Archive-Date: Wed, 01 Jan 2003 18:36:05 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 01 Jan 2003 18:32:59 -0800 (PST) From: metis-AT-seki.mcs.csuhayward.edu Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Cockle Shells To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <200301020232.h022Wx506930-AT-seki.mcs.csuhayward.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT I'm looking at the version of Cockle Shells in Charles Bolton's *Retreads I* (#8), which is taken from the *Dancing Master* XIth edition (1701). Bolton is kind enough to give us a facsimile of the original so we can compare. The first 75% of the interpretation looks quite plausible, and I happily accept his amending the triple-minor dance to duple for modern usage. But I'm wondering about the B2 where DM says: > Then the Figure of Eight through the 2.cu. and turn your partner_: and Bolton interprets: > B2 Double figure 8, couple 1 crossing down through the couple 2 below > *as* they move straight up the outside to begin, all ending in > progressed places. This seems fine to me as a dance move. But I wonder if it's more likely that the original meant something like: B2 1's half figure-eight through the 2's below; 1's turn partner 1.5. I don't mean this to be critical of Bolton at all, or to question which way is better (context-sensitive, I think). I'm just curious about the most likely original meaning of this. Related questions include: 1) Do we have any clear evidence of double figure eights being done in this period? Are they purely modern? 2) Is it common for Playford to say "Figure of Eight" and we commonly interpret it as just our "half figure of eight"? 3) Presumably the turn at the end would be just for the active couple, so as not to force the inactives to interrupt their flirtatious dialogue with actual dancing? Happy New Year to All! Tom Tom Roby Department of Math & CS metis-AT-seki.mcs.csuhayward.edu California State University [Fax] 510-885-4314,4169 25800 Carlos Bee Blvd. [Off] 510-885-2691,3591 Hayward, CA 945423092 http://seki.csuhayward.edu ================================================================================ Archive-Date: Wed, 01 Jan 2003 19:40:32 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 01 Jan 2003 22:40:25 -0500 From: Patricia Ruggiero Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: Cockle Shells To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <001301c2b210$af97b090$11c4c943-AT-g9tfz> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Tom wrote: >I'm looking at the version of Cockle Shells in Charles Bolton's *Retreads I* (#8),.... and Bolton interprets: > B2 Double figure 8, couple 1 crossing down through the couple 2 below > *as* they move straight up the outside to begin, all ending in > progressed places. Interesting. I have a photocopy of this dance which looks like it was reproduced from Bolton's book, but the instructions for the B2 are somewhat different: "Couple 1 dance a half-figure eight down through the couple 2 _below_ and two-hand turn 1-1/2 times round (skip-change step)." Did Mr. Bolton change his mind? Is my copy bogus? ____ You also wrote, quoting the original instructions: > Then the Figure of Eight through the 2.cu. and turn your partner_: I'll be picky here and point out that the original instructions say "through the 3.cu." But you knew that, because you said the dance was a triple minor. _____ As for your questions about the Fig. 8, etc., I don't know but hope, like you, that someone else does. The 1/2 fig. 8 would take 4 bars, leaving 4 bars for a turn either 1/2 way or 1.5 times to end proper. If the full fig.8 is assumed to take the full 8 bars, then there's no time for the turn. The full fig. 8 could be done in 6 bars, but the 1s would be proper -- requiring a full turn in the remaining 2 bars. I'm trying to think if I've ever seen 18th c. dance instructions that say "half figure of eight".....it's possible, as you speculate, that "Figure of Eight" could be interpreted as half or full, depending on what else, if anything, the dancers were required to fit into the relevant phrase of music. >Presumably the turn at the end would be just for the active couple,.... That's my understanding, too. Pat Charlottesville, Virginia ================================================================================ Archive-Date: Wed, 01 Jan 2003 20:14:45 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Return-Path: Date: Thu, 02 Jan 2003 15:14:19 +1100 From: "Garden, John (DPL)" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: Cockle Shells To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT On the issue of whether the expression 'figure of eight' could be used for a half-figure of 8, I don't have any of my notes with me as I write, but it would seem to be consistent with what I remember to be the usage in Mr Beveridges' Maggot and Mr Isaac's Maggot. In the former, to indicate what most people these days (not the Sharpe version) take as something even less than half a figure-of-8, the expression I recall being used is 'go the figure through', whereas in the latter when a full-figure of 8 seems intended I think the expression is 'go the whole figure through' (as if to distinguish it from just going the figure through). The describer of these dances did not need to say half to mean less than a whole, and so it may be in the case of the dance you are considering. John Garden Canberra, Australia. www.earthlydelights.com.au -----Original Message----- From: Patricia Ruggiero [mailto:ruggierop-AT-earthlink.net] Sent: Thursday, January 02, 2003 2:40 PM To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Subject: RE: Cockle Shells Tom wrote: >I'm looking at the version of Cockle Shells in Charles Bolton's *Retreads I* (#8),.... and Bolton interprets: > B2 Double figure 8, couple 1 crossing down through the couple 2 below > *as* they move straight up the outside to begin, all ending in > progressed places. Interesting. I have a photocopy of this dance which looks like it was reproduced from Bolton's book, but the instructions for the B2 are somewhat different: "Couple 1 dance a half-figure eight down through the couple 2 _below_ and two-hand turn 1-1/2 times round (skip-change step)." Did Mr. Bolton change his mind? Is my copy bogus? ____ You also wrote, quoting the original instructions: > Then the Figure of Eight through the 2.cu. and turn your partner_: I'll be picky here and point out that the original instructions say "through the 3.cu." But you knew that, because you said the dance was a triple minor. _____ As for your questions about the Fig. 8, etc., I don't know but hope, like you, that someone else does. The 1/2 fig. 8 would take 4 bars, leaving 4 bars for a turn either 1/2 way or 1.5 times to end proper. If the full fig.8 is assumed to take the full 8 bars, then there's no time for the turn. The full fig. 8 could be done in 6 bars, but the 1s would be proper -- requiring a full turn in the remaining 2 bars. I'm trying to think if I've ever seen 18th c. dance instructions that say "half figure of eight".....it's possible, as you speculate, that "Figure of Eight" could be interpreted as half or full, depending on what else, if anything, the dancers were required to fit into the relevant phrase of music. >Presumably the turn at the end would be just for the active couple,.... That's my understanding, too. Pat Charlottesville, Virginia ================================================================================ Archive-Date: Thu, 02 Jan 2003 06:12:58 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 08:48:05 -0500 From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: Cockle Shells To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT The question of whole versus half fig. 8 is very reminiscent of contra terminology in re "Ladies Chain" and "Right and Left." When I started dancing (only about 30 years ago) "Ladies Chain" and "Right and Left" meant over and back. Half Ladies Chain was a rare figure and mostly found in the most recent dance compositions and was called as "Half Ladies Chain" or "Ladies Chain Across." Half Right and Left was generally referred to as "Right and Left Through" and was most often associated with "Half Promenade." Gradually "Right and Left Four" became the more common term for the "whole" Right and Left figure. About 15 years ago, I noticed that the half length figures had become so common in the contemporary popular contras, that callers could rarely get away with calling "Ladies Chain" for the whole figure. 50% or more of the dancers would assume a half chain was meant unless the caller specified that the chain was "Whole Ladies Chain" (or "Full" right and left). Could this be similar to what had happened to the "figure through" at the time these ECD were published? By the way, now even the words "whole" and "full" are often ineffective because the "Half" figures are viewed by many of the dancers as being the "whole" thing. I now have to specify that the figure is "over and back" and I often have to repeat this a couple times before it registers with every dancer! Cammy ================================================================================ Archive-Date: Thu, 02 Jan 2003 06:42:34 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 06:42:30 -0800 (PST) From: Graham Christian Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Warming Those Cockles To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030102144230.96004.qmail-AT-web20601.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Charles Bolton did change his mind about his interpretation--you're not seeing things. "The Figure": here is another occasion where we see that the DM (and other) instructions were more like helps to the memory than wiring diagrams. Often, an instruction will say "go the figure," "figure," "figure through," meaning, depending on the dance and the dancing-master/choreographer, 1/2 or whole or 3/4. That is, the dancing person or persons keep figuring until they get where they need to be *next*, which is why, even in 1715, you have to read to the *end* of the dance before you teach it. [btw, it seems to me that "go the single figure" usually means 1/2 fig. 8--but that doesn't imply that "go the figure" doesn't *also* sometimes mean 1/2 fig. 8, in other dances--remember that we are talking about perhaps hundreds of authors here, with different styles] Tom, I can point to one quite specific example for a true double figure 8. In "Draw, Cupid, Draw," a dance from 1710 I interpreted and have taught all 'round with some success, and which I think CDSS is supposed to be publishing one of these months, the very first phrase is "The first Couple go the whole Figure of Eight with the second Couple." *With*. Not "through," but "with." So--as far as I am concerned--there you go. But I also think it very likely that even "through" often as not *implied* "with." Written directions and Feuillet diagrams address principally the movements of the 1s (the leading couple); often, they simply don't concern themselves with the 2s except when necessary. In a longways, historically speaking, the principal responsibility of the 2s (and 3s) is not to wreck the dance for the 1s--this is not the same thing as standing still. I don't *mind* standing still: I think there is great meaning to *supporting* others as they dance. But neither do I think it naughty, in all cases, *not* to stand still. ===== Graham Christian "Sphinx of black quartz, judge my vow." __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Thu, 02 Jan 2003 10:10:36 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 10:07:28 -0800 (PST) From: metis-AT-seki.mcs.csuhayward.edu Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Cockle Shells To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <200301021807.h02I7SC07853-AT-seki.mcs.csuhayward.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Thanks for all your insights. I also got a private message from Sharon Green: > Whoa! Tom, my copy of Retreads 1 has the following text for B2: > > "Couple 1 dance a half-figure eight down through the couple 2 below and > two-hand turn 1 1/2 times round (skip-change step)." I bought the first 8 *Retreads* volumes at the same time about a year ago, and didn't think to look carefully at the copywrite dates. Volume 1 was originally published in 1985, but I have the 2nd edition from August, 2000. None of the other 8 seem to have been revised (yet). I did misinterpret Bolton's Note: > 2. In this revised version I have omitted the final two-hand turn. I assumed he meant "revised from Playford" not "revised from *Bolton* I (1985)". I've learned my lesson: One has to be careful of editions of moderns as well as the *Dancing Master*. Tom ================================================================================ Archive-Date: Thu, 02 Jan 2003 11:13:22 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 14:13:47 -0500 From: Susan Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Reminder - Regency Dancing in NYC Sunday 1/5 To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: susan-AT-generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT (Regular posting; repeat of what I posted right before Christmas, hoping that people are sufficiently recovered from the holidays to focus now... Happy new year!) For the New York City-accessible and historically curious: EAS Regency Dance Workshops Sunday, January 5, 2003 1:00-4:00pm Starting with the new year, my regular monthly dance workshop will go to exclusively early 19th-century (English Regency, Jane Austen, Napoleonic Wars, etc.) English dance forms. It will also go primarily to first Sundays of each month. A full calendar is at http://www.elegantarts.org/calendar03.html, although it is regrettably short on details at the moment. In general, these workshops will look at a range of the popular dances of the first quarter of the 19th century, including country dances and quadrilles (in their myriad variations), Scotch reels, and waltzes. We are most interested in dances popular in England in this period rather than American ones, although we reserve the right to make occasional geographic detours. No previous experience is needed and most of the material is not sequential; come any month! We will cycle month by month through: English country dances - Danse Ecossoise - French Quadrilles Slow Waltz - Sauteuse and Quick Sauteuse Waltz - Wilson's Waltz Sequence* Classic Foursome Reel - Wilson's New Reel For Four - EAS Reel Sequence* The starred material is sequential in that that part of the workshop will be "for those who know" the parts of the sequence already. The details for January (subject to change): Danse Ecossoise - my latest research passion: figures and steps for this new country dance trend of the late 1810's. Sauteuse Waltz - the lively French "hop waltz" as described in 1816. Scotch Foursome Reel - the classic set-and-hey sequence with steps from 1805. Kilts are welcome but howling should be kept to a minimum! All material is taken directly from primary sources and reconstructed by yours truly. If you have questions about it, email me directly. Cost is $15 in general; $10 if this is your first time at one of our workshops. Full-year subscriptions are $160 (a small savings), payable in quarterly payments. PLEASE RSVP to: meredith-AT-elegantarts.org - the number of people we are expecting affects how I prepare for the class! Location: Hop, Swing, and a Jump, 132 Crosby Street #2 for directions, see our webpage, http://www.elegantarts.org/classprac.html/ For more information about the Elegant Arts Society, please see our website: http://www.elegantarts.org To receive these announcements directly, please email info-AT-elegantarts.org to be added to our mailing list. Happy Holidays! Susan ================================================================================ Archive-Date: Thu, 02 Jan 2003 12:51:29 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 15:50:12 -0500 (EST) From: ACFerg-AT-cs.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Annoucement and Registration Form for Boston Playford Ball on March 8 To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <18d.13dce615.2b460004-AT-cs.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_lC6n2WszzxcsEdrq7BaU1A)" --Boundary_(ID_lC6n2WszzxcsEdrq7BaU1A) Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Dear Felow ECDers, Here is the announcement for this year's Boston Playford Ball. At the bottom is a form that can be printed out and used for registration. I hope we will see many of you there. Best regards, Arthur Ferguson Framingham, MA -------------------------------------------------------------------- Country Dance Society, Boston Centre, Presents The Twenty Third Annual BOSTON PLAYFORD BALL Saturday, March 8, 2003 * 8:00 PM to Midnight at Monument Hall, Concord, Massachusetts Helene Cornelius, Mistress of Ceremonies Music by Bare Necessities Afternoon Workshop: Leaders: Graham Christian Monument Hall Barbara Finney 1:30-4:30 PM Musicians: Vince O'Donnell Roberta Sutter PROGRAM Autumn in Amherst * Chestnut * Daphne * Dunant House Waltz * Enfield Common * Face the Music * The Goose and the Gridiron * Green Willow * Hambleton's Round O * The Hole in the Wall * Hunsdon House * Knives and Forks * Mary K * Mr. Isaac's Maggot * The Pursuit * Rufty Tufty * Sellenger's Round * Step Stately * Terpsicourante * Well Hall * Whiskers COST PER PERSON $25.00 for registrations postmarked on or before January 15, 2002 $30.00 for registrations postmarked after January 15, 2002 PRE-BALL WORKSHOP Sunday, March 2, 2:00-5:00 PM at the Church of Our Saviour, Carlton and Monmouth Streets, Brookline, Massachusetts (Location changed from that on printed flyer.) $6.00 for Those Registered for the Ball; $9.00 for Others Helene Cornelius, Leader; Ken Allen, Musician MAKE A WEEKEND OF IT! Come to the First Friday English Dance for Experienced Dancers on Friday, March 7, 8:15-11:00 PM, at the Church of Our Saviour, Carlton and Monmouth Streets, Brookline, Massachusetts Brad Foster, Leader; Jacqueline Schwab, Musician For information on the Ball or the First Friday Dance please contact Terry Gaffney: Telephone - (617) 524-8869; Email - gaff-AT-neu.edu Gender balance will be taken into consideration with preference given to CDS, Boston Centre, members. ************************************************************************** REGISTRATION FORM Names(s) (for nametags) __________________________________________________ __________________________________________________ Address __________________________________________________________________ City __________________________ State ______ ZIP ______________________ Phone (day) ________________________ (evening) __________________________ ____ (number) -AT- $25.00/person or $30.00/person = __________ Total Enclosed Please make checks payable to Country Dance Society, Boston Centre and mail with your registration to Terry Gaffney, 11 Burr Street, Jamaica Plain, MA 02130 --Boundary_(ID_lC6n2WszzxcsEdrq7BaU1A) Content-type: text/html; charset=US-ASCII Content-transfer-encoding: 7BIT Dear Felow ECDers,

Here is the announcement for this year's Boston Playford Ball. At the bottom is a form that can be printed out and used for registration. I hope we will see many of you there.

Best regards,
Arthur Ferguson
Framingham, MA



--------------------------------------------------------------------
             Country Dance Society, Boston Centre, Presents
                        The Twenty Third Annual
                          BOSTON PLAYFORD BALL
             Saturday, March 8, 2003 * 8:00 PM to Midnight
                                   at
                 Monument Hall, Concord, Massachusetts

                Helene Cornelius, Mistress of Ceremonies
                       Music by Bare Necessities

          Afternoon Workshop:         Leaders: Graham Christian
          Monument Hall                        Barbara Finney
          1:30-4:30 PM                Musicians: Vince O'Donnell
                                                 Roberta Sutter

                                PROGRAM

       Autumn in Amherst * Chestnut * Daphne * Dunant House Waltz
     * Enfield Common * Face the Music * The Goose and the Gridiron
      * Green Willow * Hambleton's Round O * The Hole in the Wall
    * Hunsdon House * Knives and Forks * Mary K * Mr. Isaac's Maggot
    * The Pursuit * Rufty Tufty  * Sellenger's Round * Step Stately
                * Terpsicourante * Well Hall * Whiskers                  

                            COST PER PERSON
   $25.00 for registrations postmarked on or before January 15, 2002
       $30.00 for registrations postmarked after January 15, 2002

                           PRE-BALL WORKSHOP
      Sunday, March 2, 2:00-5:00 PM at the Church of Our Saviour,
         Carlton and Monmouth Streets, Brookline, Massachusetts
             (Location changed from that on printed flyer.)
       $6.00 for Those Registered for the Ball;  $9.00 for Others
            Helene Cornelius, Leader;   Ken Allen, Musician

                           MAKE A WEEKEND OF IT!
      Come to the First Friday English Dance for Experienced Dancers
     on Friday, March 7, 8:15-11:00 PM, at the Church of Our Saviour,
         Carlton and Monmouth Streets, Brookline, Massachusetts
             Brad Foster, Leader; Jacqueline Schwab, Musician

  For information on the Ball or the First Friday Dance please contact
    Terry Gaffney: Telephone - (617) 524-8869; Email - gaff-AT-neu.edu

Gender balance will be taken into consideration with preference given to
                       CDS, Boston Centre, members.

**************************************************************************
                             REGISTRATION FORM

Names(s) (for nametags) __________________________________________________

                        __________________________________________________

Address __________________________________________________________________

City __________________________  State ______  ZIP  ______________________

Phone (day) ________________________  (evening) __________________________

____ (number) -AT- $25.00/person or $30.00/person = __________ Total Enclosed

Please make checks payable to Country Dance Society, Boston Centre and mail
                       with your registration to
         Terry Gaffney, 11 Burr Street, Jamaica Plain, MA 02130

