More Comments for the General Community

	Yes, Quarong's back!  However, this time I'll try to keep my
	essay at least somewhat shorter.  There were just a few more 
	points I wanted to address in this wonderful discussion we have
	been having.

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	PERFORMING OTHER'S SONGS:

	One item was something a couple of you brought up about the
	propriety of performing someone else's song when they were 
	present at the circle.  Oftentimes this happens because many
	creator's faces are not generally as well known as their 
	names, especially if they are from another region; and sometimes
	because the person in question doesn't even know who wrote what.
	Commonly, person X wants to hear a song, and because they have no
	idea that the writer/traditional performer of that piece is in
	the room, they go ahead and do it themselves.  The very complex
	solution to this problem is for the moderator to introduce the
	major performers present in a circle a couple of times during
	the evening, so that no one unwittingly makes this error.

	Now, I remember that both Cat Faber and Mickey said they would 
	actually be flattered if someone else did one of their pieces; 
	and relieved because it would allow them to use their turn for 
	some other, perhaps new, material.  However, I know of other 
	performers who will at very least be quietly displeased, though
	realizing the transgression was made in all innocence, generally
	won't openly comment.  I think the safe solution might be to 
	abstain from performing another's work unless you explicitly know
	it's ok.  Rather, be courteous and ask them to play it for you, 
	and then sing along only if it's that type of song.  Or else say 
	something like "X, I really enjoy your song Y and have learned the 
	words, would you be willing to do it as a duet with me?"  If you 
	have changed the arrangement substantially such that they would 
	have a hard time singing with you, but you still think they would 
	appreciate your version, say that.  (You may want to ask them 
	privately, since doing it during the Circle takes up time and 
	makes it more awkward for them to say "no".)
	
	If you are doing a close parody of another song, it's also good 
	form to credit the original title and artist if that person is
	present as well.  Oftentimes they will be willing to play the
	tune for you as you sing the new lyrics, if you ask nicely.

	Note, what we are talking about here is "doing other's work when 
	that writer/traditional performer is present".  (By "traditional 
	performer" I mean cases like "Heart of the Appaloosa" which is 
	written by Fred Small who doesn't do conventions, but at cons is 
	played by Cecelia Eng.  When she isn't around, Steve Dixon will 
	play it, and lacking him many of us can lead it acapella; but you 
	notice there is a sort of "chain-of-command" here which is commonly 
	adhered to.)  Steve also does a lot of Cynthia McQuillan's material 
	since she is down in the Bay Area, but if she were to come up here 
	I believe he would abstain and let her do her own work.  If the 
	person isn't around, then if you can do it, great; if they are, 
	asking first is usually considered politic.

	[A couple of the more experienced filkers remarked to me after
	reading the "Manners" section of my last post that many of the
	"rules" I proposed were items they occassionally violate; but 
	I pointed out that they do so because they have been around long
	enough to know the performers, what's ok with who, and when it's
	alright to make exceptions.  Remember my Principal Guideline #2,
	"When in doubt, seek more information first"?  Well, over time
	and by asking specific questions one gathers that info, and learns
	when it's ok to bend the "rules" that may be conveyed to the 
	newcomers.  However, even experience brings responsibility as
	not even the veterans can know everything, a new performer may
	show up or an old one change their preferences, circle customs
	may shift, or someone (often supported by silence on other's parts)
	may consciously or blindly begin acting as if seniority confers
	the right to be inconsiderate.  Veterans also have to remember 
	that newcomers, many of whom do not yet have the experience to 
	see the subtle distinctions in circumstances, are looking to them
	for clues as to how to behave.  In other words, when I babble on
	this topic, I'm not saying "absolutely do not", but more "Stop
	and think how your actions may affect others first, and if you
	are unsure, err on the side of caution until you can gather more
	information."]

