nostalgia = go

Is it just me who’s really excited about this film coming out?

I really enjoyed the first one – I thought it looked lovely and lush, it was heaps of fun, and it actually seemed to make the gender stuff work ok. Perhaps I was blinded by nostalgia, but I thought it was neat. Probably because I thought the Lord of the Rings films were freakin’, shitfully dull, and the Narnia stories are heaps more fun. And with way less violence.
Which I think is appropriate for kids – I’m not one of these people who thinks kids should be reading and watching stories about the Holocaust, child abuse, dystopian post-apocalyptic societies where kids are left alone to battle nasty monsters, animal abuse, etc etc etc. The Narnia stories aren’t all sugar and sunlight, but I don’t approve of too much horribleness for kids.
And I’m a kid, and I don’t like that stuff. I like fantasy and flowers and kissing. Though I bet there won’t be much of that in the new Narnia film.
I’m also looking forward to The Golden Compass.

Jeeeeezuss!

I did a gig at the speegs during MLX which wasn’t really very great. First, there were no dancers there but The Squeeze and I. So my swingin’ jazz went down like a lead balloon. Thank heavens for James Brown, or I’d’ve been lynched. Though they booked me for a jazz gig, I just couldn’t bear the empty floor any longer. So I played the very few soul and funk songs I had. And the punters loved it.
A bit later, some dancers arrived, so I started in with some good dancing from the jazz tradition. After ‘Lavender Coffin’ and midway through ‘Joshua Fit De Battle of Jericho’ some drunk prick tried to climb up on the stage (I dealt with that, quick-smart and used my scary body to move him back). “Are we going to be subjected to this gospel swing all night?” he demanded in a pleasant drunken slur. And I sort of shrugged it off with a tight smile. He kept lurking and I gave him the super snub. A few minutes later he returns with the same charming line. And I reply “If at all, possible, YES!”
What could be better than an evening of hardcore New Orleans Jeeeeezuss! music? I can’t imagine. Then I gave that prick some serious snubbing.
There’s nothing worse than a know-it-all jazznick heckler who thinks he knows better. Prick. Hope I never see that loser ever again.
But speaking of gospel, I’m quite struck on Mahalia Jackson live at Newport. I want it. At first it was just for that version of Jericho, but now I just want it. Not necessarily for DJing (though the Jericho would go down well at a blues event). The Basie Live in Antibes CD got me keen on Jackson, and I think I could well get over this swing malarkey and return to my soul and funk roots. Sigh. More obsessive collecting to come.
n642572564_478714_947.jpg
So, anyway, to finish off that bit about the speegs gig, Trev and Russ came in later and played the other bits of the set for me. If you look at the pic there (courtesy of Wendy), you can see me DJing (and probably freaking) and Trev leaning over my shoulder with beer in hand (there are no DJing rules at the Speegs).
Trev played excellent party lindy, moving into formerly uncharted territory, and Russ then decided it was partyhardy time. Yes, we did hear the theme from Footloose, amongst other 80s party anthems. The punters went nuts. The lindy hoppers went nuts. The speegs staff were very happy with us (I did check with them that it was ok to move on down this motown/stax/disco anthem track, and they approved), the pay was good.
I’ve done a few sets there, and I have to say I approve. Nice people, nice gear, fun crowds. Except for the stupid pricks. And I’ve been offered other DJing gigs (fielding phone calls all over the place), but I think I’m going to keep it real and only play for dancers. Unless the pay is good. Real good.

copying is easier than creating

Mz Tartan has posted a post about conferences that applies quite nicely to lindy exchanges. So I will now infringe her intellectual copy rights with some select copying and pasting.

  • thinking of holding a conferencen exchange? Best not. It is a far, far better thing to receive conferences exchanges than to give them. I can’t really remember what people actually said the dances I had, in most cases. I do vividly remember various people telling me that it is incredibly anxiety-producing to organise a conferencen exchange. That’s the truth. And all the while one is industriously producing anxiety one is well aware that the anxiety is ridiculous: one is not actually the person whose academic standing DJing or dancing has attracted people to this event, nor the one behind the microphone giving the talk good oil which is being intently listened danced to, let alone the person who wrote these exquisite novels songs and/or dances in honour of which everyone has gathered.
  • But here is a specimen of the type of situation which feeds anxiousness. I did not mention this en blog at the time, but back in April of this year, I came into my office one morning to find six or seven messages on my answering machine from a person who seemed to be saying she’d showed up at LTU on the weekend for the conference, and she was standing outside the venue right now and could I call her back straight away to tell her why nobody was around – where it had been moved to? Oh, and she’d come from Italy to attend. FROM ITALY. I was DJing at set in one room when the DJ from the other appeared at my side to ask where the DJ for the set following his was at. Can you imagine the abyss of horror which opened up beneath me? Can you? I’m sorry, but you can’t. The original call for papers, sent out eighteen months earlier, had indeed mentioned this weekend as the probable date, but we’d changed it very quickly to coincide with the English Teachers’ meeting. And of course nobody else had turned up. And of course ALL the subsequent promotional stuff very clearly gave the proper date. And of course it is incredible to simply turn up to a conference without at least re-checking that it’s on, or even attempting to register, or looking at the conference website. Yet, still, here she apparently was. FROM ITALY. All of the DJing rosters had been sent out ages ago and approved by all DJs concerned. We did manage to find the DJ (asleep somewhere), but it was a near thing, and yet another opportunity for public humiliation before an audience of my peers and international and interstate guests.
  • She apparently turned up again last Friday afternoon. The person on the conference desk said she’d appeared and wanted to know where her name tag was. Then we lost track of her again. I would have liked to sight her, from a safe distance (from inside a bird observation hut perhaps) but it was not to be…next time, no doubt.
  • If, in spite of this potent warning, you still want to do a conference n exchange, overbook your speakers DJs. Out of thirty-five two dozen, two will withdraw for good reasons and in plenty of time for you to make other arrangements; two will courteously let you know that they won’t be coming in time for you to pull them out of the program, one will pull out a week before, and one will pull out by email at 6:24pm on the evening before the day their paper set is scheduled at 10:45 1:30 am. This person will be emailing you not from the Australian city where she resides, but from a country that is nine hours’ flight away. How did she get there? you will wonder. Didn’t it occur to her as she got on the plane….etc
  • The sick feeling you will acquire as you contemplate what looks like the complete disintegration of your carefully assembled program will make it impossible for you to write play your own paper set with any degree of competency, so you will withdraw it, bash it out any way thus making you feel like a total hypocrite and poser. Nevertheless, there will actually be more than enough papers DJs, and you will eventually realise that all the agonising and your own self was were unnecessary.
  • Don’t cancel the wildlife tour/shopping tour/olden days architecture tour. It is what the internationals are looking forward to. You may think possums/shopping/old buildings are boring, but they do not.