--Boundary_(ID_lC6n2WszzxcsEdrq7BaU1A)-- ================================================================================ Archive-Date: Thu, 02 Jan 2003 13:48:23 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 13:49:02 -0800 From: Michael Silver Reply-To: ECD-AT-playford.slac.stanford.edu Subject: New ECD in Sacramento (Calif.) Area To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3.0.6.32.20030102134902.007933e0-AT-mail.lanset.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Introducing--the Second Sunday English Country Dance, beginning January 12. Live music, and a good wooden floor in a fine historic building in downtown Roseville, with easy access to the I-80 freeway. 2-5 pm on every second Sunday of the month (except March due to Camellia Festival). At the Masonic Temple, 235 Vernon Street, downtown Roseville. Adults $6, children 15 and under $3. No partner or previous experience needed. Directions: Exit I-80 at Atlantic St. and go about 2 miles toward Old Roseville. Atlantic becomes Vernon. The Masonic Temple is above a theatre on your left. Parking behind the building. Info: Susan or David at (916)739-8906 or davesue-AT-calweb.com ================================================================================ Archive-Date: Thu, 02 Jan 2003 14:42:35 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 14:42:16 -0800 From: "Gary D. Shapiro" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: New ECD in Santa Barbara (Calif.) Too! To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3.0.6.32.20030102134902.007933e0-AT-mail.lanset.com> What a co-ink-a-dink! We have a new series too in Santa Barbara, almost the same schedule as Sacramento. (We're hundreds of miles apart so there's no conflict.) Second Sundays beginning this month. 2:30 to 5:30 p.m. at the Carrillo Ballroom with its fabuloso sprung floor, 100 E. Carrillo St. at Anacapa. Potluck follows at 5:30, contra dance at 7:00. Admission for the ECD is $7 adults, $3.50 17 and under, free for 12 and under. January 12: James Hutson leading and music by Michael Mendelson and Suzanne Duffy from the ECD & contra dance band Chopped Liver and John Sonquist from the ECD ensemble Thruppence. February 9: Gary Shapiro leading and music by Linelle Glass and Robert Winokur from Thruppence, Jeff Spero from Chopped Liver, and Kristina Eriksen from Kristina and Her Hands-Across Stars. Our Tuesday evening dances continue every Tuesday, 7:30 to 9:30 p.m. at the Westside Community Center, 423 W. Victoria in Santa Barbara, usually with recorded music. Beginning in March, we might drop the Tuesday after the second Sunday. Live music with Thruppence the last Tuesday of January and February. $2, $5 with live music. Gary Shapiro calling on Tuesdays. (There's no one else.) For more info see or call 805 682-5523. -- Gary ================================================================================ Archive-Date: Thu, 02 Jan 2003 15:04:03 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 18:03:31 -0500 (EST) From: SallenNic-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re:Cockle Shells To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <2d.28e562be.2b461f43-AT-aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 2/1/03 3:01:01 pm, Tom Roby writes: I'm looking at the version of Cockle Shells in Charles Bolton's *Retreads I* (#8), which is taken from the *Dancing Master* XIth edition (1701). Bolton is kind enough to give us a facsimile of the original so we can compare. The first 75% of the interpretation looks quite plausible, and I happily accept his amending the triple-minor dance to duple for modern usage. But I'm wondering about the B2 where DM says: > Then the Figure of Eight through the 2.cu. and turn your partner_: and Bolton interprets: > B2 Double figure 8, couple 1 crossing down through the couple 2 below > *as* they move straight up the outside to begin, all ending in > progressed places. This seems fine to me as a dance move. But I wonder if it's more likely that the original meant something like: B2 1's half figure-eight through the 2's below; 1's turn partner 1.5. I don't mean this to be critical of Bolton at all, or to question which way is better (context-sensitive, I think). I'm just curious about the most likely original meaning of this. >> With the greatest respect, Tom ignores the rationale behind Charles Bolton's "Retreads", which is to take a dance and *fill it out* to make it more interesting for those whose part was originally rather minimal. This sometimes leads to his taking (careful) liberties with the original instructions. Nicolas B., Lanark, Scotland. ================================================================================ Archive-Date: Thu, 02 Jan 2003 18:10:19 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 02 Jan 2003 21:10:07 -0500 (EST) From: "Susan R. Lorand" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Hold the Mustard & Judi Rivkin - Princeton, Fri Jan 3 2003 To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Tomorrow night - Friday, January 3 - the monthly LCD English dance in Princeton, New Jersey, USA will feature caller Judi Rivkin and Hold the Mustard. Anyone traveling through the area is most welcome to join us. Where: Princeton Friends School (Quaker Road, just off Mercer Street/Princeton Pike/County Rd 583, 1.5 miles south of Princeton and 3 miles north of I-95) When: 8-11 pm Admission: $7 ($4 for students and those bringing homemade goodies for the break) Further info: http://lambertvillecountrydancers.org Please bring clean, soft-soled shoes to protect the wood floor. Happy new year to all! Susie Lorand (telnetting from Kentucky, and hoping for good weather en route east tomorrow...) ================================================================================ Archive-Date: Fri, 03 Jan 2003 10:59:55 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 03 Jan 2003 10:59:47 -0800 (PST) From: Country Dancers of Westchester Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Have I Told You Lately that Jacqueline Schwab is coming to Westchester? To: ECD List Message-ID: <20030103185947.66366.qmail-AT-web12201.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT A piano concert and English country dance is on the schedule for Saturday night, 11 January, in White Plains. Here's a link to the details! http://www.geocities.com/cdwestchester/js03.htm See you there! Carl Andersen C.D.W. Herald __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Fri, 03 Jan 2003 11:27:44 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 03 Jan 2003 11:28:13 -0800 From: "Ed St.Germain" Subject: Re: Santa Barbara & Sacto To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <3E15E44C.DFACCC20-AT-AmericanRevolution.org> MIME-Version: 1.0 Content-Type: text/plain; x-mac-creator=4D4F5353; x-mac-type=54455854; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <00A1967E.3595AD85.1-AT-playford.slac.stanford.edu> Gary: The word is spreading. My wife and I will be trundling up to Santa Barbara from the Inland Empire to dance with you on the 12th. Good to know about Sacramento. We don't get there often, but I'll make a note. Last week, we were in San Diego for their year-end "use up your Christmas leftovers" party. Pictures, if anyone is interested, are at EnglishCountryDancing.org the direct URL is: http://englishcountrydancing.org/sandiego1.html Best regards, Ed ================================================================================ Archive-Date: Sun, 05 Jan 2003 13:40:49 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 05 Jan 2003 21:40:34 +0000 (GMT) From: Jen Wood Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Widdershins/Withershins To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Sun, 22 Dec 2002, William McDonald wrote: > --- SFORDNYC-AT-aol.com wrote: > > "Withershins" > > An old English word, still in use in Scotland and in > > north-country dialects, > > denoting a movement in a contrary direction to that > > of the sun -- as of a > > clock whose hands are going backwards (Icelandic > > "vithr" against; "sinni" > > movement). Hence, contrariwise, topsy-turvy. The > > opposite of withershins is > > "deiseal" a Gaelic word meaning righthandwise. > > > > No mention of witches. > > > > Happy Solstice to All & Sundry! > > Suzanne > > > Well now *I'm* confused... > > All this talk about the sun's movement is getting me > twisted around. Facing North the Sun comes up on the > right and moves to the left (counterclockwise). But > facing South, the sun appears to come up on the left > and appears to move to the right (clockwise). I can't explain widdershins, but I can at least make an attempt at deiseal... In Gaelic, the word 'deas' means both 'south' and 'right', as in the right hand. I'm not sure which came first, but the two meanings are definitely connected - to the Old Irish people, the east (where the sun rose) was the basic direction (in the way that north is now the 'basic' direction on a compass, and 0 degrees). To someone facing the sunrise, right and south were the same thing. The movement of the sun is deiseal because, if you're facing east, the sun is moving towards the south, and towards your right hand. Actually, it's moving towards your right hand whenever you're facing it, no matter what part of the sky it's in. I'd imagine that widdershins is much the same thing - a movement towards the left hand when you're facing the moving object. But I really don't know anything about it :) Jen ================================================================================ Archive-Date: Sun, 05 Jan 2003 19:16:09 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 05 Jan 2003 19:03:54 -0800 From: Robin Cohen Reply-To: ECD-AT-playford.slac.stanford.edu Subject: BACDS Spring Dance Weekend, March 14 - 16, 2003 To: ECD-AT-SSRL04.SLAC.STANFORD.EDU CC: Charlie Fenton Message-ID: <5.1.0.14.2.20030105183828.02027e80-AT-pop.idiom.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_WP7VT4Ezi8PkhE2mLR34Tg)" --Boundary_(ID_WP7VT4Ezi8PkhE2mLR34Tg) Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT A couple of weeks ago, in a fascinating discussion on the subject of Attracting Musicians, Jon Berger mentioned to Cammy Kaynor that he would break Cammy's hiring trend at Monte Toyon Spring Weekend, though Cammy didn't actually hire Jon. I'm sure you were all curious about Jon's meaning. I'm pleased to announce that these two ECD List Luminaries will be meeting for the first time at BACDS's Spring Dance Weekend at Monte Toyon, on March 14 - 16, 2003. Aptos is located in a beautiful redwood forest east of Santa Cruz, CA, about 2 hours south of San Francisco. Dance workshops led by: Nan Evans (Portland, OR), English Country and American Contra dances Suzanne Girardot (Seattle, WA), Contras and Squares and French Canadian Waltz Clog Cammy Kaynor (Melrose, MA), Contras, Squares, and English Country, and Scandinavian dances Music by: FootLoose (Chapel Hill, NC) (Pete Campbell, David DiGiuseppe, Dean Herington, Rex McGee, and Jim Roberts) Flashpoint (Sonoma County, CA) (Jon Berger, Howard Booster, and Rebecca King) Singing led by: Carlo Calabi (Anguin, CA) There is still space, but sign up soon, as it will fill up. For prices, and other details, see our web site at http://www.bacds.org/sw/. Contact me at 650-325-5447 or rcohen-AT-idiom.com for questions. I hope to meet some of you there. Robin Cohen BACDS Spring Weekend Manager PS: I didn't hire Jon either, the Programmer did. --Boundary_(ID_WP7VT4Ezi8PkhE2mLR34Tg) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT A couple of weeks ago, in a fascinating discussion on the subject of Attracting Musicians, Jon Berger mentioned to Cammy Kaynor that he would break Cammy's hiring trend at Monte Toyon Spring Weekend, though Cammy didn't actually hire Jon.

I'm sure you were all curious about Jon's meaning.  I'm pleased to announce that these two ECD List Luminaries will be meeting for the first time at BACDS's Spring Dance Weekend at Monte Toyon, on March 14 - 16, 2003.  Aptos is located in a beautiful redwood forest east of Santa Cruz, CA, about 2 hours south of San Francisco.

Dance workshops led by:
Nan Evans (Portland, OR),  English Country and American Contra dances
Suzanne Girardot (Seattle, WA),  Contras and Squares and French Canadian Waltz Clog
Cammy Kaynor (Melrose, MA), Contras, Squares, and English Country, and Scandinavian dances

Music by:
FootLoose (Chapel Hill, NC) (Pete Campbell, David DiGiuseppe, Dean Herington, Rex McGee, and Jim Roberts)
Flashpoint (Sonoma County, CA) (Jon Berger, Howard Booster, and Rebecca King)
          
Singing led by:
Carlo Calabi (Anguin, CA)

There is still space, but sign up soon, as it will fill up.  For prices, and other details, see our web site at http://www.bacds.org/sw/.  Contact me at 650-325-5447 or rcohen-AT-idiom.com for questions.  I hope to meet some of you there.

