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Home , Artie Traum, Irwin Silber, Izzy Young

“IfA Thumbnail I Had History a Song of Sing ...”Out! 1950-2000 ... Sharing Songs for 50 years! music that would help us do so. The “One little issue of magazine was then, as it is today, a sin- Sing Out! is worth more to cere, strong voice raised, not to exploit the profit potential of Tin Pan Alley humanity than any thousand doggerel, but to promote the best hopes tons of dreamy dopey junk of common people in song. dished out from the trees of For so many readers over the last 50 years, began with Sing our forests along every Out! presenting the best of the new and Broadway in this world. old. Readers learned songs and found I don’t know of any they were very much like the diverse magazine, big or little, that peoples around the world. They greeted neighbors throughout the cit- comes within a thousand ies, towns, and rural communities million miles of Sing Out! wherever there was a song to sing and when it comes to doing a front porch on which to do so. good around the world.” The fact is, today, Sing Out! The Folk Song Magazine is just one — , important component of an organi- NYC, 1951 zation that also publishes song col- lections, sound recordings, folk mu- oody Guthrie knew the sic books and directories. Although value of a fledgling journal most readers are familiar with the W with big ambitions. For wealth of folk-related material avail- Woody, his colleagues and a growing able in the quarterly magazine and chorus of enthusiasts, Sing Out! was in other Sing Out! publications, they more than ink and paper. They be- should also know that Sing Out! lieved that by sharing meaningful maintains a sizable multimedia re- songs, those of us who cared about source center with a significant li- making the devil dance to our tune brary of important books, periodi- could better stay in touch with the cals, sound recordings, oral histories

17 and photographs which may be ac- banded together as People’s Songs, cessed by the general public, stu- Inc. and began publishing a monthly dents, scholars and performers. bulletin to “create, promote, and dis- While it’s clear that Sing Out!’s tribute songs of labor and the Ameri- mission has grown since its founding, can people.” it has remained true to the spirit and People’s Songs, the newsletter, goals of its founders by supporting and was a novel idea. The bulletin printed preserving traditional and contempo- songs that would not, as a rule, be avail- rary folk music from all cultures while able via popular music outlets. The fare encouraging practice and participation. would include union songs, peace songs, Today, Sing Out! boasts readership of traditional ballads, children’s songs, nearly 20,000 individuals and organi- blues, gospel, songs of civil rights and zations worldwide, conducting busi- international material. re- ness with a regular paid staff of six members those seminal days which be- joined by a host of regular contractors gan in the basement of his apartment on and freelancers. Things were not al- MacDougal Street in ways so. in City ... “A number of us who loved to ing Out! magazine, now 50 years sing folk songs and union songs Syoung, grew out of a legacy of so- thought it the most natural thing in cial commitment and a tra- the world to start an dition of sing- organization which ing both to ef- could keep us in fect change and touch with one an- to share the pure other, which could enjoyment of promote new and songs. The origi- old songs and nal idea for a singers. We called magazine was our organization served up by the People’s Songs to aspirations of a distinguish it group of urban from the schol- singers who be- arly folklore so- lieved in the power cieties and started of song – musi- a bulletin.” cians who raised What their voices in har- started as a mim- mony and against eographed bulle- injustice. tin in short time After World grew to become War II, a number of a printed maga- artists and enthusi- zine. People’s Songs asts including Pete began handling bookings, too, as Seeger, Woody Guthrie, Lee Hays, People’s Artists. Now folk performers , , Irwin would be treated as professionals when Silber and Earl Robinson sought to they played concerts and hootenannies. combine political activism and music New singers and new songs as they had before the war. They were encouraged, but the bulletin

