February's Forgotten Music: THE WEAVERS: REUNION AT CARNEGIE HALL 1963

In 1963, to mark their 15th anniversary as a performing unit, nearly all the Weavers (and all seven who'd recorded together...one Jackie Gibson had apparently tapped out almost immediately after formation in 1948) came onstage at Carnegie Hall for a second series of concerts, the first after a 1955 reunion concert to spit in the face of a McCarthyite blacklist of the diversely leftist band...after being the biggest hitmakers in the history of pop-folk music from 1948 to 1952, the unabashed Communist affiliation of Pete Seeger and Fred Hellerman was a very useful means of chasing them out of their Decca Records contract, off the charts and off the scene. But reform they did, and began recording for Vanguard Records, to their mutual benefit, both live and studio albums, and then Pete Seeger decided he wanted to leave the band, strike out on his own again...leading to his first replacement, the relatively slick but also rather dull Erik Darling, who would soon leave to be a solo act, then form The Rooftop Singers (their one hit being the bowdlerized "Walk Right In"), then the rather more congenial Frank Hamilton, and then for the final year of band's run, young Bernie Krause came in. The 1963 concert is thus almost the end of the band as a regular working unit as well as We're All Together Again for the First Time, and a fine set of songs it is, except for Darling's fairly dull solo "Train Time" (the man had chops on his instrument, but not a whole lot of charisma nor apparently much sense of the importance of the band he joined...to be fair, to be the New Seeger in the band was probably a bit more daunting than being, say, the New Pete Best). Despite such impressive predecessors as the Almanac Singers (which had included Seeger and Hays at times, along with Woody Guthrie and others), the Weavers basically created the commercial space for folk music in the marketplace, and the folk "revival" and efflorescence of the 1950s and later owes at least some debt at every level to what the Weavers did...

The Weavers in the first flush of their commercial success: the "Around the World" suite:


Also, no film or video footage exists of the 1963 concerts (as far as I know), but one of their best gospel numbers throughout their career is this:


Meanwhile, Pete Seeger, seeing that his old songwriting partner (and occasional Ellery Queen's Mystery Magazine contributor) Lee Hays was going into a final spiral, gathered the original four together again for another reunion concert, an album and film, Wasn't That a Time, which will also be popping up again on PBS stations in early March in the US as a pledge-drive incentive:



Meanwhile, you can do worse than to gather these albums, and the documentary footage...few people, certainly few bands, have had such an epochal influence on those who followed.

For more of this month's "forgotten" music choices, please see Scott Parker's blog.

FFB: Lee Hays: short stories for ELLERY QUEEN'S MYSTERY MAGAZINE and BESTSELLER MYSTERY MAGAZINE; Doris Willens: LONESOME TRAVELER: THE LIFE OF LEE HAYS

from the FictionMags Index:

HAYS, LEE (1914-1981) (chron.)

•  * Banquet and a Half, (ss) Ellery Queen’s Mystery Magazine Oct 1954
•  * Monday’s Washday, (ss) Bestseller Mystery Magazine May 1959
•  * On the Banks of the Ohio, (ss) Ellery Queen’s Mystery Magazine Mar 1949
•  * Pour on Water, (ss) Bestseller Mystery Magazine Sep 1959
•  * Three Against Deeth, (ss) Ellery Queen’s Mystery Magazine Dec 1948; A modern (colloquial dialect) English version of Geoffrey Chaucer’s “The Pardoner’s Tale.”

The text of "Pour on Water" as published in Bestseller Mystery Magazine, 9/59.

I started reading, in what's turned out to be a very busy week, Doris Willens's biography of Lee Hays, with no precognition that it would be the week we'd lose Pete Seeger, Hays's longest-term collaborator in such projects as the Almanac Singers, People's Songs and, of course, the Weavers...they also wrote together, most famously "The Hammer Song" or "If I Had a Hammer"...a modest success in the Weavers' recording but one of their most commonly covered songs, and among the biggest hits Peter, Paul and Mary, and Trini Lopez, would have.  The nephew of Vance Randolph (the folklore collector who published notable collections of Ozark Mountains-dwellers and others' stories and songs beginning with The Ozarks, 1931), Hays faced early tragedy (in Hays' teen years, his father died in an auto accident, leading his mother to retreat from reality and be institutionalized; Hays began the first of many periods of couch-surfing, mostly with siblings, one of whom got him a library job which led indirectly to his radicalization and lifelong interest in social justice issues and activism).  Hays would spend most of the rest of his life trying to overcome his own emotional baggage as well as the very real sorts of threat that his fellow Southerners, among other sorts of yahoo very much including the Red-baiters of the turn of the 1950s, could pose; meanwhile, he would throw off sparks in all sorts of ways, in writing dialect-heavy short stories for Fredric Dannay and Robert P. Mills at EQMM and Bestseller Mystery when the mood struck him, in his various organizational activities around folk music and otherwise (in the mid-'50s doldrums after the blacklisting had temporarily sidelined the Weavers, Hays recruited his biographer, Doris Willens, then Doris Kaplan, a new mother and temporarily on maternity leave from a journalism career, and actor/writer/musician Alan Arkin and members of Arkin's family to become the Baby Sitters, who would record at least four albums-worth of folk music, including their own compositions, for children), and yet, as Willens notes, he never did get around to writing the autobiography he easily could have, and as Seeger would repeatedly note, his old bandmate would consistently badger Hays into one project or another after the latter's retirement from performance, including writing the script for the documentary The Weavers: Wasn't That a Time!  

What a person can accomplish while waiting, sometimes rather irritably, for other things to happen, is one of the lessons of this book and Hays's life...the points should be taken. And Hays's stories about the villainous (or at least severely mischievous and arguably justified) Opal (the boy) and Sam (the girl) should be read...the example linked to above is short and eminently worth reading, particularly for those looking for something somewhere between Walt Kelly and James Lee Burke in appeal...

For more of today's books, please see Patti Abbott's blog.

Not one of George Salter's better efforts among EQMM covers. Pity Hays's debut as a
fiction-writer had to take place in an issue packed with such obscure fellow-contributors...

Hays, Kaplan/Willens, and the Arkins/Dana with some fellow-travelers.

The Weavers: "Lonesome Traveler"

Composed by Lee Hays, who sings lead. The Decca Records recording with the Gordon Jenkins chorus and orchestra.

FFB: THE AMERICAN FOLK SCENE ed. DeTurk & Poulin; BOB DYLAN: DON'T LOOK BACK transcribed & ed. by Pennebaker et al.; DANGEROUSLY FUNNY by Bianculli

Hoots and Hollers: Folk Music and Its Extensions at Midcentury (...and Up Till Now...)



