S SQUARE DANCE SHOP

For information, call or write: Red Bates ~ 941-223-0987 ~ [email protected]



RIDE CAPTAIN RIDEGold Rush 242 by Scott BrownMP3/CD from dealersTempo: 128 Rhythm: Shuffle

Cool introduction reminiscent of the sixties style of music. Good dance beat. Tune is easy to follow with leads clearly played by keyboard instruments. Guitar and excellent piano work in the background make for great sound. The song is contemporary classic pop/rock that is played in a contemporary pop style. A good caller could really make this singing call pop. Scott does another good vocal using proper word meter. Adjust speed.Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Ferris Wheel – Cntrs Pass Thru – Star Thru – Square Thru Three – Swing

(DON’T WANT TO WRITE YOU A) LOVE SONGGold Rush 243 by Art LaVigneMP3/CD from dealersTempo: 127 Rhythm: Shuffle

Great dance beat. Lead is clearly played by piano with keyboard in the background. The song is a contemporary pop number (Sara Bareilles) that is played in a relaxing contemporary style. Watch out for quite a few high notes. Caller should be familiar with the tune. Art does a good job using proper word meter. Tracks include music with and without leads. Adjust speed.Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Bend the Line – Right & Left Thru – Flutterwheel – Slide Thru – Swing

SHOW ME THE WAY TO GO HOMERawhide Music 1143 by Dan PreedyMP3/CD from Rawhide website or dealersTempo: 129 Rhythm: Boom-Chuck

Good dance beat. Tune is easy to follow with clear leads played by guitar, clarinet, steel, and piano. Banjo in the background throughout fills out the sound. The tune is a popular classic that will have the dancers singing along. Music is played in country style that is mid-way up the energy scale. Dan does a great vocal using proper word meter. Previously released on Rawhide Records. Adjust speed.Heads Promenade Halfway – Square Thru – Right & Left Thru – Rollaway – Box the Gnat – Square Thru Three – Trade By – Swing

FUN NIGHTfor square dancing

September 14 ~ 7:00 - 9:00 pmand September 21

Great Plain Squares - The Place to Dance in 2016

Check www.GreatPlainSquares.org for details

Our Caller and Cuers:Bob Butler

Phil Gatchell, Scott Cohen

October 29Carter Memorial Church

800 Highland AvenueNeedham, MA

Halloween DanceCaller: Al HipkinsCuer: Lee Fremault

Costumes Encouraged!

Carter Memorial Church800 Highland Avenue

Needham MA

Wednesdays this fall7:00-8:15 Square Dance Class8:15 - 10:00 Plus with Rounds

Information: 781-801-0725

www.GreatPlainSquares.org

GREAT PLAINSQUARES

http://www.GreatPlainSquares.org

http://www.GreatPlainSquares.org


IT’S BEEN A LONG, LONG TIMERawhide Music 1144 by Buddy WeaverMP3/CD from Rawhide website or dealersTempo: 124 Rhythm: Shuffle

Great dance beat. Clear leads make the tune easy to find. Music from guitar, xylophone, steel, and piano. Keyboard instruments in the background fill out the sound. Another classic tune that is played in country style. Dancers will relax and sing along with this one. Good vocal track with proper word meter. Previously released on Rawhide Records.Heads Square Thru – Right Hand Star – Heads Star Left – Star Promenade Corner – Circle Left – Girl Fold – Star Thru – Promenade

APPLE BLOSSOM TIMERawhide Music 1145 by Hiroyuki Kaneko, Jr.MP3/CD from Rawhide website or dealersTempo: 124 Rhythm: Boom-Chuck

Good square dance beat. The tune is unmistakable with strong leads played by guitar, piano, and fiddle. Lots of fill notes around the caller from the same instruments plus mandolin. This classic song is also known as “(I’ll Be With You) At Apple Blossom Time” and is played in a lively country style. Dancers will probably sing along. Hiroyuki does a fine vocal using proper word meter. Previously done on Eureka and Hi Hat Records.Heads Square Thru – Do Sa Do – Swing Thru – Boy Run – Couples Circulate – Chain Down the Line – Pass the Ocean – Circulate – Swing