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	SCA BARDICS vs. CON FILK CIRCLES:

	I think it was C4Winds who was saying that most of her experience
	with fannish song gatherings has been with SCA Bardic circles, and
	was not sure how well this translated into the Con Filk Room.
	The answer is actually pretty much straight across; if anything,
	SCA Bardics may be a bit more challenging of an arena than cons.
	For starters, at a con you are inside with chairs, heat, overhead
	lighting, convenient water service, and no dirt.  [Don't get me
	wrong, I love SCA bardics: Out under the stars, sitting around a 
	campfire, with the modern world blurred by the events of the weekend
	and the darkness; they have an atmosphere you can't find anywhere 
	else.  Tightening up a drum-head is also easier over a fire than
	a florescent lamp. :)  However, there's still something to be said 
	for indoor conveniences.]

	In addition, while many SCA bardics are very casual, there is a 
	somewhat greater emphasis on memorizing one's material (as much 
	for the logistical reasons above, as for authenticity); and there 
	are more restrictions on what material is really considered 
	acceptable.  At a con filk, contrary to popular belief which says 
	one can only do "fannish stuff", one can do pretty much anything 
	from blues to poetry to pop to stories.  At an SCA bardic, while one 
	is not required to do pieces written before 1600 (though you'll get 
	some good applause if you do); it is expected that you try to avoid 
	"blatantly non-period references."  Filks about SCA events are great, 
	as are many modern folksongs as long as they are only talking about 
	universal concepts such as love or war or sailing ships, not 
	computers and Star Trek.  The songs from Mercedes Lackey's books are 
	acceptable; and I've heard John Denver and Crosby, Stills, & Nash 
	sneak in.  Actually the first time I ever heard "Hope Eyrie" was at
	Ursalmas many years ago.  (It may be about the moon landing, but the 
	language is vague enough to pass if everyone's in a reflective mood, 
	and the real point is the concept of reaching for a dream universal 
	to any time period.)

	////////////

	SIGN LANGUAGE AND FILK:

	A friend of mine brought up an interesting and important question
	to me in email.  Specifically, she wanted to know if, as a hard-of-
	hearing person, it would be ok for her to sign along on songs that
	were being sung; or to take her "Play" turn by signing a song for
	the group.  I'm reprinting a condensed version of our conversation
	below for your interest and comment.

	[Begin Include]



>	To start with the "Reader's Digest" answer:  I'd say the etiquette


	of signing during a filk circle would be pretty much the same as
	that for vocal singing.  



>	Now for the rambling detailed answer:





>	If the song being sung is one in which everyone is singing along


	as a whole or at least on the choruses, I can't see any reason
	why someone would object to you participating in the same manner
	via ASL.  The focus of the group is already on the global effort
	so you wouldn't really be "distracting" anyone.  We're all there
	to have fun and get caught up in the music, and if that's your 
	way, then it should be ok.



>	If the song is one in which the performer is holding forth in a 


	solo effort, things are a bit less clear.  Generally others are 
	discouraged (by their own sense of courtesy or by explicit 
	instruction from someone else) from singing along (assuming they
	know some/all of the words) because it is that performer's turn
	to showcase their skill; and un-asked-for participation by others
	at very least can spoil the mood, if not distract the singer and
	cause them to make mistakes.  We've had cases in the past where
	someone was physically getting into the song, or one time I 
	remember a guy who was dancing his dragon puppet as Dixon played
	"Eyes of the Dragon".  Now in the latter case the gentleman was
	skilled enough it was hilarious to watch and actually added a lot
	to the song.  We actually suggested later that next time we put
	him up on the stage with Steve so we can watch both at once, and
	Dixon wouldn't be distracted by the motions and the audience's
	split attention.  I think that's a long way of getting to the 
	point that even if you are doing something that adds to the music
	for you, and possibly is enjoyed by a few people around you; if
	the action starts distracting the performer directly (which 
	systematic hand motions are likely to do) or by creating a notable
	stir in the audience, it's time to reconsider what really is the 
	focal goal in this situation.  On the other hand, there are some 
	of us who will mouth the words to a song in situations where 
	singing aloud would be improper, because doing at least that much
	adds to our enjoyment and mastery of the piece.  In turn this 
	could translate that if you were in a sheltered part of the 
	audience (from the performer and attendees likely to object) you
	might be able to sign along to a song in small motions.  (Obviously
	this would be easier during a concert when the chairs are set up
	theater style, you could be some distance from the performer, and
	everyone's attention is forward.  In an open filk circle it would 
	be pretty hard to hide unless you were sitting behind someone.)



