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Items from "MWSD": 347

Pussy Cat -Red Bates - 1973

The 1973 singing call, Pussy Cat, Windsor Records #4173, was recorded by Bruce Johnson; it is one that became a Red Bates trademark. The figure was difficult in a unique way. The challenge was the partner change that followed an unusual placement of the Allemande Left. It became a game between the dancers and Red to see if they could make it…

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Red Bates, 1982 Patter

The examples we have for the 1980’s also were recorded at the Longmeadow club and this was the opening patter call for a dance on February 16, 1982. The choreography is very different from his earlier dances. In the first minute and a half he uses 20 different calls! In the interval between 1973 and this dance, CALLERLAB had been formed and the…

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Red Bates, 1982 Pecos Promenade

The singing call, Pecos Promenade, was recorded by Beryl Main on Chaparral label #406. At 120 beats per minute (bpm) it is the first indication in this collection of a trend toward slower tempo that was to become much more common. The singing call also shows a programming style that was becoming very common at that time. Red uses three different…

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Red Bates, 1990 Patter

The 1990 dance was again for the Longmeadow club. The most striking thing to notice is the much slower tempo. In 1980 Red’s tempo for the opening patter call was 128 beats per minute (bpm). By 1990 he (and several others) had slowed the tempo considerably. In this tip the tempo is 116 bpm which is less, even, than he usually used at that time.

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Red Bates, 1990 From A Jack To A King

In the singing call Red uses the Introduction/Break/Closer as it was recorded on the Red Boot Star label #1320 by Bill Anderson and continues the practice, now very common among MWSD callers, of using four different routines for the figure. The tempo is still quite slow at 118 bpm.

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Red Bates, 2006 Patter

The 2006 patter call shows Red’s usual programming using 11 of the PLUS Program calls in this one tip. The tempo had increased slightly to 123 bpm. His delivery style is conversational with somewhat less melodic variation than his early calling.

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Red Bates, 2006 City Of New Orleans

The 2006 singing call, City of New Orleans, was probably to the Rhythm record #182 originally by Wade Driver with a Mainstream Program figure. By using three different figures in the dance rather than just one repeated four times, Red’s calling again shows the change in singing call delivery that by then was very common for many callers.

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Red Bates, 2011 - Patter

The 2011 patter call is probably from a group in Florida where Red now lives in the winter. Two things are notable. One is that he is using a much smaller vocabulary of calls than he has in the tips from earlier years. The other is that the music is a singing call record. (I Shall Not Be Moved". Quadrille # 910) Many callers who are comfortable…

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Red Bates, 2011 City of New Orleans

The 2011 singing call is the same one that he used in 2006, City of New Orleans, Rhythm record #182. The record, as Wade Driver called it, used a CALLERLAB Mainstream Program routine. As we noted in the 2006 clip, Red used three different routines. Both Red and I (Jim Mayo) were surprised to learn that here, five years later, he used the same three…

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Red Warrick - Heel and Toe (clip)

Texas caller Red Warrick, on a rare recording on the Dude label, with music by Till's Square Dance Band. (See related materials here.) The tune is Golden Slippers, but this recording provides an excellent example of calls that are not phrased to the tune. For a caller of traditional New England material, this would be heresy, but Warrick is…

Red Warrick - Dip and Dive (clip)

The dip and dive figures appear in many variations in the square dance repertoire. One common singing square has the figures set to the tune Redwing, while other callers chant the figures to Little Brown Jug. Here, Red Warrick chants the figures in a steady, rhythmic patter that does not fit the phrase of the music. Other examples of the dip and…

Jessy Polka Square

Here are the directions for Red Warrick's dance. See the related item for a video showing Warrick calling for his demo team.

Marina - Rich Sbardella - MWSD Early – Basic Program

This video is of a dance at the Powder Mill Barn in Enfield, CT. The barn is owned by Ralph Sweet. The caller is Rich Sbardella. Rich is a disciple of Dick Leger and calls in Dick's style which, although this dance was in April of 2012, is representative of the early style of MWSD. The calls are from the CALLERLAB Basic Program.

This dance music…

Heart of My Heart - Rich Sbardella - MWSD Early – Basic Program

This video is of a dance at the Powder Mill Barn in Enfield CT. The barn is owned by Ralph Sweet. Callers are Rich & Lynn Sbardella. Rich is a disciple of Dick Leger and calls in Dick's style which, although this dance was in April of 2012, is representative of the early style of MWSD. The calls are from the CALLERLAB Basic Program.

Texas Whirlwind (clip) - Rickey Holden

Starting with a simply RH star in the center, Holden ups the complexity with a series of Catch All Eight calls around outside of the circle.

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TEXAS WHIRLWIND (Folkraft 1073A) – Rickey Holden
(original figure by Fenton Jones, Los Angeles, California)

( prelim) Ladies to the center and back to the bar
Gents to the center and form a…

Goal Post variation - Rickey Holden

Caller Rickey Holden calls a sequence of easy figures at a workshop in Taastrup, Denmark, August 19, 2005. It's similar to a Goal Post" routine except that Rickey has the active dancers swing behind the inactives rather than go around them. The end of the dance incorporates a Birdie in the Cage routine.

Daisy Alamo patter - Robby Robertson

This is a live recording of Robby Robertson teaching a "Daisy Alamo" combination of a Daisy Chain and an Alamo Style progression, followed by calling a dance with those figures. (The dance itself starts at 1:23.) The recording was made by Eric Clamons at the Fifth Annual (1956) Minnesota Square Dance Convention.Robertson was a prominent caller on…

Basic Movements of Square Dancing

This early handbook from Sets in Order provides detailed instructions for 20 basic figures, "the foundation movements for most square dancing." As such, it offers an overview of what was considered essential in the early years of MWSD.Many figures contain subdivisions; for example, Figure 16 is Arch and Under: a. Inside Arch - Outside Underb.…

Square Dancing Standard and Experimental Guidelines

A flood of new calls in the early 1970s led a group called Square Dance Systems to publish a catalogue of calls, an attempt to bring order to an increasingly-complex universe of new figures. Square Dance Systems was Lester Keddy, Arthur Ballard, and John Hendron. This effort came before the establishment of CALLERLAB. In this item, we include the…

Stan Winchester - C4 Singing Squares

Stan Winchester was a MWSD dancer who created a large body of singing squares for the C4 community. These dancers sometimes share a series of recorded audiotapes with prerecorded calls, and Winchester was appreciated for ability to fit the complex choreography of challenge dancing into well-phrased singing calls.Caller Clark Baker maintains a…