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Items from "MWSD": 343

Put On Your Old Grey Bonnet (clip) - Charley Thomas

Charley Thomas was a vendor of records and books for squares and contra dances. He founded American Squares magazine after World War II, and edited it until it was purchased by Frank Kaltman and Rickey Holden. Jim Mayo calls a MWSD tip to this tune here.

Puttin' on the Style (clip) - Al Brundage

This is an excerpt (opener and first figure) from Al Brundage's recording of the dance on the Windsor label.

Ragtime Lonesome Me - Ted Lizotte and Paul Cote

These two modern square dance callers enjoy working together, billed as "The Duo." This video presents a collection of some of their singing square dance duets, recorded at a weekend at East Hill Farm in southwestern New Hampshire.Paul Cote is the presenter in this workshop presentation on using alternative music in a square dance program. Ted…

Ralph Sweet's Personal Square Dance History

This is a 2005 presentation by Ralph Sweet to NECCA (New England Council of Callers Associations), a group of MWSD callers. Reviewing his own interest in this activity provided Ralph with an opportunity to examine trends and challenges faced by square dancers over the past six decades.Ralph's interest in squares and contras dates to the 1940s, and…

Reach for the Stars - British callers

This singing call was made for promotional purposes by the British Association of American Square Dancing Clubs (BAASDC) in 2001. It features seven top British callers calling to two squares. The Association counts American Mildred Buhler as its "original patron," back in the early 1950s. Further information about the British Association is here…

Red Bates 1961, Patter

By the time of our first clip from a 1961 dance at the Newton Pavilion in Newton, NH, Bates was a busy caller working dances throughout New England. The choreography is very representative of MWSD at that time. It includes a mixture of the Ed Gilmore Ends Turn In routine, Star action and a Susie Q.

Red Bates 1968 Patter

The next clips we have are from another dance at Newton Pavilion seven years later. By then the calls Swing Thru and Spin the Top had been added to the call vocabulary and Red makes use of both in this tip. All of the calls in this tip would be included on the Mainstream List seven years later when it was established by CALLERLAB.

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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, 1973 Patter

Our 1973 clip is from a dance at the Longmeadow, MA, square dance club a short distance from where Red lived at that time. He starts with a Scoot Back and Circulate combination and in the second half of the tip does a variety of line sequences that have the dancers changing facing direction a lot with little movement around the square. The call Tag…

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, 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, 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, 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, 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, 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 - 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…