5-1-5-0Rhythm 1310 by Adam ChristmanMP3 from Rhythm web siteTempo: 126 Rhythm: Shuffle

Good dance beat with an emphasis on bass. Clear leads playing the tune are piano, harmonica, and electric guitar. Lots of fill notes from the same instruments make a full sound. The song is a recent country radio play (Dierks Bentley) that is done in the same style. The music should excite the dancers but some may find the lyrics objectionable. Adam does a good vocal using proper word meter. Heads Pass Thru – Separate Round One – Pass Thru – Wheel & Deal – Girls Swing Thru – Cntrs Trade – Cast Off Three Quarter – Boys Courtesy Turn Girl – Two Ladies Chain – Promenade

DANCE TONIGHTRhythm 1311 by Terry HebertMP3 from Rhythm web siteTempo: 126 Rhythm: Shuffle

Great dance beat. Tune is easy to follow with leads clearly played by mandolin, guitar, and organ. The same instruments provide lots of fill notes. A lively, country music feel to a Paul McCartney song. I’ve seen good callers drive the energy up with this singing call. Terry does a good vocal using proper word meter. Heads Promenade Halfway – Square Thru – Touch a Quarter – Scoot Back – Boy Run – Star Thru – Pass Thru – Trade By – Swing

Get the most traction for your efforts.


TINY BUBBLESRiverboat 511 by Kinya Ishii and Tac OzakiMP3 from Riverboat web siteTempo: 128 Rhythm: Shuffle

Good dance beat with a Latin feel. Melody is clearly played by guitar, keyboard, and steel. Some nice fills from the same instruments. A classic tune that many associate with Don Ho from Hawaii. Musically, a contemporary country style that is mid-way up the energy scale with a key change on the closer that adds lift. Kinya Ishii and Tac Ozaki sound good with Kumi Takahashi adding harmonies. Various figures

AMANDARiverboat 512 by Mike SeastromMP3 from Riverboat web siteTempo: 126 Rhythm: Boom-Chuck

Good square dance beat. Easy to find the tune as leads from guitar, fiddle, and steel are clear. Plenty of fill notes from the same instruments. The song is contemporary classic country (Waylon Jennings) that is played in a contemporary country style. Middle of the energy scale. Mike does a good job and uses proper word meter.Heads Pass Thru – Separate Round Two – Touch a Quarter – Boy Run – Right & Left Thru - Swing Thru Twice – Swing

SOUTHERN NIGHTSRiverboat 641 by Koji HaraiMP3 from Riverboat web siteTempo: 126 Rhythm: Shuffle

Danceable beat with an emphasis on the bass. Easy to follow the tune with strong leads played by piano, saxophone, harmonica, mandolin, electric and acoustic guitar. Electric guitar plays in the background throughout. It’s refreshing to hear a different lead instrument in every stanza. The song is contemporary classic country (Glenn Campbell) played in laid-back country style. Koji sounds good and uses proper word meter. From Riverboat vinyl.Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Couples Circulate – Half Tag – Scoot Back – Swing

The CallersBLACK BOOK

ORDER ONLINE AT WWW.KENRITUCCI.COMOnly $10.00

For More Information Contact: Ken Ritucci132 Autumn Road, West Springfi eld, MA 01089

413-262-1875 • [email protected]


http://www.kenritucci.com


SAYONARARiverboat 521 by Keiko Asano, Hiromi Keneko, Kuniko KawashimaMP3 from Riverboat web siteTempo: 126 Rhythm: Boom-Chuck

Strong dance beat with an emphasis on bass. Leads are clearly playing the melody. Lots of fill notes around the caller. All music from guitar, piano, and electronic flute. This is also known as “Sayonara Daistuki Na Hito,”which translates to goodbye my love. A Japanese pop song that is played in a contemporary pop style. All the lyrics are in Japanese but a clever caller can find English translations and adjust them to fit. Three callers sound good. Tracks include music with and without harmony. Various figures