"Folk music is like country music for people who aren't conservative?" --James Adomian, contemplating the current Billboard folk/acoustic music album chart, on Who Charted?, uploaded February 29, 2012

Three books this time coming at and attempting to explicate and/or contextualize the varying flavors of the popular folk-music movement of the 1950s and '60s, and particularly some of the most popular performers (and lightning rods) of that field and time. The American Folk Scene: Dimensions of the Folksong Revival is, like The Age of Rock reviewed here briefly, a somewhat haphazard collection of magazine essays, from sources ranging from the folk-music "insider" Sing Out! to Time, that attempts to give a mildly panoramic view of the folk-music scene as it was not quite dissipating, but instead not just bifurcating but polyfurcating if one might be forgiven a neologism...the pop-folk of the Kingston Trio and Judy Collins and many of their peers not quite riding the top of the charts any longer but still retaining an audience, while a number of the younger musicians were moving into folk-rock or were drawn to the new opportunities in country music, while others yet were remaining more or less traditionalist purists...and not a few would hop from one field to another as mood or the commercial vagaries struck. G. Legman is as dour as always, with his "Folksongs, Fakelore, and Cash" and Nat Hentoff (his name misspelled in the citation of this book in the library database WorldCat [see full citation of the anthology's contents below] and dutifully parroted in the Amazon listing) typically sensible in "The Future of the Folk Renascence" and Richard Fariña briefly represented, writing about his sister-in-law Joan Baez and this Zimmerman kid. The essays are, of course, not all equally valuable, nor does one come away with a particularly complete understanding of the "scene" as it was even at time of assembly...but it's a start. (My copy is buried deep in storage, at the moment.)



The first time I ever heard Bob Dylan sing I knew he would be a success.
He sounded exactly like Woody Guthrie, an earlier folksinger, and I
figured that if he added a few more imitations–-maybe Bette Davis and James
Cagney–-he would have an even funnier routine. --Mike Royko, "Dylan the Great"

Meanwhile, Zims, who started calling himself Dylan rather early in the 1960s, had already started making a serious name for himself by the time CBS, due to John Hammond's endorsement, started recording him in 1962, and D. J. Pennebaker did no disservice to his own reputation by putting together a cinema verite documentary of Dylan's second tour of the UK, eventually released as Bob Dylan: Don't Look Back (and including, in one early performance sequence filmed around a civil rights protest encampment from several years earlier, footage taken by Ed Emshwiller for an unfinished project that Emshwiller gave to Pennebaker). Released in 1967, the film spawned an interesting 1968 book project, which combined transcripts of the lyrics and dialog from the film with stills (this being as close to a take-home version of the film as most fans could afford in those years), not a unique project but still not that common (the Ballantines, who were always ready to innovate, were then still in charge of the publishing house that bore their name), and it's a deft job...Pennebaker warns that it's no substitute for the film, but it does provide a nice supplement to some fleeting or murky dialog...my copy of the book is from the New Video reprint of the Ballantine edition, released in 2006 as part of the "65 Tour Deluxe Edition" of the film on dvd, with a bonus disc of outtakes and related recordings and a little flipbook that allows handheld animation of the promotional film for "Subterranean Homesick Blues"...


Jack Paar: "I like folksingers. I hate hillbillies. What's the difference between hillbillies and folksingers?"

Tom Smothers: "Well...hillbillies sing higher." --Dangerously Funny: The Uncensored Story of the The Smothers Brothers Comedy Hour


David Bianculli's book is still in print from a traditional (if megaconglomerate) publisher, as opposed to being a premium in a dvd set, and it shows the signs of being a megaconglomerate book...notably a lack of copy-editing, or of editorial guidance that might've sent Bianculli back to get a little deeper into the background of his subjects. The television reviewer seems to think the Weavers disappeared from the face of the Earth after their first break-up in 1952, for example, rather than having reformed in '54 and helped foster the folk revival the Kingston Trio and other commercial acts sprang from, for the most part...Bianculli even manages to mention Burl Ives and Harry Belafonte repeatedly without tumbling to the fact that Ives and other folksingers and their colleagues in bringing calypso to the US charts were also keeping a presence for pop-folk in the popular consciousness. Even about his subjects at hand, he manages to bobble--while attempting to demonstrate the Smotherses' influence on the next generation, he (rather obsequiously) overpraises Ken Burns and quotes Bill Maher's accurate memory of the song "Mediocre Fred"...without noting that that song was written by Pat Paulsen, a fact which would strengthen Bianculli's point in the passage in question. But DB clearly loves the SmoBros' work, and got some good interview material from them, their sister, and many of the others around them, and I'm not sure he overstates the importance of the Comedy Hour and its spinoffs and the fights with CBS they had. By no means a perfect book, but interesting both for the light it sheds on their early career, and their careers since the firing (and replacement by that other comedy and music series, only in this case much worse comedy and sometimes rather similar music, Hee-Haw...which CBS would high-handedly cancel in turn in its purge of "rural", older-skewing series in favor of the post-All in the Family wave of more "urban/suburban," "hipper" shows...the kind of thing the Smothers were providing when they were fired).

from WorldCat:

The American folk scene : dimensions of the folksong revival

Author: David A De Turk; A Poulin
Publisher: New York : Dell Pub. Co., 1967.
334 p. ; 18 cm.

Contents:
Pt. 1: Folk and the folk arrival. Folk and the folk arrival / Sandy Paton ; Why folk music? / Pete Seeger ; Who invented the folk? / Stan Steiner ; Why I Detest Folk Music / Robert Reisner ; The folk music interchange: negro and white, / John Cohen ; The singer of folksongs and his conscience / Sam Hinton ; The performance of folksongs on recordings / Robert S. Whitman and Sheldon S. Kagan ; "Hootenanny": the word, its content and continuum / Peter Tamony ; Folk music in the schools of a highly industrialized society / Charles Seeger ; The folksong revival: cult or culture? / B. A. Botkin --

pt. 2: Mine enemy, the folksinger (topical-protest songs). "Mine enemy, the folksinger" / Kenneth Keating ; The position of songs of protest in folk literature / John Greenway ; Songs of our time from the pages of broadside magazine / Gordon Friesen ; P-for-protest / Jon Pankake and Paul Nelson ; Topical songs and folksinging, 1965, A Symposium / Don West, Phil Ochs, Ewan MacColl, Chad Mitchell, John Cohen, Moses Asch, Josh Dunson ; The topical song revolution at midpoint / Irwin Silber ; Sing a song of freedom / Robert Sherman --

pt. 3: Woody and his children: four for our time. Woody Guthrie: the man, the land, the understanding / John Greenway ; The ballad of Pete Seeger / Peter Lyon ; Sibyl with guitar ('Time' magazine) ; Joan Baez, an interview ; Baez and Dylan: a generation singing out / Richard Farina ; Bob Dylan / John Pankake and Paul Nelson ; "Highway 61 revisited" / Irwin Silber and Paul Nelson ; I will show you fear in a handful of songs / David A. De Turk and A. Poulin, Jr. ; Pete's children: the American folksong revival, pro and con / Jon Pankake --

pt. 4: Folk, rock, cash, and the future. Folk rock: thunder without rain / Josh Dunson ; Folk music and the success syndrome / Irwin Silber ; Commercialism and the folksong revival / Ron Radosh ; Is cash killing folk music? / Josh Dunson and Moses Asch ; Folksongs, fakelore, and cash / G. Legman ; The future of the folk renascence / Nat Hentof]f].

For more of today's books, please see Patti Abbott's blog.

FFB: THE AMERICAN FOLK SCENE ed. David DeTurk & A. Poulin Jr.; BOB DYLAN: DON'T LOOK BACK transcribed & edited by D.J. Pennebaker et al.; DANGEROUSLY FUNNY by David Bianculli

Hoots and Hollers: Folk Music and Its Extensions at Midcentury (...and Up Till Now...)