Robin Cohen
BACDS Spring Weekend Manager

PS:  I didn't hire Jon either, the Programmer did. --Boundary_(ID_WP7VT4Ezi8PkhE2mLR34Tg)-- ================================================================================ Archive-Date: Sun, 05 Jan 2003 20:48:08 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 05 Jan 2003 20:47:55 -0800 From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: BACDS Spring Dance Weekend, March 14 - 16, 2003 To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.2.0.9.0.20030105204554.00b957f8-AT-popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT At 07:03 PM 1/5/2003 -0800, Robin Cohen wrote: >PS: I didn't hire Jon either, the Programmer did. The Programmer has excellent taste. (~: Sharon Green [just back from enjoying Jon's playing with Quasimodal at the Sebastopol dance] ================================================================================ Archive-Date: Mon, 06 Jan 2003 17:08:03 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 06 Jan 2003 17:07:53 -0800 From: Jon Berger Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: BACDS Spring Dance Weekend, March 14 - 16, 2003 To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <3E1A2869.CE82299D-AT-sbcglobal.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <5.1.0.14.2.20030105183828.02027e80-AT-pop.idiom.com> Robin Cohen wrote: > PS: I didn't hire Jon either, the Programmer did. Affixing blame is so important, I always think. -- Jon Berger http://pages.sbcglobal.net/jberger ================================================================================ Archive-Date: Mon, 06 Jan 2003 17:40:18 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 06 Jan 2003 17:43:01 -0800 From: Ric Goldman Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: BACDS Spring Dance Weekend, March 14 - 16, 2003 To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <001001c2b5ee$1d1d5260$6401a8c0-AT-nsr.hp.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Jon, Ah, are we talking blame of commission or omission? Thanx for today's smile. Ric Goldman timelord-AT-rgoldman.org http://rgoldman.org/welcome.htm > -----Original Message----- > From: owner-ecd-AT-ssrl04.SLAC.STANFORD.EDU > [mailto:owner-ecd-AT-ssrl04.SLAC.STANFORD.EDU]On Behalf Of Jon Berger > Sent: Monday, January 06, 2003 5:08 PM > To: ECD-AT-ssrl04.SLAC.STANFORD.EDU > Subject: Re: BACDS Spring Dance Weekend, March 14 - 16, 2003 > > > Robin Cohen wrote: > > > PS: I didn't hire Jon either, the Programmer did. > > Affixing blame is so important, I always think. > > -- > Jon Berger > http://pages.sbcglobal.net/jberger > ================================================================================ Archive-Date: Mon, 06 Jan 2003 17:44:22 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 06 Jan 2003 17:44:14 -0800 From: Robin Cohen Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: BACDS Spring Dance Weekend, March 14 - 16, 2003 To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <5.1.1.5.2.20030106174046.01d88738-AT-pop.idiom.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <5.1.0.14.2.20030105183828.02027e80-AT-pop.idiom.com> In that case, I will confess 'tis I who suggested Cammy to the Programmer (who shall remain nameless, as he doesn't subscribe to this list). Robin At 05:07 PM 1/6/2003 -0800, Jon Berger wrote: >Robin Cohen wrote: > > > PS: I didn't hire Jon either, the Programmer did. > >Affixing blame is so important, I always think. > >-- >Jon Berger >http://pages.sbcglobal.net/jberger ================================================================================ Archive-Date: Tue, 07 Jan 2003 05:42:15 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 07 Jan 2003 05:42:05 -0800 (PST) From: Graham Christian Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Announcing a new series dedicated to English Country Dance To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030107134205.28589.qmail-AT-web20610.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 8BIT We are pleased to announce A New Series of English Country Dances Amherst Assembly To be given the 1st Saturday of each month at the Munson Library in Amherst, Massachusetts 7:45-10:45 Admission: $7.00 Light refreshments will be served. Principal leader: Graham Christian This series will concentrate on themes in the English country dance tradition and principles of good dancing. Each month, from 7:45 to 8:00, we will look more closely at a single dance for style; this dance will be repeated later in the evening. February’s musicians: Roberta Sutter, keyboard Andrea Larson Attanasio, violin Chris Rua, wind instruments February’s theme: A Calendar in Dance Leader: Graham Christian For more information, call Graham at 617-566-1972 or email bray1699-AT-yahoo.com. How to get to the Munson Library: From Route 91 Northbound, take exit #19 and turn right off ramp onto Route 9 East. Follow Route 116 South about 1/2 mile. Take shallow left onto Shays Road. Turn left around far side of South Amherst green. Munson Library is on your right next to South Congregational Church. From Route 91 Southbound, take exit #20 and turn left at first light. Follow this road to end, turn left onto Route 9 East. Follow Route 9 into Amherst. Follow Route 116 South about 1/2 mile. Take shallow left onto Shays Road. Turn left around far side of South Amherst green. Munson Library is on your right next to South Congregational Church. From the east via Mass Pike (Route 90), take exit #8 at Palmer. Follow signs into Belchertown. Get on Route 9 West to Amherst. At traffic light, turn left onto South East Street (Cumberland Farms on corner). Go about 3 miles. Stay to the left of South Amherst green. Munson Library is on left across street from the green next to South Congregational Church. ===== Graham Christian "Sphinx of black quartz, judge my vow." __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Tue, 07 Jan 2003 08:53:40 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 07 Jan 2003 16:52:39 +0000 From: Alan Corkett Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Fw: no music To: EngCountryDance Message-ID: <00dd01c2b66d$46094ba0$854f86d9-AT-default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Time has come to contact you MP...before it is all too late! Alan Corkett -----Original Message----- From: Gibbons, John To: nsp-AT-cs.dartmouth.edu Date: 07 January 2003 15:36 Subject: RE: no music >Further to Adrian's message, it is worthwhile if as many people in the UK >from this list as possible email their MPs at >http://www.parliament.uk/commons/lib/alms.htm > >Most MPs have email now, though not all. Not all ever answer, either. > >The proposal is draconian in its scope and will be catastrophically damaging >in its long term effects. It will go through unless >musicians and anyone else who likes live music, oppose it vigorously. > >John Gibbons. > > >-----Original Message----- >From: Adrian [mailto:a_d_s-AT-ntlworld.com] >Sent: 07 January 2003 12:57 >To: nsp-AT-cs.dartmouth.edu >Subject: no music > > >Hello all >Please take time to look at this, it is about the 2 in a bar rule being = >abolished and the demise of our folk music and culture in England and = >Wales. >Adrian.................. > > >PLEASE GO TO THIS LINK FOR MORE INFO >http://www.musiciansunion.org.uk/welcome.shtml > > >The expanded Q&A about public entertainment licences. >Hamish Birchall >Click here to see how you too can do your bit > >Reproduced from http://www.freenetpages.co.uk/hp/trg/SCoFF/quarev.htm > >=20 > >Q: Who needs a public entertainment licence (PEL)? > >A: Anyone organising any public performance of live music virtually = >anywhere. Without first obtaining a PEL from their local authority they = >could face a criminal prosecution. Venues affected could include village = >halls, schools, hospitals, libraries and so on.=20 > > =20 > >Q: Are any exemptions allowed?=20 > >A: Yes, performances that are:=20 > >part of a religious service;=20 > >in a place of public religious worship (outside London);=20 > >on Crown land;=20 > >by up to two 'performers' in on-licensed premises (bars, restaurants = >etc).=20 > > =20 > >Q: Does that mean even a piano recital in your own home could be = >illegal? >A: Yes, if the public were invited to attend.=20 > > =20 > >Q: What is the penalty?=20 > >A: Unlicensed live music is a criminal offence. The maximum penalty is a = >=A320,000 fine and six months in prison.=20 > > >Q: Is amateur performance exempt from the PEL requirement?=20 > >A: No. It is immaterial whether or not performers are paid, or whether = >admission is free or conditional upon payment of an entry fee. The PEL = >fee may be waived, however, if the event is for a charitable or = >educational purpose.=20 > > >Q: When is an entertainment 'public'?=20 > >A: Unfortunately the legislation that defines public entertainment does = >not define the term public. Case law is therefore the only guide. In = >Gardner v Morris (1961) it was determined that the number of members of = >the public that were present was irrelevant. The test was whether any = >'reputable' member of the public could gain entry! Broadly speaking if a = >member of the public could gain entry without discrimination, by payment = >or otherwise, then the event would be public.=20 > > >Q: What about private members clubs?=20 > >A: It is possible to avoid the necessity of a PEL by setting up a = >private members club. However this can be complicated, so it would be a = >good idea to get legal advice. For example, if alcohol is on sale on the = >club premises formal registration must be made to the magistrates court = >so that a hearing can consider all aspects of the club formation (a = >minimum required number of members, rules, committee structure etc). = >This is not an easy option. If alcohol is not to be sold on the club's = >premises formal registration is not necessary. However it is advisable = >to set up the club with membership forms, committee, membership list = >etc, if only to reassure a local authority that it is properly = >constituted (in case they threatened action on the basis that a = >particular event was public). But this is not the end of the story. You = >need to check whether your local authority has adopted the Private = >Places of Entertainment Act 1967 - if they have, you would need to = >obtain a different type of formal licence!=20 > > >Q: If I were to play a guitar in my local pub, and use backing tapes to = >get around the two musician rule, is that OK?=20 > >A: No. Combining even one live musician with any form of 'recorded = >sound' is illegal in such premises without a PEL. The term 'recorded = >sound' would also include minidisc. Even MIDI technology, almost = >universal in modern electronic instruments, is counted as 'recorded = >sound' by some local authorities.=20 > > >Q: How many on-licensed premises have PELs?=20 > >A: There are about 111,000 on-licensed premises in England and Wales, = >including all pubs. Only 5% actually hold annual PELs.=20 > > >Q: Do members of the public count as 'performers' if they participate by = >singing along during a performance in these premises?=20 > >A: Yes, many local authorities interpret the law in this way. They cite = >case law precedent from 1793 (Clarke v Searle) to support this position. = > > > >Q: Does that mean more than two people singing could be a criminal = >offence in over 100,000 pubs, bars and restaurants?=20 > >A: For the licensee - yes, particularly if it was advertised as a = >regular activity.=20 > > >Q: What if I engaged one musician and invited different singers to 'do a = >turn'. Provided only two were performing at any one time, would that be = >OK?=20 > >A: Not according to London borough councils. They argue that only the = >same two performers should be allowed throughout the course of an = >entertainment in on-licensed premises. However, a recent case (London = >Borough of Southwark v Sean Toye, Inner London Crown Court, 9 April = >2001) came down against that strict reading of the 'two-in-a-bar rule'. = >Southwark has subsequently changed its enforcement policy so as to allow = >more than a total of two performers, provided only two perform at any = >one time. Westminster, Islington and Camden, however, have indicated = >that they will not change their 'no more than the same two performers' = >interpretation. This particular issue was only one element of the case, = >the other being the question whether MIDI constitutes 'recorded sound' = >for the purposes of the law. Southwark argued that it does, thereby = >requiring a PEL if a live singer performs along with it (no combination = >of live and 'recorded sound' being allowed under s 182.1 of the = >Licensing Act 1964 - without a PEL). Southwark won that argument, and Mr = >Toye has appealed. The appeal will now go to the Divisional Court as a = >'case stated' - no date has yet been fixed. This appeal may also lead to = >a review of Inner London Crown Court's decision about 'no more than two = >performers in total'. Interestingly, Mr Toye's defence is funded by the = >manufacturer of the karaoke equipment that uses MIDI technology.=20 > > >Q: Does a pub need a PEL for any form of recorded sound or satellite = >television?=20 > >A: No - provided no live musicians play at the same time.=20 > > >Q: What the rationale for PELs?=20 > >A: To ensure public safety, minimise public disturbance and the = >potential for crime and disorder - reasonable enough, on the face of it. = >Regulation is certainly necessary for events that might become = >dangerously overcrowded, noisy or boisterous. But for premises that = >already count as 'workplaces', like bars, restaurants and hotels, PELs = >duplicate existing public safety provision under separate legislation. = >In Scotland, for example, where exactly the same health and safety = >legislation applies to workplaces as in England, no PEL is required for = >live music in pubs during permitted hours. Across the UK external noise = >is also separately regulated, whether it emanates from a neighbour's = >hi-fi, a pub or a factory [Environmental Protection Act 1990, Noise and = >Statutory Nuisance Act 1993, Noise Act 1996, Town and Country Planning = >Acts can impose noise conditions on premises]. Public order outside = >premises is the responsibility of the police, and, under the Criminal = >Justice and Police Act 2001, new provisions will enable the police or a = >local authority to apply for a court order to close licensed premises in = >the interests of public safety and to prevent disturbance arising from = >excessive noise.=20 > > >Q: What is the Government doing to reform PELs?=20 > >A: It has proposed radical reform of both liquor and public = >entertainment licensing, and accepts that there is duplication of = >existing legislative provision for public safety etc. A White Paper = >(Time for Reform: Proposals for the Modernisation of our Licensing Laws) = >was published in April 2000. It proposed to end public entertainment = >licensing as a separate licensing regime. All venues which serve or sell = >alcohol or provide any entertainment to the public would be required to = >obtain a 'premises licence'.=20 > >The local council will become the licensing authority, and would decide = >the conditions to be imposed on those activities and on the premises = >itself, including the opening hours. Local residents and interest = >groups, such as musicians/promoters, will - in theory - also have a say. = >Recent comments from the DCMS suggest that local authorities 'would be = >obliged to consider favourably' plans for entertainment activities. = >Conditions imposed would be based solely on 'disorder, safety or = >nuisance factors'. Future licence fees will be centrally set in banded = >levels, but there will still be scope for local variation. There is, = >predictably, much debate about the precise fee levels, and the formulae = >that will be used to calculate them. The White Paper proposed fees that = >would be considerably lower than many currently set by local = >authorities. But the Local Government Association is lobbying vigorously = >to retain the local, discretionary fee structure and for higher fees = >than those proposed in the White Paper. It is worth noting that in = >Scotland, licensees do not have to pay anything above the cost of a = >liquor licence to provide entertainment, whether live or recorded = >(although noise conditions will be imposed on entertainment beyond = >permitted hours).=20 > >Behind the scenes debate will continue until the Government publishes a = >new licensing Bill, at which time a Regulatory Impact Assessment = >concerning licence fees will also be made available to Parliament. The = >entertainment industry's level of concern about inconsistency in local = >authority PEL fees led to the publication last year (at the same time as = >the White Paper) of Home Office Circular 13/2000. This was a formal = >warning to local authorities that overcharging for PELs could be 'ultra = >vires', and a warning not to impose, in its words, 'excessive' = >conditions. It appears, however, that local authorities have taken = >little notice of the Circular. Most London borough councils, for = >example, have since increased their PEL fees in line with inflation. = >Both the licensing White Paper and the Circular are available on the = >DCMS website.=20 > > >Q: When will new licensing legislation be introduced?=20 > >A: A new licensing Bill was promised just before the General Election, = >but it was dropped from the Queen's Speech. The Department for Culture, = >Media and Sport, responsible for licensing since 8 June this year, is = >now saying that legislation will be introduced 'as soon as Parliamentary = >time permits'. In the meantime it has suggested that it may consider = >issuing further guidelines to local authorities=20 > > > >-------------------------------------------------------------------------= >------- > >Click here to see how you too can do your bit > >December 3, 2002 > >This document sums up my personal views and those of all of us at = >Hobgoblin Music on the licensing disaster which is unfolding. I know = >that Hamish Birchall and others have put in a lot of work on everyone's = >behalf on the licensing issue, but most musicians are still not at all = >aware of what is going on. Please circulate this document as widely as = >possible, and feel free to contact me with any helpful ideas. > >The new Licensing Bill has been introduced to parliament on 14th = >November 2002. I believe it is an assault on our civil liberties as it = >clearly restricts participation in the performing arts. If passed as is = >it will be a disaster for musicians, event organisers, music teachers, = >studios and retailers, and bring repression unseen for centuries for our = >whole musical culture in England and Wales. No other country in the = >world restricts the arts in such a way. > >It is essential that maximum effort is put in by everyone affected right = >now to try to get the bill amended as far as possible to deal with the = >main objections listed here. This can be achieved by lobbying of your MP = >- write to them now - by contacting the media in your area, by offering = >your support to the campaigning bodies - the Musicians Union, The Music = >Industries Association - the Arts Council. > >Key Objections: > >1 Making music should not be a licensable activity. Live Music should = >not be licensed at all - it isn't in Scotland, and most other countries. = >Existing and recently enhanced health and safety, fire, and noise = >regulations are in place across the whole of the UK and provide adequate = >protection in themselves. The licensing procedure requires clearance = >from police, fire, health & safety, local authority, and local = >residents, and may come with expensive conditions attached. It will not = >be a simple matter at all. > >2 The scope of locations covered is far too wide. The new Act will make = >music licensable not just in pubs and clubs and places where alcohol is = >sold, but also in private homes and gardens, in churches, fields and all = >other places. This is not a trivial license easily obtained, it is the = >same one as required to sell alcohol in pubs. There can be no = >justification for requiring a license to make music in these secondary = >locations. Tens of thousands of weddings, private parties, village = >fetes, School concerts etc will be banned. > >3 The punishment proposed is way too strong. It should not be a criminal = >offence punishable by 6 months in prison or a =A320,000 fine to play = >music. The penalties are far too strong. This is a clear civil liberties = >issue. The Musicians should not be liable to prosecution themselves if = >hired to play in unlicensed premises (Clause 134 makes them liable) = >(Clause 188 makes any location at all count as premises). Musicians will = >always have to check first whether a license is in place before = >performing, and this may not be easy in practice. > >4 The scope of activities covered is far too wide. A new activity = >"Provision of "Entertainment Facilities" will become licensable = >(schedule >1, paragraph 3). This vague clause will catch Music Shops, Music = >Studios, and Music and Dance teachers as it stands. All of these = >activities will require a license. It will become illegal, and = >punishable by prison to teach music, use a rehearsal room, try out an = >instrument in a music shop, make a recording in a recording studio, = >unless a license is first obtained. > >5 Amplified broadcasts still legal. It cannot be right that amplified = >broadcast events should be legal while singing happy birthday by a = >single person will be illegal. > >6 Folk Traditions under even greater threat. Also the folk traditions of = >this country have been handed down in pubs for centuries, this new "none = >in a bar" law will severely harm a national treasure which was already = >under threat from the existing "two in a bar" law. It cannot be right = >that Scottish traditions can be continued, while English and Welsh ones = >are to be made illegal. > >Specific Issues, and Amendments Needed > >1 Schedule 1, paragraph 1 states that music will be a licensable = >activity if the entertainment meets these two criteria: If it is to any = >extent for the public or for members of a club, and it is also for = >consideration and with a view to profit. Sub-paragraph (6) states that = >raising money for charity counts as being for profit. Sub-paragraph (4) = >states that if any charge is made by any person concerned in the = >organisation or management of the event (this might include a charge by = >the bandleader to the organiser) or if any charge is paid by those = >entertained, then the entertainment will count as being for = >consideration. > >Paragraph 1 will catch any private party or wedding reception where an = >entertainer is paid. It will also catch buskers, school concerts, choral = >society events, school and village fetes, and many other currently legal = >events. It will not be possible or practicable for the organiser of such = >a one off event to obtain a full entertainment and drinks license, nor = >will they know how to go about it even if it is made relatively easy. = >The events will all have to be cancelled. Dr Howells (the culture = >minister) has stated that the bill intends to make all music licensable = >where the artist is paid to perform. Subparagraph (4) seems to be the = >key issue here, if it were amended to specifically not include payment = >to performers at an otherwise unlicensable event, things would be much = >better. > >2 Schedule 1 paragraph 3 which refers to "Entertainment Facilities" is = >completely unacceptable. It includes the whole infrastructure of music = >making in this country. This whole concept needs removing from the bill. > >Examples > >As an example, if you put up a marquee in your garden for your = >daughter's wedding, and hire a band to play, you will be a criminal if = >you don't have a licence. The band leader will be a criminal too. Both = >of you may go to jail, and gain a criminal record. Other soon to be = >illegal activities: Busking, Music Teaching, Selling musical = >instruments, Rehearsing, Hospital concerts, Fundraiser in the village = >hall, and much more. > >The current laws are enforced very zealously by many authorities at = >present. A landlord has recently been fined a considerable amount for = >allowing four customers to sing Happy Birthday. Many other pub based = >folk clubs and sessions have been shut down. We must expect this over = >zealous interpretation to be applied to any new law, so it is very = >important that no ambiguity is there for the local authorities to = >exploit. > >Pete McClelland (Hobgoblin Music) > > > > >--- >Outgoing mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.435 / Virus Database: 244 - Release Date: 30/12/2002 >-- > > > ================================================================================ Archive-Date: Tue, 07 Jan 2003 13:00:50 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 07 Jan 2003 15:59:48 -0500 From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Subject: A Playford Party - Montague Massachusetts, USA on Feb. 8, 2003 To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT My annual "Playford Party" in Western Massachusetts is being held this year on Saturday, February 8 in the Montague Grange Hall. There is no overlap in repertoire at the two sessions so one may attend either or both. The band is "Mad Robin" Lila Feingold, Harpsichord (mandolin, guitar) Vandy Kaynor, Violin Cammy Kaynor, Violin and recorders As you can see from the list below, most of the dances are 17th century, a few are 18th and a very few are original compositions in the Playford style. As with all my dances, I welcome newcomers and sit-ins at any time. More details will be posted on my website soon or you may Email me off-list. Cammy Date: Saturday February 8, 2003 Event: 17th Century Playford Party Time: 2 sessions - Informal dance from 3-6PM (Potluck supper) Formal party 8-11PM (dress-up encouraged) Caller: Cammy Kaynor, http://home.earthlink.net/~manystrings/ Band: Mad Robin Location: Montague Grange, 34 Main St., Montague MA, http://www.montaguema.net/grange/ Donations: Suggested $10/session, $15 for both Repertoire from which the dances for the Playford Party, 2003 will most likely be selected Alchurch 1690 Blew Britches 1652 Buckingham House 1710 Chelmsford Assembly 1750 Childgrove 1701 Daphne 1651 Dargason 1651 Dublin Bay 1710 Epping Forrest 1670 Fair Quaker of Deal 1718 Fandango Female Saylor 1706 Fine Companion 1651 Greensleeves & Yellow Lace 1721 Grimstock 1651Halfe Hannikin 1651 Hambleton's Round O 1713 HandelbarsHeart's-ease 1651 Hole in the Wall 1695 Hunsdon House 1657 Indian Queen 1701 Jack's Health 1721 John Tallis' Cannon Joy of Dance Juice of Barley 1681 Kill Him with Kindness 1710 London Broil Mad Robin 1695 Millison's Jig 1651 Mr. Isaac's Maggot 1695 Mr. Lane's Maggot 1695 Mulberry Garden 1670 New New Nothing 1651 Newcastle 1651 Nonesuch 1651 Old Noll's Jig 1701 Parson's Farewell 1651 Parthenia 1932 Picking up Sticks 1651 Prince William 1713 Rufty Tufty 1651 Sellenger's Round 1657 Scotch Cap 1651 Shrewsbury Lasses 1765 Siege of Limmerick 1695 Slaughter House 1703 St. Margaretís Hill 1710 Step Stately 1651 Trip to Paris 1711 Upon a Summer's Day 1651 Valiant Captain 1651 Well Hall 1679 ================================================================================ Archive-Date: Tue, 07 Jan 2003 13:27:28 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 07 Jan 2003 16:27:20 -0500 From: Lou Vosteen Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Lancaster Reel To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=US-ASCII Content-Transfer-Encoding: 7BIT I have in my collection of dances a Circle Mixer called "Lancaster Reel." Unfortunately, I did not note a reference of source or author. Can anyone help me? Formation: Double circle, one partner on inner circle facing out, other in outer circle facing in. The figures are: L shldr back-to back with partner L-hand turn person on L diagonal R shldr B-t-B with partner R-hand turn person on R diagonal and keep as new partner Balance fwd & back Swing to end of phrase Promenade, open to face partner Lou ================================================================================ Archive-Date: Tue, 07 Jan 2003 16:51:42 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 07 Jan 2003 20:45:13 -0400 From: John Wood Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Lancaster Reel [2] To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <001401c2b6af$34d1ec60$8492e018-AT-johnwood> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Hi, Lou: You are probably referring to my dance which is correctly entitled "Lancashire Reel." It was devised a long time ago -- I'm not sure of an exact date, but early '70's. The figures that you cite are incorrect. See below: R shldr back-to back with partner R-hand turn person on R diagonal L shldr back-to-back with partner L-hand turn person on L diagonal and keep as new partner Balance [rigadoon] and swing to end of phrase Promenade, open to face partner It is danced to Irish jig tunes played by Larry McKee. 6 x 32 I am pleased to know that it is being used outside of my bailiwick! Regards, John Bedford, Nova Scotia [ex England and Cecil Sharp House] Subject: Lancaster Reel > I have in my collection of dances a Circle Mixer called "Lancaster Reel." > > Formation: Double circle, one partner on inner circle facing out, other > in outer circle facing in. > > The figures are: > > L shldr back-to back with partner > L-hand turn person on L diagonal > R shldr B-t-B with partner > R-hand turn person on R diagonal and keep as new partner > Balance fwd & back > Swing to end of phrase > Promenade, open to face partner ================================================================================ Archive-Date: Wed, 08 Jan 2003 03:05:45 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 08 Jan 2003 12:01:01 +0100 From: Antony Heywood Subject: RE: Lancashire Reel To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT John Wood wrote > You are probably referring to my dance > which is correctly entitled "Lancashire Reel." > It was devised a long time ago -- I'm not sure > of an exact date, but early '70's. > > I am pleased to know that it is being used outside > of my bailiwick! > You may like to know that it was recorded by the Hoghton Band on an LP in the 1980s On the sleeve they also got the dance description wrong, putting a LH turn diagonally left after the first back to back and right after the second. They did not attribute the dance on the record sleeve. On the same record they recorded "Pat's Tradition" by Cor Hogendijk (also without attribution) and not only did they get the dance description wrong (again) but they used reels where Cor Hogendijk specifically wanted jigs. Not bad on the mistake front! That was one of the reasons for recording Pat's Tradition (twice) on the NVS CD "Dutch Crossing" issued in the early 90s. It is important to set matters straight. Thanks John for putting us right on your dance. It's a nice one and I shall now use the correct version. Antony Heywood The Netherlands ================================================================================ Archive-Date: Wed, 08 Jan 2003 12:22:12 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 08 Jan 2003 20:14:42 +0000 From: Barry McNamara Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Lancaster Reel [2] To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <007601c2b753$9c05f580$bbb7fea9-AT-freeserve.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <001401c2b6af$34d1ec60$8492e018-AT-johnwood> Thanks John for filling in a blank spot in my records, it's always satisfying to learn who the composers are and which tune they intended for the dance. Quite a number of "little gems" such as this have come via the list. Barry McNamara ================================================================================ Archive-Date: Sat, 11 Jan 2003 13:03:47 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 16:03:32 -0500 (EST) From: LindaSuzan-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Dances appropriate for children To: ecd-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <27.3636d616.2b51e0a4-AT-aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_m3ka7tSWz949oqZEGzKU5A)" --Boundary_(ID_m3ka7tSWz949oqZEGzKU5A) Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT I have been asked to lead a series of dance programs over the next four weeks for a youth group in a local church. They are studying the time of Wesley, which I think would be early 1700's and are interested in dancing some of the dances that he would have done...they will be mostly fifth and sixth grade level but if the series is a success, I may recruit some parents or continue the series for older/younger groups. I have a few dances that I feel they could tackle to start with, but will be continuing three more weeks - any ideas, suggestions including historical reference would be appreciated. Thanks in advance! Linda Lewis Lieberman Ames, Iowa --Boundary_(ID_m3ka7tSWz949oqZEGzKU5A) Content-type: text/html; charset=US-ASCII Content-transfer-encoding: 7BIT I have been asked to lead a series of dance programs over the next four weeks for a youth group in a local church.  They are studying the time of Wesley, which I think would be  early 1700's and are interested in dancing some of the dances that he would have done...they will be mostly fifth and sixth grade level but if the series is a success, I may recruit some parents or continue the series for older/younger groups.  I have a few dances that I feel they could tackle to start with, but will be continuing three more weeks - any ideas, suggestions including historical reference would be appreciated.

Thanks in advance!

Linda Lewis Lieberman
Ames, Iowa --Boundary_(ID_m3ka7tSWz949oqZEGzKU5A)-- ================================================================================ Archive-Date: Sat, 11 Jan 2003 14:03:52 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 14:03:38 -0800 From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Dances appropriate for children To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.2.0.9.0.20030111135008.00b88350-AT-popserver.panix.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_miDgQH+sHTdd067x0gRNSQ)" --Boundary_(ID_miDgQH+sHTdd067x0gRNSQ) Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT At 04:03 PM 1/11/2003 -0500, you wrote: >I have been asked to lead a series of dance programs over the next four >weeks for a youth group in a local church. They are studying the time of >Wesley, which I think would be early 1700's and are interested in dancing >some of the dances that he would have done...they will be mostly fifth and >sixth grade level but if the series is a success, I may recruit some >parents or continue the series for older/younger groups. I have a few >dances that I feel they could tackle to start with, but will be continuing >three more weeks - any ideas, suggestions including historical reference >would be appreciated. The CDSS booklet Family & Community Dances [available from sales-AT-cdss.org] has a fine list of sources. The most historically-oriented of them is probably Chip Hendrickson's Colonial Social Dancing for Children. Good luck! Sharon Green --Boundary_(ID_miDgQH+sHTdd067x0gRNSQ) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT At 04:03 PM 1/11/2003 -0500, you wrote:
I have been asked to lead a series of dance programs over the next four weeks for a youth group in a local church.  They are studying the time of Wesley, which I think would be  early 1700's and are interested in dancing some of the dances that he would have done...they will be mostly fifth and sixth grade level but if the series is a success, I may recruit some parents or continue the series for older/younger groups.  I have a few dances that I feel they could tackle to start with, but will be continuing three more weeks - any ideas, suggestions including historical reference would be appreciated.

The CDSS booklet Family & Community Dances [available from sales-AT-cdss.org] has a fine list of sources.  The most historically-oriented of them is probably Chip Hendrickson's Colonial Social Dancing for Children.
Good luck!
Sharon Green
 --Boundary_(ID_miDgQH+sHTdd067x0gRNSQ)-- ================================================================================ Archive-Date: Sat, 11 Jan 2003 16:14:05 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 19:05:39 -0500 From: franch-AT-juno.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Attracting Musicians To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <20030111.190719.-411775.2.franch-AT-juno.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_BqhQ0Ppu4nuRw8KfUK3YWQ)" This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --Boundary_(ID_BqhQ0Ppu4nuRw8KfUK3YWQ) Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT On Dec 16th Torbin Zimmerman initiated a thread on attracting new musicians to ECD. After some discussion, Carl Friedman cited The Geud Band of Baltimore as a successful open band (thanks, Carl). As the founder and leader of that band, I'd like to encourage others to establish rehearsed open bands. It has worked so well in Baltimore that I believe it could work in other settings. Here are the steps we took: 1. Provide an opportunity and keep letting people know you are there. I put a notice soliciting open band members in the Baltimore Folk Music Society (BFMS) newsletter. About 8 or 9 people responded and came to early practices. I continue to list the practices in the BFMS newsletter as open prctices. We continue to get inquiries and new members. 2. Work on the community's repertoire. Our goal was to be able to play for some of the BFMS English dances. I asked our English Dance Chair, Mary Kay Friday, for her computerized list of how many times each dance had been done in each of the last five years. We proceeded to learn the BFMS English dance repertoire, starting with the ones most frequently danced, and gradually adding the more difficult ones and some of those danced less frequently. 3. Practice, practice, practice--and seek help from experienced dance musicians. We practiced once a month for nearly a year before I asked the dance chair to hire us for a dance. We also hired two good English dance musicians with teaching skills (Liz Donaldson and Marty Taylor) to work with us (at different times) and to lead us when we played our first few gigs. At first, we only asked to play for 1 or 2 dances a year, but now are playing for 4 or 5 a year. 4. Work with the callers. We asked to be scheduled with callers who would be willing to call only dances on our tune list, or let us know a month ahead of time if they wanted to call something else, because we needed that time to learn a new tune. We started with a list of 20 or so, now we have a list of about 45 tunes, and we're still adding tunes. 5. Someone has to provide leadership. I had been dancing English and contra for 20 plus years, and playing clarinet for contras and English for about 9 years, when I decided that BFMS needed a rehearsed open band for English. I initially saw myself as simply the convener and scheduler of the group. My hope was that the band would function collegially with group leadership but it soon became clear that we needed a leader. We still function collegially, but I emerged as the band leader. The beauty of this model is in the combination of "open" and "rehearsed." "Open" means that anyone can come to a practice, because it is a practice session, not a dance. We don't need to worry if they play a lot of bad notes or completely miss the nuances of English dance music. But "rehearsed" means that they learn what they need to learn before we put them in front of dancers. Most musicians who have come do want to work at becoming better at playing this music. Most of those who joined the band had not played English dance music before, but they all bought a copy of Barnes and have learned to play this style. A couple of them have moved over to the list of "regular" musicians. We have a solid core membership of about 10 people who come to almost all practices, and play when we play for a dance, and 2 or 3 more who come to practices when they can but don't consider themselves ready to play for a dance yet. I recommend this approach to anyone trying to expand the number of English dance musicians available to play for their local dances. Eileen Franch Baltimore Md. USA --Boundary_(ID_BqhQ0Ppu4nuRw8KfUK3YWQ) Content-type: text/html; charset=us-ascii Content-transfer-encoding: 7BIT
On Dec 16th Torbin Zimmerman initiated a thread on attracting new musicians to ECD.  After some discussion, Carl Friedman cited The Geud Band of Baltimore as a successful open band (thanks, Carl).   As the founder and leader of that band, I'd like to encourage others to establish rehearsed open bands.  It has worked so well in Baltimore that I believe it could work in other settings.
 
 Here are the steps we took:
 
1.  Provide an opportunity and keep letting people know you are there.  I put a notice soliciting open band members in the Baltimore Folk Music Society (BFMS) newsletter.  About 8 or 9 people responded and came to early practices.  I continue to list the practices in the BFMS newsletter as open prctices.  We continue to get inquiries and new members.
 
2.  Work on the community's repertoire.  Our goal was to be able to play for some of the BFMS English dances.  I asked our English Dance Chair, Mary Kay Friday, for her computerized list of  how many times each dance had been done in each of the last five years.  We proceeded to learn the BFMS English dance repertoire, starting with the ones most frequently danced, and gradually adding the more difficult ones and some of those danced less frequently.  

3.  Practice, practice, practice--and seek help from experienced dance musicians.  We practiced once a month for nearly a year before I asked the dance chair to hire us for a dance.  We also hired two good English dance musicians with teaching skills (Liz Donaldson and Marty Taylor) to work with us (at different times) and to lead us when we played our first few gigs.   At first, we only asked to play for 1 or 2 dances a year, but now are playing for 4 or 5 a year.
 
4.  Work with the callers.  We asked to be scheduled with callers who would be willing to call only dances on our tune list, or let us know a month ahead of time if they wanted to call something else, because we needed that time to learn a new tune.    We started with a list of 20 or so, now we have a list of about 45 tunes, and we're still adding tunes.
 