>	I think about this point we hit the issue of "What about ASL


	interpretation of concerts, or even circles?"  The cons have 
	become more sensitive to this (and other special needs) issues
	in the last couple of years.  I know Worldcon is specifically
	asking for information on accessibility requirements, especially
	as they said "for anything that must be printed, rented, or 
	hired in advance"; and I think even the smaller cons are trying
	to make what efforts they can.  I guess despite my comments above,
	if a person with a hearing impairment showed up with a translator,
	they would have the right to work during every piece; though 
	hopefully the situation could be arranged to minimize the 
	distraction to other attendees.  I can't remember a circle yet
	where this has come up, but I guess it's just a matter of time.



>	As for your question about signing as your "Play" choice, my 


	answer is a qualified "Yes".  
	-- I would recommend against *only* signing a piece for a couple 
	of reasons:  (1) We've had enough problems lately with people 
	being respectful and attentive when someone was doing a vocal 
	performance; you give them something they are supposed to watch, 
	and it's going to be a lot harder to get or even keep their 
	attention.  {yes, reality sucks.}  (2) Most people don't read /
	speak ASL and they'll be asking for you to translate after if 
	you don't make provisions before, which could get everyone 
	sidetracked off onto other topics unless you stay in charge of
	your turn.  On the occassions when someone sings a song in foreign 
	vocal language they usually preface it with a brief explanation; 
	even so the ones who receive the most positive response are those 
	with a good amount of theatrical and musical talent to hold people's
	attention.
	-- On the other hand, signing along with a song you are singing
	would be an excellent idea.  If you are uncomfortable with 
	actually singing the piece, you could recite the words in 
	rhythem with your motions, or you could practice with someone
	else who has a better voice for them to sing as you sign.
	(I'd also recommend standing up and making your gestures large
	enough for everyone to follow without destroying their precision.)

	[End Include]   Comments?

	////////////

	THE "GREAT CONFLICT"

	First of all, I want to say that John Bunnell's explanation of 
	'behind-the-scenes' events in West Coast filking over the past
	several years was excellent!  Probably the most coherent, unbiased,
	useful analysis I've ever seen on the topic.  Thanks, John.

	I did want to make a few comments of my own here, mainly to 
	reinforce the point John made at the close of his essay.  Namely,
	that like the "political manuevering" that occurs in most groups
	from fandom to the corporate world, the average individual should
	be able to go about their own business and have a good time without
	ever having to become particularly aware of, much less involved in, 
	said games.  Most of the people who were involved have long since
	put it behind them, or else found subtle and graceful ways to simply
	avoid one another.  I don't think I've ever seen it enter into the 
	song circle, other than you might not see X and Y in the same room;
	there can sometimes be a bit of tension around the merchant's tables
	or in a conversation about who is carrying what or recording with
	whom, but even this isn't likely to involve your average filker, and
	the relevant parties have better courtesy and business skills than
	to let it affect a customer.

	Mercedes Lackey's songs are certainly welcome in NW song circles.
	For many people they still are one's earliest introduction to filk,
	and remain fond selections, even if us veterans don't request them
	all that often.  Cecelia Eng is probably the most skilled player
	of these songs, though several of the rest of us can fake them as 
	the need arises; Cecelia and Steve Dixon also both have several 
	original songs based on	that universe. 
	
	I can't actually think of anyone's music that wouldn't be 
	appreciated on general principles; though those of you who 
	mentioned that "hateful" songs meant to divide people, and 
	explicitly vulgar ditties may be inappropriate have a solid point.  
	Mickey had some good suggestions for those who may wish to perform
	more "adult" material, in waiting until later in the evening after 
	the children are in bed, and making a brief introduction warning
	listeners that the following song is R rated before beginning.
	(Keep in mind that there's lots of pieces out there that are amusingly
	suggestive without being possibly offensively explicit.  SCA folks
	seem to have a larger store of them than I've run into in con society.)