TIME TO BUM AGAINRiverboat 624 by Isao NakagawaMP3 from Riverboat web siteTempo: 126 Rhythm: Boom-Chuck

Classic square dance feel. Strong leads played by banjo and guitar bring the tune front-and-center. Steel and banjo in the background throughout. A contemporary classic country song (Waylon Jennings) that is played in country style. Mid-way up the energy scale with a key change on the close to boost the feel. Isao does a good vocal using proper word meter. From Riverboat vinyl.Heads Promenade Halfway – Square Thru – Right & Left Thru – Veer Left – Ferris Wheel – Square Thru Three – Swing

DOWNTOWNRiverboat 635 by Mac O’Jima and Mitchell OsawaMP3 from Riverboat web siteTempo: 126 Rhythm: Shuffle

Terrific dance beat and overall feel. Tune is easy to follow with clear leads played by guitar, piano, and harpsichord. The latter brings that original sixties feel to an otherwise very modern sounding piece of music. Exciting music that dancers will enjoy and probably sing along with the caller. Mac and Mitchell sound good together using proper word meter. Heads Promenade Halfway – Lead Right – Do Sa Do – Swing Thru – Boy Run – Half Tag – Walk & Dodge – Partner Trade – Slide Thru – Square Thru Three – Swing

BRADFORD COUNTRY SQUARESBRADFORD COUNTRY SQUARES

Questions? Warren Sherburne, President ~ 603-863-6394

Alice Perry ~ 603-927-6347

[email protected] ~ www.bradfordcountrysquares.freeservers.com

$7.00 per personUnder 16 - Half Price

Under 12 - FreeHearing Enhancement

Available

Saturday - Saturday - September 17September 17"Golden Rule Days""Golden Rule Days"

Jim SchellJim Schell Mike AlexanderMike Alexander7:00 Early Rounds ~ 7:30-10:00 ~ MS/PL + A-1 tip

Whipple Memorial Hall, 440 Main St at Seamans Rd, New London NH


http://www.bradfordcountrysquares.freeservers.com


RIVER OF LOVERiverboat 639 by Kaneko KawashimaMP3 from Riverboat web siteTempo: 126 Rhythm: Boom-Chuck

Classic square dance feel and beat. Clear leads played by guitar, fiddle, and steel make the tune easy to follow. The song is a contemporary classic country album cut (Juice Newton) that is played in country style. Middle of the energy chart. Kaneko sounds good and uses proper word meter. From Riverboat vinyl.Heads Square Thru – Do Sa Do – Swing Thru Twice – Slide Thru – Right & Left Thru – Square Thru Three – Swing

ON TOP OF THE WORLDRiverboat 645 by Atsushi Tamada/ Kumi TakahashiMP3 from Riverboat web siteTempo: 124 Rhythm: Boom-Chuck

Classic square dance feel. Strong leads played by keyboard instruments make an easy to follow singing call. A contemporary classic country song (Anne Murray) that is played in country style. A definite sing-along song. The music is taken from a Red Boot vinyl record and the production quality is not up to Riverboat’s usual standards. Tracks include two vocals – one in English and one in Japanese plus a Japanese harmony track. Various figures

HONKY TONK SONGRiverboat 647 by Ko IwataMP3 from Riverboat web siteTempo: 126 Rhythm: Shuffle

Great dance beat with a swing feel. Clear leads are playing the tune and there are lots of fill notes. All the music from piano, saxophone, guitar, and organ. A full and lively piece of music to a classic country song (Web Pierce). Another great Riverboat release played in a modern country/jazz style. Ko sounds good and uses proper word meter on an interesting figure.Heads Promenade Halfway – Half Square Thru – Box the Gnat – Make a wave – Boy Trade – Box the Gnat – Make a wave – Girls Trade – Girl Run – Bend the Line – Girl Walk/ Boy Dodge – Boy Walk/ Girl Dodge – Swing

