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December 1, 2009

Pacific House noms on Sunday

Posted by dogpossum on December 1, 2009 8:41 PM | Comments (0)

We did eat other things in Melbourne after the stupid eggs. Masses of seafood at Pacific House in Richmond. And salt and pepper fu.

"Pacific House noms on Sunday" was posted in the category gastropod and melbourne and people i know and travel

8 dirty nannas

Posted by dogpossum on December 1, 2009 6:25 PM | Comments (0)

I've made a little 8track of 8 of the women singers I played in my late night set at MLX9.

(clicky)

I tend to think of the women I like to DJ for blues as 'dirty nannas', and I've banged on about this here ad nauseum. This isn't quite 100% dirty nannas. Some of the women here were younger when they recorded these songs. But all of them had attitude. I tent to play far too many vocal tracks when I DJ for blues dancers. I think it is, in part, because I'm really not a very experienced blues DJ, and because I don't have a whole lot of music I'd play for blues dancers. But it also probably has something to do with the fact that I like my music for blues dancing to carry levels of meaning. More than just a straight out 'grab you partner and cuddle' imperatives. I like irony and parody and suggestion.

At any rate, this is only a small chunk of the stuff I played in that set, and when you listen to it here or on the 8track site it won't be in the order I played them. So imagine there are other songs in between them, cushioning the changes.

A note: that version of Fine and Mellow is about the most perfect performance on earth. You can (and really should) watch it here:

(clicky)

Hound Dog Big Mama Thornton 76 Very Best Of 2:52
Rosetta Blues Rosetta Howard acc. Harlem Hamfats 103 1937 History of the Blues (disc 02) 3:00
Jealous Hearted Blues Carol Ralph 80 2005 Swinging Jazz Portrait 3:48
Kitchen Blues Martha Davis 80 1947 BluesWomen: Girls Play And Sing The Blues 3:05
Fine And Mellow Mal Waldron and the All-Stars (Billie Holiday, Roy Eldridge, Lester Young, Coleman Hawkins, Milt Hinton) 79 1957 The Sound Of Jazz 6:22 best live on CBS TV 'Legendary sound of jazz' 1950s small female vocal Swinging blues 60 14/01/07 4:58 PM
3 O'clock In The Morning Blues Ike and Tina Turner 64 1969 Putumayo Presents: Mississippi Blues 2:40
Hard Times Mildred Anderson 67 1960 No More In Life 4:15
Gimme A Pigfoot Bessie Smith acc by Buck and his Band (Frank Newton, Jack Teagarden, Benny Goodman, Chu Berry, Buck Washington, Bobby Johnson, Billy Taylor) 1933 Complete Jazz Series 1929 - 1933 3:30

"8 dirty nannas" was posted in the category 8 tracks and djing and lindy hop and other dances and melbourne and music and travel

November 30, 2009

MLX9 set 3

Posted by dogpossum on November 30, 2009 7:10 PM | Comments (2)

Goodness me, but that 3-5am set was a bit of a push for nanna. I used to always be there right til the end, ready willing and able to play blues til the very last dancer lay down and died. But not this weekend. I was exhausted by 2. But I still managed to get it on.

The main room closed at about 2.30am, and while I and the DJ before me were rostered to do 'blues' sets, we both figured it was a good idea to play more transitional sets. Noni played a spankingly good set of what I think of as 'power groove' - hi-fi, lower tempos, but good, fat, chunking energy. It was really great to watch and listen to, but a bit of a challenge to follow. I was just blank (again). I really don't handle these late nights very well any more. We were in the back room, which I much prefer for dancing (wooden floors, not parquetry over concrete, a smaller, more intimate setting, slightly darker lighting, etc etc etc) and the main room had closed.
The lindy hopping crowd had moved into the foyer full of couches, or started filtering into the back room. Keith, the DJ before Noni and I, had played my favourite set of the weekend: olden days stuff. Stuff I love to dance to. Small and large bands, the former of which especially suits that back room. Then Noni and I were to follow up with blues. So the crowd was still, generally, a lindy hopping group, but with a fair few blues dancers or people who dance either. It was a tricky moment, really. I'm not sure how I would have handled it as an organiser. MLX is a lindy event, so lindy should always come first, but blues is very, very popular in Melbourne and MLX has given good blues in the past.
We'd had similar issues the night before when I finished the night out in the lindy hopping main room at 4am (as requested by the organisers): people were really still interested in lindy hopping. The problem, really, was that the organisers and volunteers were just too shagged to keep going. And of course their night doesn't end with the DJ, it continues on for an hour or two afterwards as they clean up and push dancers out.

At any rate, I feel pretty ok about my set. I didn't know when to move to blues, though, and would have appreciated some guidance from the organisers. But they were particularly unhelpful with this sort of thing that night. So this is what I played:

MLX9 29-11-09 3-5am Blues

All Right, Okay, You Win Gordon Webster (with Brianna Thomas, Jesse Selengut, Matt Musselman, Adrian Cunningham, Cassidy Holden, Rod Adkins, Jeremy Noller) 137 2009 Happy When I'm With You 4:41
Intro / Time's Gettin' Tougher Than Tough Jimmy Witherspoon with Roy Eldridge, Ben Webster, Coleman Hawkins, Woody Herman, Earl Hines, Vernon Alley, Mel Lewis 134 1959 The 'Spoon Concerts 3:35
I Ain't Mad At You Mildred Anderson 158 1960 No More In Life 3:04
Blues For Smedley Clark Terry, Ed Thigpen, Oscar Peterson, Ray Brown 137 1964 Oscar Peterson Trio + One: Clark Terry 6:57
Here I Am (Come and Take Me) Al Green 95 1975 Greatest Hits 4:15
Son Of A Preacher Man Aretha Franklin 77 Greatest Hits - Disc 1 3:16
I Got What It Takes Koko Taylor 72 1975 I Got What It Takes 3:43
Hound Dog Big Mama Thornton 76 Very Best Of 2:52
I Just Want To Make Love To You Etta James 106 1960 The Best Of Etta James 3:07
3 O'clock In The Morning Blues Ike and Tina Turner 64 1969 Putumayo Presents: Mississippi Blues 2:40
I Hate To Be Alone Roosevelt Sykes 77 The Bluesville Years Volume 11: Blues Is A Heart's Sorrow 2:04
Telephone Blues George Smith 68 1955 Kansas City - Jumping The Blues From 6 To 6 3:03
Built for Comfort Taj Mahal 98 1998 In Progress & In Motion (1965-1998) 4:46
Sleep in Late Molly Johnson 86 2002 Another Day 2:47
Reckless Blues Louis Armstrong and his All Stars (Velma Middleton, Trummy Young Edmund Hall, Billy Kyle, Everett Barksdale, Squire Gersh, Barrett Deems) 88 1957 The Complete Decca Studio Recordings of Louis Armstrong and the All Stars (disc 06) 2:30
Perdido Street Blues The Lake Records All-Star Jazz Band 107 2009 The Rosehill Concert 6:05
Sister Kate Firehouse Five Plus Two 100 Dixieland Favorites 4:31
Wild Man Blues Sidney Bechet and his New Orleans Feetwarmers (Sidney de Paris, Sandy Williams, Cliff Jackson, Bernard Addison, Wellman Braud, Sid Catlett) 88 1940 The Sidney Bechet Story (disc 3) 3:20
Winin' Boy Blues Jelly Roll Morton and his New Orleans Jazzmen with Sidney de Paris, Claude Jones, Albert Nicholas, Sidney Bechet, Happy Cauldwell, Lawrence Lucie, Wellman Braud, Zutty Singleton 91 1939 The Sidney Bechet Story (disc 2) 3:10
Rosetta Blues Rosetta Howard acc. Harlem Hamfats 103 1937 History of the Blues (disc 02) 3:00
Gimme A Pigfoot Bessie Smith acc by Buck and his Band (Frank Newton, Jack Teagarden, Benny Goodman, Chu Berry, Buck Washington, Bobby Johnson, Billy Taylor) 1933 Complete Jazz Series 1929 - 1933 3:30
Papa Ain't No Santa Claus Butterbeans and Susie with Eddie Heywood sr 116 1930 History of the Blues (disc 01) 3:20
You Took My Thing C.W. Stoneking with Kirsty Fraser 111 2006 King Hokum 2:51
Jealous Hearted Blues Carol Ralph 80 2005 Swinging Jazz Portrait 3:48
Riverside Blues The Lake Records All-Star Jazz Band 88 2009 The Rosehill Concert 4:47
St. James Infirmary Allen Toussaint 107 2009 The Bright Mississippi 3:51
Kitchen Blues Martha Davis 80 1947 BluesWomen: Girls Play And Sing The Blues 3:05
Fine And Mellow Mal Waldron and the All-Stars (Billie Holiday, Roy Eldridge, Lester Young, Coleman Hawkins, Milt Hinton) 79 1957 The Sound Of Jazz 6:22
I Want A Little Sugar In My Bowl Nina Simone 65 1967 Released 2:33
Hard Times Mildred Anderson 67 1960 No More In Life 4:15
Back Water Blues Belford Hendricks' Orchestra with Dinah Washington 71 1957 Ultimate Dinah Washington 4:58
Hound Dog Big Mama Thornton 76 Very Best Of 2:52

The first few songs were very much transitions from Noni's vibe: high energy, hi-fi power groove with a live or high energy feel. That new album by Gordon Webster (who is also a dancer) is very versatile, and I heard a lot of it this weekend. I quite like this version of All Right because it's not the Barbara Morrison one. Then more Witherspoon live. I really, really like Mildred Anderson's voice, and though this song isn't what I'd think of as good lindy hopping music, it is quite fun early r n b or jump blues (I'm not sure of the distinction). I wanted to move towards blues (as briefed), but I wasn't sure people were ready to get cuddly. I also wanted to get to New Orleans in the near future, but wanted to keep the chunky basement party feel.

Blues For Smedley was a mistake. I don't know what I was thinking. Except, perhaps, that I wasn't quite thinking clearly and hadn't really decided what I was doing. I think I might have been trying to mellow the crowd out. I just bored us all with an interminable Ray Brown solo. Again.

After this, things were kind of flat/mellow. So I tried some (wonderful) Al Green because he's touring here very soon. And because I love him. I was also thinking about that r n b/soul/ house party vibe and deciding that was what I wanted to do for the next little while.
Aretha was purely an attempt at populist easy-scores. It's also a sing-along song. I DJ it at blues dances every now and then, and it still rides well with me. I was kind of trying to get to the soul/rnb side of Aretha rather than the soul/funk side of things.