"Folk music is like country music for people who aren't conservative?" --James Adomian, contemplating the current Billboard folk/acoustic music album chart, on Who Charted?, uploaded February 29, 2012

Three books this time coming at and attempting to explicate and/or contextualize the varying flavors of the popular folk-music movement of the 1950s and '60s, and particularly some of the most popular performers (and lightning rods) of that field and time. The American Folk Scene: Dimensions of the Folksong Revival is, like The Age of Rock reviewed here briefly, a somewhat haphazard collection of magazine essays, from sources ranging from the folk-music "insider" journal Sing Out! to Time, that attempts to give a mildly panoramic view of the folk-music scene as it was not quite dissipating, but instead not just bifurcating but polyfurcating if one might be forgiven a neologism...the pop-folk of the Kingston Trio and Judy Collins and many of their peers not quite riding the top of the charts any longer but still retaining an audience, while a number of the younger musicians were moving into folk-rock or were drawn to the new opportunities in country music, while others yet were remaining more or less traditionalist purists...and not a few would hop from one field to another as mood or the commercial vagaries struck. G. Legman is as dour as always, with his "Folksongs, Fakelore, and Cash" and Nat Hentoff (his name misspelled in the citation of this book in the library database WorldCat [see full citation of the anthology's contents below] and dutifully parroted in the Amazon listing) typically sensible in "The Future of the Folk Renascence" and Richard Fariña briefly represented, writing about his sister-in-law Joan Baez and this Zimmerman kid. The essays are, of course, not all equally valuable, nor does one come away with a particularly complete understanding of the "scene" as it was even at time of assembly...but it's a start. (My copy is buried deep in storage, at the moment.)


The first time I ever heard Bob Dylan sing I knew he would be a success.
He sounded exactly like Woody Guthrie, an earlier folksinger, and I
figured that if he added a few more imitations–-maybe Bette Davis and James
Cagney–-he would have an even funnier routine. --Mike Royko, "Dylan the Great"

Meanwhile, Zims, who started calling himself Dylan rather early in the 1960s, had already started making a serious name for himself by the time CBS, due to John Hammond's endorsement, started recording him in 1962, and D. J. Pennebaker did no disservice to his own reputation by putting together a cinema verite documentary of Dylan's second tour of the UK, eventually released as Bob Dylan: Don't Look Back (and including, in one early performance sequence filmed around a civil rights protest encampment from several years earlier, footage taken by Ed Emshwiller for an unfinished project that Emshwiller gave to Pennebaker). Released in 1967, the film spawned an interesting 1968 book project, which combined transcripts of the lyrics and dialog from the film with stills (this being as close to a take-home version of the film as most fans could afford in those years), not a unique project but still not that common (the Ballantines, who were always ready to innovate, were then still in charge of the publishing house that bore their name), and it's a deft job...Pennebaker warns that it's no substitute for the film, but it does provide a nice supplement to some fleeting or murky dialog...my copy of the book is from the New Video reprint of the Ballantine edition, released in 2006 as part of the "65 Tour Deluxe Edition" of the film on dvd, with a bonus disc of outtakes and related recordings and a little flipbook that allows handheld animation of the promotional film for "Subterranean Homesick Blues"...

Jack Paar: "I like folksingers. I hate hillbillies. What's the difference between hillbillies and folksingers?"

Tom Smothers: "Well...hillbillies sing higher." --Dangerously Funny: The Uncensored Story of the The Smothers Brothers Comedy Hour

David Bianculli's book is still in print from a traditional (if megaconglomerate) publisher, as opposed to being a premium in a dvd set, and it shows the signs of being a megaconglomerate book...notably a lack of copy-editing, or of editorial guidance that might've sent Bianculli back to get a little deeper into the background of his subjects. The television reviewer seems to think the Weavers disappeared from the face of the Earth after their first break-up in 1952, for example, rather than having reformed in '54 and helped foster the folk revival the Kingston Trio and other commercial acts sprang from, for the most part...Bianculli even manages to mention Burl Ives and Harry Belafonte repeatedly without tumbling to the fact that Ives and other folksingers and their colleagues in bringing calypso to the US charts were also keeping a presence for pop-folk in the popular consciousness. Even about his subjects at hand, he manages to bobble--while attempting to demonstrate the Smotherses' influence on the next generation, he (rather obsequiously) overpraises Ken Burns and quotes Bill Maher's accurate memory of the song "Mediocre Fred"...without noting that that song was written by Pat Paulsen, a fact which would strengthen Bianculli's point in the passage in question. But DB clearly loves the SmoBros' work, and got some good interview material from them, their sister, and many of the others around them, and I'm not sure he overstates the importance of the Comedy Hour and its spinoffs and the fights with CBS they had. By no means a perfect book, but interesting both for the light it sheds on their early career, and their careers since the firing (and replacement by that other comedy and music series, only in this case much worse comedy and sometimes rather similar music, Hee-Haw...which CBS would high-handedly cancel in turn in its purge of "rural", older-skewing series in favor of the post-All in the Family wave of more "urban/suburban," "hipper" shows...the kind of thing the Smotherses were providing when they were fired).

from WorldCat:

The American folk scene : dimensions of the folksong revival

Author: David A De Turk; A Poulin
Publisher: New York : Dell Pub. Co., 1967.
334 p. ; 18 cm.

Contents:
Pt. 1: Folk and the folk arrival. Folk and the folk arrival / Sandy Paton ; Why folk music? / Pete Seeger ; Who invented the folk? / Stan Steiner ; Why I Detest Folk Music / Robert Reisner ; The folk music interchange: negro and white, / John Cohen ; The singer of folksongs and his conscience / Sam Hinton ; The performance of folksongs on recordings / Robert S. Whitman and Sheldon S. Kagan ; "Hootenanny": the word, its content and continuum / Peter Tamony ; Folk music in the schools of a highly industrialized society / Charles Seeger ; The folksong revival: cult or culture? / B. A. Botkin --

pt. 2: Mine enemy, the folksinger (topical-protest songs). "Mine enemy, the folksinger" / Kenneth Keating ; The position of songs of protest in folk literature / John Greenway ; Songs of our time from the pages of broadside magazine / Gordon Friesen ; P-for-protest / Jon Pankake and Paul Nelson ; Topical songs and folksinging, 1965, A Symposium / Don West, Phil Ochs, Ewan MacColl, Chad Mitchell, John Cohen, Moses Asch, Josh Dunson ; The topical song revolution at midpoint / Irwin Silber ; Sing a song of freedom / Robert Sherman --

pt. 3: Woody and his children: four for our time. Woody Guthrie: the man, the land, the understanding / John Greenway ; The ballad of Pete Seeger / Peter Lyon ; Sibyl with guitar ('Time' magazine) ; Joan Baez, an interview ; Baez and Dylan: a generation singing out / Richard Farina ; Bob Dylan / John Pankake and Paul Nelson ; "Highway 61 revisited" / Irwin Silber and Paul Nelson ; I will show you fear in a handful of songs / David A. De Turk and A. Poulin, Jr. ; Pete's children: the American folksong revival, pro and con / Jon Pankake --

pt. 4: Folk, rock, cash, and the future. Folk rock: thunder without rain / Josh Dunson ; Folk music and the success syndrome / Irwin Silber ; Commercialism and the folksong revival / Ron Radosh ; Is cash killing folk music? / Josh Dunson and Moses Asch ; Folksongs, fakelore, and cash / G. Legman ; The future of the folk renascence / Nat Hentof]f].