KARMA CHAMELEONSting 21405 by Paul & Cherish BristowCD/MP3 from Sting web site or dealersTempo: 128 Rhythm: Boom-Chuck

Terrific introduction that captures the feel of the original song. Great dance beat. Easy to follow tune with leads clearly played. Lots of fill notes. Music from keyboard, harmonica, and guitar. The song is an eighties pop hit from Culture Club (Boy George). Music is played in a contemporary country style that is mid-way up the energy chart. Be sure to listen to the closing stanza finish – nice touch. Paul sounds good, gets lots of words in, and uses proper word meter. Tracks include music with and without harmony by Cherish. Many groups will have to workshop the figure first.Heads Lead Right – Pass the Ocean – Fan the Top – Boy Circulate – Single Hinge – Split Circulate Once and a Half – Flip the Diamond – Boy Trade – Swing Thru – Girl Run – Girl Fold - Swing


TRUE OR FALSE

Recently, Pew Research found that a majority of American adults get their news from social media like Facebook or Twitter. Sixty-two percent of adults in the U.S. have “posts” as their source of facts and that is surprising when you consider how much bogus information is on social media.

Who hasn’t seen the post about “Mr. Roger’s sweater” or “Jackie Chan’s death while doing a stunt?” The stories are false. Research proves they are inaccurate, but it doesn’t slow the spread of the bogus story on social media. As the saying goes - “don’t ruin a good story with facts.”

Like so many stories read on social media, we have statements of “fact” in square dancing that may or may not be true. Over the next few articles, I’m going to look at commonly held beliefs, ask you if it’s true or false, and then reveal the research behind the story to determine if what we believe is factual. Spoiler alert, this may dispel your favorite square dance belief.

“Traditional square dance attire is the made-for-square dance dresses with yards of fabric, full petticoat, and pettipants,” True or false?

FALSE Traditional square dance attire is the floor-length dress for the women and jeans with long-or-short sleeves for the men. Square dance dresses became mid-calf in the mid-fifties and what many people think is a traditional square dance dress came about in the early-sixties. Early forms were sometimes called a Squaw Dress.

The hemline of the traditional floor-length square dance dress started rising as round dancing became popular. An unconfirmed history is round dance students complained they couldn’t see the woman’s footwork beneath the instructor’s floor-length dress of the time so a creative round dance instructor raised the hemline for teaching purposes.

Whether the story is true or it was easier to dance more intricate actions in shorter dresses, the idea caught on with dancers everywhere and a million-dollar industry was built on square dance dresses, petticoats, dress shirts, etc. By the turn-of-the-century, that industry was all but gone.

“Square dance classes have always been sponsored by clubs,” True or false?

FALSE City parks departments, military recreation services, and large corporations originally sponsored square dance classes. In a post war America, square dancing was the perfect fit for adult recreation programs that were put on for city residents, active duty military new to an assignment and employees on large campuses like General Dynamics.

In one example - January 1946 a city park’s supervisor was charged with bringing a caller from Texas to introduce square dancing in San Diego. 900 people showed up and had to be divided into two shifts of classes. In another example – February 1946 the commander of Pearl Harbor recognizes the value of square dancing to enlisted personnel new to the islands and commissions the first classes in Hawaii. Square dancing proves so popular that other bases start their own program and by the early sixties, almost every installation had their own square dance hall provided by the base - FREE OF CHARGE.

“Without clubs, square dancing would die,” True or false?


TRUE In the above example of 900 people getting into square dancing in San Diego, some of the new dancers became new callers and began square dance classes in their own cities. From new classes came new clubs.

Most every military base had a square dance program that was started by base recreation services. Many bases had more than one class, as officers were not allowed to dance with enlisted. From new classes came new clubs.

As square dancing moved into it’s modern form – no more routines, more calls, longer class times, organized dancer and caller associations – it no longer fit recreation department needs.

The catalysts that created the square dance boom lost their best product to an organized modern western square dance movement (MWSD). Today, almost every square dance class is organized by an existing club, which ties the existence of dancing and the club together.