I Got What It Takes was a test: were they ready for blues dancing? For slower, sexier stuff? This is where I got a bit confused. The floor emptied and refilled with a completely new crowd when I moved between higher and lower energy stuff over the next half hour or so. It was as though the blooz guys were moving in for the blooz, then sitting down when the kids interested in lindying on got up. So I was confused. I was a bit too tired to go survey the foyer and see what people were into. I would kind have liked to do a lindy set, but, really, I'd prepped for a blooz set, and I wanted to work that vibe. In retrospect, I could have done as a band would have: moved from each style alternatively. And an early New Orleans style would have worked for me. A brave move, I think, but could have worked.
Oh well.
This is clearly one instance where a bit of clear guidance from the organisers would have been helpful. And usually I can judge these things pretty well. But I was so freeking tired, and really having trouble focussing. I was also alternating between standing up and jiggling and dropping into my seat, exhausted.

Hound Dog was the perfect vibe for this particular moment. If I had more of this stuff, I'd have played it all night long. This is the stuff DJ Goldfoot plays. It's early rnb, it's gritty, it's not, in any way, associated with Elvis Presley or that sell-out, rip-off white-wash bullshit. I have decided to blow my remaining emusic credits on lots more as soon as our internet gets unshaped.

This is an interesting stylistic moment, actually. I'd put it, clearly, in the blues music camp. It's definitely blues music. But it's quite high energy. A lot of this stuff is above 100bpm, though it's really heading towards the average tempo for pop music today (about 120bpm). But it doesn't really feel as though it's in the jazz camp any more. We can hear rock n roll, just, sort of, in the next room. But it's also remembering jazz and early blues. And echoed in the work of people like Sharon Jones.

I think that I'd really, really, really like to go to an afternoon or Sunday night gig at an exchange that featured this type of band in a grotty basement bar or nightclub. Beer, food, dancing, talking shit, hanging out, singing along. Not hardcore anti-social lindy hop where we all leap about like rabbits, but real party music, where people pick up and fight and get back together and laugh and drink have fun til they're exhausted.

So then I played a Tina and Ike Turner song that's a little mellower. I love this early Tina Turner stuff - she's just so great. I wish I had more.

Historically speaking, I'm not sure how people danced to this stuff. I suspect it was a little like this:

(Image lifted from here. If you're liking this Bill Steber photo, I've linked to a few more here.)

That's how I dance to it. I spent about two band sets talking to a good friend about the advantages of having a whole heap of jelly to shake and being over 35. We laughed a LOT, frightened a couple of twenty year olds and talked a great deal about >35 year old boob-sag and boob-bounty. Ultimately, if there's a pistol on the mantelpiece in act one, it's going to get used by act three. And, really, it's a crime to pack heat and not flaunt it.

Speaking of which, this Taj Mahal song is still a favourite. It's a good thing I don't DJ blues much these days, or this song would be massively overplayed. I love the lyrics. And the fact that it's a man singing. There were actually two blokes dancing together to this song and it was a delight. I think, unfortunately, the gender-flexi subtext of the song added to the social challenge of two men blues dancing together eventually led to their abandoning the dance. I was disappointed.

Sleep in Late was my transition song. I was thinking 'New Orleans'. And also '1920s.' And 'blues queens.' Which, really, is where I want to be most of the time.

That version of Reckless Blues is another I overplay. But it's hi-fi and a really useful transition track.

That version of Perdido Street Blues is super-saucy and really fucking great. And it's live, and featuring Duke Heitger. I'd had the Bechet/Armstrong version on my shortlist all through my Saturday lindy set, and was really glad I managed to stuff it in somewhere. At this point a heap of people returned to the room for dancing. In retrospect, I think they were lindy hoppers looking for uptempo stuff, but then again, I'm not entirely sure - some of them were also hardcore blues people. Ah well. Maybe they were looking for that particular style?
I'm not all that keen on the Firehouse Five any more. They're a bit cutesy. But I couldn't resist another slower version of a popular fave.

And then I _finally_ got to Bechet. If you're thinking about New Orleans, you really have to play some Jelly Roll. This is a version with cleaner lyrics, which is a good thing, as the other version is really obscene. Nothing coy or double entendre about it at all - it's just straight up obscenity. And I kind of prefer a little clever word play.
At Rosetta Blues, I was thinking 'tinkly piano' and 'dirty nannas.' I'd had a few requests for some dirty nannas kicking arse and taking names, so I figured it was time. I play this song almost every time I DJ blues so, once again, it's a good thing I don't do much blues DJing these days. I fucking love it.

I'd had Bessie Smith lined up for ages, but hadn't quite had the guts to do it. I've never DJed Bessie Smith before... well, I think I've DJed Do your duty (with Bessie Smith acc by Buck and his Band (Frank Newton, Jack Teagarden, Benny Goodman, Chu Berry, Buck Washington, Bobby Johnson, Billy Taylor in 1933), but not for a long while. It was an absolute delight to see dancers really getting into her and really responding to her performance. Smith is really incomparable as a vocalist, and even all these years later, mediated by layers of wax and crackle, she still pwns.

Pappa ain't no santa claus was a stretch. I should perhaps have not played it. Or not have played the next song. The Stoneking song is almost exactly the same as Butter Beans and Susie, but the performances aren't any where near as good. I have ongoing reservations about Stoneking's appropriation of black blues performance styles and songs, and kind of wanted to show how he's not as good as the originals. It didn't go down as well as the preceding songs, but then it was the third or fourth in a row, and this stuff is a bit challenging for Australian dancers at the moment (in my experience, any way, and my experience certainly isn't terribly broad).

All this annoyed me, and I was particularly irritated by Stoneking's bullshit, so I decided to just change gears immediately. Carol Ralph's song is another good, solid transitional track when I want to get to what I think of as 'New Orleans'. That's a good song, and it kind of trucks along with a nice, rolling rhythm.

Riverside Blues went down well as well, with an effect similar to Perdido Street Blues. I like it that I play the same artists for blues dancers and for lindy hoppers, just at different tempos. I like the implication (or evidence?) that you can't have swing or jazz without the blues, that blues dances (and the blues idiom more generally) gives lindy hop and swing its backbone.

The Allen Toussaint went down as well as it usually does, and I was tempted to just play another. Or even the entire album. It's gorgeous music, beautifully produced, and a wonderful tribute to and reimagining of the New Orleans classics. But I played it in part as a way of dropping the energy. It was time to cuddle-blues. This version of a blues dancing favourite is so lovely. I love listening to it, and it's really nice seeing dancers work with the dynamic range, and exploring the layers of rhythm at work here.
I was also trying to make my way to the lovely version of Billie Holiday's Fine and Mellow. I think Laylie had actually sung it with the band earlier that night (I can't really remember, though). I love this Holiday version because it's so, so taught with emotion and suggestion. She's trashed, but her musicianship is flawless. It's also a live performance.

So Kitchen Blues, with its light touch and Lutcher's delicate piano and lovely, rich (yet restrained) vocal are a great introduction. Kitchen is instrumentally sparse - just piano and drums, I think.

Fine and Mellow did as expected. Cuddles all round. It gives me goose bumps every time I hear it in a dark room on a big sound system.

I almost played the Bessie version of Sugar in my bowl, but went with the super-sensual Simone version instead.

The more Mildred Anderson. This time slow, slow, slow, with her lovely, velvety voice really stretched and achey.

Back Water Blues is something I always play for Cheryl when she's in the room, because she loves Dinah. And because I do too. And I figure, if I'm playing Bessie, I better play a whole lot.

And then I had to call last song because it was 4.57 and I was utterly exhausted. The kids would have danced longer, but, frankly, they would have danced til they died, so I wanted to end it before it made me hate all blues dancers. And I like to end with a full room, rather than letting it peter out.

This song's so nice, I played it twice. There was some comment on that, but, what the fuck - it's 5am and I'm the boss. And it's a fucking good song. And people liked it as much as I did, so they had a fun dance with it. There were more than a few voices joining Big Mama in the howling at the end.

So, generally, it was a pretty good set. It went better than I'd thought it was. I discovered that I'm probably a bit too weak for super late night DJing these days. Though sitting down makes it easier. Blues is boring to DJ. Super boring. Because the dancers are really introverted and partner-centred. I never see anywhere near enough solo stuff (if any at all), and I don't see enough extroverted, show-off stuff or parodic/ironic riffs on the parodic/ironic lyric content, but then, that's blues dancers for you in general. They tend to be a bit... serious.

MLX9 is over now, and I'm kind of relieved. My ankle is pretty swollen, but it doesn't hurt that much. I didn't dance much, which really sucks, but then it's kind of good because it means that I didn't hurt myself. I spent most of my time talking to people, which was fabulous. I also made a serious effort to get to all the band gigs on time so I could watch the bands. The more I DJ, the less interest I have in listening to DJed music; I want bands. And the bands at MLX9 were really really good. A really good cross-section of styles, from recreationist 1920s hot jazz to 1950s Ella and Basie. And things in between. I have a few clips to upload at some point so you can see what I mean.

Now, I think I need to go to bed. Because it's finally after 7.30 and I don't feel ridiculous letting myself sleep. The Squeeze has been fast asleep beside me in the bed for ages already, and it's very sooooothing.

"MLX9 set 3" was posted in the category djing and lindy hop and other dances and melbourne and music and travel

November 29, 2009

MLX9 set 2

Posted by dogpossum on November 29, 2009 2:30 PM | Comments (0)

Because I <3 Timmy.

Last night I did my second set, starting at 2.40am. It wasn't the best I've ever done, it wasn't as good as last night. Here's my list of excuses:

• I started my period and I was beginning to feel really rough. Also, a little angry. Don't DJ angry.
• The preceding DJ was using the booth monitor which was sitting next to me where I was preparing my for my set. It was very loud and full of bass and jiggled my sore menstrual guts in a painful way. Did not want.
• Everything seemed really loud. It did not please me. But I turned the volume waaay down when I started my set.
• I felt really good about the job I did the night before. Quite a few people had said they were really looking forward to my work in my second set. The pressure was on, and I felt a bit under the pump. And I crumbled.
• I was cold. The night before I was boiling. But last night I was cold. So I wore Scott's (tiny, kindly leant) jacket and it squeezed me.
• I really wasn't on top of my music; I didn't have enough badass stuff at the front of my brain.
• I couldn't really find my focus til the last part of the night

I have plenty more excuses, but these are the important ones.