Despite the extreme anxiety of previous MLXs, this year wasn’t actually all that bad. The above are really just par for the course, and what I think of as ‘inevitable screw ups’. The issue becomes not whether or not they happen, but how you deal with them when they do happen. The difference between a conference and an exchange, though, is that a couple of hundred dancers are there to have fun, and it takes quite a bit to dissuade them of their intent. Conference attendees, however, have a few more issues going on, and can be far less forgiving.
I only had one freak out during MLX, and that was on the Thursday of the weekend. My good friends and hostees took me for cake and I got over myself and it.
I find that the very most important thing about coordinating a dozen or so events over one weekend for a few hundred visitors is to remain calm. Freaking doesn’t help. I also have a rule: “no shouting”. Unless you’re shouting with delight. Shouting at people is never productive, and definitely not when the shouter is feeling angry/upset/etc. Remain cool. If you do feel a good shout/cussing out is in order, take it out the back so as to avoid broken furniture, exorbitant bar tabs and embarrassing guest DJs.
I have another solid rule: say thank you to anyone who has in any way been helpful, kind, accommodating, interested or otherwise a force for good rather than a force for inertia*. It doesn’t hurt to say thank you three or four times, but it does hurt if you don’t say it at all. Saying thank you makes you feel good, too, and so it’s a win-win deal for everyone involved.
And another rule (which is related to the previous): volunteers are the most valuable creatures at your event. DJs are generally a bit precious and high maintenance (with exceptions!), rock star dancers are a pain in the freaking arse (organise exchanges for beginners – they’re far less annoying) and fellow organisers can drive you nuts. But volunteers are gold. Love them, respect them, buy them drinks, thank them, squeeze them and underwork them. They will come back next year and figure out how to work the vacuum cleaner all on their own again.
*yes, I know.

west brunswick toodle-oo

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.

mad

dj.jpg
I don’t really have time to write much (marking, marking, proximity to mlx, etc), but I am going to briefly tell you about the set I did at the Spiegeltent on Friday.
1. Best sound set up ever.
2. Best sound guy ever.
3. Best venue ever.
4. Best pay ever.
5. Best only rider ever.
6. Seeing students at gig = mutual discomfort.
7. Fun, fun fun.
8. Hours? 11.30-3am. Challenging when doing band breaks, but still a win gig.

Charlie Christian’s Genius of the Guitar

This is a truly fab box set. The packaging is a bit dumb, but it’s a great set of music. 4 CDs worth of goodness. Christian died young of TB, but he did some truly fabulous work with people like Benny Goodman. A lot of this stuff covers the Goodman RCA collection, and if you pick up the shorter version of this set and the Goodman, you should be right. But for ob-con collectors like me, this set gives you lots of silly 30 second out-takes which are fascinating.
The set is a bit expensive, but I finally decided to take a risk with the second hand ones. One CD is a bit dodgy (it can’t talk to Gracenote, so the song info doesn’t import automatically into itunes), but that’s not a big deal. The liner notes are a good read, and for sheer tactile loveliness, this set is worth it. It’s almost all great dancing, though a lot of it tends towards ‘bal’ music – especially the Goodman Sextet stuff. Great, technical musicianship, but a little precise and fiddly for lindy hoppers. Perfect for jazz nerds and balboa dancers who like tiny, precise music for their tiny, precise dancing.

Count Basie’s Chairman of the Board

I wanted the album that featured the perennial favourite “Blues in Hoss’s Flat”. I’d had a version from a greatest hits, and seeing as how hi-fi, new testament Basie is always in fashion, I thought I’d pick up this recommended favourite. It doesn’t hurt that I’m on an anti-preswing kick at the moment.
So this album is pretty good. Highlights – “Moten Swing” and “Blues in Hoss’s Flat”. Again, not all the best dancing, but still an example of a really good later big band.
Another Basie gem I keep coming back to is The Count Basie Story. Two CDs of hi-fi new testament Basie big band action. They play some of the old school favourites, and while there’s no going past the older sound, this is a pretty freakin’ good album.