	As for "Banned from Argo", I think most of us regulars agree with
	Cecelia's policy:  "I will play it once during a weekend without
	complaint, but I don't want to listen to everyone bitching and 
	moaning about it, or talking about such-and-such a rendition or
	the extra verse they saw on the Net.  Let's just do it like any 
	other song, and move on in the circle."  It is a funny song, but
	like anything it gets old after awhile; and like "Old Time Religion"
	it tends to grow verses that begin to take over the evening's point
	of 'a sharing of *diverse* music'.  So, if you'd like to hear it, go
	ahead and ask, and don't take the bitching personally.  For those of
	you who don't want to hear it, please keep your comments to yourself;
	you'll only prolong the agony by preventing the song from starting,
	and you do always have the option of leaving the room for a bit.
	(If you'd like to just see the words, I have a copy of both the 
	Original and Next Generation versions in my notebooks; so probably
	do some other people.  Come ask one of us.)

	On the topic of "voting with your feet", this is a valid option.
	Just try to slip out quietly between pieces so that others may 
	continue to listen.  With our open circles, you can generally save 
	your seat for a bit if you leave something on your chair.  [It's 
	rare for things to grow legs and walk off, but especially if you're 
	doing more than going to the bathroom, (or even then if you're like 
	me and tend to get way-laid every 20 feet at a con); it's a good 
	idea to take any valuables with you, and to ask a friend to keep an 
	eye on your books or cloak.]  Performers shouldn't take it personally 
	though, not every song is going to appeal to every listener, and 
	sometimes a person is just not in the mood to hear a song about 
	suicidal whales, or to listen to X for the 40th time.  More often, 
	a person's decision to leave may have less to do with the music, 
	and more to do with their need to visit the bathroom, or to meet 
	with some friends for a Denny's run; a few folks even like seeing 
	a bit of the dance and room parties as well.  A certain song 
	beginning that they are not dearly attached to may present the 
	perfect opportunity to slip out.  (E.g. Andrew Nesbitt and I are 
	friends, but he knows that if he starts doing "Steak and Kidneys" 
	I'm generally going to duck out for a bit.  I respect his right 
	to do what he wants on his turn, and that sometimes he is using 
	that long piece with choruses that everyone can help with to give 
	Cecelia a desparately needed break from fulfilling other requests; 
	and he knows it.  He also knows that I'm really not that fond of 
	the song, and that I'll use it as a nice chance to go check on the 
	rest of the con without missing other things I want to hear.  
	Handled with courtesy, understanding, and humor, it works.)

	////////////

	THEME HOURS

	Real quick here, many of you have mentioned some interest in this
	type of panel, and I think it's a good idea too.  It is probably 
	only something which would work at a larger convention since we 
	would need additional (probably daytime) programming space, and 
	more performers and attendees to pull it off; but we do have 
	Norwescon and Westercon coming up next year, both of which might
	be willing to work with us on this idea.

	A couple of questions for the sake of future planning:
	-- I've always seen this track done with 3-6 performers with solid
	repetroires on X subject at the front of a room, mostly taking turns
	making their own selections with occassional ideas from the audience.
	However, conceivably it could also be run just like a normal Bardic
	or Chaos circle as long as there was sufficient material to keep it
	on the stated topic.  I think option A is more feasible, but what
	do you want?
	-- What topics do you think we should do?  Ones that come to mind
	immediately for me are: computers, Star Trek, realistic space 
	exploration, and pagan.

	////////////

	I think that's about it for this missive.  There have been some 
	further developments on the "Filk FAQ List" idea, but I'll send
	that out in a separate letter shortly.  As always, comments are 
	welcome, either back to the Filklist or to my private email.
	
				Until then,
					Quarong
					[quarong at eskimo.com]