MLX9 28/11/09 2.40am-4:00am

Froggy Bottom Jay McShann and his Band with Jimmy Witherspoon 155 1957 Goin' To Kansas City Blues 2:37
Sent For You Yesterday (And Here You Come Today) Count Basie and his Orchestra with Jimmy Rushing 172 1952 Complete Clef/Verve Count Basie Fifties Studio Recordings (Disc 2) 3:13
Blues In Hoss's Flat Count Basie and his Orchestra 144 1958 Chairman Of The Board [Bonus Tracks] 3:13
Flat Foot Floogie Carol Ralph 186 2005 Swinging Jazz Portrait 3:44
Sweet Nothin's Midnight Serenaders 154 2009 Sweet Nothin's 3:14
I Ain't That Kind of a Baby Janet Klein and Her Parlor Boys 159 2008 Ready For You 2:59
Putting On The Ritz The Cangelosi Cards 195 Clinton Street Recordings, I 3:38
Shake That Thing Preservation Hall Jazz Band 157 2004 Shake That Thing 6:30
Deep Trouble Les Red Hot Reedwarmers 179 2006 King Joe 2:55
Tishomingo Blues Carol Ralph 128 2005 Swinging Jazz Portrait 4:15
Davenport Blues Adrian Rollini and his Orchestra with Jack Teagarden 136 1934 Father Of Jazz Trombone 3:14
The Harlem Stride Ella Fitzgerald and her Famous Orchestra 199 1939 Live At The Savoy - 1939-40 3:29
Whoa Babe Lionel Hampton and his Orchestra (Lionel Hampton voc) 201 1937 The Complete Lionel Hampton Victor Sessions 1937-1941 (disc 1) 2:53
Everything Is Jumpin' Artie Shaw and his Orchestra 170 1939 Self Portrait (Disc 1) 5:07
Fifteen Minute Intermission Cab Calloway and his Orchestra 165 1940 Cab Calloway and his Orchestra 1935 - 1940 vol 02 (disc 04 - New York-Chicago 1939-1940) 2:54
Just Kiddin' Around Artie Shaw and his Orchestra 159 1941 Self Portrait (Disc 3) 3:21
Blackstick Noble Sissle's Swingsters with Sidney Bechet 183 1938 The Young Bechet 2:46
Peckin' Johnny Hodges and his Orchestra 165 1937 The Duke's Men: Small Groups Vol. 1 (Disc 2) 3:10
Truckin' Henry 'Red' Allen and his Orchestra 171 1935 Henry Red Allen 'Swing Out' 2:54
Ain't Nothin' To It Fats Waller and his Rhythm 134 1941 Last Years (1940-1943) (Disc 2) 3:10
Light Up Buster Bailey 189 2008 Complete Jazz Series 1925 - 1940 2:48
Chasing Shadows Louis Prima, Pee Wee Russell, Frank Pinero, Garry McAdams, Jack Ryan, Sam Weiss 170 1935 Louis Prima Volume 1 3:04
Algiers Stomp Mills Blue Rhythm Band (Lucky Millinder, Henry 'Red' Allen, J.C. Higgenbotham, George Washington, Edgar Hayes) 219 1936 Mills Blue Rhythm Band: Harlem Heat 3:08
Solid as a Rock Count Basie and his Orchestra with The Deep River Boys 140 1950 Count Basie and His Orchestra 1950-1951 3:04

The preceding DJ had been playing a set of favourites and crowd pleasers, all of which were at moderate to slow tempos. The set began a bit old school, but moved into a more mixed, and then more contemporary set. The floor was full the entire set. I think that this is where my personal priorities as a DJ become mixed: do you take a risk and play a mixed tempo set and really push dancers, so that the hardcore kids really stretch _and_ the newer/slower/injured/older/not full-on dancers get some fun? Or do you play a set pitched primarily at the latter group and guarantee a floor full?

I didn't get the floor as full as the previous DJ, but I did hit the 3am kill zone, and lost a few folk. There was a full blues room with some great DJs, and blues is almost as popular as lindy at MLX, so that room was very full, and there's not a lot of lindy/blues cross over once people are in a particular groove. Also, I didn't really get it together. I couldn't quite find my groove. I think, basically, I was too tired for the job. Goddess help me with my 3-5am set tonight. But I just couldn't quite find my flow, couldn't quite get in the zone, couldn't really get it together. So I felt as though I wasn't really _with_ the dancers, and it really showed. But, ah well. What can you do?

The last song of the last set was a soul/funk track, which meant that I could either change gear without the clutch or find a transitional number. I began with an old fave and my workhorse starter: Jimmy Witherspoon doing some chunking, in your face hi-fi jump blues. I should have realised when I began with that, that I wasn't quite happening. But I had a short list of about 30 possible songs, and that also tells me I couldn't quite get a handle on the dancers.
I wanted to get to old school, big band lindy hopping action. So I went with 50s Basie and Rushing as a transition.
Then I got distracted and confused. Rather than going straight to someone solid like Lunceford before getting into more unusual stuff, I was pulled off-course by Carol Ralph (an excellent Australian act). I think part of me was thinking about the previous DJ's populist approach, and I wanted to maintain that general, all-crowd interest with something with vocals and hi-fi. It's a great song - a really great version of a well-known fave - but it pulled me away from my mission.

But from there I figured wtf, and did a little Midnight Serenaders loveliness. A little saucy, but kind of quirky and accessible. Followed by Janet Klein, who does similar stuff. Then the glorious Cangelossi Cards. This little chunk of three songs (which a friend described as 'old fashioned radio style songs') went down really well. It was a lovely room to play at that moment. Willing to experiment with quirky stuff, interested in the more complex musicianship and arrangement, enjoying the funny/suggestive lyrics. So what did I do wrong?

At this point I thought 'I could do an entire set of new bands.' But I discovered that that stuff wears a little. I should have moved from the Cards to something different. But I went with the Preservation Hall. That version of Shake that Thing is fab - long, though - full of energy, lots of shouting. But LONG. And while it filled the floor, it did tire everyone out. It also tends to get a bit wearing, what with all the shouting.

The Les Red Hot Reedwarmers was positioned wrongly. It's a great song, and goes down well, but it was too great a mood change from the Pres Hall. I should have played it directly after the Cards instead. It's kind of a light, wacky feeling version of a really nice song. But it really conflicted with the Pres Hall. I should have gone into something solidly lindy hop or solidly big band or solidly olden days here instead.

So I figured I'd fucked up a bit. The floor was emptying. We were right in the middle of the kill-zone: 3.15/3.20. If you don't keep them on the floor here, they go home. If you do keep them on the floor, you have to be careful with their energy. Let it get too low with too much slow or mellow stuff and they get tired and sit down. Let it get too high and full on and they get overkill and tired and sit down. And when they sit down two or three songs at that time, they go home.

Ralph was ok here, but it was just a little slow. And a bit too in-your-face, really. Which is in contrast with the way this song usually works - it's a good floor-saver earlier in the night.

Then I played Davenport Blues. Again. Yes, I'd played it the previous night as well. I love it more than anything. And I wanted an old school medium energy song that kind of chugs along and then builds a little. But I just couldn't think of anything else. Which means that a) I was too tired, b) I was too uninspired, c) I don't know my music quite well enough atm, d) I was just not _on_. Sigh. It's moments like this that I get frustrated with myself. I know I can do better, but I just don't quite bring it off.

So here I thought: 'ok, wench, fuck this shit up properly; get those motherfuckers dancing. Do what you do, don't try to do what other people do.' Thank you Ella with Chick's band, live @ the Savoy in 1939 (not '41, Brian :P ). Chunking fun that did what I wanted.
It did clear out some of the lagging tireder not-hardcore-lindy hoppers, but then I was thinking 'ok, can we dance badass at this point, please?' I figured that the earlier part of the night had been more accessible, it was time to really push things. Which is kind of dodgy thinking, I know. But we are at the biggest, most hardcore lindy exchange in the country.

Whoa Babe has a fabulous intro. But it drags in the middle. It made people crazy, but then it screwed them over and let them down instead of sustaining them with crazy energy. I should have chosen something a little more badass all the way through. This is another point where my tiredness and not-on-ness really showed.

So I decided to save it with something familiar and live and pumping. That Shaw track is great. It's long, but it's really worth playing because it's so energetic and great. It's also a very accessible tempo/energy combination. And it worked. Unfortunatey the version of Fifteen Minute Intermission was almost incoherent audio mess on the sound system. Sigh. DJfail. Again.

The next Shaw track saved me again, but then I fucked it with Blackstick. I had had reservations about that one, but I thought 'it's high energy, it's a fave.' I should have reminded myself 'it's squawky, New Orleans flavoured and kind of unrelenting' a little more loudly.

Then I just thought 'Hamface, what would YOU like to dance to right now? What do you love?' And I decided: something lighter-feeling (ie not a wall of sound or face-punching intensity). Something musically a bit interesting. Something at an easy tempo. Something with a lovely riff that just makes you feel really good. A sort of melodic sweet-spot that makes you feel really good with its repetitive, charming gentleness. Peckin' was just right.

I love to follow this song about a dance move (where there's a line dissing truckin') with this spunky Red Allen version of another song about a dance move. I love it that they're both kind of sell-out pop song tracks about pop culture. But that I love the scrunchy vocals in Peckin and I love the kind of lazy, sardonic, vocal part of Truckin. They sort of tip the sell-out factor on its side. This version of Truckin really _feels_ like the dance step. Sort of slidey, scuff-and-drag shuffle with a quirky finger in the air - the lighter melody waggling over a chunky, drag-shuffle rhythm. And Red Allen making it all work together.

And then my fave Waller song. A slightly bigger group for him, and a nice, easy tempo. Friendly, fun, dirty lyrics. It's a great song. And people loved it. Not quite selling out to the Waller craze because it's a bigger band. But mostly selling out. But then: I loved Waller when all the kids were into the Soup Dragons.*

I thought Light Up was one of those Herrang-fad songs that everyone knew. Perhaps not. It's a great little song, that did go down well. It has a big break in the middle with almost utter silence. I hadn't been paying attention, so when it came on the crowd yelled and I was caught hopping. At first I thought 'hey, what's gone wrong now?' and couldn't figure out the error - it was still playing. All was cool. And then it started again, and everyone laughed and yelled and it was all cool.

At this point, I had them. The floor was filling for every song, regardless of tempo. I had found my groove. Lighter feel, not in-your-face. Mixing tempos. Interesting musicianship. Quirky not-big-band, mid-30s coolitude. It was also about then I was told I had to wrap it up. Which was frustrating but also a very great relief. I like to finish on a high note, and I don't like to drag a set out to the point where there's no one dancing but a couple of friends. There was a general outcry from the dance floor, but I was very firm. And then Cheng was very firm. I let them know we had to stop to give the volunteers a chance to clean up. It was also 4am and there were a lot of people there and a lot of junk to clean out of the room. They wouldn't have had that room done til 5am at least.

