ROCKABILLY
MOVERS AND SHAKERS
RE-DEFINING COOL
Feature Writing
Hoarders among us would be familiar with the longstanding rule, "hold onto it – it might come back into fashion." This comforting mantra, derived from the cyclical nature of trends, has meant the difference between a boot-cut or a box pleat being deemed “in” one season and decidedly unfashionable the next. As these styles come and go, our wardrobes adopt a Darwinian approach to survival. Some items are preserved on a coat hanger; others get thrown to the bottom of a drawer; fewer still are “thoughtfully disposed of” (whether offloaded to an unsuspecting sibling or condemned to the spare fabric pile for an impending sewing spree). Thus, when a style comes along that is both iconic and enduring, it deserves some serious attention. I decided to have a peek under the proverbial skirt of the rockabilly phenomenon, and its resurgence in popularity.
It’s fair to say, you would be familiar with the look. Guys in cuffed denim, white T-shirts and Chuck Taylors, a perfect bouffant perched on top of slicked back hair, tinkering on FB Holdens and custom motorbikes; or women with porcelain skin, heavily inked, wearing bold shades of lipstick and embracing the curves of classic pin-up silhouettes through sweetheart necklines and high-waisted skirts, belted at the waist. Long-time advocates of the style are aware the fashion has extended to more mainstream facets of society in recent times, but insist that it requires more than vintage threads to be truly considered part of the movement.
Caitlin Ball, known amongst her rockabilly peers as Ruby Raven, acknowledges how irritating it is to see girls with no interest in any other aspect of the lifestyle “getting heaps of tattoos and playing dress ups”. As we sit to talk, her eyebrows move animatedly beneath a Bettie Page fringe of striking bottle-dyed auburn. A nylon scarf loosely fixes the rest of her hair up, the collar of her blouse elongates an already slender neck, and makeup has been immaculately applied to accentuate a small beauty spot near her lip. Caitlin was a Miss Pin-Up Australia hopeful that decided to prioritise her university studies and ultimately stay out of the competitive arena. In terms of maintaining her image, she describes it as “a cathartic process of self-expression”. Like most girls, she puts more effort into her appearance on certain days – but unlike the modern dresser, she never considers it a chore. “It’s liberating to discover how much more sexy and flattering the style can be,” she muses, then laughs derisively at a comparison drawn between it and “those tiny short-shorts and crop tops that do no-one any favours, least of all the onlookers”.
We delve deeper into her passion for back-seam stockings, merry widows and suspender belts. “In public there seems to be a mixed reaction to my look, especially if my boyfriend and I are together. It can be a bit... Woah.” Caitlin and her partner, Scott, met at a rockabilly gig in Balmoral just under a year ago. At the time, he is said to have rescued her from the advances of a “sleazy old man” by teaching her some basic swing steps. Ever since, the couple have worked to refine their moves and become increasingly involved with the music scene. “When we move our bodies through dance, it really brings the clothes to life,” she continues. The rockabilly sound emerged as rebellious punk rock of the 1950s and is still best known for its exhilarating live shows. The essence of the genre is old school blues-infused rock with a country twang, the likes of which Scott is often found playing on vinyl while he works to restore his cherished ’59 Chevy. Caitlin remarks, “I swear he loves that car more than me! But sometimes I’ll venture out to the garage and we’ll end up bopping along to his Elvis or Roy Orbison records together. It’s a really great fusion of our interests, provided he doesn’t get grease on my dress.”
Along with these not-so-mutually-exclusive skillsets, it’s been important for them to adjust to the attention they receive outside the sphere of like-minded individuals attending these events. Set against an inner-city backdrop, the pair might as well be walking, talking anachronisms. Caitlin assures me the stares are harmless and, more often than not, followed by a genuine compliment or question. “I think a lot of people are intrigued by our lifestyle and the connotations attached to it, but aren’t ready to commit themselves,” she reasons. This comes back to the idea that society as a whole has latched on to the initial impact of the visual, but fails to recognise the full range of styles, sounds and subcultures that underlie its broader lifestyle appeal.
One person who has not shied away from her affinity with the era is Lori Lee Cash, director of Brisbane’s annual GreazeFest weekend. This August, the event will mark 14 years of celebrating all things rockabilly, featuring live bands, knick-knacks and hot rods that are proudly displayed (read: drooled over) on site at the Rocklea Showgrounds. Reminiscing on her professional and personal associations with the movement over the years, Lori has noticed a resounding shift in pubic perceptions. “Back when I first got into rockabilly in the 1980s, you had to be really committed or you would crumble under the taunts of those who didn’t appreciate people looking different.” Fast forward a decade or so, and, “rockabilly is now way above ground; it has no secret handshake or any other ‘club’ like ritual to gain entry.” A newfound buzz surrounding the events she organises is testament to this.
“Rockabilly can be distilled into fashion, music and cars as the fundamental building blocks for any devotee,” Lori goes on to explain. “When you come across someone who embodies these three basic tenets, you’ve hit the core of the scene.” Just as people agree their notion of apparel had it right all along, more are starting to recognise the value of “the rockabilly experience”. Instead of the sweaty and scantily clad being crammed into a DJ booth, they’re watching a performance and benefitting from stage interactions. Participating in DIY projects is also on the rise, anywhere from the hunt for atomic furniture in relatively simple home decorating endeavours to more specialised and labour-intensive automotive modifications. Lori maintains that once people come along to an event like GreazeFest, “it opens their eyes and takes them back to a simpler time. In this fast paced world, I think that’s really desirable.” She pauses momentarily and sums up with an emphatic, “they get hooked”.
It must have something to do with the overwhelming sense of inclusiveness and distinct lack of pretension amongst the rockabilly crowd. People of all ages and genders congregate on the dance floor in an almost hedonistic display of spinning skirts and bouncing curls, toe-tapping and hip-shaking jive. In this way, it’s refreshing to see people express themselves beyond the mainstream norms in terms of their wardrobe and hobbies. Although girls are not all prepared to ditch their ponytail for a pompadour, nor guys relinquish their claim to “not care what they look like” in exchange for the sleek leather jacket synonymous with rockabilly chic, there is an inherent respect for those who are. What was once considered a hard-core niche has since evolved into a more accessible lifestyle movement with broadening cultural appeal; trends from the ‘50s, now enduring social statements reinvigorated by the 21st century. Ultimately, the lifestyle has stood the test of time and will continue to grow in popularity as the allure of the past winks at contemporary social and aesthetic frameworks. It seems Bill Haley put it best when he crooned, “put your glad rags on and join me hun.” It's only a matter of time.
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