We get comments…if you’d like to see what others are saying, click on the What’s New button button and then click on Comments…this will show the comments from the last 14 days.

Okay, someone noted that I have Randy Owen’s (from the band Alabama) birthday listed as December 16, and it’s really December 13. Yup, that’s right. What’s frightening is that if you google “Randy Owen birthday“, my page comes up first. I’ve fixed the date.

I also made a mistake in this story. I said that Ozark Production’s song Summer Nights wasn’t a standard 64-beat melody. I received email from Brenda Ackerson, one of the producers, pointing out that it is exactly 64 beats 7 times through. I went to the Hanhurst/Supreme site (way easier than trying to find the song on whatever tape it was on) and counted, and, sure enough, she’s right and I’m wrong. Since I was counting while driving (doesn’t everybody listen to their tapes in their car?), the vocal delivery might have caused me some confusion: Keith says “Weave the Ring” and Brenda immediately (no pause to do the weave) says “Swing and promenade”. There’s enough time after to do the full weave and swing/promenade, but it sort of feels like there’s too much music.

Carl Kaye (the subject of the story, also has some interesting comments on why we, as callers, insist on 64-count sequences.

I admit to laziness and flexibility as motives. I want to be able to use a favorite singer at any level and I want to be able to mix and match figures to fit what I’m doing at a particular dance (that’s the flexibility part). I don’t want to have to try to predict what I’m going to need at the time I choose to call the singer and then write special figures to fit that particular need before each dance (that’s the lazy part). I’m much more likely to use a singing call if I don’t have to worry about special choreography. If the song/arrangement is totally outstanding and would fit perfectly into my style, I would probably make the effort…otherwise, there’s lots of other stuff out there.