5.  Someone has to provide leadership.  I had been dancing English and contra for 20 plus years, and playing clarinet for contras and English for about 9 years, when I decided that BFMS needed a rehearsed open band for English.  I initially saw myself as simply the convener and scheduler of the group.  My hope was that the band would function collegially with group leadership but it soon became clear that we needed a leader.  We still function collegially, but I emerged as the band leader.
 
The beauty of this model is in the combination of "open" and "rehearsed."   "Open" means that anyone can come to a practice, because it is a practice session, not a dance. We don't need to worry if they play a lot of bad notes or completely miss the nuances of English dance music.  But "rehearsed" means that they learn what they need to learn before we put them in front of dancers. 
 
Most musicians who have come do want to work at becoming better at playing this music.  Most of those who joined the band had not played English dance music before, but they all bought a copy of Barnes and have learned to play this style.  A couple of them have moved  over to the list of "regular" musicians.  We have a solid core membership of about 10 people who come to almost all practices, and play when we play for a dance, and 2 or 3 more who come to practices when they can but don't consider themselves ready to play for a dance yet. 
 
I recommend this approach to anyone trying to expand the number of English dance musicians available to play for their local dances. 
 
Eileen Franch
Baltimore Md. USA
 
--Boundary_(ID_BqhQ0Ppu4nuRw8KfUK3YWQ)-- ================================================================================ Archive-Date: Sat, 11 Jan 2003 16:42:38 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 15:19:15 -0500 From: Allison M Thompson Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy Allemande To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030111.194353.-1912719.14.AllisonThompson-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT I've come across a figure called a gypsy allemande in a dance by a modern British choreographer. His notes claim that it is American in origin. It is described thus: "Holding raised right hands, the woman moves straight forward and falls straight back, while her partner gypsies right shoulder around her." This figure doesn't ring a bell with me from the ECD repertoire. Could western square dancers have cottoned on to the gypsy and added this embellishment, which then wended its way across the sea? I checked a couple of Fried's books, but did not find this figure under that name. Any ideas? Allison Thompson ================================================================================ Archive-Date: Sat, 11 Jan 2003 17:03:16 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 17:03:02 -0800 From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy Allemande To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.2.0.9.0.20030111165546.00b21550-AT-popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT At 03:19 PM 1/11/2003 -0500, you wrote: >I've come across a figure called a gypsy allemande in a dance by a modern >British choreographer. His notes claim that it is American in origin. It >is described thus: > >"Holding raised right hands, the woman moves straight forward and falls >straight back, while her partner gypsies right shoulder around her." > >This figure doesn't ring a bell with me from the ECD repertoire. Could >western square dancers have cottoned on to the gypsy and added this >embellishment, which then wended its way across the sea? I checked a >couple of Fried's books, but did not find this figure under that name. >Any ideas? See The Mavis Sweetly Sings ================================================================================ Archive-Date: Sat, 11 Jan 2003 17:15:15 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 17:15:02 -0800 From: David Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Dances appropriate for children To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <005e01c2b9d8$08cf8f10$52e6c9d0-AT-David> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_V5bMmHZpHmSe6JRlxwNprA)" References: <27.3636d616.2b51e0a4-AT-aol.com> This is a multi-part message in MIME format. --Boundary_(ID_V5bMmHZpHmSe6JRlxwNprA) Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Interesting question. Foxe's biography of Wesley describes him as "a gay and manly youth, fond of games and particularly of dancing." But this was in his youth: his subsequent sermons condemn dancing, and members of the Methodist movement / church were charged with participating in such wicked activities as dancing. And so there's an entertaining paradox about this question in the context of a local church -- presumably Methodist. David Green ----- Original Message ----- From: LindaSuzan-AT-aol.com To: ecd-AT-ssrl04.SLAC.STANFORD.EDU Sent: Saturday, January 11, 2003 1:03 PM Subject: Dances appropriate for children I have been asked to lead a series of dance programs over the next four weeks for a youth group in a local church. They are studying the time of Wesley, which I think would be early 1700's and are interested in dancing some of the dances that he would have done...they will be mostly fifth and sixth grade level but if the series is a success, I may recruit some parents or continue the series for older/younger groups. I have a few dances that I feel they could tackle to start with, but will be continuing three more weeks - any ideas, suggestions including historical reference would be appreciated. Thanks in advance! Linda Lewis Lieberman Ames, Iowa --Boundary_(ID_V5bMmHZpHmSe6JRlxwNprA) Content-type: text/html; charset=iso-8859-1 Content-transfer-encoding: 7BIT
Interesting question.  Foxe's biography of Wesley describes him as "a gay and manly youth, fond of games and particularly of dancing."  But this was in his youth: his subsequent sermons condemn dancing, and members of the Methodist movement / church were charged with participating in such wicked activities as dancing.  And so there's an entertaining paradox about this question in the context of a local church -- presumably Methodist.
David Green
----- Original Message -----
Sent: Saturday, January 11, 2003 1:03 PM
Subject: Dances appropriate for children

I have been asked to lead a series of dance programs over the next four weeks for a youth group in a local church.  They are studying the time of Wesley, which I think would be  early 1700's and are interested in dancing some of the dances that he would have done...they will be mostly fifth and sixth grade level but if the series is a success, I may recruit some parents or continue the series for older/younger groups.  I have a few dances that I feel they could tackle to start with, but will be continuing three more weeks - any ideas, suggestions including historical reference would be appreciated.

Thanks in advance!