A redux post from 2 March 2012. Joni Mitchell's 75th birthday yesterday.

For more of today's books, please see Patti Abbott's blog.

Ronnie Gilbert, RIP

Ronnie Gilbert, the sole female singer among the folk-music superstars the Weavers for all but their earliest formative days, and a solo artist, activist, actor and psychologist over the years since the band called it a day in 1964, died on Saturday, though I managed to not get the unfortunate update till seeing Jarry House's post just now.   Bruce Weber in the NY Times; Sing Out! hasn't managed to post their remembrance yet...

Ronnie Gilbert eulogizes her mother, 1985:


Ronnie Gilbert and Holly Near:  "Hay Una Mujer Desaparecida"


HARP: Holly Near, Arlo Guthrie, Ronnie Gilbert, Pete Seeger: "Wimoweh" ("Mbube")


Ronnie Gilbert and Judy Collins: "Goodnight, Irene"


The Weavers: "Venga Jaleo"


Ronnie Gilbert: "Joe Hill"


The Weavers: "Sinner Man"


From Wasn't That a Time: The Weavers: "Union Miners"


The Weavers: "Kisses Sweeter than Wine"


Ronnie Gilbert with the Gordon Jenkins Orchestra: "Trouble in Mind"


The Weavers: "So Long, It's Been Good to Know You" among their 1951 promo films.

May's "Forgotten" Music: Miriam Makeba (and some mid-'90s women in punk rock)

It seems unlikely that Miriam Makeba, who died in 2008 after a life devoted to music and activism for pan-African liberation and more, and who was perhaps the most eclectic performer (and among the most influential) to come out of Africa in the '60s, could be considered forgotten...but she was also, by the careless and foolish, often not accorded sufficient respect. The documentarians who made the boxing film When We Were Kings, for example, in offering a view of the culturual and political events around the Ali/Foreman fight in Zaire in 1974, managed to throw in every scrap they could find of James Brown sweating backstage while waiting to go on (and give a rather distracted performance)...while repeatedly running only a few-seconds clip of Makeba, singing part of a click song, and meant by the fillmmakers to represent the "evil spirits" congregating over the event. A woman who had stood against apartheid, been exiled from her home country because of it, but who had also helped inspire interest around the world and particularly in the other nations of Africa in their folk song traditions (and those of others) was thus insulted; the clowns who conduct the Chicago-based radio nerdfest Sound Opinions, in attempting to eulogize Makeba, managed to mispronounce both of her names, as "Mariam Makeeba" (the surname error, for "mah-Kay-bah," is common; you have to work, as an English-speaker, to mispronounce Miriam) and to screw up the title of her biggest commercial hit in the US, "Pata Pata" (as "Pato Pato" for no earthly reason). They also, rather than running the studio/hit recording of the song, found one of the muddiest live performances they could've dug up to then play in part.

Here's "Pata Pata," apparently in a performance for Brazilian television:


...but while a fine and danceable song, such others on that first album I heard by her (her eleventh released in the US, and her second for Warner/Reprise) as "Yetentu Tizaleny," "Maria Fulo" and "Saduva" were even better...and her plainspoken protest song "A Piece of Ground" made it's point clearly. Happily, the album Pata Pata, among several others, is still pretty easy to find on cd or as a download.

Makeba's career was slightly parallel to that of the Weavers in the US...eclectic folk and folkish repetoire, sometimes some pop commercial sweetening to tempt "crossover" listeners, oppression on the part of their national governments, and yet the basic appeal of their work allowed them to reach wide audiences around the world. Certainly both the Weavers and Makeba had some success covering Solomon Linda's "Mbube" before the Tokens or Disney got their hands on it...



She was married for a while to her fellow expat Hugh Masekela, and they were likely to collaborate throughout their careers:



And here's a performance in Ghana in 1973, about which I know nothing, including the name of the song she's performing, but it's wonderful stuff despite some decidedly anti-professional camera work (worth putting up with DailyMotion's ads):



And to wrap up this brief gloss of her career, a jazzy bit of singing with the staff of the anti-apartheid newspaper Drum, from the film Have You Seen Drum Lately?.



Briefly noted:
In the early 1990s, there were at least two schools of feminist women's punk rock, one of which was growing in visibility as Riot Grrl (or Grrrl, add Rs to taste or anger), which among other aspects featured usually young women hoping to reclaim their girlhood when they felt that it had been stolen from them, and otherwise find a way of making feminism comfortable and fun for themselves...and their most prominent cheerleaders were the band Bikini Kill:



While more likely to apply feminist critique in macro and micro circumstances without resort to nostalgia, and representing more what Alice Walker called a "womanist" perspective, were a number of bands who might offer more direct insight, and at least as forcefully, none moreso than Spitboy:






I was wearing a Spitboy t-shirt when I met birthday man Harlan Ellison, age 76 tomorow (he was signing Dream Corridor issues and didn't ask); I met Spitboy lead singer Adrienne Droogas once; she was a bit distracted at the time, considering as she was at the time, if I'm not mistaken, leaving the band (which would gain another member and become Instant Girl; Droogas would go on to the Pennsylvania-based Aus Rotten). Kathleen Hanna, most common lead singer of Bikini Kill, was pretty consistently rude to me when we'd meet in DC in the '90s, but that didn't worry me too much; the music was still good (up till the bland last album and its attempt at pop; Le Tigre, her next band, was an improvement over the last BK album, if not over Bikini Kill itself).

See the roundup of May "forgotten" music posts at Scott Parker's blog, where various forms of Star Wars has been the subject of the week...

For some reason the Comments "button" below has only intermittently been visible unless one is in this post specifically...ah, sweet mysteries of Blogspot. Which gives me another chance to plug the wonders of the CBS's continuing series (even doing well in the ratings), The Good Wife, which is probably minute by minute the best serial drama on US television right now. And on commercial broadcast. Amazing.

Saturday Music Club: Bernie Krause, from the Weavers and session work through Avant Garde/Pop Electronica & New Age Music to Natural Soundscapes...

Bernie Krause, a Detroit-based musical prodigy, apparently found that he was not allowed to attend conservatories in 1955 with a primary instrument of guitar, and so played session work for local jazz recordings and reportedly for some early Motown recordings and matriculated to the University of Michigan at Ann Arbor. Somehow he was tapped to be the third (and final) replacement for Pete Seeger in pop-folk megastar band The Weavers (after Erik Darling and Frank Hamilton had filled the Seeger hole); his most important recording with the band was on the 1963 15th anniversary reunion concert album, which featured a seven-member Weavers, with the retiring Hamilton and incoming Krause also joined by Seeger and Darling, and the constant trio of Lee Hays, (Ms.) Ronnie Gilbert and Fred Hellerman. However, the Weavers decided to call it a day in 1964, which both required and allowed Krause to begin to explore new professional pathways, including studying classical composition with avant garde composers such as Pauline Oliveros and Karlheinz Stockhausen at Mills College. Robert Moog and his new instrument were also in evidence...as was Krause's soon to be longterm bandmate Paul Beaver...