Something to consider. California was the first to experience the “boom period” of square dancing classes and clubs. Of the hundreds of clubs in hundreds of cities in the early fifties, none of them are here today, which means that square dancing should have died off completely.

So why didn’t it? Because new classes continued to form (outside existing club sponsored classes) and from those new classes came new clubs. Thanks to an entrepreneurial spirit, countless classes and clubs formed in the years between the mid-forties and early-seventies. Why did this practice die in the past few decades?


“Square dancing will never see it’s boom years again.” True or false?

TRUE AND FALSE While it is impossible to know what the future holds, the fact is during square dancing’s “boom years” (mid-forties to mid-fifties), square dancing bore little resemblance to what it is today.

Dances were routines and as routines go, most dancers knew what was coming next (see Paul Moore’s articles). Lessons took six to ten weeks and it was easy to leave then come back to square dancing.

What we know as square dancing (aka Modern Western Square Dancing) NEVER SAW THE “BOOM” PERIOD. Yes, there was growth as new classes formed in new areas that became new clubs, but MWSD never experienced thousands of people dancing in Central Park or Santa Monica.

Something else to consider. There is a correlation between the number of calls in our program and the number of dancers in our program. More calls – fewer dancers. Since implementing our dance programs in 1974, these programs have only grown in size and complexity.

Also since 1974 the average attendance at a National Convention has gone from 17,000 to 4,000. Can we sharply cut our program size in the belief that we may again see growing levels of participation? Can we save this good story with facts?

Next month will be taking on a hot potato. If you have any questions please send them to [email protected]. Check out this month’s great releases and find all your new music at www.musicforcaller.com.

HOEDOWNS

PURSUIT ESP 437CD/MP3 from ESP web site or dealersTempo: 126 Rhythm: ShuffleStrong dance beat with an emphasis on bass. Contemporary sound with music from keyboard instruments with sound effects (sirens, jaw harp). Musical dropouts in the second half of piece. A melody is lightly played but shouldn’t get in the caller’s way. Includes vocal track by Tim Marriner calling material for the CALLERLAB Condensed Teach Method, lessons 1-6.

""Modern Western Square Dance LessonsModern Western Square Dance Lessons""Thursday, September 22, 7-8:30 pm - 1Thursday, September 22, 7-8:30 pm - 1stst Lesson Lesson FREEFREE! ~ ! ~ Pizza PartyPizza Party

Couples - Singles - Families are welcome!Couples - Singles - Families are welcome!Basic Mainstream Program - Basic Mainstream Program - Caller:Caller: Jerry Maurice Jerry Maurice

Leavitt Park Club House, 334 Elm St, Laconia NHInfo: Randy & Sue ~ 603-253-9518 or Ron & Bonnie ~ 603-279-4548

email: [email protected]

PO Box 293, Moultonborough NH 03254WINNIPESAUKEE SQUARESWINNIPESAUKEE SQUARES



http://www.musicforcaller.com


NATIVE SPIRIT Arrowhead 901CD/MP3 from Blue Star web site or dealersTempo: 126 Rhythm: ShufflePretty guitar and soft vocals for the first 37 seconds then a strong dance beat kicks in. Music is chords from keyboard instruments and soft “oohs” and “ahhs.” Music drops away for emphasis on percussion including hand clapping. Includes called A-2 track by Dean Singleton. Overall, two good hoedowns from Arrowhead Recordings.

SNAP DRAGON Arrowhead 900CD/MP3 from Blue Star web site or dealersTempo: 124 Rhythm: ShuffleGood dance beat. A modern sounding hoedown with chords played by keyboard and electronic harmonica. Musical dropouts adds dramatic feel. Lots of electronic effects. Track includes called Plus DBD vocal by Dean Singleton.

HAWAIIAN HOLIDAY Riverboat 631MP3 from Riverboat web siteTempo: 126 Rhythm: ShuffleGood dance beat. Music has a contemporary country sound with chords played by guitar and keyboard instruments along with sound effects. Lots of fill notes and effects. The production sounds somewhat muffled though.