Meanwhile the back room was continuing with blues. We went home because we were EXHAUSTED.

I have to add: Yvette Johansson and Andy Swan did their mid-50s Ella and Louis show at the evening dance, and it was just GREAT. I sat and watched and had a lovely time. I danced about four songs (I'm not dancing much - I need to keep an eye on my stupidly swollen ankle), and those four songs were fucking amazing. It was a really good show. They were so professional, Yvette has great stage presence and really commands the band, calling the solos, checking the tempos, working the crowd. She's a gem. A lot of people commented on these things, and it was really nice to see how the dancers really responded to her/their work. There was a massive ovation at the end of their second set, and I did think they were going to demand an encore right then and there. That second set was really tops. And the third was tops. Talking to Yvette, she said that she'd planned a mellower, gentler set of favourites for the first one, then heated it up for the kids in the second. That's a dancer/seasoned band-for-dancer speaking right there. It was also nice to see how she worked the dancers' energy and really engaged with them, talking and interacting with them from the stage.

I have really enjoyed the MLX9 bands: I think I'd really rather there were bands at each event, and far less DJs.

But I have also heard some nice DJing. Loz Yee had only just begun DJing when I left Melbourne, and in the last year she's really started kicking arse. I enjoyed here band break sets an awful lot. Sharon Callaghan was a gun, but unfortunately wasted on a first set to an empty room (sigh). Same goes for Sarah Farrelly. But I made an effort to be there to hear them, and I enjoyed them both.

I have also pretty much decided that the sistahs are pwning the blokes, DJing wise. Justine and Alice at SSF/SLX, then the Loz/Sharon/Sarah trifector at MLX. But there's always tonight, and I'm sure the fellas will bring it.

*I also like their old stuff better than their new stuff. And I listen to bands that haven't even been formed yet.

"MLX9 set 2" was posted in the category djing and lindy hop and other dances and lolfrankie and melbourne and music and people i know and travel

eggs @ MLX9

Posted by dogpossum on November 29, 2009 2:24 PM | Comments (0)

This is a crap way of poaching eggs. But they turned out better than our first go. We are so fucking tired. I wish we were eating nice food, but we aren't.

Yesterday (Saturday) I managed to bully my friends into going to Bismi's on Sydney Road for fully sick rotis. They are fully sick. I can't remember if they're roti chani or what.

We ate:
3 plain roti (these are served with dahl)
1 garlic roti
1 plain rice
1 indian fried rice (lamb) - this was super tasty and my fave. Lots of fresh coriander and spinach as well as other vegie bits, fried egg bits, lamb, etc.
pappadams
raita
lassi (plain and mango - I like the salty ones)
2 chicken fry (a thigh/drumstick chicken bit fried in nommy spices)
1 samosa
1 fried fish
paneer in spices (cheese blobs in red spicey nom)
goat m... something (goat curry - a bit tough, but tasty)
chicken in something (this one was chosen by sight and not name)

...and some other things I can't remember. It cost us $18 per head. We ate til we felt strange, then we went dancing and felt even stranger.

Bismi is really really delicious. It's cheap as chips, it's served from bai maries (sp?), but that's ok because it's so popular with locals (esp Indian, Malay and Singaporean students, a table of who next to us asked for a bunch of things "make them all really spicy!") and the turn over is really quick. It's very spicy: spicy in that there's often a lot of chilli (of various types), but also spicy in that the tastes are really complex and interesting. Dishes like the fried rice have all those lovely dark, lower notes, but also bright, fresh green flavours. The chicken fry is kind of dry on the outside and moist inside, perfect with lemon squeezed on it, and with a tasty dry spicy taste.

I'm sorry I'm not writing very well. I'm very tired. And, as with many of my women friends this weekend at MLX, I am riding the crimson wave. All about the jam sandwich. Having a visit from a friend/aunt. And other coy euphemisms. This has made me a bit tireder than usual. Also, quick to anger. Not really ideal DJing conditions. But I am tough.

Tonight I'd quite like to have some really good Lebanese food. Possibly at Tiba's. We are a bit poor atm, so we are eating at cheap eatery places. Places we love. I'd like to have salads with lots of lemon: chick peas, broad beans, long beans, lentils, tomato, cucumber, greens. Yoghurt. Mint. Garlic. Lamb. Felafel. Octopus. And lots of flat, skinny pide with hommus rubbed all over it. But mostly I'm thinking about the lemon and the salads. Tiba's is very cheap and does a range of very delicious fresh salads. That's what I want.

"eggs @ MLX9" was posted in the category djing and fewd and gastropod and lindy hop and other dances and melbourne and travel

November 28, 2009

yay MLX9!

Posted by dogpossum on November 28, 2009 1:49 PM | Comments (0)

I've just woken up, and it feels as though we've actually had another day in between yesterday and today. We got to bed at about 4.30am, which is actually pretty civilised for MLX. In previous years I've left the venue at 6am. Today I did also wake up at 9.30am, which is insane. So I ended the insanity and went back to bed.

But now I am awake, and needing to do some quick DJ prep for tonight's set. Mostly because I played all my guns last night and am left with the same old spooge for tonight.
Here's last night's set:

MLX9 Friday 27th November 2009, 1am-2.30am
title artist bmp year album length

Rag Mop Bob Crosby and the Bobcats 164 1950 Bob Crosby and the Bobcats: The Complete Standard Transcript 2:15
San Francisco Bay Blues Lu Watters' Yerba Buena Jazz Band with Barbara Dane 160 1964 Blues Over Bodega 3:42
Joshua Fit De Battle Of Jericho Kid Ory and his Creole Jazz Band with Barney Bigard, Helen Andrews 160 1946 Kid Ory and his Creole Jazz Band 1944-46 3:13
St. Louis Blues Ella Fitzgerald and her Famous Orchestra 183 1939 Ella Fitzgerald In The Groove 4:46
Leap Frog Louis Armstrong and his Orchestra (Luis Russell) 159 1941 The Complete Louis Armstrong Decca Sessions (1935-1946) (disc 7) 3:00
Davenport Blues Adrian Rollini and his Orchestra with Jack Teagarden 136 1934 Father Of Jazz Trombone 3:14
Madame Dynamite Eddie Condon and his Orchestra (Pee Wee Russell, Eddie Condon, Sidney Catlett) 176 1933 Classic Sessions 1927-49 (Volume 2) 2:56
For Dancers Only Jimmie Lunceford and his Orchestra 148 1937 Swingsation - Jimmie Lunceford 2:41
Flying Home Lionel Hampton and his Orchestra 197 1942 Lionel Hampton Story 2: Flying Home 3:11
Savoy Lucky Millinder and his Orchestra with Trevor Bacon 166 1942 Anthology Of Big Band Swing (Disc 2) 3:05
The Back Room Romp Rex Stewart and his 52nd Street Stompers 152 1937 The Duke's Men: Small Groups Vol. 1 (Disc 2) 2:49
Sugarfoot Stomp Ella Fitzgerald and her Famous Orchestra 244 1939 Live At The Savoy - 1939-40 3:09
Stomp It Off Jimmie Lunceford and his Orchestra 190 1934 Swingsation - Jimmie Lunceford 3:09
A Viper's Moan Willie Bryant and his Orchestra with Teddy Wilson, Cozy Cole 153 1935 Willie Bryant 1935-1936 3:26
Shortnin' Bread Fats Waller and his Rhythm 195 1941 Last Years (1940-1943) (Disc 2) 2:41
It's You're Last Chance To Dance Preservation Hall 179 2007 The Hurricane Sessions 4:31
Shake That Thing Mora's Modern Rhythmists 227 2006 Devil's Serenade 2:58
Savoy Blues Kid Ory 134 1950 Golden Greats: Greatest Dixieland Jazz Disc 3 3:01
Call Me A Taxi Four Of The Bob Cats 175 1938 All Star Jazz Quartets (disc 2) 3:13
Jump Through The Window Roy Eldridge and his Orchestra (Zutty Singleton) 154 1943 After You've Gone 2:42
Jumpin' At The Woodside Count Basie and his Orchestra 235 1939 The Complete Decca Recordings (disc 02) 3:10
Keep On Churnin' Wynonie Harris 146 1952 Complete Jazz Series 1950 - 1952 2:56
Big Fine Girl Jimmy Witherspoon with Roy Eldridge, Ben Webster, Coleman Hawkins, Woody Herman, Earl Hines, Vernon Alley, Mel Lewis 156 1959 The 'Spoon Concerts 4:55
Every Day I Have The Blues Count Basie and his Orchestra with Joe Williams 116 1959 Breakfast Dance And Barbecue 3:49
C-Jam Blues Lincoln Centre Jazz Orchestra with Wynton Marsalis 143 1999 Live In Swing City: Swingin' With Duke 3:34

I followed Sarah Farrelly, who is one of my favourite party DJs. It's a pleasure to step into the DJ seat after her: she builds the fun, and then I come and play in it.

The last song was a joke. Because I'd been trying very hard to avoid my usual party-favourites. The room was very hot and humid and the dancers, though trying very hard and full of exchange beans, were really having trouble keeping their energy up. So I tried to work a pretty sharp-angled wave. There was also a pleasingly diverse crowd - lots of noobs, lots of old sticks, all the states represented - so I tried to work those tempos. This was only the second night of MLX and the first late night, so I wanted lots of energy (this IS FUCKING MLX MOTHERFUCKERS!), but I figured the peeps wouldn't quite be at their most lindy-crazed just yet. It was a super-prime set, and I felt very lucky and excited to have it. So I tried to do my best. I also used my 'DJ standing up because the dancers are standing up' policy, and it worked. I find I lose my DJing nerves faster and I feel more connected to the dancers. I also figure there's something interesting to look at if you're not dancing - down the front of my shirt as I bend over to check the computer.

I tended to avoid the 'safety songs' with simple lyrics and hi-fi familiarity (eg Blip Blip and its ilk) and to go with the big, fat swinging big band. Because this is lindy hop, yo.

Playing For Dancers Only was a tactical decision. It was nice to play it not because it's a safety song and I knew it would work, but because I was thinking 'ok, I need some high energy, big band classic swing of a moderate tempo, something familiar but also something with serious staying power and iconicism*' And that song was just perfect. I like it because it makes me think about Frankie Manning. Then, of course, Flying Home also reminds me of Frankie, because of its role in the Spike Lee Malcolm X biopic. And it's also carrying the iconic weight of twenty years of post-revival lindy hopping culture. They're also both really great songs, and I think that sometimes we forget how great our overplayed favourites are. So I tried to use them both not as safety songs (as I've said), but as great songs in their own right. I also wanted to revive a tiring room after a couple of what I think of as Chicago tracks.