The Weavers (including new recruit Bernie Krause): Sinner Man


Bernie Krause on how he learned to use a Moog synthesizer:


The Monkees (with Bernie Krause and Paul Beaver performing on Moog synthesizer): Star Collector:


--Beaver solo apparently played on this track for the Byrds, "Space Oddyssey":


Paul Beaver and Bernard Krause: Sequential Voltage Sources, Composition


Beaver & Krause: Short Film for David


Beaver & Krause: Fountains of the Department of Water and Power


George Harrison and Bernie Krause: No Time or Space (at 18:42)


Beaver & Krause, with Gerry Mulligan: By Your Grace


Beaver & Krause, soundtrack music (in part) for My World, and Welcome to It

(for the first part of a complete episode:)


Beaver & Krause, soundtrack music for The Final Programme (aka The Last Days of Man on Earth), based on a Jerry Cornelius novel by Michael Moorcock


Beaver & Krause: Walking Green Algae Blues


Bernie Krause & Andy Nerell: Flight To Urubamba



George Martin interviews Bernie Krause for Martin's BBC documentary Rhythms of Life


Bernie Krause: Do Animals Grieve for the Dead?


Dr. Bernie Krause: The Great Animal Orchestra

Dr. Bernie Krause: The Great Animal Orchestra from California Academy of Sciences and California Academy of Sciences on FORA.tv

SSW: Spring 1992: US fantasy fiction magazines: CONJUNCTIONS (Spring), THE MAGAZINE OF FANTASY & SF (March), WEIRD TALES (Spring), CEMETERY DANCE (Spring) (and the 1993 annuals which drew from them)

33 years ago. It seems odd that I gathered all these a third of a century ago. More specific comments to follow...indexing the Conjunctions issue was more time-consuming than I expected, to say the least.

Please see Patti Abbott's blog for more, and more promptly finished!, Short Story Wednesday reviews.

Conjunctions [#18, Spring 1992] [] "Biannual volumes of New Writing," edited by Bradford Morrow, published by Bard College (distributed by Random House). 376 pp plus covers. $10. This issue titled "Fables, Yarns, Fairy Tales." Cover illustration by Bill Traylor.
A few items from this issue can be read at this online archive. An anonymous comment below notes one can read this issue on JSTOR if one has access there, and these days, one can gain a personal account there with a reasonably generous access to documents limit, as I've just discovered.

7 *  Editor's Note * Bradford Morrow * ed (issue dedicated to the memory of Angela Carter, 1940-1992)

9 * Three Tales from Puerto Rico * translated and retold from Spanish by Rosario Ferré * gp

  9 * The Three Hunchbacks * ss 

  12 * The Monkey Whose Tail was Stepped On * ss

  15 * The Little Half Chicken * ss

18 * Tale of the Enchanted Pig * Norman Manea; translated from Romanian by Marguerite Dorian and Elliott Urdang * ss

24 * Kitty Blue * James Purdy * ss

42 * Five Dark Tales * Lydia Davis* gp

  42 * The Cedar Trees * vi

  43 * A Natural Disaster * vi

  44 * The Cats in the Prison Recreation Hall * vi

  45 * Love * vi

  46 * The Rape of the Tanuk Women * vi

47 * The Child Who Raised Poisonous Snakes · Can Xue; translated by Ronald R. Janssen & Jian Zhang · ss * translated from the Chinese (Harvest Jun ’91) 

59 * Zho-Jan * John Ash * vi in translation from Tarim, translated by Ash 

  59 * A Note on the Text * John Ash * in

  62 * Zho-Jan * vi  (translated by John Ash from an uncredited Tarim document)

67 * The Bewitched Burr  and Other Tales * Grozdana Olujic * translated from Serbo-Croatian by Jascha Kessler and the author * gp

  67 * The Man Who Went Looking for His Face * Grozdana Olujic * ss

  71 * Parrots and Sheep * Grozdana Olujic * ss

  75 * The Bewitched Burr * Grozdana Olujic * ss

79 * Fish Story * Diana Hartog * ex P0lite to Bees (a prose bestiary, published as poetry by Coach House Books)

81 * Three Tales from the Tale Known as Princess Hoppy or the Labrador Tale * Jacques Roubaud; translated from the French by Bernard Hoepffner * nt

115 * The Black Angel * Gary Indiana * ss

121 * Complaint on Her Cat * Diane Ackerman * pm

122 * How I Became One of the Invisible * David Rattray * ss (illustrated by Rattray)

131 * Three Folktales from India * collected and translated from Tamil and Malayalam by * A. K. Ramanujan * gp

  131 * Crossing A River, Losing a Self * vi

  133 * A Friend in Need * vi

  133 * Shall I Show You My Real Face? * ss

138 * Four Bear Poems * Kurt Schwitters * gp (translated from the German by Jerome Rothenberg)

140 * Kuzma and the Worm * Forrest Gander * vi

142 * Convicta et Combusta * Joanna Scott * ss

153 * The Parakeet and the Cat * Scott Bradfield * ss

166 *  The Reduction of the Nativity * Fanny Howe * pm

168 * The Rose and Other Fairy Tales * Ludmilla Petrushevskaya * gp * translated from the Russian by Jamie Gambrell

   168 * The Rose * vi

   170 * Once Upon a Time There Was an Alarm Clock * vi

   170 * Uncle Well and Aunt Ah * vi

173 * James Laughlin * Eight Parables and Poems * gp * adapted from the Tawney/Penzler translation from the Sanskrit of Somadeva's Katha Sarit Sagara) 

   173 * Story of a Snake Who Told His Secret to a Woman * pm

   174 * Story of the Fool and the Cakes * pm

   174* The Transformation * pm (based on Richard Burton's translation                              of the Koran)

   175 * An Attestation * pm

   175 * The Old Indian * pm

   176 * The Sultan's Justice * pm

   176 * The Inscription * pm

   177 * The Enchanted BirchTree * pm

178 * Lynne Tillman * Madame Realism: A Fairy Tale * illustrated by                                     Silvia Kolbowski

187 * Sally Pont * Ich Liebe Dich and Other Lies Too Hideous to Utter * ss

198 * Jerome Rothenberg * The Lorca Variations: "Lunar Grapefruits" * ss

203 * Dennis Tedlock * Three Maidens at the Bath * ss/pm

217 * Two Lithuanian Fairy Tales: * gp

223 * Alvyta *  O. V. de L. Milosz; translated by Edouard Roditi * vi

223 * Green Beard * O. V. de L. Milosz; translated by Edouard Roditi * ss

228 * The Children of Montjoie * Wendy Walker * ss

236 * Two Tales * Mary Egan * gp

236 * Valter the Wall-Builder * vi 

238 * Jonah *  vi 

239 * The Woman of Stone * Paola Capriolo * ss; translated by Lawrence Venuti

257 * O'Malley and Schwartz * Patrick McGrath * ss

261 * The Butterfly Girl * William T. Vollmann  * ss

267 * Rupert Killamarsh's Other Life * Paul West * ss; illustrated by Joe Servello

275 * The Pig Story * Russell Edson * vi 

277 * Snowbird and Other Tales * Yannick Murphy * gp

  277 * The Forest That Had No Trees * vi

  278 * Saddy Wampus * vi

  280 * Snowbird * vi

281 * My Grandmother's Story of the Buried Treasure and How She Defeated the King of Chacachacari and the Entire American Army with Her Venus Fly-Traps * Robert Antoni * nt

301 * Mété * Theodore Enslin * ss

316 * The [a Pictogram Resembling a Short Flight of Stairs] * Armand Schwerner * ss * illustrated by Schwerner