BOUNCY Riverboat 632MP3 from Riverboat web siteTempo: 126 Rhythm: ShuffleGreat dance beat. A modern sounding hoedown with chords played by guitar and keyboard. Lots of fill notes and effects from keyboard, fiddle, mandolin, piano, jaw-harp, and clarinet. Musical dropouts to feature percussion and fill notes add to an already great piece of music. Tracks include called track but the caller is unidentified.

DOOR NUMBER ONE Riverboat 633MP3 from Riverboat web siteTempo: 126 Rhythm: ShuffleGood dance beat with a walking bass. Chords playing in a contemporary country style. Lots of fill notes. Music from piano, guitar, and saxophone. A good hoedown for wind in your face choreography.

COUNTY MOUNTY Rawhide 1583MP3 from Rawhide web siteTempo: 128 Rhythm: Boom-ChuckGood dance beat. Music has a classic country feel with chords played by guitar, banjo, and steel. A lively hoedown. Originally on Hi Hat Records and now part of the 99¢ hoedown series.

TEARDROPS Riverboat 636MP3 from Riverboat web siteTempo: 126 Rhythm: Boom-ChuckGreat dance beat. Music has a contemporary country sound with chords played by steel, harmonica, and guitar. Lots of fill notes. Another great Riverboat hoedown.


RED RIVER HOEDOWN Rawhide 1584MP3 from Rawhide web siteTempo: 128 Rhythm: Boom-ChuckDanceable beat. Hoedown has a country feel with a melody played by multiple guitars. Tune is the classic Red River Valley and should not get in the caller’s way. A classic hoedown that was never released and now available for 99¢.

CHEROKEE MAIDEN HOEDOWN Rawhide 1585MP3 from Rawhide web siteTempo: 133 Rhythm: Boom-ChuckDanceable beat. Hoedown has a classic square dance feel with bass after beat. The melody is recognizable and there are musical dropouts every stanza to feature drums. Music from guitar, piano, clarinet, fiddle, and steel. From Bee Sharp Records vinyl and part of the 99¢ collection. Adjust speed.

DON’T BE A BABY HOEDOWN Rawhide 1586MP3 from Rawhide web siteTempo: 129 Rhythm: Boom-ChuckBeat is danceable. Another classic square dance feel with an unrecognized melody playing. Music from piano, xylophone, saxophone, guitar, and clarinet. Pretty music. Originally on Lucky Records and now a 99¢ hoedown.

MONDAY Riverboat 637MP3 from Riverboat web siteTempo: 126 Rhythm: Boom-ChuckSuper dance beat. A contemporary country sound on this hoedown. Music is chords played by guitar, piano, and harmonica. Lots of fill notes. Could be used anywhere in the caller’s program. Good job Riverboat.

RETURN Riverboat 638MP3 from Riverboat web siteTempo: 126 Rhythm: Boom-ChuckGood dance beat. Chords playing in a contemporary country style. Lots of fill notes. Music from guitar, mandolin, and fiddle. Another fine Riverboat hoedown.

ROUND DANCE WITH

BIRGIT & RICHARD MAGUIRE

For rates and dates call Birgit or Richard Maguire ~ 508-584-0584 ~ www.breasyrounds.com

Sat 17 Single Squares, Burlington MA Fri 23 South Windsor Squares, Enfi eld CT

Mondays, Starting 9/19, at the Fairs ’n Squares, Framingham MA 7:00 - 8:30 pm - Beginner Rhumba 8:30 - 10:00 pm - Various rhythms

Tuesdays, Starting 9/15, at the Hayloft Barn, Sturbridge MA 7:00 - 8:30 pm - Beginner Two Step 8:30 - 10:00 pm - All Rhythms Phase 4-5

http://www.breasyrounds.com


GIBBERISH Sting 21452Tempo: 128 Rhythm: Boom-Chuck

MUMBO JUMBO Sting 21452Tempo: 129 Rhythm: ShuffleCD/MP3 from Sting web site or dealersTwo hoedowns for the price of one.