Linda Lewis Lieberman
Ames, Iowa
--Boundary_(ID_V5bMmHZpHmSe6JRlxwNprA)-- ================================================================================ Archive-Date: Sat, 11 Jan 2003 17:27:42 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 17:27:30 -0800 From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy Allemande To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.2.0.9.0.20030111172353.00b30308-AT-popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT At 03:19 PM 1/11/2003 -0500, you wrote: >I've come across a figure called a gypsy allemande in a dance by a modern >British choreographer. His notes claim that it is American in origin. It >is described thus: > >"Holding raised right hands, the woman moves straight forward and falls >straight back, while her partner gypsies right shoulder around her." Sorry for the incomplete posting--I misclicked. The figure appears in Fried's Y2K, but she says it's not her invention and believes it has an English source, possibly a dance called Irish Mary. See also The Mavis Sweetly Sings for an interesting variant. Much love [from Fried, too], Sharon Green ================================================================================ Archive-Date: Sat, 11 Jan 2003 21:36:10 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 05:35:58 +0000 From: Orly Krasner Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy Allemande To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU BCC: Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT I once had a similar conversation with Wendy Knight about this figure. As I recall, it's generally (previously?) been called an "overhead allemande" in the UK. Perhaps Wendy or Graham can give some specific dances that use it on that side of the pond? --Orly Krasner _________________________________________________________________ Help STOP SPAM: Try the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ================================================================================ Archive-Date: Sat, 11 Jan 2003 21:44:02 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 11 Jan 2003 21:42:08 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: HTML in postings To: ecd-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <01KR4GQMI5ZMEGW7P8-AT-SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT ECDers -- Please take care to post in plain-text only. Several recent postings have had HTML components, which yields gibberish to DIGEST readers. (Not as many pages of gibberish as binary attachments, but still gibberish.) It is even possible to post plain text with Outlook and Outlook Express, or so I am reliably informed. -- Alan =============================================================================== Alan Winston --- WINSTON-AT-SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Sat, 11 Jan 2003 23:48:11 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 01:47:09 -0600 From: John Shewmaker Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Dances appropriate for children To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT I think the comment about Wesley having danced in his youth quite interesting. Your students should be apprized both of his early attitude and of his later sermons. Wesley is an interesting figure, even if one is not a Methodist. (I'm a Presbyterian.) He was not a big hit in Georgia, when he stayed there. On the other hand, he invented the Sunday school, originally as an Adult Literacy program, teaching poor countrymen well off the beaten track to read their Bibles and Shakespeare - because they ought to be able to. This was basically revolutionary activity, although not punishable, much akin in its ultimate effect to the teaching of slaves and later freed Blacks to read. The Civil Rights movement in the Sixties had to teach poor Blacks to read so that they could pass the literacy tests that the Southern States had erected as one barrier to voting. Wesley may have been a bit of a curmudgeon, but he was a damn fine curmudgeon. He helped build the modern world, although I doubt if he would like the over-all results very much. What you are about is much needed. Our pastor here is about to start a series of Sunday school meetings on what we need to do to save the mainline Protestant churches from extinction. Dance? One does not have to believe in God to consider how the disappearence of these instuitutions would affect the general culture. It would not be a good thing, if for no other reason than the Churches are the only civic organization we have that can stand against a government gone awry. (The government is always in danger of going awry, not just now.) Yours, John Shewmaker Columbia, MO ================================================================================ Archive-Date: Sun, 12 Jan 2003 00:57:45 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 08:57:19 +0000 From: Alan Corkett Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Dances appropriate ... To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <003801c2ba18$9ddec900$910086d9-AT-default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT Hi John If any readers have looked at the new Public Entertainment Licence Bill and considered its effects, then some will realise the future of DANCE and English culture as we know it in UK is very much at risk. In essence all entertainment, including dances and music has to be planned (£1,000 for a licence!), or it is illegal, becomes a criminal offence with a max fine of £20,000. PLEASE GO TO THIS LINK FOR MORE INFO http://www.musiciansunion.org.uk/welcome.shtml The expanded Q&A about public entertainment licences by Hamish Birchall Click here to see how you too can do your bit. Reproduced from http://www.freenetpages.co.uk/hp/trg/SCoFF/quarev.htm Q: Who needs a public entertainment licence (PEL)? A: Anyone organising any public performance of live music virtually anywhere. Without first obtaining a PEL from their local authority they could face a criminal prosecution. Venues affected could include village halls, schools, hospitals, libraries, churches and so on. Regards Alan Corkett. ================================================================================ Archive-Date: Sun, 12 Jan 2003 04:16:29 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 12:16:18 +0000 From: francis2 Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy Allemande To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000901c2ba34$6a859400$9d473c3e-AT-oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <20030111.194353.-1912719.14.AllisonThompson-AT-juno.com> You are talking about a 'Bernard Bently Allemande' devised by the man who edited the Fallibroome collection. What is the dance and who wrote it?? Francis Carter ----- Original Message ----- From: "Allison M Thompson" To: Cc: Sent: Saturday, January 11, 2003 8:19 PM Subject: Re: Gypsy Allemande > > I've come across a figure called a gypsy allemande in a dance by a modern > British choreographer. His notes claim that it is American in origin. It > is described thus: > > "Holding raised right hands, the woman moves straight forward and falls > straight back, while her partner gypsies right shoulder around her." > > This figure doesn't ring a bell with me from the ECD repertoire. Could > western square dancers have cottoned on to the gypsy and added this > embellishment, which then wended its way across the sea? I checked a > couple of Fried's books, but did not find this figure under that name. > Any ideas? > > Allison Thompson > > > > ================================================================================ Archive-Date: Sun, 12 Jan 2003 05:31:47 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 07:31:22 -0600 From: Bob Borcherding Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Dances appropriate ... To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT References: <003801c2ba18$9ddec900$910086d9-AT-default> >Hi John >If any readers have looked at the new Public Entertainment Licence Bill and >considered its effects, then some will realise the future of DANCE and >English culture as we know it in UK is very much at risk. > >In essence all entertainment, including dances and music has to be planned >(£1,000 for a licence!), or it is illegal, becomes a criminal offence with a >max fine of £20,000. I suggest that the best manner to attack this foolish legislature is to start a boycott of England as a tourism stop (sorry to those across the pond)... Since much of what we find adorable about England is it's folk music, i see no reason to travel as a tourist to a country that is without that music. Bob Borcherding ================================================================================ Archive-Date: Sun, 12 Jan 2003 06:41:13 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 09:38:08 -0500 From: Allison M Thompson Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy Allemande To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030112.094318.-1670283.2.AllisonThompson-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Sharon wrote: the figure appears in Fried's Y2K, but she says it's not her invention and believes it has an English source, possibly a dance called Irish Mary. See also The Mavis Sweetly Sings for an interesting variant. and Francis wrote: You are talking about a 'Bernard Bently Allemande' devised by the man who edited the Fallibroome collection. What is the dance and who wrote it?? The dance I'm looking at is indeed Irish Mary by Ken Alexander. And a closer look at Ken's accompanying letter to me clarifies that he meant that the term should be "known" to American dancers, not that it was devised here. So it sounds as if Francis' identification of the gypsy allemande with the BB allemande is correct. So, now, Francis, what dances did BB write that included this figure? I had thought he only did the reconstruction of the Fallibroome dances. Or is this his reconstruction of an older term? Thanks! Allison Thompson ================================================================================ Archive-Date: Sun, 12 Jan 2003 08:21:14 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 11:09:45 -0500 From: Gene Murrow Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy Allemande To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030112.111004.-370937.4.gmurrow-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT In his "From Two Barns" series, volume 5 (published 1988) , Ken Sheffield gives a dance from Thompson titled "East Indian" in which he interprets the R and L allemandes as you describe. I've called this dance with great success on many occasions, and people really do enjoy this variant of the allemandes (for which there are dozens of variants it seems). Ken Alexander (husband of Naomi Alexander of "Christina" fame) has a dance "Irish Mary" which uses such a figure. The Kens Sheffield and Alexander know each other, so perhaps they could completely clarify the matter. Gene ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination ================================================================================ Archive-Date: Sun, 12 Jan 2003 10:50:14 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 09:30:16 +0000 From: Colin Hume Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Val McFarlane To: ECD Mailing List Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Val McFarlane was in a serious car accident on 23rd December, and was taken to Wycombe Hospital with broken ribs and clavicle, a cracked sternum, and also some internal complications. The good news is that she is now recovering at home and the internal complications have been sorted out; it's just a matter of time for the broken bones to knit together. Her physiotherapist says that she should be able to dance in time for Andrew Shaw's Halsway Manor weekend in early February. I won't be issuing any further bulletins. Colin Hume Email colin-AT-colinhume.com Web site http://www.colinhume.com ================================================================================ Archive-Date: Sun, 12 Jan 2003 11:37:19 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 14:37:00 -0500 (EST) From: SFORDNYC-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Fw: no music To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dear Friends in the UK: This music licensing bill seems unbelievable -- though evidently true. And it's not about copyright. It appears to be a special tax on a particular activity. Hardly fair. From this information, it appears that almost any form of music performance is subject to this new license. And the selectivity with respect to religious institutions on "crown" land -- whew! How can you tax people for doing something in their homes? Will there be some sort of music police? (Well, everyone over here has been deputized to be the terrorist police so anything is possible.) What about poetry readings or community theatricals? Or reading out loud? Is that next? On the other hand, looking at art in a museum or gallery is silent and therefore unlicensable? Seems incredibly discriminatory. When this first came up, it seemed so astonishing, I did a search to see if anything had appeared in UK media. I couldn't find anything -- though it was hardly comprehensive. But I monitor news about arts and culture aound the world and nothing has been mentioned about this impending legislation that is so far reaching and potentially disastrous. Not just for musicians and dancers -- thought that's certainly of primary concern here. But what about sale of musical instruments, sheet music (my particular concern these days), presenters and venues who rely bookings, music and dance teachers. This could have quite a ripple effect. Someone hasn't thought this through. I currently work for a UK-based company -- involved in music. No one has a said a word about this. I intend to ask. It's going to take more than individuals, no matter how motivated, to deal with this. In the meantime, good luck. Suzanne ================================================================================ Archive-Date: Sun, 12 Jan 2003 20:14:37 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 04:14:06 +0000 (GMT) From: Ellie Hansen - Bob Erenburg Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re:Re: Fw: no music To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: Message-ID: <20030112.231412.22565.880446-AT-webmail4.nyc.untd.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 8BIT ---------- SFORDNYC-AT-aol.com writes: Dear Friends in the UK: This music licensing bill seems unbelievable -- though evidently true. ----------------------------------- For those of us in the US who can't quite get their minds around the issue, I did a quick search on The Guardian website and turned up some letters to the editor. (You may have to copy and paste these sites into your browser window.) http://www.guardian.co.uk/letters/story/0,3604,863997,00.html In particular, note the last letter, which reads: Last week Andrew McIntosh, a government whip in the Lords, confirmed that carol singing in public places will remain a criminal offence unless licensed: maximum penalty, a £20,000 fine and six months in prison. It is already a criminal offence to encourage community-style singing in over 100,000 licensed premises in England and Wales. But the bill requires the licensing of any public performance of live music and defines "premises" as "any place" (clause 188). That means your front room, garden, any street, park, field etc. Also, see: http://www.guardian.co.uk/letters/story/0,3604,859852,00.html For those who wish to read the bill itself, go to the Parliament website where you can read/download it. In PDF format, it's 182 pages. http://www.publications.parliament.uk/pa/ld200203/ldbills/001/2003001.htm Bob ________________________________________________________________ Sign Up for Juno Platinum Internet Access Today Only $9.95 per month! Visit www.juno.com ================================================================================ Archive-Date: Sun, 12 Jan 2003 22:25:50 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 00:27:05 -0600 From: Paul Stamler Subject: Re: HTML in postings To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <005301c2bacc$cb2b4320$0c6b550c-AT-paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <01KR4GQMI5ZMEGW7P8-AT-SSRL.SLAC.STANFORD.EDU> <> And for those of us who can read HTML, some of the texts were microscopic, and hence unreadable to those of us with aging eyes. <> Not just possible, but easy. In Outlook Express, go to the Inbox, then click on Tools, then Options, then click the Send tab. Where it says "Mail Sending Format" the default is to have HTML selected. Click on Plain Text instead, then OK yourself back to the main screen. Done. I suspect Outlook is about the same. Peace, Paul ================================================================================ Archive-Date: Mon, 13 Jan 2003 00:38:10 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 08:37:48 +0000 From: Alan Corkett Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: no music To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000d01c2badf$0e3dce00$633f86d9-AT-default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT Hi List The Bill (The Public Entertainment Licence Bill) refers to all "unplanned entertainment" as being a criminal office - This means that a planning application to the local planning authority for a licence (£1000) is required. Did you read of the Landlord in London who was fined for allowing customers to sing "Happy Birthday..!" spontaneously. ------------------------------------------------ For those of us in the US who can't quite get their minds around the issue, I did a quick search on The Guardian website and turned up some letters to the editor. (You may have to copy and paste these sites into your browser window.) http://www.guardian.co.uk/letters/story/0,3604,863997,00.html In particular, note the last letter, which reads: "Last week Andrew McIntosh, a government whip in the Lords, confirmed that carol singing in public places will remain a criminal offence unless licensed: maximum penalty, a £20,000 fine and six months in prison. It is already a criminal offence to encourage community-style singing in over 100,000 licensed premises in England and Wales. But the bill requires the licensing of any public performance of live music and defines "premises" as "any place" (clause 188). That means your front room, garden, any street, park, field, etc. Also, see: http://www.guardian.co.uk/letters/story/0,3604,859852,00.html For those who wish to read the bill itself, go to the Parliament website where you can read/download it. In PDF format, it's 182 pages. http://www.publications.parliament.uk/pa/ld200203/ldbills/001/2003001.htm The Musicians Union and the Arts Board who have been running a campaign on this since last May, have a good extended Q & A list which helps clarify some of the doubtful areas. PLEASE GO TO THIS LINK FOR MORE INFO http://www.musiciansunion.org.uk/welcome.shtml The expanded Q&A about public entertainment licences.by Hamish Birchall Click here to see how you too can do your bit Reproduced from http://www.freenetpages.co.uk/hp/trg/SCoFF/quarev.htm Q: Who needs a public entertainment licence (PEL)? A: Anyone organising any public performance of live music virtually anywhere. Without first obtaining a PEL from their local authority they could face a criminal prosecution. Venues affected could include village halls, schools, hospitals, libraries and so on. Previously many venues needed a PEL, and there were large categories of exemptions ie private club, but this recent legislation makes is difficult to do anything without the local authority having to issue a piece of paper and the applicant to part with money. The fight goes on... Alan Corkett ================================================================================ Archive-Date: Mon, 13 Jan 2003 05:09:16 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 05:10:14 -0800 From: Norman Bradley Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: HTML in postings To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT For Outlook the only difference is that the tab is titled "Mail Format" rather that "Send". In Outlook you can also set the outgoing mail properties for individual contacts by opening the contact and checking the box that says "Sent using plain text". Norman Bradley > -----Original Message----- > From: owner-ecd-AT-ssrl04.SLAC.STANFORD.EDU > [mailto:owner-ecd-AT-ssrl04.SLAC.STANFORD.EDU]On Behalf Of Paul Stamler > Sent: Sunday, January 12, 2003 10:27 PM > To: ECD-AT-ssrl04.SLAC.STANFORD.EDU > Subject: Re: HTML in postings > > > < recent postings have > had HTML components, which yields gibberish to DIGEST > readers. (Not as many > pages of gibberish as binary attachments, but still gibberish.)>> > > And for those of us who can read HTML, some of the texts were > microscopic, > and hence unreadable to those of us with aging eyes. > > < Outlook Express, > or > so I am reliably informed.>> > > Not just possible, but easy. In Outlook Express, go to the > Inbox, then click > on Tools, then Options, then click the Send tab. Where it > says "Mail Sending > Format" the default is to have HTML selected. Click on Plain > Text instead, > then OK yourself back to the main screen. Done. I suspect > Outlook is about > the same. > > Peace, > Paul > > > ================================================================================ Archive-Date: Mon, 13 Jan 2003 07:13:32 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 10:13:03 -0500 (EST) From: DavBarnert-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: no music To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <142.7b04e6d.2b54317f-AT-aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Bob Erenburg quoted a letter to the Editor from The Guardian that appeared (at least in the digest) to contain the sentence: >Last week Andrew McIntosh, a government whip in the Lords, >confirmed that carol singing in public places will remain a >criminal offence unless licensed: maximum penalty, a 000 fine >and six months in prison. Looking at the web site, one can see that the fine is 20,000 pounds. The pounds sign must have caused itself and the "20," to be dropped. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Mon, 13 Jan 2003 07:20:28 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 10:20:11 -0500 (EST) From: DavBarnert-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: HTML in postings To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19a.ee08e24.2b54332b-AT-aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT >Please take care to post in plain-text only. Several recent >postings have had HTML components, which yields gibberish to >DIGEST readers. (Not as many pages of gibberish as binary >attachments, but still gibberish.) > >... > >It is even possible to post plain text with Outlook and Outlook >Express, or so I am reliably informed. Unfortunately, AOL versions 6.0 and later do not seem to have a way to turn off HTML in outgoing mail. This has been a source of great concern and discussion in other forums, but no word from AOL that they are heeding it. I am currently using 5.0. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Mon, 13 Jan 2003 07:51:07 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 10:50:47 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: HTML in postings To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <19a.ee08e24.2b54332b-AT-aol.com> At 10:20 AM -0500 1/13/03, DavBarnert-AT-aol.com wrote: >Unfortunately, AOL versions 6.0 and later do not seem to have a >way to turn off HTML in outgoing mail. This has been a source of >great concern and discussion in other forums, but no word from AOL >that they are heeding it. I am currently using 5.0. AoHell has so many problems, the most obnoxious of which is that you pay more to be plagued with advertising, that you could easily go somewhere else at a better rate and get massively better service. Nearly all ISPs are portable nowadays, or at least have decent 800 numbers for remote access. In addition, it's not necessary to use AoLMail for your mail management. Just do it all through Netscape or OE! -- Emily L. Ferguson elf-AT-cape.com 508-563-6822 New England landscapes, wooden boats and races, press photography Beetle cats on the web at: http://www.vsu.cape.com/~elf http://www.beetlecat.org/store.html#yrbook ================================================================================ Archive-Date: Mon, 13 Jan 2003 08:33:31 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 16:33:21 +0000 From: francis2 Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: no music To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <001b01c2bb21$7d8b6f00$b3453c3e-AT-oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8BIT References: <000d01c2badf$0e3dce00$633f86d9-AT-default> According to DR Kim Howells, the perpertrator this new bill, current legislation applies to Public performances put on by licenced premises to entertain the public, , It should not prevent ordinary people from singing together, e.g. Happy Birthday, in licensed premises. This 'Would not change under the new system' Presumably then the landlord who was fined for allowing this should ask for his money back. ----- Original Message ----- From: "Alan Corkett" To: Sent: Monday, January 13, 2003 8:37 AM Subject: Re: no music Hi List The Bill (The Public Entertainment Licence Bill) refers to all "unplanned entertainment" as being a criminal office - This means that a planning application to the local planning authority for a licence (£1000) is required. Did you read of the Landlord in London who was fined for allowing customers to sing "Happy Birthday..!" spontaneously. ------------------------------------------------ For those of us in the US who can't quite get their minds around the issue, I did a quick search on The Guardian website and turned up some letters to the editor. (You may have to copy and paste these sites into your browser window.) http://www.guardian.co.uk/letters/story/0,3604,863997,00.html In particular, note the last letter, which reads: "Last week Andrew McIntosh, a government whip in the Lords, confirmed that carol singing in public places will remain a criminal offence unless licensed: maximum penalty, a £20,000 fine and six months in prison. It is already a criminal offence to encourage community-style singing in over 100,000 licensed premises in England and Wales. But the bill requires the licensing of any public performance of live music and defines "premises" as "any place" (clause 188). That means your front room, garden, any street, park, field, etc. Also, see: http://www.guardian.co.uk/letters/story/0,3604,859852,00.html For those who wish to read the bill itself, go to the Parliament website where you can read/download it. In PDF format, it's 182 pages. http://www.publications.parliament.uk/pa/ld200203/ldbills/001/2003001.htm The Musicians Union and the Arts Board who have been running a campaign on this since last May, have a good extended Q & A list which helps clarify some of the doubtful areas. PLEASE GO TO THIS LINK FOR MORE INFO http://www.musiciansunion.org.uk/welcome.shtml The expanded Q&A about public entertainment licences.by Hamish Birchall Click here to see how you too can do your bit Reproduced from http://www.freenetpages.co.uk/hp/trg/SCoFF/quarev.htm Q: Who needs a public entertainment licence (PEL)? A: Anyone organising any public performance of live music virtually anywhere. Without first obtaining a PEL from their local authority they could face a criminal prosecution. Venues affected could include village halls, schools, hospitals, libraries and so on. Previously many venues needed a PEL, and there were large categories of exemptions ie private club, but this recent legislation makes is difficult to do anything without the local authority having to issue a piece of paper and the applicant to part with money. The fight goes on... Alan Corkett ================================================================================ Archive-Date: Mon, 13 Jan 2003 10:27:46 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 12 Jan 2003 21:47:43 +0000 From: Colin Hume Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Waltz notes To: ECD Mailing List Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I have updated my notes on waltzing by incorporating some more advanced stuff from John Wells and Ann Fallon, and they are available at http://www.colinhume.com/dtwaltz.htm If you disagree with any of it, please let me know, either on-list or off. Colin Hume ================================================================================ Archive-Date: Mon, 13 Jan 2003 11:02:14 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 13:02:01 -0600 (CST) From: Jonathan Sivier Reply-To: ECD-AT-playford.slac.stanford.edu Subject: English-American dance weekend, March 21-23, Urbana, IL To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <200301131902.h0DJ21j14729-AT-staff2.