323 * Four Folktales from Nigeria * collected and translated from the Igbo by Romanus Egudu * gp [Egudu's first name given as "Romanos" on the back cover of the issue, and nowhere else...online sources confirm Romanus is correct]

   323 * Debtor and Creditors *vi

   325 * Monkey, Man and God * vi

   326 * Trusted Wife * vi

   328 * Three Brothers and a Half * vi

332 * Daughter * Mei-mei Berssenbrugge  * pm

333 * Papa Will * Charles Wartts, Jr. * ss

339 * R'ha-l'a R'a-H'oum * Patricia Eakins * ss

345 * The Channah Tales * Bradford Morrow * gp

   345 * Claro * ss

   351 * Tale of a Tub * vi

   352 * The Man Who Didn't Know Any Better * vi

   353 * The Seven Sheiks * vi

   356 * Cowboy * vi

   356 * Obadiah and Them Ilk * vi

   359 * The Faithless * vi

   360 * Chili Pepper Man * vi

   362 * The Tale of Ahmed, and His Ear * vi

   365 * The Bridge Song * vi

367 * Notes on Contributors

The following indices taken from the FictionMags Index:

The Magazine of Fantasy & Science Fiction [v82 #3, No. 490, March 1992] ed. Kristine Kathryn Rusch (Mercury Press, $2.50, 164pp, digest, cover by Ron Walotsky) []   Can be read here.
• 6 · Editorial · Kristine Kathryn Rusch · ed
• 9 · Tree of Life, Book of Death · Grania Davis · nv
• 30 · [cartoon] · Joseph Farris · ct
• 31 · The Resurrection of Alonso Quijana · Marcos Donnelly · ss
• 47 · Books · Algis Budrys · rc
• _47 · The Wild Blue and the Gray · Algis Budrys · br [Ref. William Sanders]
• _50 · Universe 2 · Algis Budrys · br [Ref. Robert Silverberg & Karen Haber]
• 52 · [cartoon] · Frank Hauser · ct
• 53 · Books to Look For · Orson Scott Card · rc
• 60 · Tapeworm · Kit Reed · ss
• 70 · [cartoon] · S. Harris · ct
• 71 · Calculating Love · Rick Wilber · ss
• 86 · Country Mouse · Edward Bryant · ss Copper Star ed. Bruce D. Arthurs, 1991 World Fantasy Convention, 1991
• 95 · [cartoon] · Henry Martin · ct
• 96 · Films: The Whine of a 50 Ft. Woman · Kathi Maio · mr
• 101 · Origami Mountain · Nancy Farmer · ss
• 113 · The Love Farmer · Ray Aldridge · na
• 163 · [cartoon] · Andrew Struthers · 

Weird Tales [Vol. 53 No. 3, Whole No. 304, Spring 1992] ed. Darrell Schweitzer (Terminus Publishing Company, Inc., $4.95, 132pp, 6½″ x 9″, cover by Jill Bauman) []
Special John Brunner Issue. Can be read online here.

• 4 · The Eyrie · The Editor · ed
• _6 · [letter from Redmond, WA] · Pete Miller · lt
• _7 · [letter from McAlester, OK] · Frank D. McSherry · lt
• _7 · [letter] · R. Thompson · lt
• _8 · [letter] · Lee Prosser · lt
• _8 · [letter from Andover, MA] · Tom Draheim · lt
• _9 · [letter] · Ryan Lambrecht · lt
• 11 · The Den · Gahan Wilson · rc
• _11 · Vampires, Burial, and Death · Gahan Wilson · br [Ref. Paul Barber]
• _12 · American Vampires · Gahan Wilson · br [Ref. Norine Dresser]
• _12 · Vampires Among Us · Gahan Wilson · br [Ref. Rosemary Ellen Guiley]
• _12 · The Ultimate Dracula · Gahan Wilson · br [Ref. Byron Preiss]
• _14 · A Whisper of Blood · Gahan Wilson · br [Ref. Ellen Datlow]
• 15 · Dream Boat · Fred Olen Ray · pm; given as “Dreamboat” in the Table of Contents.
• 16 · Who Lies Beneath a Spell · John Brunner · ss; illustrated by Jill Bauman
• 30 · Moot Question · Ann K. Schwader · pm
• 31 · Concerning the Forthcoming Inexpensive Paperback Translation of the Necronomicon of Abdul Alhazred · John Brunner · nv; illustrated by Jill Bauman
• 50 · Ameriquest · Nancy Springer · pm
• 51 · Welcomeland · Ramsey Campbell · ss Words International February 1988; illustrated by Jill Bauman
• 60 · Alfred Vale: A Cautionary Tale · John Brunner · pm; given as by John Brunner and H*la*re B*ll*c.
• 61 · Bewitching Lessons · Lynne Armstrong-Jones · pm
• 61 · Continuing Saga · Darrell Schweitzer · pm
• 62 · The Lily Garden · Tanith Lee · ss; illustrated by Jill Bauman
• 70 · Little Boy Black and Blue · Robert J. Howe · ss; illustrated by Jill Bauman
• 80 · Behind the Realities: The Fantasies of John Brunner · Mike Ashley · ar [Ref. John Brunner]
• 85 · Up to No Good · Sue Robinson · ss; illustrated by Jill Bauman
• 92 · Fear · Nancy Springer · pm
• 93 · Dropping Ghyll · John Brunner · ss Dark Fantasies ed. Chris Morgan, Legend, 1989
• 103 · The Classic Horrors: The Black Destroyer · Allen Koszowski · il [Ref. A. E. van Vogt]
• 104 · Hunting the Lion · S. P. Somtow · nv; illustrated by Jill Bauman

Cemetery Dance [#12, v4 #2, Spring 1992] ed. Richard T. Chizmar (Richard T. Chizmar, $4.00, 104pp+, quarto, cover by Charles Lang) [] Can be read at the Internet Archive
• 3 · Words from the Editor · Richard T. Chizmar · ed
• 4 · By Civilized Means · Gary A. Braunbeck · ss
• 12 · Ramblings from the Dark #15 · Charles L. Grant · ar
• 16 · Candy Bars for Elvis · Norman Partridge · ss
• 20 · Gormania · Ed Gorman · cl
• 22 · A Conversation with Dean R. Koontz · Tyson Blue · iv [Ref. Dean R. Koontz]
• 29 · Less Than Human · Gary Raisor · ex
• 34 · The Mothers and Fathers Italian Association · Thomas F. Monteleone · cl
• 37 · Nightmare Alley · Matthew J. Costello · cl
• 40 · The Exclusive · Sidney Williams · ss
• 45 · Terra ex Anima · T. Liam McDonald · ar
• 48 · Mama’s Boy · C. S. Fuqua · ss
• 52 · A Conversation with Richard Matheson & R. C. Matheson · Stanley Wiater · iv [Ref. Richard & Richard Christian Matheson]
• 58 · Book Reviews · Edward Bryant · rc
• 65 · The “Heeere’s Johnny” or The Villians of Stephen King Films Quiz · A. R. Morlan · qz
• 66 · Trash Theatre: Human Tornado · Joe R. Lansdale & David E. Webb · cl
• 70 · The Animal · Robert Petitt · ss
• 73 · Spotlight on Publishing: Donald Grant · Bob Morrish · iv [Ref. Donald M. Grant]
• 78 · Anthology Attic · Kathryn Ptacek · cl
• 81 · Rough Cuts · Paul Sammon · cl
• 88 · A Bargain at Any Cost · F. J. Matozzo · ss
• 91 · Needful Kings & Other Things · Tyson Blue · cl
• 95 · Deathgrip · Brian Hodge · ex
• 98 · CD Book Reviews · Various · rc