Gibberish has a good dance beat with an emphasis on the bass. Music is chords played in a contemporary country style. Instruments are steel and keyboard.Mumbo Jumbo has a danceable beat. Chords played in a contemporary country style with music from piano, guitar, harmonica, and fiddle. Adjust speed on “Mumbo Jumbo.”Both hoedowns could be used anywhere in the program but watch out – both have key changes going into the last stanza.

GUITAR HOEDOWN Rawhide 1587MP3 from Rawhide web siteTempo: 126 Rhythm: Boom-ChuckGood dance beat that goes into a “boogie” beat with added percussion on middle and closing stanzas. Hoedown is chords played in a pop style with music from guitar, mandolin, and electronic banjo. A lively hoedown. Taken from Bogan Records vinyl and now part of the 99¢ hoedown series.

DAISETTA HOEDOWN Rawhide 1588MP3 from Rawhide web siteTempo: 136 Rhythm: Boom-ChuckClassic square dance beat with an emphasis on the bass. Music is chords played by guitar and fiddle throughout. A fast-moving country-sounding piece. Adjust speed. From Blue Star vinyl and now available for 99¢.

EIGHTEEN WHEELER HOEDOWN Rawhide 1589MP3 from Rawhide web siteTempo: 126 Rhythm: Boom-ChuckGood dance beat with an emphasis on the bass. Country style with a light melody playing. Music from guitar, piano, and banjo. The tune is the classic “Wabash Cannonball.” From Hi Hat vinyl and part of the 99¢ collection.


706-413-0146

Do you have comments?Send them to:

[email protected]



LIGHT IN THE WINDOW HOEDOWN Rawhide 1590MP3 from Rawhide web siteTempo: 126 Rhythm: Boom-ChuckClassic square dance beat. The tune is clearly played by guitar, saxophone, and accordion but should not get in the caller’s way. Fast moving and lively. From Swinging Square vinyl and now a 99¢ hoedown.

Purchase the music reviewed from your local dealer or the on-line sources below

To search all music www.musicforcallers.com

DOSASO.com www.DOSADO.com A&S Records www.asrecordshop.com Acme Music www.acmerecordings.com Arrowhead Recordings www.arrowheadrecording.com Cheyenne Music www.cheyenne-records.com Chic Music www.chicrecordings.com Crest Recordings www.crestrecordings.com Crown Music www.crownrecords.net ESP Music www.esp-records.biz Peak Recordings www.peakrecordings.com Rawhide Music www.buddyweaver.com Rhythm Records www.rhythmrecords.biz Riverboat Music www.riverboat.com Royal Music www.royal-records.com Sting Productions www.stingproductions.co.uk

http://www.musicforcallers.com

http://www.DOSADO.com

http://www.asrecordshop.com

http://www.acmerecordings.com

http://www.arrowheadrecording.com

http://www.cheyenne-records.com

http://www.chicrecordings.com

http://www.crestrecordings.com

http://www.crownrecords.net

http://www.esp-records.biz

http://www.peakrecordings.com

http://www.buddyweaver.com

http://www.rhythmrecords.biz

http://www.riverboat.com

http://www.royal-records.com

http://www.stingproductions.co.uk


ED FOOTE

THE LACK OF SMOOTH DANCING (continued)

In the June issue I discussed why callers use awkward material and gave specifi c ex-amples of awkward call combinations that are often used. This month we look at an awk-ward call and also at stop-and-go dancing.

Do-Sa-Do. This is a call that has a double reversal of body fl ow and that attempts to hide this reversal by rounding off the corners. It is well-known by callers who are inter-ested in smooth dancing that: the fewer Do-Sa-Dos, the smoother the dance.

Unfortunately, callers have long been obsessed with Do-Sa-Do. Maybe because it is square dancing’s most traditional call, or because it is something that even a brand-new caller can call successfully, but this call is heavily overused.