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT 2nd Annual English-American Dance & Music Weekend March 21-23, 2003 Urbana, Illinois The Central Illinios English Country Dancers, the Illini Folk Dance Society and the Urbana Country Dancers will be holding a weekend of English and American dance and music at the Illini Student Union on the campus of the University of Illinois. Featuring Dance Instruction By Joseph Pimentel From Columbus, OH Music By Pam Sandwich Fred Stoll - violin & mandolin Pam Carson Stoll - violin Fred Haver - piano $35 for the weekend in advance, $40 at the door or attend, and pay for a la carte, only those events you are interested in. Friday 7:00 - 8:00 p.m. Registration & International Folk Dance Friday 8:00 - 11:00 p.m. Contra Dance ($5) Saturday 10:00 a.m. - 11:30 a.m. Workshop: Costuming ($5) Saturday 10:00 a.m. - 11:30 a.m. Workshop: Music ($5) Saturday 11:30 a.m. - 1:00 p.m. Lunch break* Saturday 1:00 p.m. - 2:30 p.m. Workshop: English Dance ($5) Saturday 2:30 p.m. - 4:00 p.m. Workshop: Scottish Dance ($5) Saturday 4:00 p.m. - 5:30 p.m. Workshop: Singing ($5) Saturday 8:00 - 11:00 p.m. English Country Dance Ball ($7) Sunday 10:00 - 11:30 a.m. Workshop: Calling ($5) Sunday 10:00 - 11:30 a.m. Workshop: Jam Session ($5) Sunday 12:30 - 3:30 p.m. Farewell Dance ($5) * - During the Saturday lunch period there will be a brown bag lunch discussion group. The topic will be "Care and Feeding of a Dance Group" Jenifer Cartwright at jencart-AT-mycidco.com or 217/352-2803 Jonathan Sivier at j-sivier-AT-uiuc.edu or 217/359-8225 web page: http://www.prairienet.org/ciecd/weekend.html ----- Registration Form ----- English-American Dance and Music Weekend March 21-23, 2003 Urbana, IL For advance registration and/or housing requests, return this form prior to March 10, 2003. Mail to; Jenifer Cartwright 503 Hessel Blvd. Champaign, IL 61820-6407 Name: _________________________________________________________________ Phone/email: __________________________________________________________ Advance Registration: _____ weekend passes -AT- $35 each ($40 at the door) T-Shirt: ______ -AT- $12 each (specify size S, M, L, XL, XXL) Syllabus: _____ -AT- $5 each Total enclosed: $ __________ Make checks payable to Central Illinois English Country Dancers. DO NOT send cash. Housing requests: (Please bring your own sleeping bag, etc.) Spaces for non-smokers: _____ Spaces for smokers: _____ Special considerations: (allergies, children*, etc.) _______________________________________________________________________ If you require a bed, please contact Jenifer at 217-352-2803 or by email at jencart-AT-mycidco.com. *Note: 2 childcare rooms will be available at the Union. They will be supervised by parents in rotation. Please sign-up at registration. Weekend passes will be issued at the festival. Confirmation will be sent only if a self-addressed stamped envelope is enclosed. Updated 11/14/02 ================================================================================ Archive-Date: Mon, 13 Jan 2003 11:30:55 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 14:30:31 -0500 (EST) From: "Susan R. Lorand" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: February Fling: Sat 22 Feb, Trenton, NJ, USA To: ECD mailing list Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dear ECD-ers, The Princeton Country Dancers and Lambertville Country Dancers are delighted to announce our 12th annual February Fling with the stellar combination of Scott Higgs and Hold the Mustard Saturday, February 22, 2:30-11 p.m. at Bethany Presbyterian Church, Trenton, NJ. Afternoon open to all; dinner on your own; preregistration required for the evening. (Yes, there are still some spaces open.) Info is on the web at www.princetonol.com/groups/pcd (you can print out a flyer with registration form there, or write to Julianna Patrick to request one by mail). The e-mail address given on the flyer isn't working right now, but if you have questions, you can write to Julianna at . Hope to see many of you there! Susie Lorand for PCD and LCD ================================================================================ Archive-Date: Mon, 13 Jan 2003 15:28:12 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 23:27:54 +0000 (GMT) From: Jen Wood Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Buzz-step swing To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT I realise that this is probably a very silly newbie question, but: What exactly is a buzz-step, as in a buzz-step swing? I've been wondering this for a while whenever I see the term - it's very possibly something I know how to do, but just don't know the name for. Especially since the basic kind of English swing seems to be the one where someone suddenly grabs you round the middle, and I'm usually too busy trying not to squeak or fight back to notice what my feet should be doing... Jen ================================================================================ Archive-Date: Mon, 13 Jan 2003 16:52:06 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 19:52:00 -0500 From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Buzz-step swing To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Jen, I am from Massachusetts in the US and I learned the buzz-step as the alternative to a "walk around swing" in contradancing. The footwork is twice as fast as the walk around and there is sometimes a slight undulation (not required in the walk around swing) that comes from the action of sinking ever so slightly on the foot that falls on the beat. That foot is pointed towards the center of the circle the swinging couple describes. Often it is done with the right foot towards the center, just to the left of your partners right foot. However, there are so many variants that no matter what you say, you will find people who do it differently. For instance, I often swing counterclockwise (as seen from above) with the left foot to the center. In some cases the center foot may be placed to the inside of the partners foot and slid backwards rather than forwards, allowing one to face ones partner more straight on. For this latter, I often use a hold where you bend one elbow so the hand is up and grasp the same hand of your partner as if to do a square dance allemand but hold your partner's elbow with your free hand. The undulation I mentioned at first is not a required feature and too much bouncing up and down is not encouraged since it makes what most people enjoy as a smooth circular move with some amount of centrifugal force into something jerky and unpleasant. To tunes in 2/4 or 4/4 (i.e., duple meter as in reels and marches) the left and right feet fall in even rhythm and in 3/8 (i.e., triple meter as in jigs) the outside foot comes later so that the steps are uneven: Right left right left right left right...... I once did a Greek dance where we had arms across our neighbors' shoulders in a large circle, placed our weight on the beat on the right foot with the toe pointed toward the center then rose on the off beat as we moved the circle to the left with our left foot. It felt in every way to be a buzz-step and may even have been called that. When I learned to swing, the dances in NH had a mix of walk-around and buzz steps as a general rule. In Western MA the contradancing was being revived from near extinction, the buzz-step greatly predominated. In CT there was a mix and a few doing the "allemande" which was a kind of swing where you hook elbows and reach the other hand behind your back then straighten the hooked arms to catch your partners hand so that you stand absolutely side to side as you go around. I suspect this was a revived swing since many of the dancers in CT were involved in preparations for the bicentennial celebrations of 1976. Finally, I learned that for fast music as played for southern squares one should use the walk-around swing (and I still find it hard to dance a gratifying buzz-step when the music is too fast). I'm sure this is all very unclear and probably sounds wrong to many of you, but that is how I think of it. Cammy ================================================================================ Archive-Date: Mon, 13 Jan 2003 22:00:19 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 13 Jan 2003 23:18:21 -0600 From: Paul Stamler Subject: Re: Buzz-step swing To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <003101c2bb8c$5ba2b2c0$3d86550c-AT-paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: ----- Original Message ----- From: Campbell Kaynor <> Cammy's descriptions (snipped for brevity) accord perfectly with my experience dancing in the midwest and (a little) in New England. Both steps are still taught here, but most non-beginners tend to go with the buzz-step. Interestingly, in St. Louis (where contra is danced more quickly than in most places -- typically 128 bpm for old-time bands) most folks don't seem to feel that the walking step is easier to do quickly; the buzz-step still predominates. Peace, Paul ================================================================================ Archive-Date: Tue, 14 Jan 2003 07:42:23 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 14 Jan 2003 15:42:09 +0000 From: catiegeist-AT-att.net Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Buzz-step swing To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030114154209.BEHP20003.mtiwmhc13.worldnet.att.net-AT-mtiwebc37> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT In reply to Cammy about the "buzz step" in folk dances, I think it's called a "rida" step, at least in Hungarian folk dances. I don't know what it's called in Greek dances, but we always refer to that step as a rida step in my International Folk Dance group. Catie Condran Geist, Palm Bay, Florida ================================================================================ Archive-Date: Tue, 14 Jan 2003 08:36:07 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 14 Jan 2003 16:37:19 +0000 From: Michael Barraclough Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: Buzz-step swing To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <001401c2bbeb$34b23c80$0300a8c0-AT-ntworld.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I think that we would call the "buzz step" a "ballroom swing" in the UK. When Cecil Sharp was collecting the movement was described as a "swing" but if I remember reading his notes correctly, that was an usually a two-handed open turn done with a a pivot style step, much like that used in the "buzz step". I think the term ballroom swing was brought in to distinguish the closer hold that has (had?) developed. Michael Barraclough http://www.mab.tgis.co.uk -----Original Message----- From: owner-ecd-AT-ssrl04.SLAC.STANFORD.EDU [mailto:owner-ecd-AT-ssrl04.SLAC.STANFORD.EDU] On Behalf Of catiegeist-AT-att.net Sent: 14 January 2003 15:42 To: ECD-AT-ssrl04.SLAC.STANFORD.EDU Subject: Re: Buzz-step swing In reply to Cammy about the "buzz step" in folk dances, I think it's called a "rida" step, at least in Hungarian folk dances. I don't know what it's called in Greek dances, but we always refer to that step as a rida step in my International Folk Dance group. Catie Condran Geist, Palm Bay, Florida --- Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.426 / Virus Database: 239 - Release Date: 02/12/02 --- Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.426 / Virus Database: 239 - Release Date: 02/12/02 ================================================================================ Archive-Date: Tue, 14 Jan 2003 11:24:15 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 14 Jan 2003 14:24:02 -0500 (EST) From: "Priscilla M. Burrage" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Buzz-step swing To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT References: <20030114154209.BEHP20003.mtiwmhc13.worldnet.att.net-AT-mtiwebc37> On Tue, 14 Jan 2003 catiegeist-AT-att.net wrote: > In reply to Cammy about the "buzz step" in folk dances, I think it's called > a "rida" step, at least in Hungarian folk dances. I don't know what it's > called in Greek dances, but we always refer to that step as a rida step in my > International Folk Dance group. In Scottish Highland dancing, the footwork is called a propelled pivot. the arms are quite different. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT-zoo.uvm.edu) ================================================================================ Archive-Date: Tue, 14 Jan 2003 11:34:56 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 14 Jan 2003 14:34:42 -0500 (EST) From: JBGrun-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Sixteenth annual Fried-for-All To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <25.32b1c31c.2b55c052-AT-aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Hello all & Happy New Year (one can always hope.) We've been receiving lots of requests for information, so here, again, are the bare bones. Dates: Friday-Sunday, May 2-4, 2003 Music by Karen Axelrod, Dan Beerbohm & Barbara Greenberg Location: Community Center, Lenox, Mass. If you're interested in receiving our online flyer, due to go out during the first week in February, please send your name, e-mail address, mailing address, and telephone number to David Barnert who maintains our database. If you've received it in the past, you will again, so no need to write. Also, if you are NOT able to view PDF files (requiring Adobe Acrobat Reader) let him know. Enrollment is limited to experienced English dancers, with preference given to dance leaders. We allow 3 weeks after the flyer goes out before considering applications. If necessary, a lottery will be held at the end of February. Judy Grunberg ================================================================================ Archive-Date: Tue, 14 Jan 2003 20:18:30 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 14 Jan 2003 23:17:09 -0500 From: The Dupre Family Subject: Gypsy allemandes To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <000e01c2bc4d$a88223c0$6e84fea9-AT-mo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I'll note that Charles Bolton uses a figure that sounds like a "gypsy allemande" in his dance, "Good Fellowship, which appears in his 1999 book, "What's New." He calls it a "Right-hand overhead allemande" (it also contains a "lefthand overhead allemande") which he describes by saying that "... men raise RH and go clockwise round partners as the women move forward and fall back." Although this moves in the same direction as a R shoulder gypsy for the men, I'd be hesitant to refer to it as a gypsy because it lacks that direct interaction that you find in a gypsy. Sue Dupre Princeton, NJ ================================================================================ Archive-Date: Wed, 15 Jan 2003 03:28:49 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 11:28:33 +0000 From: Hugh Stewart Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy allemandes To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3E2545E1.9D001085-AT-ugs.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <000e01c2bc4d$a88223c0$6e84fea9-AT-mo> The Dupre Family wrote: > I'll note that Charles Bolton uses a figure that sounds like a "gypsy > allemande" in his dance, "Good Fellowship, which appears in his 1999 book, > "What's New." He calls it a "Right-hand overhead allemande" (it also > contains a "lefthand overhead allemande") which he describes by saying that > "... men raise RH and go clockwise round partners as the women move forward > and fall back." Although this moves in the same direction as a R shoulder > gypsy for the men, I'd be hesitant to refer to it as a gypsy because it > lacks that direct interaction that you find in a gypsy. > > Sue Dupre > Princeton, NJ I know of it as the "Bernard Bentley High Allemande", and danced it the other day in "Sprigs of Laurel" from Fallibroome Book 5; I think of it as a combined turn for the man and a back to back for the woman ================================================================================ Archive-Date: Wed, 15 Jan 2003 05:20:26 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 09:50:49 -0500 From: "Martin E. Mulligan" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy allemandes To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <000e01c2bc4d$a88223c0$6e84fea9-AT-mo> >Hugh Stewart wrote: >I know of it as the "Bernard Bentley High Allemande", and danced >it the other day in "Sprigs of Laurel" from Fallibroome Book 5; I think >of it as a combined turn for the man and a back to back for the woman Back in May, 2000, Sharon Green posted the directions for Sprigs of Laurel in response to a query from John Wood. In our group in St. John's we've been dancing Sprigs of Laurel ever since as per Sharon's summary which had: B2: Partners, R-h turn; L-h turn. I'm not certain if I have Fallibroome 5 but, if I do, I certainly haven't ever checked it to see whether it mentions "high allemande turns". So my question to the list is: Is it common or customary to dance Sprigs of Laurel with these "high allemande turns" or "gypsy allemandes"? On the one hand this sounds like a neat way to "spice up" a straightforward dance. On the other hand, Sprigs of Laurel is one of those dances that we know we can use for brand new dancers. Martin ========================================================================= Martin E. Mulligan St. John's, Newfoundland, Canada mulligan-AT-morgan.ucs.mun.ca ========================================================================= ================================================================================ Archive-Date: Wed, 15 Jan 2003 06:42:04 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 09:41:46 -0500 From: Patricia Ruggiero Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: Gypsy allemandes To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000301c2bca4$3ac2f970$aac4c943-AT-g9tfz> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Martin wrote: > ...as per Sharon's summary which had: > > B2: Partners, R-h turn; L-h turn. > > I'm not certain if I have Fallibroome 5 but, if I do, I certainly haven't > ever checked it to see whether it mentions "high allemande turns". At the bottom of the dance instructions, Bentley adds the note: "B2 was Allemande." To do this dance "correctly," one would have to know what the term "allemande" meant in the 18th c. In his Preface to Fallibroome 5, Bentley writes: "Three dances contain the figure 'allemande' and many people will be used to a movement that I invented for this, a combination of a turn and a 'pas d'allemande' in which the man turned his partner under his arm. This, though pleasant to do, is not the 18th century 'allemande,' which was a turn with the arms behind the back. Here, however, I have used a simple right or left handed turn as being more suitable for a modern performance." Hope this helps. Pat ================================================================================ Archive-Date: Wed, 15 Jan 2003 08:19:12 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 10:05:21 -0500 From: Allison M Thompson Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy allemandes To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <20030115.112011.-1894813.2.AllisonThompson-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Thanks to all who responded to this interesting topic. I'm torn now between using the term "gypsy allemande," which may possibly be the word-of-art in England, but which Sue Dupre suggests doesn't really have much to do with a gypsy movement, and the rather jauntier "Bernard Bentley High Allemande" that Hugh Stewart via Martin Mulligan suggest. I think the BBHA is rather nifty--it conjures up images of the Harlem Globetrotters giving each other high fives as they move around the court. Allison Thompson ================================================================================ Archive-Date: Wed, 15 Jan 2003 08:19:17 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 10:05:21 -0500 From: Allison M Thompson Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy allemandes To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <20030115.112011.-1894813.2.AllisonThompson-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Thanks to all who responded to this interesting topic. I'm torn now between using the term "gypsy allemande," which may possibly be the word-of-art in England, but which Sue Dupre suggests doesn't really have much to do with a gypsy movement, and the rather jauntier "Bernard Bentley High Allemande" that Hugh Stewart via Martin Mulligan suggest. I think the BBHA is rather nifty--it conjures up images of the Harlem Globetrotters giving each other high fives as they move around the court. Allison Thompson ================================================================================ Archive-Date: Wed, 15 Jan 2003 08:35:19 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 11:35:04 -0500 From: Patricia Ruggiero Reply-To: ECD-AT-playford.slac.stanford.edu Subject: RE: Gypsy allemandes To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000501c2bcb4$0e91b340$aac4c943-AT-g9tfz> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Allison, I received two copies of this post. What's the difference between -- ECD-AT-PLAYFORD etc. and ECD-AT-SSRL04 etc. ? Or maybe Alan should answer this one..... Puzzled Pat > -----Original Message----- > From: owner-ecd-AT-PLAYFORD.SLAC.STANFORD.EDU > [mailto:owner-ecd-AT-PLAYFORD.SLAC.STANFORD.EDU]On Behalf Of Allison M > Thompson > Sent: Wednesday, January 15, 2003 10:05 AM > To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU > Cc: ECD-AT-SSRL04.SLAC.STANFORD.EDU > Subject: Re: Gypsy allemandes > > > > Thanks to all who responded to this interesting topic. I'm torn now > between using the term "gypsy allemande," which may possibly be the > word-of-art in England, but which Sue Dupre suggests doesn't really have > much to do with a gypsy movement, and the rather jauntier "Bernard > Bentley High Allemande" that Hugh Stewart via Martin Mulligan suggest. > > I think the BBHA is rather nifty--it conjures up images of the Harlem > Globetrotters giving each other high fives as they move around the court. > > > Allison Thompson > ================================================================================ Archive-Date: Wed, 15 Jan 2003 08:40:02 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 08:36:07 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: RE: Gypsy allemandes To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <01KR9AIY9N06EHXSUD-AT-SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Pat wrote: > Allison, I received two copies of this post. What's the difference > between -- > ECD-AT-PLAYFORD etc. and > ECD-AT-SSRL04 etc. ? > Or maybe Alan should answer this one..... > Puzzled Pat I had just written Allison about this off-list, but since you asked on-list: SSRL04.SLAC.STANFORD.EDU and PLAYFORD.SLAC.STANFORD.EDU are the same machine. (They're two different names which translate to the same numeric internet address.) If you send to one and cc the other, you'll post to the list twice. The reply-to: header is set to PLAYFORD. If you tell your mailer to reply to all addresses, it may grovel through the headers and figure out ECD-AT-SSRL04 should be involved, but it probably won't reply to the original sender (depending on which mailer you use and whether it honors reply-to, etc, etc.) -- Alan =============================================================================== Alan Winston --- WINSTON-AT-SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Wed, 15 Jan 2003 08:53:36 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 11:53:22 -0500 From: Patricia Ruggiero Reply-To: ECD-AT-playford.slac.stanford.edu Subject: duplicate postings To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000701c2bcb6$9ce55460$aac4c943-AT-g9tfz> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Thanks, Alan. Pat > SSRL04.SLAC.STANFORD.EDU and PLAYFORD.SLAC.STANFORD.EDU are the same > machine. ================================================================================ Archive-Date: Wed, 15 Jan 2003 09:32:51 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 17:31:41 +0000 (GMT) From: gmurrow-AT-juno.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Groveling Gypsies To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: Message-ID: <20030115.093218.27064.707091-AT-webmail1.wlv.untd.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT ---------- Alan Winston - SSRL Central Computing writes: >> If you send to one and cc the other, you'll post to the list twice....it may grovel through the headers and figure out ECD-AT-SSRL04 should be involved Boy, it's about time these #-AT-!$-AT-##-AT-! machines did some groveling. It's worth a duplicate posting. Gene ================================================================================ Archive-Date: Wed, 15 Jan 2003 10:39:13 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 15 Jan 2003 12:38:12 -0600 From: Mike Mudrey Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Gypsy allemandes To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <5.2.0.9.2.20030115123642.00a71bf8-AT-mail.mhtc.net> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT >rather jauntier "Bernard Bentley High Allemande" that Hugh Stewart via >Martin Mulligan suggest. In the Madison, Wisconsin area we used the term Bernard Bently Allemande....our groups enjoys bothe name and the figure!! Concur...Gypsy implies slightly different styling.. mm Madison Wisconsin English Country Dancing The Madison (Wisconsin) English Country Dance Society meets on the first and third Mondays of the month from 7:30-9:30 PM. Dancing October through May at the Wilmar Center, 953 Jenifer St., Madison, Wisconsin June through September in front of Memorial Library, University of Wisconsin-Madison For more information, contact Mike (mgmudrey-AT-mhtc.net), Jean (608-231-1040) or Don (608-238-9951) Website images http://sprott.physics.wisc.edu/mecds/home.htm no images http://sprott.physics.wisc.edu/mecds/hometext.htm ================================================================================ Archive-Date: Thu, 16 Jan 2003 14:55:16 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 16 Jan 2003 17:58:23 -0500 From: Loretta Holz Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Vol 7 "By Request" To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <035201c2bdb2$c588cb20$ca02010a-AT-loretta> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <01KR9AIY9N06EHXSUD-AT-SSRL.SLAC.STANFORD.EDU> I have an old email from June 6, 2001 which lists the proposed contents of Vol 7 of the Boston Centre series. I was wondering if that is being produced and when we might see it? Still the same list of dances given? ================================================================================ Archive-Date: Thu, 16 Jan 2003 15:43:32 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 16 Jan 2003 15:41:00 -0800 From: "Gary D. Shapiro" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Faithless Nancy Dawson/A Rovin' recordings? To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT I see from earlier posts that music for Faithless Nancy Dawson appears on a recording, Maggot Pie, by Wild Thyme. Is it commercially available somewhere between the two poles? Google comes up with nothing other than posts to this list. -- Gary ================================================================================ Archive-Date: Fri, 17 Jan 2003 06:53:22 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 17 Jan 2003 15:48:17 +0100 From: Antony Heywood Subject: RE: Faithless Nancy Dawson/A Rovin' recordings? To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Gary wrote > I see from earlier posts that music for Faithless Nancy Dawson > appears on a recording, Maggot Pie, by Wild Thyme. > > Is it commercially available somewhere between the two poles? Google > comes up with nothing other than posts to this list. It is unlikely that it is on the Maggot Pie recording because the dance is not in Maggot Pie. It is however on the CD "Shades of Shaw/Dunant Favourites" recorded by Dutch Comfort and issued by the Volksdansvereniging NVS in Holland. Visit the society's website at www.nvs-dance.nl and go to the shop page and you'll see what else is on that CD. The dance was written by Anna Bidder in Cambridge. She was alive and kicking a couple of years ago -- in her nineties and still active in academic life. Antony Heywood The Netherlands ================================================================================ Archive-Date: Sun, 19 Jan 2003 13:25:36 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 19 Jan 2003 13:25:20 -0800 (PST) From: Andy Peterson Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: no music To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030119212520.48621.qmail-AT-web20004.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT > From: "Alan Corkett" > Previously many venues needed a PEL, and there were large > categories of exemptions ie private club, but this recent > legislation makes is difficult to do anything without the > local authority having to issue a piece of paper and the > applicant to part with money. The fight goes on... Years ago, Cammy ran a Contra dance in the Northfield MA town hall. He can tell us a lot more about the ongoing problems that he encountered with the town, but my distinct impression of what I heard about his troubles was that there were people having a good time in the town hall and some townspeople, not understnading that it was a public dance and they could attend, too, were upset that they weren't part of it. Why is it that there are so many stuffy people opposed to others having fun? Andy __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Mon, 20 Jan 2003 16:19:12 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 20 Jan 2003 19:18:45 -0500 (EST) From: SallenNic-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Faithless Nancy Dawson - Anna Bidder To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <10d.1e76a1da.2b5debe5-AT-aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Anna Bidder, who composed this dance when dancing with The Round in Cambridge, died last summer aged, I think, 94. Nicolas B., Lanark, Scotland. ================================================================================ Archive-Date: Mon, 20 Jan 2003 18:58:52 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 20 Jan 2003 21:58:36 -0500 (EST) From: Terence Gaffney Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Special event this wednesday To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dear Friends, If you are within driving distance of Boston, we have a special event this Wednesday that you might find interesting. Each year, at our Wednesday night dance, we have a guest caller from our area to showcase a talented local caller who is not part of our staff. This year our regional guest will be Michael Ciccone, and he will be with us next Wednesday. The band will consist of Peter Barnes and Earl Gaddis. The format for the evening will be like one of our party format dances. Past regional callers have included Susan Kevra, Robin Hayden and Marianne Taylor. Each guest brings new dances from their repertoire; I'm sure Michael will have some nice dances to share with us. The dance runs from 7:30-10:30 at the Park Avenue Church in Arlington; directions to the hall and price information can be found on our web site at http://www.cds-boston.org/english.html Best, Terry ================================================================================ Archive-Date: Mon, 20 Jan 2003 20:29:55 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 20 Jan 2003 23:29:32 -0500 From: Joyce Crouch Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Faithless Nancy Dawson - Anna Bidder To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Nicholas, > Anna Bidder, who composed this dance when dancing with The Round in > Cambridge, died last summer aged, I think, 94. I'd be interested in hearing more about "The Round." Can you &/or others give us a bit of history -- memories of people, favorite repertoire, leaders, musicians, organization, what they did? (or do?) Is it still going? Thanks for any tidbits, Joyce Crouch Amherst MA, USA ================================================================= Joyce B Crouch Telephone: 413-549-4123 95 Pulpit Hill Road Fax: 413-549-7096 Amherst MA 01002 email: joycecrouch-AT-pobox.com ================================================================================ Archive-Date: Tue, 21 Jan 2003 02:29:30 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 21 Jan 2003 10:28:54 +0000 From: Hugh Stewart Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Faithless Nancy Dawson - Anna Bidder To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3E2D20E5.339E756D-AT-ugs.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Joyce Crouch wrote: > Nicholas, > > > Anna Bidder, who composed this dance when dancing with The Round in > > Cambridge, died last summer aged, I think, 94. > > I'd be interested in hearing more about "The Round." Can you &/or others > give us a bit of history -- memories of people, favorite repertoire, > leaders, musicians, organization, what they did? (or do?) Is it still > going? > See http://www.cam.ac.uk/societies/round//history/hugh/index.htm which is not as comprehensive as you are asking for, but does answer some of your questions ================================================================================ Archive-Date: Tue, 21 Jan 2003 07:23:40 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 21 Jan 2003 10:23:21 -0500 From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: no music To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Andy, I was unaware that there were townsfolk who felt unwelcome. It was sponsored by the local recreation commision and billed as all welcome, but as we often discover too late, the usual impression a newcomer gets when they look in on a hall full of people having fun dancing ECD or Contra is "you need to know what you are doing" in order to participate. Nonetheless, true or imagined your hypothetical poses a good question - why are there so many who try to block fun? For those who want to know about the stuff going on behind the scenes in Northfield: The problems I was aware of had to do with a mindset that predominates in Northfield that anyone who thinks they can have fun without snowmobiles and drinking is from another planet and should be shunned and driven out if at all possible. Every town meeting I went to in which the contra dance was discussed rapidly disintegrated into a sneering commentary on men with beards and women with long skirts. Against such odds it is amazing that the contradance survived so long! At one point (when I had been banned from the town hall), I went to the Recreation commision (who hated the Selectmen) and they agreed to sponsor the dance - not because they thought it was good clean healthy social activity, but because it was a way to get back at the Selectmen for something they had done in the previous year with the budget! Despite all my efforts, I could never get the members of the Rec. Com. to even look in the door nor would they list it in their calendar of events for fear it would detract from their list of normal activities! However, the opportunity to do something that was "in the face" of the other Town governing committees bought me five more years until the Selectmen came up with a plan for Town Hall renovation and cutting up a part of the dance floor with offices. Cammy Andy Peterson To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Sent by: cc: owner-ecd-AT-PLAYFORD.SLAC.S Subject: Re: no music TANFORD.EDU 19-Jan-2003 04:25 PM Please respond to ECD > From: "Alan Corkett" > Previously many venues needed a PEL, and there were large > categories of exemptions ie private club, but this recent > legislation makes is difficult to do anything without the > local authority having to issue a piece of paper and the > applicant to part with money. The fight goes on... Years ago, Cammy ran a Contra dance in the Northfield MA town hall. He can tell us a lot more about the ongoing problems that he encountered with the town, but my distinct impression of what I heard about his troubles was that there were people having a good time in the town hall and some townspeople, not understnading that it was a public dance and they could attend, too, were upset that they weren't part of it. Why is it that there are so many stuffy people opposed to others having fun? Andy __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Tue, 21 Jan 2003 08:11:09 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 21 Jan 2003 10:25:51 -0500 From: Gene Murrow Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Vol 7 "By Request" To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030121.105903.-370937.25.gmurrow-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hi Loretta, and Happy New Year. Vol. 7 has already been recorded, but will not be released for a couple of months (I'm still working on the liner notes and final ordering). The tune list is as published on the ECD list. Thanks for your interest, and stand by :-) Best wishes, Gene On Thu, 16 Jan 2003 17:58:23 -0500 Loretta Holz writes: > I have an old email from June 6, 2001 which lists the proposed > contents of > Vol 7 of the Boston Centre series. I was wondering if that is > being > produced and when we might see it? Still the same list of dances > given? > > > > ------------------------------------------------------------------------- -- Permanent address: - for your Address book ISP of the moment: - "Reply" button destination ================================================================================ Archive-Date: Tue, 21 Jan 2003 17:13:20 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 21 Jan 2003 17:19:19 -0800 From: Paul / Victoria Bestock Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Waltz notes To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.1.20030116185046.00a42a30-AT-mail.oz.net> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT This is in response to Colin's Waltz Website I finally got around to looking at Colin's waltz website. What a great idea! What a wealth of useful information! Thanks Colin, for taking the time to post this. I really like the supportive messages for people who thought they couldn't waltz. I like having the list of dances that include couple waltzing (yum!