Marshall Flippo · My Thoughts · square dance · Writing

How Do You Start a Biography?

Cover of Flippo - start a biography

After several hours of interviews, Marshall Flippo had definite ideas how to start his biography. He ended up with two unique pieces he wanted, so my dilemma became, which would it be?

His passionate interest in the intricacies of his biography fascinated me. Then I found out he had prior experience with book publication because he wrote a chapter in Bob Osgood’s book, The Caller Text. Flippo was one of the contributing callers, writing chapter 24: “Building and Maintaining a Repertoire.”

As we discuss the layout of the book, Flip stated, “I have a dirty joke a caller’s wife told me the first time I met her, and I want you to start my book with it. I’ll tell it to you, and then you clean it up so we can use it.” Then he told me the joke, and I howled because I loved Flippo’s outrageous humor. I assured him we could use it, but I wondered about starting his life story with a dirty joke.

Laughter - start a biography
Photo by Andrea Piacquadio from Pexels

But as I transcribed the interviews and relived our 40+ hours together, I realized that humor defined Flippo in a way I hadn’t realized. His practical jokes and stories about his caller friends showed the humorous life he lived!

Another reason for humor came up when I transcribed the first few interviews and Flip was still alive. I sent him a copy of the interviews so he could answer questions I had.

In his raspy Texas drawl, he stated, “Take the giggles out!”

I laughed and replied, “Flip, any time you giggled in the interviews, I put in the word “Giggle” to remind me when I wrote the actual text, I wanted to remember to add your laughter.” He accepted that. Yes, he laughed a lot in the interviews, reminding me how much he enjoyed his life.

Also, Flippo told me repeatedly he wanted people to laugh when they read his biography. So, I understand the reason to start with a joke.

Hs joke is hilarious about some hunters caught in a cabin in a snowstorm and nature calls—you’ll have to buy the book to get the full joke.

So, we went with that for a few months. Flippo often returned to the joke, chuckled and wrote a reminder to himself to phone the caller and ask permission from his wife to include her name in the book. Somehow, he never made that call, so I emailed the caller about this touchy topic. He said his wife would prefer not being named.

I felt good about the joke and the start of this book. After several months, during one of our weekly interviews, Flippo stated, “I have something else I want to start the book with.”

Not knowing what was coming, I sighed and wondered what it could be.

Flippo added, “I want a tribute to those callers who’ve gone and helped me get started.”

After this poignant request, I swallowed, and the lump in my throat expanded. I stopped the tears because I had to listen.

“Okay, we can do that, but what about the joke?” I asked.

Easily he figured, “Put the joke after this part,” so I did.

So, once again Flippo recited a list of callers’ names to me who he wanted in this part. The first part consisted of Abilene, Texas callers: Betty Casey, J. C. Wilson, Bob Sumrall and Owen Renfro.

Then he named Bob Osgood, Bob Page, Arnie Kronenberger, Bob Van Antwerp, Joe Lewis, and Bill Castner. Those men lived all over the United States. He told stories on each, and the gratitude he expressed about these people was palatable.

In my research, I found a picture of everyone but Betty Casey, so I added her signature. I loved adding the pictures to provide a visual to the name. Some names are historical callers in the square dance world.

Sadly, two callers died near Flippo’s death who he might have added to this list: Frank Lane and Lee Kopman. I added them here because of their gigantic contributions to square dancing over the years. Also, Flippo loved and admired both of them.

Honor those who go before you—yes, that’s the man Flip was!

Finally, how we started Flippo’s biography depicted him to the tee: a spicy sense of humor and deep gratitude to those who went before him and helped him get his start as a caller.

One last note: I started Flippo’s biography with an unusual piece we never talked about with the assistance of his son and ex-wife. Someone who preordered Flip’s biography asked before he died if she could get her copy autographed by Flippo. After he died, that question haunted me. How could I do it?

I emailed John and Neeca, and Neeca found this treasure on a card he sent her years ago—how appropriate it was to use because he truly loved all of his friends.

Love Flip - start a biography

How do you start a biography? I believe there’re hundreds of ways to do it, but the solution is in the person the book is about! What best portrays the subject?

What do you think? How do you think a biography should start?

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Cover for Just Another Square Dance Caller

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Marshall Flippo · My Thoughts · square dance

Who Was Bob Osgood in Marshall Flippo’s Life?