From facing couples, any graduated dancer can do a Swing Thru without having to do a Do-Sa-Do fi rst, yet callers persist in preceding Swing Thru with this call. How many times in a singing call do callers say: “Heads Square Thru 4, Do-Sa-Do, Swing Thru”? The Do-Sa-Do is totally unnecessary and makes for unsmooth dancing, yet this combination is consistently used. Why is it used? Because it is on the cue sheet that comes with the sing-ing call. Who writes the cue sheet? Callers.

Ever notice people swinging on a Do-Sa-Do? Are they doing this to be rebellious against the caller? No, they do it because their bodies instinctively know that a Swing is much smoother than a Do-Sa-Do.

Fortunately, the pattern is beginning to change slightly. In the past year I have learned that two top national callers have almost completely dropped this call. Hopefully, more callers will do so.

Do-Sa-Do will always be with us, because it is a historical part of our activity. But call-ers would be doing a service for smooth dancing by limiting this call to no more than two or three times a dance.

Stop-and-go dancing. In my June article I blamed the callers for much of this type of jerky calling. But to be fair, it is not all the caller’s fault.

Due to weak fl oors being so prevalent in the U.S., along with so many people “walking” instead of “dancing,” callers have to call even standard simple material in a stop-and-go manner much of the time. This is why callers love to call in Europe and Asia, because people there “dance” and can do the calls with proper timing.

Summary. Ultimately, the callers are responsible for the smoothness of the dance. The smoother the dances, the better for our activity. The caller may or may not be at fault when it comes to stop-and-go dancing, but the caller is responsible for awkward material.

As was mentioned in June, dancers should go to the caller after the tip and complain when awkward material is used. Just be sure it was awkward because of the material, and not because the dancers were awkward in doing it.


SELECTED BY

BIRGIT MAGUIREtheRO U ND

DA N C Eo f M o nth

Syncopated Clock

COMPOSERS: Barbara Connelly PO Box 18, Lower Waterford VT 05848 [email protected] MUSIC: “Syncopated Clock” by Leroy Anderson Album ‘The Typewriter’ Length 2:21 SPEED: Adjust for Comfort FOOTWORK: Opposite unless noted PHASE: 2+1 SEQUENCE: INTRO, A, A(mod), B, A, Bridge, B(mod), A, A, END RHYTHM: Two Step

INTRO 1 - 4 SCP WAIT 2 MEAS;;

A

1 - 4 2 FWD TWO STEPS;; HITCH 4; SCOOT 4;

5 - 8 FWD TWO STEPS ;; VINE 4; HOLD,, SD, CL;

A (mod)

1 - 4 2 FWD TWO STEPS;; HITCH 4; SCOOT 4;

5 - 8 2 FWD TWO STEPS ;; VINE 4; HOLD,, WALK,, PU [CP LOD],;

B

1 - 8 LEFT TRNG BOX;;;; 2 PROG SCIS;; 2 TRNG TWO STEPS [SCP];;

BRIDGE

1 - 4 CIRCLE AWAY 2 TWO STEPS;; STRUT TOGETHER 4 w/ PU;;

B (mod)

1 - 8 LEFT TRNG BOX;;;; 2 PROG SCIS;; 2 TRNG TWO STEPS [CP LOD];; WALK 2;

ENDING 1 - 2 VINE 4;; APART PT

Full cue-sheet available at www.mixed-up.com/round/all-overor send self addressed, stamped envelope to

Birgit Maguire, PO Box 260, Holbrook MA 02343


http://www.mixed-up.com/round/all-over


** Always check the display ads for detail information. **

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WorkshopsThursday15-22-29 Fairs ’n Sqs Framingham MA SD Class SQ

Sunday11-18-25 Nubble Lighthouse Keepers Wells ME Class, PL SQ

Monday

19-26 Fairs ’n Sqs Framingham MA RD Class, Beg Rumba, Various RO

Tuesday13-20-27 B & R Maguire Sturbridge MA Beginner 2 Step, all rhythms P4 & 5 RO

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Date post:	15-Apr-2018
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