Basically, though, my set 'theme' (if there was one) was big bands playing in big ballrooms to crazy crowds. Hence the Ella live at the Savoy stuff, Flying Home and so on.

Savoy has been (re)popularised by the Silver Shadows, but it's also a standard. But it's not always a song every scene plays a lot, so I like to use it. And, of course - Savoy! I don't play it that often, but the Silver Shadows reminded me of it. Which is nice.
By that stage people were kind of frazzled and hot, so I shifted gears. Back Room Romp is a song I overplay, but which not everyone else does. It has a mellower energy in the beginning - tinklier. But it has a steady, chugging rhythm with funky upenergy flourishes that make you want to dance. So it gave the kids an energy rest, but also an energy injection of a different type. This is part of my working what I think of as an 'energy' or 'mood' wave as well as a tempo wave. I like to pound the dancers with high energy songs, but I also like to mix the styles and types of high energy to move their mood around as well.
I came in with Sugarfoot Stomp just one song too early. They needed something about 160 or 180 in between to build things a little. This is a great song, but it's a bit complicated and 'fussy' for such a high tempo if you're not really ready for it. But it has great energy (live! Savoy!) and it's familiar. But it's not a version I hear very often. It was a bit of stunt DJing, really, because I wanted my average tempos up a bit.
Stomp It Off always sounds mellower and slower when I play it after a hardcore faster song, so I like to use it to trick dancers into higher tempos. It's also fully sick. I had intended another build from here, but the room was HOT and people really weren't recovering as fast as they usually do in a cooler room. So some very familiar Willie Bryant.

Shortnin Bread was my concession to the current Fats Waller fad. I love that man, but I'm not always convinced he works 100% with every crowd. But I freeking love this song. I think it's one of his very best dancing songs. It always goes down well, and it did this time. It's another song that doesn't sound as fast as it. It also has that lovely chorus at the end which is kind of furiously crazy and awesome.

Here, the energy was high, but I felt as though I was just about to push that barrel over a cliff if I kept going, so I switched it up. The Preservation Hall has that lovely, chaotic New Orleans instrumentation and improvisation (which Fats heralded in that last chorus), but it's a slower song. It's simple, melodically and vocally - there aren't many words, really, but they're repeated. And the message is perfect: "it's your last chance to dance, so get up!" It made the crowd crazy. Sweet. I have played this for crowds where it's died. I think its in-your-faceness requires a larger, more robust crowd. I wanted to stuff in some 'charleston', so I played a lesser-played version of a familiar song. It was a bit too fast for this tiring crowd.
Savoy Blues was a recovery song, with more of that New Orleans flavoured style, but I think of it as a transition song, leading me from NO to classic swing. Call Me a Taxi was a strange choice in retrospect, but it has that lighter, easier feel than the previous face-kickers, and it also feels slower than it is. It has a lovely melody and really invites you to play.

Jump Through the Window is a song I used to play all the time, but had left behind for a while for a break. The recent Frida/Skye performance clip has popularised the song, so it's a good one for the crowd. This chunked the energy up again. The Taxi song had given them a rest, and many people were ready to go again.

I didn't play Jumpin at the Woodside intending to provoke a jam, but it has kind of Pavlov's lindy hopper effect. I played it because it's a really good song, and it builds on the energy of the Window song really nicely. At the end of that jam (which I didn't watch), I moved straight to an 'everybody dance!' song because I don't like to overdo jams. And that one was kind of lagging - not much crowd noise. I also like them to want more than to get tired of it. The Churning song is overplayed everywhere. But it's a great builder/spanker. It's at this point that people got their second wind and went insane. It was crazy. The dance floor was jammed, and people were losing their biscuits (in a non-vomit way)

So I figured it was time for more dirty southern sounds, maybe some sort of Kansas activity. Live Jimmy Witherspoon was the go. It was interesting playing him at this point, mid-set, because it changed the way I listened. It's a live song and it's in the middle of a performance, so it feels as though it's carrying on existing energy, with lots of crowd energy. The lyrics don't come in for a while, so it has that 'holding pattern' feel for a while. But the instrumentalists are mad-awesome.

As you can see, I was going hi-fi here. I wanted to change the energy in the room, to shake things up and kick the dancers into a different mood, so they'd be distracted and get over their hot-and-sweaty tiredness. It worked.
They were then utterly shagged, so a super slow Basie live track to let them breathe.

Then, seeing as how I was plumbing the favourites, I figured I'd play the most overplayed song in all of christendom. It went down a TREAT. And then I ended!

So I guess I did play a bunch of faves, but I used them in a different way. I was proud of myself for not just defaulting to them in a moment of panic, using them as a crutch. I actually used them for their own awesomeness and relationship with other good songs. The fact that this was also my first set of the weekend is probably another contributing factor: I like to open a weekend with faves and party songs. But it was a late night, prime lindy hopping territory, so I wanted to play solid lindy hop. Avoid the jump blues for the most part, and go a little easy on the eccentric or smaller group sound.

Tonight's set is later - 2.30-4 - so it'll be slightly different. I'll see what's happening at 2.30am, and play it by ear. I'm hoping for some slightly different stuff - the more interesting eccentric, small group and unusual songs. Earlier jazz (ie late 20s and earlier 30s) and more complicated rhythms. But I'll really wait and see.

*Is that a word?

"yay MLX9!" was posted in the category djing and lindy hop and other dances and lolfrankie and melbourne and music and travel

November 27, 2009

Monsieur Truffle on Smith St

Posted by dogpossum on November 27, 2009 5:23 PM | Comments (0)

Monsieur Truffle on Smith St


Originally uploaded by dogpossum

We are fooding and lindy hopping our way through Melbourne, visiting all our old favourites and discovering a few more. Monsieur Truffle on Smith St in Collingwood is run by a bunch of hippy chocolate nerds. The truffles were so rich, this is all I could manage - half of these three. I just said to the guy "just a few little blobs to taste, please. With a milky coffee." The Squeeze got angry coffee and a gluten free chocolate cake.

It's a lovely shop and it smells nice.

We also went to Books for Cooks on Gertrude Street to buy books. I got a big, colourful one about Cajun cooking - expanding from my passion for Mexican fewd to cuisines within gastronomic proximity.

And we began (after a painless bus trip down Bell Street to Sydney Road) at A1 bakery for baked goods. It was difficult to pass my favourite Italian patisserie on the corner of .... Moreland and Sydney Roads? Perhaps it's a little higher. And I was also a bit keen for serious felafel or doner kebab at the Kebab Station in Coburg. But I held off for pide goodness.

And then, finally, we bought ourselves much-needed shoes. PHEW.

Oh, and last night we went to day 1 of MLX9. It was fucking crowded. Hot. Busy. Exciting. The band was made up of dancers and was really very good and fun. With dancers coming up to sing or take a turn on an instrument all night. My favourite was arriving as the brass section wandered through the crowd (as they did all night) playing 'When the Saints' at a slow, sauced-up funereal pace.

This is the biggest MLX so far, and it's the biggest event in Australia. I'm DJing a prime lindy hop set tonight at 1.30am and I'm a bit nervouse. Doing some hardcore prep now.

We've also done some quality family time (visiting the elderly, yet seriously bad-ass nanna yesterday morning, a father at lunch time, and tonight we dine with the aunt and mother) and spent some time with our extra-favourite buddies.

Oh, and last night we had tea at the Town Hall Hotel, and I was reminded of the awesomeness of Melbourne pubs and the fuckedness of Sydney pubs.

I will continue to nom and dance my way through the weekend. My ankle is a bit sore, but not as bad as expected. I did not bring enough Tshirts to get me through the weekend. Thank goodness it's cooler!! Knock on wood....

"Monsieur Truffle on Smith St" was posted in the category brunswick and djing and fewd and gastropod and lindy hop and other dances and melbourne and music and travel

November 18, 2008

i <3 PT

Posted by dogpossum on November 18, 2008 10:05 AM

Ringing up to find out about fares for a new bus service, the lady mentioned that that service had been very popular. I like the thought of a bus being 'very popular'. Having failed to renew my license (as in swap from Vic to NSW) three times now (it's all my fault - failure to procure and then bring correct documents. every. single. time), I am all about PT. It will make hiring a car difficult this week in Melbourne, but still...

So yes, I'm off to Melbourne this week. A heinous weekend of exam marking behind me (hand written exams. Hand written first year exams. Save me, save me), I'm off to Melbourne for the telly conference and MLX. I'm feeling a little trashed, having combined an exchange (SSF) with the marking. I am, obviously, seriously hardcore and badass, but I am also a bit snotty and a bit tired and confused.
In a couple of hours I'm off to the university for a markers' meeting (let's just hope no one asks me to describe what I read in the exams - it's all a blur to me now... well, it was kind of a blur to me then, too). Then I'm off to the airport from there. Carrying a backpack full of dance clothes (I'll need at least two outfits a night, then at least 3 Tshirt changes per night) and a smaller bag full of DJing gear. I will be like a little tortoise. But I think the L10 will save me - from my place to Leichardt, then Leichardt to the university, then the university straight to the airport. That's three different buses, but at least the L10 goes from Leichardt, which is near us, only 10 minutes on my normal bus first. No navigating the CBD and Central station.
I still haven't organised accommodation for the second week of my Melbourne trip, the dancing part. Frankly, I just can't face it right now. So I'll figure it out later.

Ok, I have to go get it all together.
:)

"i <3 PT" was posted in the category travel

December 3, 2007

west brunswick toodle-oo

Posted by dogpossum on December 3, 2007 11:18 AM

So November is over. It was ok.

• I had a birthday (that was ok)
• I liked all the moustaches (I don't think there's enough facial hair in the world, and it made dance partners extra interesting)
• we did mlx and it went well (biggest ever, zillions of interstaters and internationals, the usual reluctance on the part of Melbournites to play nice with guests)
• we had galaxy plus a round of dancers stay with us (and that was very nice)
• I did all my marking and got it in with plenty of time to spare
• I got a job interview for a postdoc (argh! next week!)
• I got a small grant to get me to the CSAA conference this week (double argh! paper not written! flights not booked! accommodation not sorted!)
• I've had a few punters ringing me offering DJing gigs (I am resolute about only taking paying gigs - I've done enough freebies to know I never want to do one again, unless it's for a real charity)
• Galaxy and I met up with Mz Tartan pre-GG and the Austenauts (dang, I'm sorry I missed that! blogged with excellence here) and she was surprisingly cool, calm and collected

...and now I'm desperately trying to get my sleep pattern back to normal for the conference this week. I managed to have a relatively stress-free MLX (in fact, incredibly so), and slept at least 8 hours every night. From 8am til 4pm most days, but still, 8 fat hours of solid, dreamless sleep. Unheard of.