Best New Horror 4 ed. Stephen Jones & Ramsey Campbell (Robinson, November 1993, 1-85487-182-X, £6.99, 481pp, tp, an)     Anthology of the 24 best horror stories of 1992. Simultaneous with the U.S. (Carroll & Graf) edition. xiii · Horror in 1992 · Stephen Jones & Ramsey Campbell · in 1 · The Suicide Artist · Scott Edelman · ss Suicide Art by Scott Edelman, Necronomicon Press, 1992 13 · Dancing on a Blade of Dreams · Roberta Lannes · nv Pulphouse: A Fiction Magazine November 1992 39 · The Departed · Clive Barker · ss The New York Times Magazine October 30 1992, as “Hermione and the Moon” 47 · How to Get Ahead in New York [Steve Finn & Ghost] · Poppy Z. Brite · ss Gauntlet #4, 1992 65 · They Take · John Brunner · nv Dark Voices 4 ed. David Sutton & Stephen Jones, Pan, 1992 91 · Replacements · Lisa Tuttle · nv MetaHorror ed. Dennis Etchison, Dell Abyss, 1992 109 · Under the Pylon · Graham Joyce · ss Darklands 2 ed. Nicholas Royle, Egerton Press, 1992 123 · The Glamour · Thomas Ligotti · ss Grimscribe by Thomas Ligotti, Carroll & Graf, 1991 135 · Under the Ice · John Gordon · nv The Burning Baby and Other Ghosts by John Gordon, Walker, 1992 151 · And Some Are Missing · Joel Lane · ss The Sun Rises Red ed. Chris Kenworthy, Barrington, 1992 161 · The Little Green Ones · Les Daniels · ss Dark Voices 4 ed. David Sutton & Stephen Jones, Pan, 1992 169 · Mirror Man · Steve Rasnic Tem · ss Decoded Mirrors by Steve Rasnic Tem, Necronomicon Press, 1992 185 · Mothmusic · Sarah Ash · ss Interzone #62, August 1992 201 · Did They Get You to Trade? · Karl Edward Wagner · nv MetaHorror ed. Dennis Etchison, Dell Abyss, 1992 221 · Night Shift Sister · Nicholas Royle · ss In Dreams ed. Paul J. McAuley & Kim Newman, Gollancz, 1992 237 · The Dead · Simon Ings & M. John Harrison · ss The Sun Rises Red ed. Chris Kenworthy, Barrington, 1992 249 · Norman Wisdom and the Angel of Death · Christopher Fowler · nv Sharper Knives by Christopher Fowler, Warner UK, 1992 269 · Red Reign · Kim Newman · na The Mammoth Book of Vampires ed. Stephen Jones, Carroll & Graf, 1992; revised. 333 · Aviatrix · Peter Atkins · ss Demons and Deviants ed. Michael Brown, Phantom Press/Fantaco, 1992 345 · Afterword to “Aviatrix” · Peter Atkins · as (r) 347 · Snodgrass · Ian R. MacLeod · nv In Dreams ed. Paul J. McAuley & Kim Newman, Gollancz, 1992 375 · The Day of the Sharks · Kate Wilhelm · ss And the Angels Sing by Kate Wilhelm, St. Martin's, 1992 391 · Anima · M. John Harrison · ss Interzone #58, April 1992 413 · Bright Lights, Big Zombie · Douglas E. Winter · nv Still Dead ed. John M. Skipp & Craig Spector, Bantam, 1992 437 · The Ghost Village [Blue Rose] · Peter Straub · nv MetaHorror ed. Dennis Etchison, Dell Abyss, 1992 471 · Necrology: 1992 · Stephen Jones & Kim Newman · ob The Year’s Best Horror Stories: XXI ed. Karl Edward Wagner (DAW, October 1993, 0-88677-572-8, $5.50, 352pp, pb, an, cover by Les Edwards)     Best-of-the-year anthology of 26 horror stories, with an introduction by the editor on the state of the horror field. 15 · Coming of Age · Karl Edward Wagner · in 18 · The Limits of Fantasy · Ramsey Campbell · ss Gauntlet #3, 1992 36 · China Rose · Ron Weighell · ss Vampire Stories ed. Richard Dalby, Michael O'Mara, 1992 58 · The Outsider [Ernie Pine] · Rick Kennett · nv Ghosts & Scholars #14, 1992 86 · Briar Rose · Kim Antieau · ss MetaHorror ed. Dennis Etchison, Dell Abyss, 1992 99 · Mom School · Rand Soellner · ss Gathering Darkness November 1992 106 · The Hyacinth Girl · Mary Ann Mitchell · ss Just a Moment Summer 1992 115 · Mind Games · Adam Meyer · ss 121 · Mama’s Boy · C. S. Fuqua · ss Cemetery Dance #12, Spring 1992 127 · The Shabbie People · Jeffrey Osier · ss Souls in Pawn ed. George Hatch, Horror's Head Press, 1992 149 · The Ugly File · Ed Gorman · ss Prisoners and Other Stories by Ed Gorman, Cemetery Dance, 1992 158 · Eyes Like a Ghost’s · Simon Clark · ss Darklands 2 ed. Nicholas Royle, Egerton Press, 1992 172 · Fallen Idol · Lillian Csernica · ss After Hours Winter 1992 187 · And Some Are Missing · Joel Lane · ss The Sun Rises Red ed. Chris Kenworthy, Barrington, 1992 196 · Welsh Pepper · D. F. Lewis · ss Vandeloecht’s Fiction Magazine Spring 1992 202 · Tracks · Nicholas Royle · ss Interzone #55, January 1992 214 · Largesse · Mark McLaughlin · ss The Bone Marrow Review #3, 1992 225 · City in the Torrid Waste · t. Winter-Damon · ss Bizarre Sex and Other Crimes of Passion #1, 1992 235 · Haunting Me Softly · H. Andrew Lynch · ss Grue #14, Summer 1992 241 · Spring Ahead, Fall Back · Michael A. Arnzen · ss Palace Corbie v1 #2, 1992 254 · Apotheosis · Carrie Richerson · ss Souls in Pawn ed. George Hatch, Horror's Head Press, 1992 262 · Defining the Commonplace Sliver · Wayne Allen Sallee · ss Expressions of Dread #2, Spring 1992 267 · Feeding the Masses · Yvonne Navarro · ss Eldritch Tales #27, Summer 1992 274 · Sanctuary · Jeffrey Osier · ss The Silver Web #8, Spring/Summer 1992 295 · The Devil’s Advocate · Andrew C. Ferguson · ss Dementia 13 #7, 1992 309 · Week Woman · Kim Newman · ss Dark Voices 4 ed. David Sutton & Stephen Jones, Pan, 1992 323 · A Father’s Gift · W. M. Shockley · nv Isaac Asimov’s Science Fiction Magazine April 1992 The Year’s Best Fantasy and Horror: Sixth Annual Collection      ed. Ellen Datlow & Terri Windling (St. Martin’s, August 1993, 0-312-09422-1, $16.95, 529pp, tp, an, cover by Thomas Canty)                              Can be read online at Archive.org here.     