Marshall Flippo and Bob Osgood enjoyed an amazing working relationship for many years. Bob, the visionary, and Marshall, the new hot caller made quite a team.

Bob published and edited the square dance magazine, Sets in Order, from 1948 – 85. Flippo’s name first appeared in Sets In Order November 1958 in the “Round the Outside Ring” article for calling at the Permian Basin Festival. “The Auctioneer,” Flippo’s first smash hit, also first appeared in the same issue in the “On the Record” section, listed as a new release.

From then on, readers saw Flippo’s name regularly, whether in reports about where he was calling around the United States or a review of his newest released song.

Flippo’s name appeared repeatedly with song after song being reviewed and lauded in Sets in Order, and Bob noticed this! After Bob hired Flip in 1964 to call at a week and a weekend event at Asilomar, California, he actually saw Flippo in action. Flippo’s skilled calling prowess and his popularity with dancers drew respect from Bob, and their relationship deepened.

“. . .his personal appearance tours throughout the country have given a real ‘lift’ to thousands of dancers,”

Bob Osgood, Sets in Order, (August 1965):33

Bob wrote this in an ad in his Sets in Order magazine, August, 1965 issue.  Flippo’s years of tours touched many lives, his popularity increased, and Bob watched Flippo’s successful calling career grow.

So, Bob started a series called DIALOG in Sets in Order magazine in February 1968 and stated, “This month we inaugurate a new series of dialogues directed to those people who have a desire to call square dances.”

Bob Osgood, Sets in Order (February 1968): 12

First of all, Flippo and Frank Lane teamed up with Arnie Kronenberger and did two interviews for Sets in Order magazine in May and June 1968 on “How Does One Go About Learning to Call?” Bob Osgood wrote in the May issue, the focus: “If you have never called before, then there must be a thousand questions running through your mind. We’ve tried to anticipate some of these, and we’ve brought together several outstanding callers to field the answers for you.”

Bob Osgood, Sets in Order (May 1969): 19

Then the second interview on this topic in the June 1968 issue focused on “Last month we asked this trio of experienced callers several questions having to do with memorizing calls and with sight calling. This month we question them on a variety of related subjects including some hypothetical questions a beginner caller might be expected to ask. We start of by trying to get some opinions.  

Bob Osgood, Sets in Order (June 1968): 19

In the third interview, Frank and Flippo teamed up with Bob Page, longtime friend who Flip worked yearly with at Asilomar, in the DIALOG article titled “Leadership In Square Dancing.” This article focused on “Calling a square dance is only a portion of the caller’s many responsibilities. He is looked up to as a “leader” and there are many opportunities for the caller to evidence good judgment, to develop sensitivity and to provide the type of activity that the dancers hope to receive. We asked three nationally known callers a series of questions and we think you will be interested in their frank replies. We began by asking, “What do you consider the caller’s responsibilities in a club run by the members themselves?”

Bob Osgood, Sets in Order (April 1969): 19

Finally, the fourth interview saw Frank and Flippo back with Bob Page and the title of the DIALOG article was “BuildingDancer Reaction.” Bob Osgood introduced it with “Being able to work with people — with human beings — to impart to them your ideas, to encourage them to follow your instructions and suggestions, is just about as basic to square dancing as it is possible to get. Only the caller who naturally gets on well with others or who specifically trains himself to do so, can really do the job successfully. This month we question three well-known callers on this subject and the first thing we asked them was how to “lift” a group that seems disinterested, that seems to have no spark.”

Bob Osgood, Sets in Order (June 1969): 19.

You can see that Bob identified Flippo as one of the leaders in the square dance world at this time and respected what he had to say. He felt this so much, he asked Flip to write a chapter for a book he published about square dancing, The Caller Text which took 36 years to write.

This dynamo duo loved and respected each other and touched so many with across the country and the world. Enjoy the four articles below.

Here’s the four DIALOG articles from Sets in Order

  1. “How Does One Go About Learning to Call?”
  2. “How Does One Go About Learning to Call?” Second Part
  3. “Leadership in Square Dancing”
  4. “Building Dancer Reaction”

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~Whitey & Gladys Puerling were playful friends of Flippo’s who created a Fan Club. I thought it would be fun to recreate this group. Would you like to join the Marshall Flippo Fan Club Facebook page? Read interesting posts about Flippo’s life. https://www.facebook.com/groups/328325644382769/

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