-- just looking at the list makes me drool!) The only thing the website needs now is a video of some inspiringly gorgeous couple whirling around the room. (I'm serious-- it can be done, and it will help people make sense of the verbal descriptions. Its hard to convey style in words. ) I wish I could have attended that waltz variation workshop! Thank you Colin for posting the notes on it. I had a hard time decoding some of the variations from the written notes, but some were well-described so that even people who weren't at the workshop could figure them out. Its always nice to have a few new waltz variations to try. A quibble or two: The how-to description starts the man out on the right foot. Here in the states the man usually starts on the left foot, lady on the right foot. His first step is around her and moving backward in line of direction. Hers is forward on the right ,with her right foot facing LOD and between his feet. The second measure as we do it is as described for the first measure on the website, man forward right between partner's feet, lady dancing back on the left foot. I like the emphasis on not going sideways. But I wonder if it may confuse people when you say to "reach around your partner." I think the purpose of this is to indicate that this initiates the turning, which is good, but one of the main mistakes I see beginners make is taking huge steps trying to get around their partners, instead of placing the right foot between their partner's feet. Maybe there is some way to word this so that it suggests turning immediately (instead of sideward movement) without suggesting huge-sized steps. I disagree with John and Ann on woman's arm position for the waltz. Vehemently. My husband Paul disagrees even more because its HIS arm that women hang on expecting him to hold up the weight of their arm, and maybe their body, by leaning heavily on that arm. Women should hold up their own weight and contribute to weight-sharing. Do not put your hand on his arm, ladies-- his arm will get tired and he will not enjoy dancing with you! Two suggested alternatives. More standard (but less successful in my opinion) is for the woman to place her left hand on top of her partner's shoulder. If she does lean (she shouldn't) its his strong back muscles supporting her, not his tired deltoids. Much better in my opinion is for the woman to put her left arm under and in contact with his right arm, matching the curve, and placing her hand BEHIND his back, on his shoulder blade. This allows both partners to give weight, support and balance each other, and it makes turning much easier and more equal. There's a mention of waltzing in America, and I wasn't sure which style was meant. English Dances here usually end the evening with a turning waltz, much like a ballroom waltz, with slow, romantic tunes, and full turns each two measures. Contra dances to Northern music are similar. Everyone progresses around the room counterclockwise. There is one impulse or swoop per measure. It wasn't clear to me how this kind of waltz differed from a ballroom waltz. Square dances, with Southern bands playing Southern music, generally have faster waltzes that emphasize beat more strongly than Northern waltzes do. People dance them without the full turn every two measures, more like a fox trot or two-step in 3/4 time, with the first step going mostly sidewards. Some folks progress around the room, most don't. Cajun waltzes have a lot of sideward mid-body movement every beat, which emphasizes the beat more strongly than other waltzes. THey dance mostly on one spot, like a two-step, making quarter turns now and then, but not progressing around the room. There are three separate moves per measure, not the single-swoop approach of English and Northern American waltzes. Hope these comments are helpful. Victoria Bestock ================================================================================ Archive-Date: Tue, 21 Jan 2003 17:33:31 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 21 Jan 2003 17:17:13 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Waltz notes To: Paul / Victoria Bestock CC: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <01KRI6WDY1ZYEHWTWD-AT-SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; format=flowed; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT Victoria Bestock wrote: > Cajun waltzes have a lot of sideward mid-body movement every beat, which > emphasizes the beat more strongly than other waltzes. THey dance mostly on > one spot, like a two-step, making quarter turns now and then, but not > progressing around the room. There are three separate moves per measure, > not the single-swoop approach of English and Northern American waltzes. The guy doing Cajun dance instruction on the paddleboat cruise through the Atchafalaya Basin I took in 2001 - I disremember his name offhand, but I could look it up, since I bought his big photo book of trad Cajun musicians - taught both waltz and twostep as dances that traveled but didn't rotate; the woman backs up all the way around the room. And that's how he danced it when not giving classes, too. (He explained that the dance style originated in the living rooms in people's cabins, where there just wasn't a lot of maneuvering room. Zydeco developed later, in spaces with somewhat more room to move.) I saw other locals (at Breaux Bridge) doing traveling waltz and traveling twostep on shore, as well. (*) I expect that the dancers stop traveling when it gets too crowded to travel safely, at which point it would look just like what you described, and possibly that you needn't travel to do authentic Cajun waltz, but it's also clearly an acceptable element in Cajun waltz as done by Cajuns. (*) The floor was largely empty because 95% of the other passengers were a bunch of stiffs who wouldn't even try to dance, either at this laid-on shore party or on the boat, either with the guest Cajun band (Basile and LaFleur) or with the boat's "standards" band. Oh well; more room for us. -- Alan =============================================================================== Alan Winston --- WINSTON-AT-SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Wed, 22 Jan 2003 07:24:56 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 07:36:46 -0800 From: Bob Archer Subject: Teaching both positions in a longways set To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <3E2E4A0E.153.84EEA83-AT-localhost> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT This is a question for the maths geeks out there. It arose during the workshop for the Seattle English Ball. We were working on "The Severn Bore", I'd walked it through and we'd dancing it maybe 8 times or so. I stopped the dance, and wanted to rearrange the set so that everyone would have the chance to dance it from the opposite position. In the spur of the moment I couldn't come up with a perfect way to achieve this - in the middle of the set it's easy, just get everyone to swap positions with their neighbours, but at the ends of the set this falls down. We ended up swapping mostly the middle of the set, and relied on doing the dance another 5 times through to make sure that the people at the end of the set got to bounce off the end and be the other position. So, I'm wondering is it possible to come up with a perfect solution to this? If not, how close can we get to perfect? The perfect solution would have the following properties: * Assuming the dance was done n times, then we stopped and rearranged the set, then did the dance n more times every couple would have been first couple for n times and second couple for n times (hmm, given that any couple reaching the end of the set has to stand out one turn this definitely isn't going to work - let's say they need to be first couple at least n - 1 times and second couple at least n - 1 times). * The rearrangement should be simple - I can think of perfect solutions but they all involve shifting every couple in the set a considerable distance, or declaring that the other end of the hall is the head. I suspect this would hinder rather than help things. As I said, for the maths geeks only. Apologies to everyone else. Bob ---------------------------------------------------------- -- Bob Archer bob-AT-bobarcher.org ================================================================================ Archive-Date: Wed, 22 Jan 2003 07:38:30 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 15:37:54 +0000 From: Hugh Stewart Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3E2EBAD2.E39F35D9-AT-ugs.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <3E2E4A0E.153.84EEA83-AT-localhost> Bob Archer wrote: > This is a question for the maths geeks out there. It arose during the > workshop for the Seattle English Ball. We were working on "The Severn > Bore", I'd walked it through and we'd dancing it maybe 8 times or so. > I stopped the dance, and wanted to rearrange the set so that everyone > would have the chance to dance it from the opposite position. The solution Ted Sannella used was to split the sets in half to give himself shorter sets (cunningly inserting a neutral couple in the gap so someone dropping off the bottom of the top set found a couple that knew they were about to come in as ones at the top of the lower set, which stopped the top set ones from carrying on into the bottom set) Of course this will lose marks because you will have more couples standing out. ================================================================================ Archive-Date: Wed, 22 Jan 2003 08:51:33 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 09:01:06 -0800 From: Mary Luckhardt Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD List Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT The "shorter sets" solution is usually used at the BACDS Ball workshops. In fact, we now bring some weighted balloons to mark the ends of the sets in the middle of the hall. We bring them out for the longways, and move them to the sides for the set dances. If your rehearsal hall is long and relatively narrow you can put the heads on the long wall for teaching purposes. This works pretty well if the sets are then 6-10 couples in length. This solution has also become a tradition for the SF Contra dance's chestnut (usually a proper dance with most of the action for the 1's). I heard a tale that someone who'd been dancing there for a year or 2 was asked what a chestnut was, and he replied "it's a dance done across the hall." [I love that story! Shows how words can migrate to new meanings.] Mary Luckhardt On 1/22/03 7:37 AM Hugh Stewart said: >Bob Archer wrote: > >> This is a question for the maths geeks out there. It arose during the >> workshop for the Seattle English Ball. We were working on "The Severn >> Bore", I'd walked it through and we'd dancing it maybe 8 times or so. >> I stopped the dance, and wanted to rearrange the set so that everyone >> would have the chance to dance it from the opposite position. > >The solution Ted Sannella used was to split the sets in half to give >himself shorter sets (cunningly inserting a neutral couple in the gap >so someone dropping off the bottom of the top set found a couple >that knew they were about to come in as ones at the top of the >lower set, which stopped the top set ones from carrying on into >the bottom set) > >Of course this will lose marks because you will have more couples >standing out. > ================================================================================ Archive-Date: Wed, 22 Jan 2003 09:40:01 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 09:38:06 -0800 From: Mary Devlin Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT on 1/22/03 7:36 AM, Bob Archer at bob-AT-bobarcher.org wrote: > This is a question for the maths geeks out there. It arose during the > workshop for the Seattle English Ball. We were working on "The Severn > Bore", I'd walked it through and we'd dancing it maybe 8 times or so. > I stopped the dance, and wanted to rearrange the set so that everyone > would have the chance to dance it from the opposite position. > > In the spur of the moment I couldn't come up with a perfect way to > achieve this - in the middle of the set it's easy, just get everyone > to swap positions with their neighbours, but at the ends of the set > this falls down. We ended up swapping mostly the middle of the set, > and relied on doing the dance another 5 times through to make sure > that the people at the end of the set got to bounce off the end and > be the other position. > > So, I'm wondering is it possible to come up with a perfect solution > to this? ... From a non-maths person, but one who was there -- You did fine. I was near an end and it worked. We knew it was a *workshop* and you made it clear that you wanted everyone familiar with both parts. I couldn't tell that anyone minded since with 5 more times everyone did get a chance to practice both. Another alternative would be to do a couple of walk-thrus, then switch roles and do one (or two), then switch back and dance... Mary ================================================================================ Archive-Date: Wed, 22 Jan 2003 09:50:27 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 12:53:26 -0500 From: Loretta Holz Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Vol 7 "By Request" To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <011301c2c23f$2aed5400$ca02010a-AT-loretta> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <20030121.105903.-370937.25.gmurrow-AT-juno.com> Gene said-- > Vol. 7 has already been recorded, but will not be released for a couple of months Gene-- Will that be the end of the series? Or at least the end for a while? Or are you looking for themes for the next CDs? And picking dances? Have you sold out the earlier volumes? Loretta ================================================================================ Archive-Date: Wed, 22 Jan 2003 13:38:43 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 16:38:25 -0500 (EST) From: Mary Railing Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT What I do to allow people a chance to learn both positions in a longways dance is to go through an odd number of repetitions and then stop and just renumber the positions. At the end of an odd number of repetions there should be couples at each end that would be standing out for the next repetition. If you pause at that point and make the first (neutral) couple become the active couple, then the couples that would have been active become inactive, the couples that would have been inactive become active, and the last neutral couple becomes inactive. Presto! everyone has changed roles without anyone moving. Then dance through another odd number of repetions before changing everyone back to their original role. --Mary Railing ================================================================================ Archive-Date: Wed, 22 Jan 2003 13:38:47 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 16:38:25 -0500 (EST) From: Mary Railing Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT What I do to allow people a chance to learn both positions in a longways dance is to go through an odd number of repetitions and then stop and just renumber the positions. At the end of an odd number of repetions there should be couples at each end that would be standing out for the next repetition. If you pause at that point and make the first (neutral) couple become the active couple, then the couples that would have been active become inactive, the couples that would have been inactive become active, and the last neutral couple becomes inactive. Presto! everyone has changed roles without anyone moving. Then dance through another odd number of repetions before changing everyone back to their original role. --Mary Railing ================================================================================ Archive-Date: Wed, 22 Jan 2003 13:51:00 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 13:50:46 -0800 (PST) From: Barbara Ruth Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Seeking NOMAD site and date To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030122215046.42225.qmail-AT-web13604.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT As some of you know from reading your NOMAD newsletters, NOMAD is acting out it's acronym and searching for new lodgings, as the combination of our growth, and expanded programs at our long-time home, Newtown High School has led to considerable difficulty in trying to continue the festival there. We are trying to enlist the help of anyone who might know of suitable locations in Connecticut. We would require a venue - not necessarily a school - with two reasonably large halls or gyms for dancing, an auditorium, other rooms for singing and music workshops, that is reasonably close to a major highway, has on-site parking facilities, and would consider renting to us during a weekend in the Fall. If anyone on the list knows of such a magical place, would you please contact me off-list. And as we look for lodgings, we are also starting to look at potential dates for the festival. Right now the two weekends that seem to have the most potential are Nov. 7-9 and Nov. 14-16. If anyone knows of conflicting events on either of those two weekends, again please let me know. This should also be off-list, unless the other events would be of interest to the list. Many thanks for any assistance. Barbara ===== "There is no inverse relationship between freedom and security. Less of one does not lead to more of the other. People with no rights are not safe from terrorist attack." Molly Ivins __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Wed, 22 Jan 2003 15:00:38 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 18:00:10 -0500 From: Campbell Kaynor Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Bob Archer, I occasionally do something like this when I am calling contras. I haven't needed it in English but I am sure one can find similar pivotal figures to mutate for this purpose in the ECD. My gimmick (which serves to even the roles in long sets and to entertain people who are mostly fairly experienced) is to have people switch from 1s to 2s (actives to inactives) in the middle of the dance while it is being danced without stopping on some pivotal figure. I am always very clear to announce that this is what is happening while we do it (but I rarely warn them that it is coming because part of the entertainment value comes from how it springs out at them). I would not advise doing this if there are dancers still trying to cope with/understand the active/inactive roles and the progression in a set. The gimmick can take many forms. The Ladies Chain is one of the easiest to mutate for this purpose: If it is an improper dance with a half Ladies Chain (across), have the GENTS Chain over instead (Left hand in the middle and right hand round the opposite). If there is a full Ladies Chain (over and back) have the Ladies Chain over and the Gents chain back. Instantly everyone has switched sides and numbers and can begin progressing through the set in the opposite direction. (I do a fair number of Gents Chains as a matter of course so this isn't a hard figure to pick up on the fly). Another trick in an improper dance when there is a promenade over or a half Right and Left, have them go forward and back instead. If it is the full Right and Left 4 (or Promenade over and Right and Left back), have them do it over and then do a forward and back. (I find the forward and back is a nice breathing space for people to hear me announce that they all have new numbers now and need to head the new direction, but if they are hotshots, you can have them circle once round or anything else to take up the half Right and Left. Sometimes I will have them promenade over, turn away from THIS neighbor to face a NEW neighbor and dos-a-dos (serves both as the breather to reorient but also a way to connect with their new neighbors and the new direction of progression). For proper dances, one can simply start calling the figures for the 1s but tell the 2s to do it and have them do it the first time with the same number 1 they have just been dancing with). For Example, in Chorus Jig after the 1s balance and swing at the end of the tune, tell the 2s to go down the outside (this will include the inactive 2 who has just gotten to the top of the set) and come back home - 2s go down the center, come back up and cast off with your same 1s - 2s turn country corners - 2s balance and swing.... I'm sure there are things to do in ECD that have the same effect. Off the top of my head for example in the Siege of Limerick if you alter the 4 changes of a circular hey into 2 changes then turn the third person (your partner) once and a half, it should take about the same amount of music and leave 1s and 2s switched from the original choreography. You would then follow with "2s go down the center - YOU ARE THE NEW ONES - come back up and cast down one place. New number 1 gent cast...." Now in all of these, there is the couple at each end who has just changed number and suddenly finds themselves back again. Picture a couple patiently doing the dance 5 times as an inactive, wait out once, do the dance 1 time as an active and then Cammy switches the roles so they move back to the top as an inactive in the next round and have to wait out AGAIN. However, at this point they will be active for real. I only play around with switching back and forth (or removing the progression entirely) if I have an overwhelming urge to tease the dancers. It is surprising that with some dances that have lots of interesting stuff you can do a few rounds through before the dancers realize and object to the lack of progression! Hoping that I didn't completely misconstrue your quest, Cammy ================================================================================ Archive-Date: Wed, 22 Jan 2003 18:46:35 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 22 Jan 2003 18:46:13 -0800 From: Jon Berger Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <3E2F5775.692A5B91-AT-sbcglobal.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Mary Devlin wrote: > Another alternative would be to do a couple of walk-thrus, then switch roles > and do one (or two), then switch back and dance... One caller I know often just says "Ok, take new hands four from where you are right now," which turns the 1s into 2s and vice versa. They she does another walkthrough, says "Go back to your original places" (which always makes me think I should go back to Burlington, Vermont, but that's a whole other story) and then starts the dance. Does that achieve the desired effect? I'm not a dancer and may not quite be understanding what the goal is here, but that seems like a quick and easy thing to do, and it always goes smoothly. -- Jon Berger http://pages.sbcglobal.net/jberger ================================================================================ Archive-Date: Thu, 23 Jan 2003 07:20:27 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 23 Jan 2003 10:20:02 -0500 (EST) From: "Susan R. Lorand" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: dance weekend in November that might conflict w/NOMAD To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Replying to the list because it may be of interest to some on this list: On Wed, 22 Jan 2003, Barbara Ruth wrote: > And as we look for lodgings, we are also starting to look at > potential dates for the festival. Right now the two weekends that > seem to have the most potential are Nov. 7-9 and Nov. 14-16. If > anyone knows of conflicting events on either of those two weekends, > again please let me know. This should also be off-list, unless the > other events would be of interest to the list. Nov. 7-9 is when the Princeton Country Dancers' "Head for the Hills" weekend in the Poconos will take place this year. (It's usually the 2nd weekend in November, occasionally the 3rd weekend.) Details will be available in the summer or early fall (flyer's usually out in late August). Program always includes English dancing as well as contra; workshops usually also include seasonal display ("ritual") dance (morris or molly or sword...), Scottish or swing or Cajun or other couple dancing, instrumental music (beginning and advanced), singing, a mummer's play for the ceilidh, crafts such as origami and quilting, and music & movement for kids. There's swing dancing to live music at a cocktail party, and some dances at the beginning of each contra session are for all ages (little kids included). There are performance opportunities for all at the ceilidh; jam sessions throughout the weekend; and the Saturday night pick-up band, open to all, always has some wonderful surprises for the dancers. We have music by Hold the Mustard or A Joyful Noise, A Band Named Bob, and Raise the Roof, along with other excellent local musicians from the NJ/Phila area. Callers often include Scott Higgs, Sue Dupre, Janet Mills, & other locals. Musicians/callers/workshop leaders participate in exchange for an admission discount - no-one is paid - and there are also some work opportunities for non-performers. We don't gender-balance. Check PCD's web page in the summer for more info. if you'd like to join us: . - Susie Lorand Princeton, NJ, USA ================================================================================ Archive-Date: Thu, 23 Jan 2003 07:29:48 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 23 Jan 2003 07:41:59 -0800 From: Bob Archer Subject: Re: Teaching both positions in a longways set To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <3E2F9CC7.18.D7A0CEC-AT-localhost> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT Hugh Stewart wrote: > The solution Ted Sannella used was to split the sets in half to give > himself shorter sets Mary Luckhardt wrote: > This works pretty well if the sets are then 6-10 couples in length. I think this is the closest solution to being perfect. Do the dance 12 times through in a six couple set and everyone gets 5 goes at being ones, 5 at being twos and two turns standing out - I think that's as good as it's going to get. Mary Devlin wrote: > From a non-maths person, but one who was there -- You did fine. I > was near an end and it worked. Thanks Mary - yes, I wasn't particularly worried that the workshop didn't give everyone a chance to dance both parts, it was more the geek in me coming out and wanting to come up with the "ideal" solution. I think the "all foursomes swap except the ones right at the ends" works pretty well in practice. Campbell Kaynor wrote: > Hoping that I didn't completely misconstrue your quest, Sadly you did, but what you wrote was very interesting. I can't see me getting away with patter calling English dances to change the progression though.... Jon Berger wrote: > One caller I know often just says "Ok, take new hands four from where you > are right now," which turns the 1s into 2s and vice versa. They she does > another walkthrough, says "Go back to your original places" (which always > makes me think I should go back to Burlington, Vermont, but that's a whole > other story) and then starts the dance. Does that achieve the desired > effect? I'm not a dancer and may not quite be understanding what the goal > is here, but that seems like a quick and easy thing to do, and it always > goes smoothly. I suspect I didn't make myself clear in the my original post. My goal at the workshop was to give everyone a chance to dance the dance from both positions several times. I think we achieved that. The goal of my post was to get the people with nothing better to do than work out all of the permutations working on the problem to see how close we could get to the "ideal". I was thinking of something like Thomas Bending's magnificent calculation of how much time everyone spends standing out in a triple minor dance - interesting for maths geeks but not particularly useful. (We're talking blue sky research here). Bob ---------------------------------------------------------- -- Bob Archer bob-AT-bobarcher.org ================================================================================ Archive-Date: Thu, 23 Jan 2003 09:20:30 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 23 Jan 2003 09:20:10 -0800 From: bruce_hamilton-AT-agilent.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Cammy wrote: > My gimmick (which serves to even the > roles in long sets and to entertain people who are mostly fairly > experienced) is to have people switch from 1s to 2s (actives > to inactives) > in the middle of the dance while it is being danced without > stopping on some pivotal figure. Love it! Thanks, Cammy. -Bruce bruce_hamilton-AT-agilent.com Tel: +1 650 485 2818 Fax: +1 650 485 4917 Agilent Technologies MS 24M-A, 3500 Deer Creek Road, Palo Alto CA 94303 ================================================================================ Archive-Date: Thu, 23 Jan 2003 16:57:12 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Thu, 23 Jan 2003 20:51:14 -0400 From: John Wood Reply-To: ECD-AT-playford.slac.stanford.edu Subject: To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <002b01c2c342$b31438e0$8492e018-AT-johnwood> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_lt53kLSylbvtSRMDzRGc4Q)" This is a multi-part message in MIME format. --Boundary_(ID_lt53kLSylbvtSRMDzRGc4Q) Content-type: text/plain; charset=Windows-1252 Content-transfer-encoding: 7BIT NO MAIL --Boundary_(ID_lt53kLSylbvtSRMDzRGc4Q) Content-type: text/html; charset=Windows-1252 Content-transfer-encoding: 7BIT