Best-of-the-year anthology of 49 stories and three poems, plus a summation of the year in horror and fantasy by the editors, a survey of fantasy and sf in the media, and a necrology. This edition has several errors in the front matter, including the second page of the table of contents being without page numbers. A hardcover edition (-09421-1, $27.95) was announced but not seen. xiii · Summation 1992: Fantasy · Terri Windling · ar xxxi · Summation 1992: Horror · Ellen Datlow · ar lxxii · Horror and Fantasy in the Media: 1992 · Edward Bryant · ar lxxxvii · Obituaries: 1992 · [uncredited] · ob 1 · Silver or Gold · Emma Bull · nv After the King ed. Martin H. Greenberg, Tor, 1992 28 · Tinker · Jack Cady · ss Glimmer Train #2, Spring 1992 35 · Queequeg · Craig Curtis · ss Chicago Review v37 #4, 1992 42 · Anima · M. John Harrison · ss Interzone #58, April 1992 57 · Skin · Steve Rasnic Tem · pm Psychos: An Anthology of Psychological Horror in Verse ed. Michael A. Arnzen, Mastication Publications, 1992 58 · The Homunculus: A Novel in One Chapter · Reginald McKnight · ss The Colorado College Magazine 1992 taken from the collection The Kind of Light That Shines on Texas (Little, Brown, 1992). 66 · The Annunciation · Cristina Peri Rossi; translated by Mary Jane Tracy · ss The Secret Weavers ed. Marjorie Agosin, White Pine Press, 1991 76 · The Bone Woman [Newford] · Charles de Lint · ss Triskell Press, 1992 84 · The Story of the Eldest Princess · A. S. Byatt · nv Caught in a Story ed. Christine Park & Caroline Heaton, Vintage UK, 1992 95 · Calcutta, Lord of Nerves · Poppy Z. Brite · ss Still Dead ed. John M. Skipp & Craig Spector, Bantam, 1992 104 · In the Looking Glass, Life Is Death · Jessica Amanda Salmonson · pm Deathrealm #17, Fall/Winter 1992 106 · The Parakeet and the Cat · Scott Bradfield · ss Conjunctions #18, 1992 116 · Glory · Nicholas Royle · ss Narrow Houses: Volume I ed. Peter Crowther, Little, Brown UK, 1992 124 · Murder Mysteries · Neil Gaiman · nv Midnight Graffiti ed. Jessica Horsting & James Van Hise, Warner, 1992 144 · Hungry · Steve Rasnic Tem · ss Borderlands 3 ed. Thomas F. Monteleone, Borderlands Press, 1993 151 · Playing With · M. R. Scofidio · ss The Urbanite #2, 1992 156 · Human Remains · Edward Bryant · ss Darker Passions by Edward Bryant, Roadkill Press, 1992 168 · It Comes and Goes · Robert Silverberg · ss Playboy January 1992 181 · The Bewitched Burr · Grozdana Olujic; translated by Jascha Kessler · vi Conjunctions #18, 1992 184 · Swimming Lesson · Charlotte Watson Sherman · ss Killing Color by Charlotte Watson Sherman, Calyx Books, 1992 188 · Memories of the Flying Ball Bike Shop · Garry Kilworth · nv Isaac Asimov’s Science Fiction Magazine June 1992 202 · Bats · Diane de Avalle-Arce · ss Isaac Asimov’s Science Fiction Magazine August 1992 208 · Origami Mountain · Nancy Farmer · ss The Magazine of Fantasy & Science Fiction March 1992 217 · Ruby Laughter, Tears of Pearl [Fantasy and Fable] · James Powell · ss Ellery Queen’s Mystery Magazine mid December 1992 225 · I Sing of a Maiden · Judith Tarr · nv The Magic of Christmas, Roc, 1992 237 · Also Starring · Cliff Burns · vi Tesseracts4 ed. Lorna Toolis & Michael Skeet, Beach Holme Books, 1992 239 · On Edge · Christopher Fowler · ss Dark Voices 4 ed. David Sutton & Stephen Jones, Pan, 1992 247 · Martyrdom · Joyce Carol Oates · nv MetaHorror ed. Dennis Etchison, Dell Abyss, 1992 259 · The Second Bakery Attack · Haruki Murakami; translated by Jay Rubin · ss Playboy January 1992 268 · A Little Night Music · Lucius Shepard · ss Omni March 1992 280 · Tom and Jerry Visit England · Jo Shapcott · pm The Southern Review Spring 1992 taken from Phrase Book, Oxford University Press, 1992. 282 · The Sluice · Stephen Gallagher · ss Narrow Houses: Volume I ed. Peter Crowther, Little, Brown UK, 1992 294 · Ratbird · Brian W. Aldiss · nv New Worlds 2 ed. David S. Garnett, Gollancz, 1992 308 · The Sailor Who Sailed After the Sun · Gene Wolfe · ss Grails: Quests, Visitations and Other Occurrences ed. Richard Gilliam, Martin H. Greenberg & Edward E. Kramer, Unnameable Press, 1992 319 · On Death and the Deuce [Kevin Grierson] · Rick Bowes · ss The Magazine of Fantasy & Science Fiction May 1992 328 · The Man Who Rowed Christopher Columbus Ashore · Harlan Ellison · ss World Fantasy Convention Program Book, 1991 340 · Graves · Joe Haldeman · ss The Magazine of Fantasy & Science Fiction October/November 1992 346 · The Ugly File · Ed Gorman · ss Prisoners and Other Stories by Ed Gorman, Cemetery Dance, 1992 353 · Elfhouses · Midori Snyder · ss Mothering Summer 1992 360 · Candles on the Pond · Sue Ellen Sloca · ss Pulphouse, 1992 375 · Tree of Life, Book of Death · Grania Davis · nv The Magazine of Fantasy & Science Fiction March 1992 391 · Puja · D. R. McBride · ss Grue #14, Summer 1992 401 · Hermione and the Moon · Clive Barker · ss The New York Times October 30 1992 407 · Absence of Beast · Graham Masterton · ss Dark Voices 4 ed. David Sutton & Stephen Jones, Pan, 1992 418 · Rat Catcher · Steve Rasnic Tem · ss Dark at Heart ed. Joe R. & Karen Lansdale, Dark Harvest, 1992 432 · Will · Jane Yolen · pm The Magazine of Speculative Poetry Spring 1992 433 · The Question of the Grail · Jane Yolen · pm Grails: Quests, Visitations and Other Occurrences ed. Richard Gilliam, Martin H. Greenberg & Edward E. Kramer, Unnameable Press, 1992 434 · In the Season of the Dressing of the Wells · John Brunner · na After the King ed. Martin H. Greenberg, Tor, 1992 468 · The Blue Stone Emperor’s Thirty-Three Wives · Sara Gallardo; translated by Elizabeth Rhodes · ss The Secret Weavers ed. Marjorie Agosin, White Pine Press, 1991 476 · Alice in Prague, or The Curious Room · Angela Carter · ss SPELL (Swiss Papers in English Language and Literature) Volume 5, 1990 486 · Replacements · Lisa Tuttle · nv MetaHorror ed. Dennis Etchison, Dell Abyss, 1992 497 · The Ghost Village [Blue Rose] · Peter Straub · nv MetaHorror ed. Dennis Etchison, Dell Abyss, 1992 520 · Honorable Mentions: 1992 · [uncredited] · bi