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19 never failed to feature traditional as the enemy. The magazine finally songs, many of which were gathered went bankrupt shortly after the 1948 in the archives of the office. Songs presidential election during which were collected from around the People’s Songs and its resources had country and around the world. Most been pressed into service for the can- were songs about people from all didacy of Henry Wallace and the walks of life – Progressive Party. they were folk songs People’s lthough hardly a Songs also fea- A comfortable po- tured reviews and litical climate for a re- articles including newed attempt at pub- a sharp, entertain- lishing a left-wing ing column by music magazine, the Weaver Lee Hays. notion of People’s Although Songs persisted. A People’s Songs at few months later, one point reached a following a keen respectable circula- reassessment of tion of 3,000, a dwin- People’s Songs’ dling subscriber base strengths, some of and a lack of funds the same group meant closing the of- who brought out fice after a three-year People’s Songs run. A combination of went back to the finances and politics drawing board, can be blamed for the and returned in demise of People’s May of 1950 with the first issue of Songs. The Cold War was on, and the Sing Out! political climate was changing, with Irwin Silber, in “Notes from an anti-communism and anti-everyone- Editor’s Diary,” recalls he borrowed who-is-differentism on the rise. the name Sing Out! from the third On the plus side, this fueled the verse of the “The Hammer Song” advent of an active folk song and written by Lee Hays and Pete Seeger, topical song movement. But on the which incidentally was printed on the negative side, the bulletin grew ever cover of issue number one. It seemed more estranged from the labor unions to the publishers an appropriate aim for which People’s Songs originally to “sing out danger ... sing out a warn- dedicated its efforts. Redbaiting ing ... sing out love between all my swept though the labor unions, which brothers (and my sisters) all over this sought to distance themselves from land.” Over the years, Sing Out! has folk musicians and the like for fear proved as apt a name as could have of appearing “disloyal.” applied to the impudent publication Increasingly, the publication that squarely aimed its songs at op- and its participants were on the de- pression, and encouraged an army of fensive against the fierce witch hunt- singers to do the same. ing that lumped all liberals, leftists, Alongside the advent of Sing socialists and communists together Out!, the folk song movement was

20 taking hold. For the most part, it started writing his “Johnny Appleseed, seemed that young people were the Jr.” column. ones who were hungry to assimilate Other songs would follow: old and new folk songs. Now, they “Roll On Columbia,” “Putting on the could spend a quarter and pick up an Style,” “Michael Row The Boat issue of Sing Out! to find all manner Ashore,” “House Of The Rising Sun,” of songs by the likes of Malvina “All My Trials,” “Bells Of Reynolds, Pete Seeger and Woody Rhymney,” “Cotton Fields At Home” Guthrie. and “The MTA Song.” This is a brief With a war on in Korea called a sampling of songs that Sing Out! “police action,” anti-communist hys- helped bring to the public. The flood- teria deepened, resulting in so much gates were opened for decades of new repression around and about. In spite and old songs to follow. of that, this new publication managed to establish itself. Whenever Pete eanwhile, there was a curious Seeger, Woody Guthrie or Cisco Mstirring of commercialism in Houston came to town, they’d sing for folk music as major labels and book the cause and pick up a few dollars for publishers began to exploit the the Sing Out! coffers. Hootenannies genre. As the music became more ac- continued to help pay the printer who, cessible, it reached more listeners. it is remembered by Silber and the oth- Yet, they weren’t just buying the mu- ers, was most patient when the sic, they were taking the music to bills were due. heart, and these During the first people were be- decade of publication, coming Sing Out! Sing Out! printed readers. many important songs Oddly that otherwise might enough, the “re- have had a hard time vival” of interest in catching on. Ed folk music, which McCurdy’s “Strang- was gaining momen- est Dream” was one tum throughout the of the more notable early years of publi- songs found in the cation, was not com- early years, along ing from the working with Lead Belly’s class, but from pre- “Rock Island Line.” dominantly college- Other songs, never educated young men before published and women whose col- such as “Sixteen lective energy would Tons” and “Pretty soon be aimed for so- Boy Floyd” got cial change and hu- their first inking in manitarian causes. Sing Out! Most notably, Woody Sing Out! began as Guthrie’s “This Land Is Your Land” a “beautifully amateurish” 16-page first appeared in print in the pages of pamphlet, but it was a primer for this Sing Out! during the 1953-1954 vol- nonconformity. What was different ume, the same year Pete Seeger about this upstart rag was right there