I've also met another dancer doing a phd on dance stuff, but she lives in Perth, so we're squeezing in a natter-fest tomorrow before she flies out. She's into sociology and anthropology and I'm not sure she's up there with the hardcore sister action. But we'll see. It'll be neat just to sit and have a nice, nerdy chat.

I'm planning to meet up with the Adelaidean dancers during the conference visit this week (Wednesday). So I'll be able to say I've danced in every scene in Australia. Except Launceston. That should be nice.

My paper is pretty much done - just some tidying up to do. It's a combination of bits from these three posts, but obviously with far less detail, seeing as how I only get 20 minutes. 20 minutes kills me, especially when I want to play some music and clips of dancers to actually make clear what I'm talking about. It's ridiculous to talk about dancing without showing any, particularly when you're talking about gender performance in dance. In fact, it's so ridiculous I should just show 6 clips and provide an exercise sheet to stimulate group discussion, a la tutorials past.

I've also noted I'm in kind of a dud session, parallel with papers I'd really like to see, and which everyone else would really like to see as well. Not a big deal, really, and just desserts for someone who fucked the programming around at the last minute (I'd missed out on another grant and cancelled on the organisers, then been offered one by someone else, so squeezed back into the program - people who pull that shit deserve to get dud sessions). But it's parallel with an old buddy's paper and in a session of licorice allsorts, so we'll have trouble asking each other questions. It is in the last session of a day, but this time it's not the last session of the last day, so I guess it's ok.
I don't mean this to sound like a big old bitch - I really am very lucky to be going at all, and I don't want you to think otherwise. But the part of me that's trying to get a job keeps saying 'how will you pimp your fine self out if there's no one in the audience?' But really, it only takes one. And there'll be plenty of afternoon teas for me to pimp myself about. I'm cringing, writing that stuff. I hate the thought of such aggressive self aggrandising, but at the end of the day, in such a competitive job market, I have to be a bit pushy.
So I'm going to experiment with performing pushiness, and pretend like I'm one of those blokes who, obliviously, introduces himself to all the Names at conferences. It's the sort of thing chicks tend to be reluctant to do. And as a consequence, those pushy blokes get remembered, simply because the chicks have been to shy to step up.
But I'm going to focus on Names that mean something to me - you know, the Old Girls network. The ladies who do. The sorts of women academics who I admire and want to work with and be like. They're the ladies who'll call me on bullshit pushiness and demand some sort of fer real talk. No bullshit (unless it's a story about my career as a stunt woman and there are Tasmanians in the room), all kick arse Sister. No pathetic arse-kissing. No sycophancy.... like I'd have the patience for that. And for sure I'd forget that it's not cool to swear in polite company. Must remember that for the job interview, actually. Swearing = not cool.
But we'll see. No doubt I'll forget all these plans and end up talking shit and eating all the chocolate biscuits with the homies from UQ. Awesome.

Galaxy asked me the other day if I'd written a 'why dance is important to cultural studies' paper, and I haven't. I'm not sure I really, hugely care - if you don't dance you don't understand why it's important. Words won't help convince you - you have to feel it to understand why it's good stuff. But I do have a short list of reasons which include things like 'class' and 'not needing literacy' and 'ethnicity' and 'faster than words' and 'freakin' great fun!' I'll have a think, though. Perhaps it'll be a paper I write when I actually have a job or a book or more than half a dozen papers. Right now I think I'd get more from a paper called 'Why cultural studies needs dogpossum' which is so effective it gets me lots of jobs. But I'll work on it.

"west brunswick toodle-oo" was posted in the category conferences and djing and lindy hop and other dances and travel

March 2, 2007

Hullabaloo 2007

Posted by dogpossum on March 2, 2007 4:59 PM

I don't know if I've mentioned it or not, but we're going to Hullabaloo soon. Next month, I think it is.
This is the forth annual Hullabaloo - and Hullabaloo is kind of the Perth equivalent to MLX. It's not an all-social exchange (there are only two of those in this country - MLX and Canberrang), mostly because it's very difficult to make an all-social event sustainable, unless you live in a giant local scene (like us here in Melbourne), have quite a few years of successful events under your belt to serve as promotion (like us here in Melbourne), live in a very tourist-attracting city (like us here in Melbourne) or just couldn't give a shit, and want to have a party (like the kids in Canberra).

So we go and just don't do any workshops - we pretend it's an all social event, and sleep in late every day, go to cafes, wander around like the cheery holidaying tourists we are. The very best bit of going to someone else's exchange isn't that you don't have to run anything or work on anything (you always end up doing something at some point to help out - it's an instinct you can't fight when you're used to running events), it's that you're on holiday with a hundred or so other people. And they all want to wander around like tourists, visit cafes and breweries, eat nice meals, talk a whole lot of shit and then dance like crazy fools all night.

Hullabaloo is The Squeeze's favourite exchange. We get hosted by dear friends (who we host when they come to us), with dear friends (who we see regularly when we host an exchange - it's a real exchange and it's wonderful), we don't do anything particularly difficult, The Squeeze is very popular with the Perth ladies (not just because he's cute - also because he's naughty and inclined to pranks, drinking games and stunts) and I like to dance like a fool. Unfortunately I haven't been to an exchange yet where I haven't gotten really ill. I think it's because my body tends to think 'ok, we're on holiday, let's relax'. So I have to spend far too much time sitting about being tired and pathetic. Which sucks arse because I love de late night dancing.

I love Hullabaloo because you can feel every step a Perth lead takes, they bounce and they play good music. They are a bit anal and weird about vintage costume, but The Squeeze sets a good example and just completely ignores any dress standards rubbish. He simply doesn't bother reading that part of the events guide and doesn't bother his pretty little head about it. And he never gets in trouble for it.

So yeah, we're going there next month.

They're also planning a lindy battle thing as well. Trev will no doubt chime in with a comment on that, seeing as how he's organising it (Trev is a Perth person). My buddy Dan (who has a blog, but I can't remember the url) has decided we're goint to enter the battle. And I think it's a good idea. So we've started hassling all our friends to put together a team, including people like Kara. I'm not going to read any rules, because these sorts of things are always much more fun if you don't plan anything too seriously.
There's been a flurry of emails this morning afternoon (I got up LATE - DJed the second set at CBD last night and didn't get home til 1am. Now I'm really tired) with all sorts of exciting ideas for the team. Mostly involving tshirts and how cool we are. Not much talk of actual dancing. Trev, I hope you're not reading this, because I want to talk about it... ok, well, this is the internet, so I won't talk about it til later.

Anyway, I've also put my name in for DJing at Hullabaloo, which will be way fun, but also way pressure - I've DJed interstate before (SLX), but no DJing for a hardcore lindy hopping crowd out of my home town. I DJed at MLX, and I've DJed local big events, but it's different when you travel to a new town. There's new equipment to learn. The fear of forgetting essential cords. Not knowing what a local crowd will like/not like. And so on. I'm excited, but a bit scared. I don't doubt I'll do a decent job, but I will need to work on learning my music a bit better and do some serious practicing. But I have faith.

[all photos are by The Squeeze from Hullabaloo 2005]

"Hullabaloo 2007" was posted in the category djing and lindy hop and other dances and music and travel

December 12, 2006

crazed and manic jubilation

Posted by dogpossum on December 12, 2006 2:11 PM

I just found out that my thesis was passed WITHOUT CORRECTIONS!!

I have done the crazy happy dance about 10 times already (lots of high kicks up into the air, a few twirly spin-arounds, some random jiggling).

If I hurry I can do the graduation thing in March/April.

So I am now Dr dogpossum (mostly)! Hoorah!

...remind me to write about the dance conference, will you? I met some lovely (and awe-inspiring) young dancers who work with companies like Bangarra (and how did I introduce myself? "You guys rock!" - I am all about cool. But they did - their mini-performance blew me away!), networked like a crazy person, discovered someone who has Graybags for a supes (and knows Galaxy), told some inappropriate jokes, shared Frida and the Whitey's Lindy Hoppers with a bunch of doods who understood what I've been trying to say about them and ate some of the best conference food EVER.

[and hoorah for the markers - the thesis was sent to them at the end of September, and they had the marks to me by today - that's under 3 months turnaround time]

"crazed and manic jubilation" was posted in the category academia and conferences and lindy hop and other dances and thesis and travel

August 4, 2006

tell me place and geography aren't important here

Posted by dogpossum on August 4, 2006 10:41 AM

There's been a bit of talk about Helen Garner around the traps recently:

• Mz Tartan mentions her talk at the Mildura writers' festival
• and writes in greater detail on the topic here on Sarsaparilla
• ampersand duck wrote Garner a love letter here, which I must admit, I'd probably copy and post to Helen myself
• and there's been a bit of chat here on LP

I wrote this comment in the latter:

(dogpossum on 3 August 2006 at 1:29 pm)
Nice post, Weathergirl.

I remember reading all Garner’s work when I was an undergrad - I fell in love with her style. In those pre-GST days I had enough cash to splurge on books whenever I liked.
TFS almost lost me for her, but I changed my mind… no, wait, I think I was just distracted by other authors (C.J.Cherryh, most probably - nothing like a little hardcore SF by a woman writer to get things in perspective)…
When I first moved to Melbourne I’d pretend I was recognising places from Monkey Grip (though I was finding it easier to recognise places in Brisbane in the Nick Earls books I was reading, probably because I was busy enjoying be Away From Brisbane at the time). And Garner’s pieces in the Age about ordinary Melbourne stuff helped me feel at home in my new city (what can I say - I’m a stooge).

I don’t find it difficult to enjoy the way Garner puts words together, and yet also have some trouble with the ideas behind the words. Frankly, a nicely written bit of opinion is far more likely to convince me to consider a topic than something difficult or clunky… I like the line about energy, and the thought that nasty bits of writing can inspire us to do great thinking and writing and talking ourselves. I mean, that seems to define feminsim for me: being inspired to think and write and talk and act by nasty bits of writing and ideology-in-action.

As for Garner herself… I met her once at a party, and knew her daughter through Uni, but that’s all I can say. I wouldn’t pretend to know her through her writing - just as I wouldn’t expect to know a blogger through their blog, or a singer through their songs. But I might admit to vague feelings or unsubstantiated impressions.

