Don,

I don't particularly relish telling you this, but the lack of structural coherence in your posts destroys your good intentions. Also, your constant references to luminari (John Woods, Anne Lewis, etc...) conveys only the impression of self-aggrandizement. Not to mention the prominent lack of the ability to analyse a movement based on its merits alone and not the words or doctrine of another.

I also think someone has to tell you that the information you're sharing is sometimes patently misguided, misunderstood, or incoherent, as your recent post above demonstrates.

I am not saying that all your advice is flawed, but I urge you to take more care in what you write. Please realize that there are beginners out there who might take to heart some misguided piece of information, and take a lifetime to correct.

I realize this is a breach in forum etiquette and for that I truly apologize.


With sincerest regards,

JB

Anonymous. I found your post on the use of CBM very interesting. Although the technique books have dropped the left and right shoulder leading in preference to left and right side leading which of course indicates that the hip and shoulder turn as one. But I always remember the late Charles Thiebault saying that he found the majority of dancers try to turn the hips and shoulders in one piece, which in his view, was entirely wrong. He also stated he did not know of any other art or sport, where participants attempt to do this.

lluv2Dance. Charles Thiebault. That's going back a long way, close to 50 years. The straight spine. I have been istructed that if the spine is twisted the lady gets a wrong message. In fact I was made to do the ladies steps to prove that point. I found myself being put in the wrong position for a comfotable Heel Turn. Putting that aside I just don't see any of the top dancers not coming around in what I would call a solid unit. It is easy to pick in a Reverse Turn second step.
Did you go to Blackpool this year.
Best wishes.

Hi Don,
I do tend to go back a bit. This year is my 70 years in dance. Just managed to see the pro final on the Friday in the Gardens. Couldn't see much. I had a rover ticket £21 (US $39), no seat, so stood behind at the back. Spectator dancers today seem to be all 6 footers. I only mentioned Charles because many of the coaches of today were trained mainly by his former pupils.

lluv2Dance . Wasn't Charles Theibault dancing with Sally Brock when he stopped dancing in about 1953.
Blackpool. People who have never been there don't realize that it is impossible to get a seat. I've always managed to get a veiw opposite the left hand side of the stage, right at the end of the first balcony. Even those with seats are standing for the finals. Best Wishes.

I can't remember Charles dancing with Sally. I only know he won the first Blackpool pro after World War 2, dancing with Doreen Beahan. I believe that was in 1946. Fryer was second and Scrivener was third. I do know that Binick (Sally Brock's partner) said after winning at Blackpool he only had one lesson in the past year and that was with Charles.

lluv2Dance.I was going to Guy Haywood's studio in Harrow when Joyce Haywood his daughter retired to get married, that was 1953 after winning the British at Blackpool with Sony Binick. I think that was when Sally Brock split with Charles and danced with Sonny Binick, they later married.

That's right Don. Sonny and Joyce won W, S/FT, and Q/S. Alf Davis & Julie Reaby took the Tango.

Sally Brock was my Mums Cousin and I remember her coming to Glasgow Mecca Ballroom around 1960's she visited our home and I have not heard from her since.

Joe Black. Tell me, and you can go as far back as you like, where I have written anything that has not come out of a technique book, in the main Alex Moore's or Wally Laird's or lectured by Billy Irvine, Steven Hanah. Steven Hillier. The list can go on. If I wrote in my humble opinion. That means exactly what it says that I am of the opinion that-. Now you tell me where you would get your information from.