21 in print, set down by its editors in the with Moses Asch and Folkways magazine’s credo: Records. Oak Publications was formed “This magazine is about music. to create, along with Sing Out! and Yes, we realize there are music maga- Folkways, a most formidable alliance zines already in existence. What’s spe- for distributing a host of folk-related cial about this one? Well, there’s mu- music and instruc- sic and there’s tional publications. At music. A strange that same time, the thing has hap- folk boom was being pened to music in heard ’round the our time – it has world. The genre as nothing to do with such, would never the people any- again be the same. more. In 1958, The “We propose Kingston Trio took to devote ourselves “Tom Dooley” to to the creation, Number One on the growth and distri- pop charts. It was bution of something shades of the Weav- new, yet not so new, ers “Goodnight since its beginnings Irene” all over again, have been visible, or and then some. Not rather audible, for only did the song some years now. We reach Number One, call it ‘People’s Mu- but for two years to sic.’ What is this follow, the group’s ‘People’s Music’? In recordings ac- the first place, like all counted for one- folk music, it has to do fifth the total sales of Capitol Records. with the hopes and fears and lives of Boom! common people – of the great major- Now, and into the ’60s, The ity. In the second place, like that other Kingston Trio and other folk groups music ... call it ‘composed,’ ‘concert were regularly on the pop charts. music,’ or whatever – it will grow on Young urban singers such as The the base of folk music. New Lost City Ramblers had songs “We propose that these two di- featured in Sing Out! Events such as vergent lines of music now join in the first , fea- common service to the common people tured in a Sing Out! photo essay by and that is what we call ‘People’s Mu- Dave Gahr, drew more and more sic.’ No form – folk song, concert young singers, players and listeners song, dance, symphony, jazz is alien to acoustic music. Boom again! to it. By one thing above all else will The result of the popularization we judge it: How well does it serve the of folk was to send the major record common cause of humanity?” labels scrambling to cash in on this commercial opportunity. As the ’60s y the close of the magazine’s began, a stampede was on to sign folk B eighth year, it moved uptown to artists and discover “new talent.” A&R begin a long and close association reps laid in wait in the scores of small

22 CONGRATULATIONS to

on their 50th Anniversary

SPONSORS OF THE 39TH ANNUAL

AUGUST 25, 26, 27 2000

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23 clubs that dotted Greenwich Village. to appear in Village coffeehouses Most of the young folk singers they where the patrons especially liked his signed learned songs from Sing Out!, own songs – he hasn’t changed at all or were having their own songs pub- in the past year – he dresses and talks lished therein. Columbia, Vanguard, the same, only now he is recording for Decca and Elektra are just a few of the Columbia Records ...” labels to jump on – and solo By October of that year, Dylan artist – wagon. Corporate America was was on the cover, “Blowing In The devouring folk music as we knew it, Wind” and “Hard Rain’s A Gonna and regurgitating it in its own image, Fall” were in print. Boom, boom and and Sing Out! got a boost from the boom again! Songs such as “Little movement. Boxes” by Malvina Reynolds, With this growing popularity, “Ramblin’ Boy” by Tom Paxton, new subscriptions poured in. Silber “Don’t Think Twice” by noted in his diary that circulation and “San Francisco Bay Blues” by doubled in 1960, grew to 20,000 by Jesse Fuller were in Sing Out! and on 1964, then again rose to 25,000 by everyone’s set list. New songs were be- 1965! Ads were being run for Goya ing written by a host of great writers, and Guild guitars, and for Vanguard, and the magazine couldn’t print these Folkways and Elektra records. Still, great songs fast enough. But, where did Sing Out! remained a leader in sup- the commercial line end, and where plying meaningful, important songs. did folk music begin? Freedom Some times it was not and civil rights easy to tell. songs were the Silber reports most visible addi- that at the height of tions to the reper- the folk revival, Bob toire of this pe- Dylan was asked riod. Oh yes, and about commercial someone else was sponsorship of folk a visible addition. song programs. (The Izzy Young of New first televised airing York’s Folklore of Hootenanny, Center was there to hosted by that noted report on this sight- folk impresario Jack ing in the February Linkletter came in 1962 issue of Sing April 1963.) “We’re Out! not singing folk- “Bob Dylan songs in order to blew into New York sell soap,” Dylan just a year ago. He quipped, “Hell, came from the Mid- we don’t even buy west where he sang soap!” By the sentimental cowboy mid-1960s, folk songs, jazz songs and as a commodity was making a top forty Hit Parade stuff at carnivals lot of people very, very rich, and some and wherever he was. He hardly knew others, very, very nervous. In a show the word “folk music” until he began of solidarity, , Joan