And had this response:

(weathergirl on 3 August 2006 at 1:33 pm)
Dogpossum, thanks for contributing! I read a tiny bit of Alice Garner’s PhD thesis (something about holiday imagery on French beaches), which I think she then published as a book. She inherited her mother’s writing talent.

But please don’t mention Nick Earls on my beat. I like to think this is about interesting literature.

I did start writing a response to the response, but I ended up feeling like an idiot. Some things are best written on your own blog (especially when they stray into true blogging territory: long and boring). So here it is:

I feel like I'm dragging the discussion off into irrelevent territory, but one of the things I liked about Garner (and Nick Earls, John Birmingham and Shane Maloney*, actually), is/was the way they write about cities and construct/represent ideas of community and place. I choose those three because of their accessibility, their popularity. I choose those three in particular because I was reading them before, during and after my move from Brisbane to Melbourne, in book and newspaper-column form (the latter is a reference to Garner's spots in The Age). I think that in that period of moving to a city where I knew perhaps 3 people, away from family and friends, I was busy making new social and professional networks - making this new city home (I want to reference the space/place thing, but I don't have the brain right now).

I was interested in the way these authors use lots of specific references to local landmarks and people to create a feeling of 'knowing the city', or more usefully, 'knowing the community' in which their stories are based. It's an interesting idea, especially when you take into account things like Garner's decidedly middle (or upper?) class experiences in Melbourne today, compared to the Monkey Grip days, Earls' Brisbane of the 80s, Birmingham's Brisbane of the late 80s and early 90s. These are quite definitely experiences of a city inflected by class, gender, sex(uality), education, market forces, etc etc etc. Yet they are all represented as 'common sense' or 'normal' or 'familiar', particularly in the case of Garner's work (which seems to rest so firmly on the strength of 'common sense' or 'diary-esque' writing as a tool to convince. I, for one, am a little sceptical of Garner's (occasionaly quite irritating) use of 'oh, this is just what I think, and I'm probably wrong, but...' arguments. Can you spell passive aggressive?).

But I'm interested in the way, while reading these people at that time, I could say 'hey, I know that place', or more scarily (esp in the case of Birmingham), 'I know those people!', and found that so comforting.
This is the sort of thing that comes up all the time in discussions about Garner's work (and in this thread above) - the idea of 'journal-diaryistic' writing and 'journalism': levels of 'real' and 'true' and so on. I think it's worth my pointing out, at this point, that I take Earls and Maloney as writing with as 'diary-esque' a style as Garner, largely in response to the incredible detail about 'real' places in their work. While Garner writes using her 'real' (and autobiogaphical) emotions as a bit of a blunt object in the 'reality' stakes, Earls and Maloney use 'reality of place' in much the same way.

That I could point to a building or street in Melbourne and say "that's where Helen went swimming or rode her bike or saw a band" or think "I remember that shopping centre in the Queen Street Mall", was kind of comforting for a person alone in a new city. It certainly shaped the way I thought about my place within my current and past home-cities. Nothing new for 'the media': kind of the point, really, constructing consensual notions of place and community**.
But I do think that it's a key part of Garner's work, and there have been quite a few comments already [in the LP thread] about the way she uses phrases like "Any woman who has left home for university could fill in the gaps": inviting us, explicitly to identify with Garner (or her characters), as if it was a natural and inevitable thing.

Isn't that interesting, that the language of domesticity (and Garner is all about domestic spaces) and 'home cities' and 'the familiar' is such a useful tool for convincing us that the author's point is 'just common sense'? That an 'emotional honesty' in writing is somehow more relevant or convincing than an objective account?

You can see why, at this point, I hesitated to post this comment on LP.

But my attention was caught by the way Weather Girl dismissed Nick Earls as 'uninteresting' work. Sure, he's no great literary talent, but some time was spent in that LP thread making similar observations about Garner - she's no great literary talent. But many of the commenters in that thread (and most of whom were women - perhaps just an indication of LP's reader/commenter -ship) declared an affinity or affection for Garner based on her use of the personal and the invitingness of her lovely prose.
I'd argue that Earls has similar appeal - the use of the personal, and an inviting style (in his case, though, the invitation was to share the joke, rather than marvel at a lovely turn of phrase). With Maloney, the appeal lay in the minutiae of everyday life in Brunswick/Coburg/Melbourne (my new home suburb), and of local politics (which fascinated a girl who'd just completed an MA on women in Qld politics). In addition, I'd argue that they're very Australian writers (though from different age/social groups), and I like to read in the vernacular.

Though we must keep in mind the fact that Garner's books have stuck around, while Earls feels a bit stuck in that 'grunge fiction' moment - do people still read him, or is it just me? Maloney, on the other hand, has made his mark on the pop culture landscape, especially with the television programs based on his work.

I know that I'm a little biased, but isn't this bias kind of the point? I was attracted by the invitation to share the everyday lives and everyday experiences of these authors' lives, and that made me feel 'at home' in a new city. I certainly wasn't 'sucked in' to believing that this was in any way a 'true' story I was being told. But that was part of the appeal: I was reading one person's interpretation and experience of a city, and that very subjectivity was part of it's appeal. It invited comparison with my own experience, and a dialogue with the text.

I should note: I was so interested by The First Stone when it came out that I did a pgrad essay project on the topic, exploring the newspaper responses to the book, and to their representations of 'feminism'. This was a sort of test-run for my eventual MA project.

...and all of this has strayed quite a bit from the love/hate/niggle-fest that began in the original articles on Garner and her writing, but, well, like I said: blog.

*It's worth checking out the 'official' Shane Maloney site and noting the background image of the site: Melway maps of Brunswick.
Tell me place and geography aren't important here?

**I'm paraphrasing old school Stuart Hall there

--EDIT: fixed the dodgy link up there at the top - sorry everyone--

"tell me place and geography aren't important here" was posted in the category books and brisbane and brunswick and melbourne and travel

July 15, 2006

Ham takes Mt Wellington (2005)

Posted by dogpossum on July 15, 2006 9:08 PM

Wearing two jumpers, thermals and still freezing, I look down the zig zag track on Mt Wellington. I'd LOVE to do that walk!

Yes, I do actually dress like my site pics. Truly.

"Ham takes Mt Wellington (2005)" was posted in the category travel

July 4, 2006

fate consipres against me. again.

Posted by dogpossum on July 4, 2006 1:40 PM

So you guys all know that I'm in the middle of some serious last-round thesis editing, right?
The supes is back in about two weeks, I have a conclusion to (re)write, an introduction to (re)write, etc etc?

Well, this weekend past, we decided to pop down to Tasmania to see my ps and coincide with a visit from my nieces to my parents. That was all cool. Except for the bit where I do as normal and get sick. We did no walking, I sat on the sidelines like a nanna at a dance in Tasmania, I piked on a bunch of social engagements, and the only parts of the beautiful Hobart I saw after Saturday was through the parent's lounge room windows (which is actually quite a lot, really).

RIght now I'm trying desperately to understand the written word (and to produce it too), and it's not really working. I've been full of goob since Friday, though at least I've not napped all day today (as I did yesterday and the day before - hell, I even fell asleep during Angel the day before).
I thought I might do some work.

But I'm finding it really difficult to hold thoughts together. Reading is easy - it's the comprehension that's getting me. And I don't think it's such a great idea to try to edit/rewrite in this state.
Yeah, so that sucks, seeing as how I have the rest of this week (today, Wednesday, Thursday, Friday) plus next week to do these little jobs, but we have this big dance thing on this weekend, which I think I'll actually skip. I'm not particularly interested in the Evil Empire's third (or is it fourth?) 'national competition' weekend. Particularly not when they can't seem to run even one social dancing weekend. But we will have a lovely houseguest, which will be nice, possibly two. Then my parents will be down next week.
So yeah, thesis work?
Why is it that on the one fortnight when I really want to work my guts out, before the semester begins and teaching with it, when I really want to get this motherfucking* thesis out of the way, fate consipres against me?

Should I panic? Perhaps. But I can't really manage to work up the energy. Plus it's hard to breathe, and it's not worth panicking if you're not going to wail while you're gnashing your teeth. Well, I could manage some wheezing (what with the lovely congested chest/sinus thing**) and a bit of moaning...

Yeah, so, ok, I think I'm going back to bed. Pick up some veggies and milk for our empty fridge on your way home, will you?

*sorry about that cuss.
**packed sinuses and blocked ears on a plane: interesting. Not as painful as I'd thought. But to feel the pressure inside my head shifting and popping and oozing was kind of unsettling.

"fate consipres against me. again." was posted in the category domesticity and thesis and travel

June 18, 2006

last cab off the rank...

Posted by dogpossum on June 18, 2006 5:35 PM

...because I always seem to come the best memes long after they're cool.

create your own visited countries map
or vertaling Duits Nederlands

These are all the countries I've visited (with the exception of some places in Europe when I was a small child which I can't remember.
Please note all those tiny red dots down there in the South Pacific.
...well, you will note them when I make this increasingly-irritatingly small column wider.

"last cab off the rank..." was posted in the category travel

May 21, 2006

the Squeeze declares

Posted by dogpossum on May 21, 2006 7:14 PM

The Squeeze has declared that there shall be no:

• tutting


• shuffling


• hand wringing


• shouting


• screaming


• huffing


• subvocalising about Jesus, Young People, National Pride or Noise

on the tram. I'm not sure how he plans to enforce this, though I'm sure mimi smartypants could offer suggestions as a fellow PT stooge.
I, on the other hand, never seem to notice these PT crazy people, mostly because I read a book so I can tune out and not hear anything or anyone on the bus (which is why I don't see the point of ipods - a book is far more interesting and effective a crazy-person deterrant). Or else I ride my bike.

"the Squeeze declares" was posted in the category travel

April 6, 2006

nice things about the bus

Posted by dogpossum on April 6, 2006 5:22 PM

- you can wear impractical shoes and the hugest trousers ever to uni.
- you can sit and read or sit and stare out the window at things going by at speeds greater than 30 k an hour!
- you can overhear conversations about immigration and bringing out beloved brothers between a stunningly beautiful blonde Ukranian girl and one of your favourite crinkly Italian bus drivers (the one who beeps the horn as he approaches the corner shop/deli in Nth Fitzroy so the shopkeeper can get his coffee to him, but then shares the accompanying free cake)
- you can arrive at your destination not covered in (admittedly euphoric) sweat
- you can run into students of Tutorials Past, who hail you at the front of the bus with a bellowed "Yo Sam!" from the back and then engage you in a round of catch up, much the interest of the intermediary students on the bus.
- you can discover said students* are half way through a CREATIVE WRITING HONOURS THESIS (!!!!!!)** and then share a wicked moment when he smirks "because I can't write".***
- you get to share a few blocks with school kids from the local middle school who an old friend would have described as 'liquorice allsorts' - all sorts of colours and shapes and seriously sweet, including a Japanese kid and a couple of North African Kids yelling out "good bye! good bye!" out the window to each other with great delight and that sort of after-a-goody-day merriment that makes passers-by grin
- you can fart as you leave a crowded bus full of high school students and smirk.