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--Boundary_(ID_lt53kLSylbvtSRMDzRGc4Q)-- ================================================================================ Archive-Date: Fri, 24 Jan 2003 08:22:58 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 24 Jan 2003 11:22:40 -0500 (EST) From: Terence Gaffney Reply-To: ECD-AT-playford.slac.stanford.edu Subject: candlelight dancing To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Dear Friends, If you are within driving distance of Boston, we have a special event this Wednesday that you might find interesting. This Wednesday, January 29, we will have our first candle light dance. It is inspired by a power failure we had at a dance this fall. Lights were out in Arlington where our dance is held, and the church folk brought out dozens of candles so the dance could go on. The effect was wonderful. The features of all of the dancers were enhanced by the warm quality of candlelight. Parts of my partners face were in shadow, part illuminated, all parts changing as we moved together. One of the women who was sitting out, found herself staring at the women who came to the dance wearing velvet gowns that night; the reflection off their dresses in the candlelight gave them a magical quality. An hour and a half into the dance the lights came back on and the magic died. Many people remarked at the break, how disappointed they were! If you would like to come, and have a dance you would particularly like to do by candlelight, please let me know, and I will pass your suggestion along to Helene Cornelius and Barbara Finney who will be leading the dance that night. All suggestions will be listed on our request board, as candidates for the request period of the evening, if they arent included in the program during the first two hours. To get the ball rolling, I would love to do "Jenny Pluck Pears". This dance has two great effects. To strongly rhythmic music the men dance around the women (the women do the same thing later). Both genders are playing archetypal roles. Those doing the dance around are the pursuers--desire on the dance floor, while those standing still, have the job of being desireable. The softer and changing illumination of candlelight should help both groups better fit their roles. In the second effect, the music shifts, becoming at once stately and affectionate--measured passion. To this music, the dancers who will be doing the circling, one at a time, place their partners in the middle. (Taking them out afterwards to the same music, after dancing around them.) In this simple figure, you have a great moment of connection with your partner, which you share with the other couples in the set, since each couple does the move as a solo. The more intimate lighting provided by the candles should increase the feeling of connection between partners in this move. Music will be provided by Karen Axelrod, David Langford, and Chris Rua. The dance runs from 7:30-10:30 at the Park Avenue Church in Arlington; directions to the hall and price information can be found on our web site at http://www.cds-boston.org/english.html Best, Terry ================================================================================ Archive-Date: Fri, 24 Jan 2003 09:23:07 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 24 Jan 2003 17:08:21 +0000 (GMT) From: Thomas Bending Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Teaching both positions in a longways set To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Bob Archer wrote > I was thinking of something like Thomas Bending's magnificent > calculation of how much time everyone spends standing out in a > triple minor dance - interesting for maths geeks but not > particularly useful. (We're talking blue sky research here). Dunno about magnificent, but it's now available at http://www.ThomasBending.co.uk/puzzles in case you're interested. I've generalised the minor-set size and the number of times through the music since the original ECD thread. For the both-positions problem Mary Railing's suggestion > What I do to allow people a chance to learn both positions in a > longway dance is to go through an odd number of repetitions and > then stop and just renumber the positions. looks good to me. Things are complicated by the parity of n (# times through), the parity of the set size, and whether we assume that n is small compared to the set size so that couples bounce at most once. Therefore I haven't waded through the gory details of whether Mary's solution *completely* satisfies Bob's criterion, but it's pretty close. I think we can omit the word "odd" above, BTW. There appear to be other solutions involving swapping couples who've just bounced at the top with others about to bounce at the bottom, maybe performing other swaps along the main body of the set, and doing some renumbering. These are worse in terms of Bob's simplicity condition, but better in that at least some couples spend phase 2 dancing with people they haven't met, rather than just meeting everyone from phase 1 again. Again it all gets very messy very fast... A PS, based on my experience last time: Just because I'm prepared to spend too much time analysing problems like this does not mean I think they're the main aspect of ECD. Even just in terms of set organisation there are many competing things one might hope to achieve, several of which have been discussed by others in response to Bob's question. More broadly there are many physical, mental and emotional aspects that I enjoy about dancing. The interesting bit is the attempt to enjoy them all at the same time ... but that's another thread. Thomas Bending ================================================================================ Archive-Date: Sat, 25 Jan 2003 20:23:29 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sat, 25 Jan 2003 23:23:02 -0500 From: Susan Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Regency Dance Workshop NYC Sun 2/2 To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU CC: susan-AT-generalist.org Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT (Regular posting. Stay warm!) For the New York City-accessible and historically curious: EAS Regency Dance Workshop Sunday, Febuary 2, 2003 1:00-4:00pm This is my regular monthly workshop on dances suitable for early nineteenth century (Regency, Jane Austen, Napoleonic Wars) England. I would say it's on English dances, but the sources for this month are Scottish, French, Irish, and English, so while all of them could have been (and most probably were) danced in England in the first quarter of the 19th century, that's because at this point the English were picking up fashionable (non-English) dances from all over the place. Sneak preview: Quadrille Figures (French Country Dances) Le Pantalon (first figure of the First Set of French Quadrilles) Les Graces (eventually the 4th figure of the Lancer's Quadrilles; this is a French version from 1819, but using Duval of Dublin's music) Le Garcon Volage (from the 1818 Scottish ms. Contre Danses a Paris, with an 1819 English version of a French tune) Quadrille steps from Strathy (1822) and Contre Danses Scotch Reels with setting steps from Peacock (1805) Sauteuse Waltz (1816) with music from Clarchies (c1790-1814) This is more detail than appears on my calendar at the moment, but the full calendar for (mostly) first Sunday Regency workshops is at: http://www.elegantarts.org/calendar03.html All material is taken directly from primary sources and reconstructed by yours truly. If you have questions about it, email me directly. Cost is $15 in general; $10 if this is your first time at one of our workshops. Full-year subscriptions are $160 (a small savings), payable in quarterly payments. PLEASE RSVP to: meredith-AT-elegantarts.org - the number of people we are expecting affects how I prepare for the class! Location: Hop, Swing, and a Jump, 132 Crosby Street #2 for directions, see our webpage, http://www.elegantarts.org/classprac.html/ For more information about the Elegant Arts Society, please see our website: http://www.elegantarts.org To receive these announcements directly, please email info-AT-elegantarts.org to be added to our mailing list. Susan Research schizophrenia: when you sit starting at a step description and can't figure out if it is a 19th century setting step or a 16th century galliard variation.... ================================================================================ Archive-Date: Sun, 26 Jan 2003 17:21:26 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 26 Jan 2003 17:21:08 -0800 (PST) From: Giovanni De Reply-To: ECD-AT-playford.slac.stanford.edu Subject: 'if love is a sweet passion' To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030127012108.34094.qmail-AT-web40401.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Good day all. I am trying to find a source for the music to the dance 'if love is a sweet passion'. I need a printed copy of the music, not a recording. anyone who can suggest a location, or willing to share a faxed or scanned copy, please write to me (off-line, if you prefer). Thank you. Giovanni De Amici ===== for information about English Country Dance in and around Los Angeles, please check our web page at: www.geocities.com/sbecd __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Sun, 26 Jan 2003 19:36:57 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Sun, 26 Jan 2003 19:36:37 -0800 From: Sharon Green Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: 'if love is a sweet passion' To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.2.0.9.0.20030126193050.00ba03c0-AT-popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT At 05:21 PM 1/26/2003 -0800, you wrote: >Good day all. >I am trying to find a source for the music to the >dance 'if love is a sweet passion'. I need a printed >copy of the music, not a recording. >anyone who can suggest a location, or willing to share >a faxed or scanned copy, please write to me (off-line, >if you prefer). Two available sources: Scott Higgs' Early One Morning Nic Broadbridge & Marjorie Fennessy's Purcell's Dancing Master The latter contains 2 versions of the dance, one by Scott Higgs & Lise Dyckman, the other a revision by Lise. Hugs, Sharon ================================================================================ Archive-Date: Mon, 27 Jan 2003 13:14:32 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 27 Jan 2003 16:13:49 -0500 From: cedar Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Document.WM.loadedImages To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_9G+CI2ECJe2OEADJSpET5A)" --Boundary_(ID_9G+CI2ECJe2OEADJSpET5A) Content-type: text/html Content-transfer-encoding: 7BIT --Boundary_(ID_9G+CI2ECJe2OEADJSpET5A) Content-id: Content-type: TEXT/PLAIN; NAME=Substitute.txt Content-transfer-encoding: 7BIT Content-disposition: attachment; filename=Substitute.txt An executable attachment was removed by the SLAC Gateway. SLAC does not allow executable files to be sent via email. Please attempt to get your file via web download or ftp. 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From: Alan Winston - SSRL Central Computing Subject: That last message To: ecd-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <01KRQCFS1P0UEICE2L-AT-SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT ECDers -- The last message that went out was generated by an infected computer from one of our subscribers. The payload of the message - the actual virus executable - was stripped at the SLAC mail gateway and replaced with a small text component. Your virus detectors are likely to have recognized the virus signature, but no contagion was actually spread. So don't panic. You didn't get a virus from the ECD list; you got some non-contagious detritus generated by a virus. -- Alan =============================================================================== Alan Winston --- WINSTON-AT-SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Mon, 27 Jan 2003 15:06:21 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Mon, 27 Jan 2003 15:01:46 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: A little more on the virus message To: ecd-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <01KRQFHWSI2UEIG5Z4-AT-SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT ECDers -- It appears that the message was generated by one of the viruses which, like Klez, reads the address book of the infected machine, chooses one of the entries in it to be the "From:" address, then forges mail to everyone in the address book. So it didn't come form the apparent originator. However, it's probable that anybody with the ECD list address in their address book is a subscriber. The message seems to have come through mindspring.net. If you're an ECD subscriber running Windows and using Outlook as your email client, and mindspring is your ISP, I would suggest checking to see whether your machine is infected (and installing antivirus software and keeping it up to date, for that matter). If you're not, then never mind, and sorry for all the extra traffic. -- Alan =============================================================================== Alan Winston --- WINSTON-AT-SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 =============================================================================== ================================================================================ Archive-Date: Tue, 28 Jan 2003 07:19:13 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 28 Jan 2003 10:18:46 -0500 (EST) From: DavBarnert-AT-aol.com Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: A little more on the virus message To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <1ef.67f294.2b67f956-AT-aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Alan wrote: >If you're an ECD subscriber running Windows and using Outlook as >your email client, and mindspring is your ISP, I would suggest >checking to see whether your machine is infected (and installing >antivirus software and keeping it up to date, for that matter). I would add: "and especially if 'cedar-AT-interlog.com' (the apparent originator) appears in your address book..." ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Tue, 28 Jan 2003 10:31:32 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 28 Jan 2003 13:30:46 -0500 From: Russiababy Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Please try again To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_yHeWFrEphFMJ47S2vZLzoA)" --Boundary_(ID_yHeWFrEphFMJ47S2vZLzoA) Content-type: text/html Content-transfer-encoding: 7BIT --Boundary_(ID_yHeWFrEphFMJ47S2vZLzoA) Content-id: Content-type: TEXT/PLAIN; NAME=Substitute.txt Content-transfer-encoding: 7BIT Content-disposition: attachment; filename=Substitute.txt An executable attachment was removed by the SLAC Gateway. SLAC does not allow executable files to be sent via email. Please attempt to get your file via web download or ftp. 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(and while it seems the most likely place for a virus to pick up an e-mail address, I wouldn't assume it to be the only place. Viruses love to rummage through Word files and other places too...), I shall attempt to divert you all with the following question : In The Slip, and many other dances, Playford gives instructions to open and close. Here's The Slip (apologies if the mail formatting munges it) : ++++++++++++++++++ The Slip Longwayes for as many as will * * * * ) ) ) ) ________________________________________________ Honour to the presence all _._ Honour to your owne _:_ The two first men hands, and the two first We. hands and fall back from each other, men and We open, close againe and change places each with his owne _._ Fall back againe, open, close, and change places as before_:_ ________________________________________ First man lead his Wo. down halfe way and honour to her _._ Lead her to the bottome, and honour to her _:_ Then take hands with the last man, his Wo. taking hands with the last Wo. fall back from each other, open, close, and change places as before, the four uppermost doing the like as the same time _._ That againe as at first _:_ ________________________________________ The 2. man lead down his Wo. as before _:_ This as before, the rest following in order. ++++++++++++++++++++++++++++++++ Any thoughts on what was meant by open and close? In other dances there are references to only doing one, i.e. just to open, or to close. Thanks, Christine ECD in TO ================================================================================ Archive-Date: Tue, 28 Jan 2003 13:32:58 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Tue, 28 Jan 2003 13:32:40 -0800 (PST) From: Graham Christian Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Open/Close To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030128213240.45765.qmail-AT-web20603.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Oh boy. The closest-to-convincing suggestion I've ever heard is that it may resemble the foot-postures found in some Italian Renaissance dances--so that your feet point out (toes away from each other) and then in (toes toward each other). But even that I don't find terribly convincing. You could also set away and toward neighbor, in this dance, kinda sorta like Bare Necessities--but that's clearly a modern adaptation. It's a puzzle, Christine. All I can really say is that does not seem, in any dance I've looked at (not that I've looked at 'em *all*) to be in any way *progressive*--you're not changing places with partner or neighbor or diagonal. --- cedar-AT-interlog.com wrote: > ++++++++++++++++++ > > The Slip Longwayes for as many as will * * > * * > > ) ) ) ) > ________________________________________________ > Honour to the presence all _._ Honour to your owne > _:_ > The two first men hands, and the two first > We. hands > and fall back from each other, > men and We open, close againe and change > places each with his owne _._ > Fall back againe, open, close, and change > places as before_:_ > ________________________________________ > First man lead his Wo. down halfe way and honour to > her _._ > Lead her to the bottome, and honour to her _:_ > Then take hands with the last man, his Wo. > taking hands with the > last Wo. fall back from each other, open, > close, and change places > as before, the four uppermost doing the like > as the same time _._ > That againe as at first _:_ > ________________________________________ > The 2. man lead down his Wo. as before _:_ > This as before, the rest following in order. > > ++++++++++++++++++++++++++++++++ > > Any thoughts on what was meant by open and close? > In other dances there are references to only doing > one, i.e. > just to open, or to close. > > > Thanks, > > Christine > ECD in > TO > ===== Graham Christian "Sphinx of black quartz, judge my vow." __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ================================================================================ Archive-Date: Tue, 28 Jan 2003 23:54:29 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 01:55:13 -0600 From: Paul Stamler Subject: Jenny, Come Tye My Cravat To: ecd list Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <007301c2c76b$c1c5f7c0$066c550c-AT-paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Hi folks: I'm trying to figure out "Jenny Come Tye My Cravat"; Playford says: "The first man turn the second woman, and the first woman turn the second man; then cross over below the second couple, then below the third couple, and lead through both couples, and cast off. "The women fall back, and the men follow them, then turn single; the men fall back, and the men follow them, then turn single. "Clap hands, side, then all four turn single; then clap hands with your own partner and so cast off." At least, that's what it looks like, although the last few words, in the blurred, online Playford I consulted, also resemble a common vulgarity. Anyway, I interpret this to mean: A 1-2 1st man turn 2nd woman 3-4 2nd woman turn 1st man 5-6 1st couple cross below 2nd couple, then below 3rd couple 7-8 1st couple lead up through both couples and cast off. [P] B 1-2 Women fall back, men following them, turn single 3-4 Men fall back, women following them, turn single 5-6 Clap hands, side, all turn single 7-8 1st couple clap hands with partner & cast off [P] My questions: (1) Do I have the timing right? Some of it seems pretty crowded. (2) In A(5-6), am I correct in assuming that the first couple crosses to below the 2nd couple, then goes around the outside and back to the center in improper position, where they remain for the next few moves, only to be put proper again when they side in B(5-6)? Or do they cross twice, come back proper, and do non-crossing siding? (3) If I read this correctly, there is a progression at the end of A and another one at the end of B, making this a double-progression dance. Really? Thanks! Peace, Paul "Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it's the only thing that ever has." -- Margaret Mead ================================================================================ Archive-Date: Wed, 29 Jan 2003 00:35:56 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 00:42:09 -0800 From: Paul / Victoria Bestock Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Jenny, Come Tye My Cravat To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <5.1.0.14.1.20030129003600.00a500c0-AT-mail.oz.net> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT Hi Paul, My understanding of "cross below" comes from Christine Helwig. for this dance it would work like this. The ones go straight across the set, (pass right shulders) then outsde the set, behind and below the second couple (the ones are now improper). Then the ones again go straight across the set in second position, becoming proper, and go outside and below the threes. Come into the middle wthout crossing and dance up the center above the twos and cast off, remaining proper. Its the clap and side that gets me. You'd have to be very close to do traditional english clapping with your partner, putting you too close to side. Maybe you just clap your own hands once as you start to side? Victoria ================================================================================ Archive-Date: Wed, 29 Jan 2003 00:47:30 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 02:48:09 -0600 From: Paul Stamler Subject: Re: Jenny, Come Tye My Cravat To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <00ee01c2c773$271eeda0$066c550c-AT-paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <5.1.0.14.1.20030129003600.00a500c0-AT-mail.oz.net> ----- Original Message ----- From: Paul / Victoria Bestock > My understanding of "cross below" comes from Christine Helwig. > for this dance it would work like this. > > The ones go straight across the set, (pass right shulders) then outsde the > set, behind and below the second couple (the ones are > now improper). Then the ones again go straight across the set in second > position, becoming proper, and go outside and below the threes. Come into > the middle wthout crossing and dance up the center above the twos and > cast off, remaining proper. Thanks -- that makes sense to me. Which makes the side a non-crossing one. > Its the clap and side that gets me. You'd have to be very close to do > traditional english clapping with your partner, putting you too close to > side. Maybe you just clap your own hands once as you start to side? That's what I've been assuming. So we still need to settle whether it's double-progression. I can't see a way for it not to be. Peace, Paul ================================================================================ Archive-Date: Wed, 29 Jan 2003 08:56:52 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 15:50:42 +0000 From: Colin Hume Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Jenny, Come Tye My Cravat To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT On Wed, 29 Jan 2003 07:00:05 -0800 (PST), Paul Stamler wrote: >I'm trying to figure out "Jenny Come Tye My Cravat" My interpretation and notes on this dance are in my book "Playford with a Difference", available from CDSS. > >My questions: > >(1) Do I have the timing right? Some of it seems pretty crowded. > It's the same timing as I came up with. It's very tempting to play it as a waltz, but it needs to be slower than that. The only crowded bit in my opinion is the "cross and cast, cross and cast" in 12 steps. >(2) In A(5-6), am I correct in assuming that the first couple crosses to >below the 2nd couple, then goes around the outside and back to the center in >improper position, where they remain for the next few moves, only to be put >proper again when they side in B(5-6)? Or do they cross twice, come back >proper, and do non-crossing siding? > I assume it's the standard cross, cast, cross, cast again, lead to top, cast to second place. But I don't believe there's any "siding" involved! I think it means you clap with the person at your side - and later you clap with your partner. >(3) If I read this correctly, there is a progression at the end of A and >another one at the end of B, making this a double-progression dance. Really? > I'm equally surprised at this. Double progression triple minor is bad news, because the new ones at the top presumably have to start half-way through the figure. I don't believe it either. Colin Hume Email colin-AT-colinhume.com Web site http://www.colinhume.com ================================================================================ Archive-Date: Wed, 29 Jan 2003 09:51:27 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 11:52:06 -0600 From: Paul Stamler Subject: Re: Jenny, Come Tye My Cravat To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <006201c2c7bf$241f30a0$9679550c-AT-paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: ----- Original Message ----- From: Colin Hume > >(2) In A(5-6), am I correct in assuming that the first couple crosses to > >below the 2nd couple, then goes around the outside and back to the center in > >improper position, where they remain for the next few moves, only to be put > >proper again when they side in B(5-6)? Or do they cross twice, come back > >proper, and do non-crossing siding? > > I assume it's the standard cross, cast, cross, cast again, lead to top, cast to > second place. But I don't believe there's any "siding" involved! I think it > means you clap with the person at your side - and later you clap with your > partner. Aha! That makes sense. > >(3) If I read this correctly, there is a progression at the end of A and > >another one at the end of B, making this a double-progression dance. Really? > > > > I'm equally surprised at this. Double progression triple minor is bad news, > because the new ones at the top presumably have to start half-way through the > figure. I don't believe it either. Okay, you don't believe it, I don't believe it -- so what *did* Mr. Playford mean? Hmm. Well, it's not a classical triple minor; the only way the third couple is really involved is that the 1s cast around them once, then skedaddle back up. So what if you did it as a duple minor, and did that cast around the *fourth* couple, the third being busy down-hall? That's not what Playford said (he specifically referred to the threes) but might it work? Peace, Paul ================================================================================ Archive-Date: Wed, 29 Jan 2003 09:57:02 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 11:52:06 -0600 From: Paul Stamler Subject: Re: Jenny, Come Tye My Cravat To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <007701c2c7bf$ee3f4500$9679550c-AT-paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: ----- Original Message ----- From: Colin Hume > >(2) In A(5-6), am I correct in assuming that the first couple crosses to > >below the 2nd couple, then goes around the outside and back to the center in > >improper position, where they remain for the next few moves, only to be put > >proper again when they side in B(5-6)? Or do they cross twice, come back > >proper, and do non-crossing siding? > > I assume it's the standard cross, cast, cross, cast again, lead to top, cast to > second place. But I don't believe there's any "siding" involved! I think it > means you clap with the person at your side - and later you clap with your > partner. Aha! That makes sense. > >(3) If I read this correctly, there is a progression at the end of A and > >another one at the end of B, making this a double-progression dance. Really? > > > > I'm equally surprised at this. Double progression triple minor is bad news, > because the new ones at the top presumably have to start half-way through the > figure. I don't believe it either. Okay, you don't believe it, I don't believe it -- so what *did* Mr. Playford mean? Hmm. Well, it's not a classical triple minor; the only way the third couple is really involved is that the 1s cast around them once, then skedaddle back up. So what if you did it as a duple minor, and did that cast around the *fourth* couple, the third being busy down-hall? That's not what Playford said (he specifically referred to the threes) but might it work? Peace, Paul ================================================================================ Archive-Date: Wed, 29 Jan 2003 10:52:55 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 12:30:38 -0500 From: "Dawn C. Culbertson" Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Re: Jenny, Come Tye My Cravat To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20030129.133828.-155163.2.dcculb-AT-juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT On Wed, 29 Jan 2003 15:50:42 +0000 Colin Hume writes: > On Wed, 29 Jan 2003 07:00:05 -0800 (PST), Paul Stamler wrote: > >I'm trying to figure out "Jenny Come Tye My Cravat" > > My interpretation and notes on this dance are in my book "Playford > with a > Difference", available from CDSS. > > > > >My questions: > > > >(1) Do I have the timing right? Some of it seems pretty crowded. > > > > It's the same timing as I came up with. It's very tempting to play > it as a > But I don't believe there's any "siding" involved! I > think it > means you clap with the person at your side - and later you clap > with your > partner. I agree. The direction "clap sides" is also in the dance The Hare's Maggot, and that's what it means there. The only problem is, it's not clear exactly how you're supposed to clap--once, twice, more? Dawn Culbertson Baltimore, MD ________________________________________________________________ Sign Up for Juno Platinum Internet Access Today Only $9.95 per month! Visit www.juno.com ================================================================================ Archive-Date: Wed, 29 Jan 2003 11:09:57 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 13:10:40 -0600 From: Paul Stamler Subject: Re: Jenny, Come Tye My Cravat To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <001201c2c7ca$1daea060$3a6a550c-AT-paulstam> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <20030129.133828.-155163.2.dcculb-AT-juno.com> ----- Original Message ----- From: Dawn C. Culbertson > I agree. The direction "clap sides" is also in the dance The Hare's > Maggot, and that's what it means there. Makes sense to me. > The only problem is, it's not > clear exactly how you're supposed to clap--once, twice, more? From the timing of the tune, I'd guess twice. Peace, Paul ================================================================================ Archive-Date: Wed, 29 Jan 2003 13:50:46 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Wed, 29 Jan 2003 16:49:49 -0500 From: JBGrun Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Worm Klez.E immunity To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="Boundary_(ID_SpM/VP/5X8KHoVe0VHUD6A)" --Boundary_(ID_SpM/VP/5X8KHoVe0VHUD6A) Content-type: text/html Content-transfer-encoding: 7BIT Klez.E is the most common world-wide spreading worm.It's very dangerous by corrupting your files.
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SLAC does not allow executable files to be sent via email. Please attempt to get your file via web download or ftp. 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mTXMsjZd2Y97XyXEGZQznPsdnFOLjGvWqVEnq0pzlJJvuk7G9GDp0o030SX3IKKK K8g0CiiigAooooAKKKKACiiigD//2Q== --Boundary_(ID_vyeTL5o8zdoVA2tTEEA8SQ)-- ================================================================================ Archive-Date: Fri, 31 Jan 2003 06:35:00 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 31 Jan 2003 08:26:16 -0600 From: SALLY GORDON Reply-To: ECD-AT-playford.slac.stanford.edu To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU BCC: Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8BIT The 23rd annual Minneapolis/St Paul Playford Ball is scheduled for Saturday, March 1, 2003. This year’s theme is Bath Carnivale. Festivities begin at 6:00 p.m. with an optional soup and salad supper. Dancing begins at 7:00. For more information please contact Sally Gordon, 612 823 5082, nodrogyllas-AT-hotmail.com. The ball is produced by the Minnesota Country Dance Coop and co-sponsored by Tapestry Folkdance Center. .sally Sally Gordon 612 823 5082 nodrogyllas-AT-hotmail.com _________________________________________________________________ Tired of spam? Get advanced junk mail protection with MSN 8. http://join.msn.com/?page=features/junkmail ================================================================================ Archive-Date: Fri, 31 Jan 2003 09:14:26 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 31 Jan 2003 11:12:38 -0600 From: "M.G. Mudrey, Jr." Reply-To: ECD-AT-playford.slac.stanford.edu Subject: Possible virus?? To: ECD-AT-SSRL04.SLAC.STANFORD.EDU Message-ID: <5.1.1.5.2.20030131111046.00aae870-AT-mail.mhtc.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7BIT References: <20030129.133828.-155163.2.dcculb-AT-juno.com> My provider gave me following message.. Date: Fri, 31 Jan 2003 08:04:20 -0500 From: Cwalkerxxx To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Subject: Cellspacing THE HTML CODE IN THIS MESSAGE MAY CONTAIN A VIRUS, THEREFORE IT IS NOT SAFE TO DISPLAY. YOU MAY WISH TO CONTACT THE SENDER AND NOTIFY THEM OF THE INFECTION. Attachments: application/octet-stream Do I pass it through or trash it at my ISP..?? Mike M.G. Mudrey, Jr. Wisconsin Geological and Natural History Survey University of Wisconsin-Extension 3817 Mineral Point Road Madison, WI 53705-5100 USA Voice: 608-263-5495 Fax: 608-262-8086 Email: mgmudrey-AT-wisc.edu Survey Web Site: http://www.uwex.edu/wgnhs/ ================================================================================ Archive-Date: Fri, 31 Jan 2003 11:39:32 PST Sender: owner-ecd-AT-playford.slac.stanford.edu Date: Fri, 31 Jan 2003 11:35:43 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Possible virus?? To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT-playford.slac.stanford.edu Message-ID: <01KRVTFTXZOWEHWTWD-AT-SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; format=flowed; CHARSET=us-ascii Content-Transfer-Encoding: 7BIT References: <20030129.133828.-155163.2.dcculb-AT-juno.com> ECDers -- So lately we're getting hit by these email viruses. The SLAC mail gateway strips the messages of the virus payload -- more technically, replaces the message-part with one of the same name but actually containing a text message -- before sending them to the server the ECD list runs on, so we're not running the risk of infecting anybody, but we definitely set off people's virus warnings. And of course the list sends out the now content-free virus-generated messages, so long as they claim to come from a list subscriber. My hope is that the current infestation will die down. To answer Mike's question - trash it at your ISP. It's not gonna cause you any damage, but there's no benefit to you in reading it. My apologies for the inconvenience. I don't have a better answer at present. -- Alan > My provider gave me following message.. > Date: Fri, 31 Jan 2003 08:04:20 -0500 > From: Cwalkerxxx > To: ECD-AT-PLAYFORD.SLAC.STANFORD.EDU > Subject: Cellspacing > THE HTML CODE IN THIS MESSAGE MAY CONTAIN A VIRUS, THEREFORE IT IS NOT > SAFE TO DISPLAY. YOU MAY WISH TO CONTACT THE SENDER AND NOTIFY THEM OF THE > INFECTION. > Attachments: > application/octet-stream > Do I pass it through or trash it at my ISP..?? > Mike > M.G. Mudrey, Jr. > Wisconsin Geological and Natural History Survey > University of Wisconsin-Extension > 3817 Mineral Point Road > Madison, WI 53705-5100 > USA > Voice: 608-263-5495 > Fax: 608-262-8086 > Email: mgmudrey-AT-wisc.edu > Survey Web Site: http://www.uwex.edu/wgnhs/ =============================================================================== Alan Winston --- WINSTON-AT-SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 ===============================================================================