*The ones whose high school teachers (who, if you ever find them, will be totally bashed up) told them 'couldn't write' and 'never would be able to', and who so impressed you with their insightful take on a fairly prosaic second assignment you were moved to a perhaps-overly-empassioned shredding of past high school teachers and comments such as 'this is the type of work that we look for in postgraduate research - interesting, unique and well-researched takes on ordinary stuff'.
**I was so thrilled I would have squeezed this giant boy then and there, if it weren't for half a bus and a dozen students between us. So I settled for much "I'm so HAPPY" and other mothery/aunty/nanna talk.
*** and at this point you realise why you teach, why it's wonderful to meet students long after you've both moved on from the dullest subjects and are doing new things (whether that involves hitting on undergrads or reading good books**** on the bus), and why you catch the bus
****yeah right - like I'm going to pass up a good book on a warm bus on a chilly Autumn afternoon to chat up chundergrads? Psft.

"nice things about the bus" was posted in the category travel

August 2, 2004

flying home

Posted by dogpossum on August 2, 2004 2:55 PM

There’s something strange about being the only person in a block of apartments after spending two weeks in the constant company of at least 200 people. Especially when those 200 people are almost always in constant physical contact with each other.

The second camp – Camp Savoy – is over, and I’m taking an extra night in the student housing to recover before I fly out of Heathrow tomorrow night. The weather has been utterly wonderful: very warm, very sunny. This could be a university campus anywhere in Australia. Though the food marks it as singularly British. Otherwise, there are very few English accents about – this being a university campus and all – and I’m really quite enjoying doodling about on my own.
Could do with a bit of company, but still how could I complain about such a long, glorious evening with such wonderful warmth and cooling breeze? And after all this sitting about on the hilly lawn under the student accommodation, reading The Guardian (which I’ve missed) and beginning to think again, I’ve a lovely clean, dry bed with sheets and no early morning missions ahead of me.

The last two weeks have been incredibly intense. Herrang was the perfect exercise in indoctrination: intensely, physically demanding days with round the clock dancing, where doing a beginners class in aerials at 12midnight (midday Herrang time) seemed perfectly logical and plain black tea was a precious commodity to be traded illicitly and only between friends. I have surely joined a cult, and am in dire need of deprogramming.

Living with constant physical exhaustion, sleep deficiency and irregular meals have taken their toll and my health has once again dropped. The Herrang bug has been hanging about in my sinuses since late last week, and pushed me into naps every afternoon. Expensive classes with world-class lindy hop egos be-damned. There’s rest and recuperation to be done. My lungs are beginning to fill and the Horrid Cough has returned. I predict much wailing and gnashing of teeth when the plane takes off.

Flying with feet as sore and mangled and swollen as mine were last week resulted in a pain so spectacular I would have bawled like a baby if I’d not been so tired I fell immediately into a sleep that defied even take off. While the effects of constant dancing haven’t quite worn off – there are some disturbingly numb spots on my toes and recurring bouts of pins and needles – I’m hoping these couple of days of rest will make flying a bit more comfortable. I’ve regained some higher brain function and have managed to stay awake all day, though I’ll probably find myself all awake and twitchy at about 1am, looking for some dance floor action. But for now, it’s 8:34pm and I’ve not napped today. I must be getting better. There’s also been no dancing, and I’m not sure I’m ready for that. Over two weeks of dancing every day for at least eight hours is kind of addictive. I’m in endorphin withdrawal, I’m sure. How will I cope with Melbourne’s dark and horrible winter?

Pft. It’s such a lovely, warm evening, it’s hard to imagine Melbourne’s crap weather. For now, while I’ve borrowed from Lionel Hampton, I think Miles Davis is the only possible musical alternative for this evening.

"flying home" was posted in the category herrang and lindy hop and other dances and travel

laundry report

Posted by dogpossum on August 2, 2004 2:51 PM

My backpack full of clean laundry, care of Eva’s washing machine and a night break between camps, is now more a mixed bag. I am down to the non-dancing underwear (where the dancing underwear seems to have largely disappeared: I’m sure I’ve lost knickers in the Herrang laundry. Despite Grace’s best efforts) and once again wishing I’d brought some thai fisherman’s pants with me. But who’d have thought loose, cotton nappy-inspired trousers would be the perfect garment for a dance camp in Europe? Note to self for future reference, I guess.
The wedding clothes proved just as irritating as I’d thought: sure, I could have dressed up for the blues nights at Herrang (one can never be over dressed for blues night), but then I’d not have felt as comfortable as I did. Ah well.
I’m going to have to hunt for something clean for flying in. Something I can bear to wear for 24 hours straight
Future Herrang visits: more trousers. More loose, comfy cotton trousers. More thai fisherman pants. Ten tshirts is enough. Bring bike pants to manage inevitable Chafing Issues. Never too many pairs of underwear or socks. Bring only machine-washable, quick-drying clothes. Care not for crinkles. Swimming costume an essential for shy-bies (not that I had the opportunity to see if I was shy). Sheets. Say yes to a sheet. Hat. Sarong – another essential.

How will I manage Melbourne’s winter weather and fashion requirements? Especially now I’m at least a size smaller than I was before I left. Goddamn this super-responsive metabolism. It adores exercise. And dancing truly is the best exercise there is.

"laundry report" was posted in the category england and herrang and lindy hop and other dances and travel

July 26, 2004

doris

Posted by dogpossum on July 26, 2004 5:39 AM

here is a pretty picture of doris in herrang. that's my arm there next to her, but i looked crappy so i took me out.

"doris" was posted in the category herrang and lindy hop and other dances and people i know and travel

eating in herrang

Posted by dogpossum on July 26, 2004 5:15 AM

here we are lining up for breakfast. things are moving slow.... note the cheese. cheese is big with the swedes. we eat a lot of crackers as well. the food is bloody good.

and here we are eating in the tent.
the tents are important features on the herrang landscape. we eat in them, we learn in them, we practice in them. meals are my favourite thing - good food and lots of good company.

"eating in herrang" was posted in the category herrang and lindy hop and other dances and travel and travel

still in herrang

Posted by dogpossum on July 26, 2004 2:43 AM

but now i have a cold. everyone's got it. and now i do too. poop.
didn't stop me staying up til 7am dancing. the thing that's really giving me trouble are my feet - the joints in my toes are really really hurting. i worry that i've done something nasty to myself... oh well.

the dancing is good. my dancing is now better than it has been in a million years. the dancers are also good - good company, good fun, good music, good dancing. it's like being on holiday with a couple of hundred totally excellent people who love to dance and do interesting things. ...which i guess is actually the situation. i'm still very tired, but now that i'm nocturnal, it's not so much of a problem. the sun is only down for about 6 hours at night, so it's not so hard to stay up. i'm super fit again, and have dropped so much weight i have to safety pin my pants on. last week i was doing classes, so that was 4 and a half hours of dance classes during the day, with one or two casual classes and a bit of practice as well. then hours on end of social dancing. all we do here is eat, dance, talk and muck about. and people sleep whenever and wherever they can. in the cafe between songs. in hammocks, in the gym on mattresses, on the grass between classes.
the cutest thing i've seen so far has been two swedish girls squashed into a hammock sidebyside, battling with a mosquito net. they were giggling and tired and hidden away under a tree. very sweet.

"still in herrang" was posted in the category herrang and herrang and lindy hop and other dances and travel

July 16, 2004

it's 9:21pm

Posted by dogpossum on July 16, 2004 7:56 AM

the sun has just about gone down. i'm in today. i had a walk round cricklewood (and surrounding bits) and i've decided i love it. otherwise, i stayed in and fell asleep on the couch again. i've really tired myself out this week. still feel, even though i've been to a lot of places and met a lot of people, that i've missed out on london. it's just too damn big. i do love this city. i have one full day left, then i'm off to herrang. i'm almost ready to finish off this holiday. the family stuff was very tiring. and staying with strangers is also a bit tiring. most excellent, though. i'd rather stay with people than in boring, impersonal hotels. this way you meet lots of people, get the goss on where to go, etc. but i'm still tired. i really can't be bothered doing herrang, which is a shame, as that's the point of this trip.
workwise, this trip has been useful. comparing the london and melbourne/australian scenes has really helped me figure out how the melbourne scene works in more complex ways. i can make more informed comments about things like class, demographics, etc. i am wondering if i will be able to hack the just under two weeks of herrang, and then camp savoy. someone asked me last night why i was leaving herrang early for camp savoy, and i really had to think... i do think it's the best idea. especially from a work perspective. the herrang dancing will be better, i think, but the camp savoy stuff will be interesting.
i've met so many lovely dancers since i've been here. and i've chatted with so many really nice strangers during the day. despite themselves, london is being aggressive-friendlied. soon they will all thank bus drivers as they de-bus. and smile and make eye contact...
this has been a damn good trip. even if i did take a stack on the dance floor night before last. haven't fallen over in ages. not since dave lamb tipped me on my arse at mayfields one night. but the other night david and i were dancing, and OO-pah! i was on my clack. i thought it was just a matter of overtired girl stacking it in a fast song. but david said it was all his fault: he pushed me then stuck his leg out and down i went. i was a bit surprised and i bruised and grazed my knee, but i didn't cry. he was embarassed, but i wasn't. it reminded me that it's important not to take this dancing thing seriously. luckily i've not got the whole serious thing going on these days, but it was still an important reminder. it's meant to be fun. laugh when you fall down. laugh when you stuff up. say thankyou for dances, introduce yourself, learn people's names properly and tell people when you enjoy the dance. dance with beginners whenever and as frequently as you can: they enjoy danc ing more than anyone and get the greatest pleasure from the simplest moves. these are things it's important to remember.

"it's 9:21pm" was posted in the category england and herrang and travel and travel

July 2, 2004

itineray

Posted by dogpossum on July 2, 2004 2:54 AM

until the 4th i'll be here in wales. then i'm down to england to visit english family.
then i go to london on the 11th, where i'll hassle london swingers.
then i'm out to herrang on the 17th.
back to england on the 29th for camp savoy, then i fly out on the 3rd of august, to arrive on the 4th.
all done.

"itineray" was posted in the category travel and wales