24 Baez and Peter, Paul & Mary refused time, readers were not only learning to appear on Hootenanny because of a myriad of guitar, banjo and fiddle the show’s blacklisting of performers styles, they also received instruction such as Pete Seeger and The Weavers. on diverse instruments such as the hurdy-gurdy, hammered dulcimer, y the mid-’60s, Gambian kora, Banother form of Cajun accordion, protest song was being harmonica, mouth sung by Mr. Dylan, bow, spoons and this one aimed square- pennywhistle. ly at the heart of the There were even folk music movement. Teach-Ins for street Bob Dylan plugged games, shape-note in his electric guitar singing, Chassidic at the 1965 Newport tunes and writing Folk Festival, and children’s songs. by the time he and Traum says the the Butterfield Blues “Teach-In” proved Band finished their to be one of the most rocked up version popular and enduring of “Maggie’s Farm,” features of Sing Out!, finished too was and the magazine’s the folk boom. impact rose beyond Despite Sing its humble circula- Out!’s grass-roots tion: ties, the fickle at- “[Sing Out!’s] tentions of the influence extends to a pop world af- generation of per- fected the maga- formers who helped zine as well. Declining circulation led shape the world of popular music, to changes on the editorial staff, and especially those who sing and play longtime editor Irwin Silber sold Sing guitar in anything like a folk style, Out! to a cooperative in 1968. The edi- from Woody Guthrie to Jack Elliott torial reigns were taken over by Happy to Bob Dylan to Ry Cooder. It has Traum. Traum saw great potential in helped bring the traditional styles of the magazine as a readers’ guide for Doc Watson, Big Bill Broonzy, creating personal music. He observed: Elizabeth Cotten, Lead Belly, Rob- “Sing Out! is the closest thing ert Johnson and John Hurt to innu- I’ve ever seen to a truly grassroots, merable guitarists who play in all reader-supported magazine, due styles today, from acoustic folk to mostly, I think, to its philosophy of electric rock.” encouraging people to make their Traum recalls that the maga- own music in a time of alienation and zine also provided a forum for musical overkill in the big money, singer-songwriters who altered the popular music market.” sound and writing styles of music in The old “Git Box” instruction the ’60s and ’70s by injecting mean- columns of the ’50s were reprised in ingful lyrics into popular song. Bob the late ’60s as “Teach-Ins.” This Dylan, , Tom Paxton,

25 Phil Ochs, Peter LaFarge and Joni magazine. The innovative feature Mitchell are only a few whose songs was extremely popular with the were printed in Sing Out!’s pages. readership, and the subscriber base As editor, Traum saw Sing Out! as a increased in this era to an all time player in the popular music scene. high ... but the flexi-discs were ex- Reviews and articles on seminal pensive. groups such as By 1973, the the Byrds and debt from the own- Beatles were ership transfer was included along paid off, but even with more tradi- with circulation tional fare. In- increases, the cost put from music of providing the editor and East- flexi-discs in the ern European magazine was not folk scholar being covered Ethel Raim also and the familiar helped renew the specter of debt magazine’s com- again loomed. mitment to shar- In addition, ing music from a new, ironic pro- around the world. blem appeared during the ’70s: he magazine politics. The T was making an very activism impact, but a dark that launched shadow was cast the magazine caused editorial soul over the project. The debt the maga- searching and threatened to scuttle zine incurred when it changed hands the ship when more “purist” folk was carried into the mid-’70s. Bob music fans complained about the Norman was at the helm by the end growing political nature of the maga- of 1970 and in addition to running zine. While most readers were sym- the magazine, sought ways to deal pathetic with the anti-Vietnam War with the debt, then somewhat over stance the magazine took, a number $15,000. Longtime supporter Josh of readers believed the magazine was Dunson organized Friends of Sing being overtaken by a relentless and Out! Cells of the group sprang up, strident anti-war tone. They argued putting on concerts and sending pro- that folk music was being given less ceeds to keep the magazine going. attention than activism. The war that In late 1971, the magazine had caused division and turmoil in soci- embarked on a most ambitious un- ety put Sing Out! at odds with some dertaking. It began offering a flexi- of its readership as well. disc with every other issue of the To be fair, Sing Out! was still magazine – a thin plastic record also many other things: still columns by called a soundsheet. The premise Michael Cooney and Pete Seeger; was that this sound recording could still Teach-Ins; still songs; still ar- let the readers hear some of the mu- ticles about the best performers on sic that was written down within the the folk scene, such as Ry Cooder,

26 27 Bonnie Raitt, Steve Goodman, Paul By the time the sixth genera- Siebel and Happy and Artie Traum; tion of post-Norman staff members and still full of surprises and regu- left, things were shaky. Then, when lar features. In a period of agitation, the group decided to do a special is- editor Norman did well to keep the sue on “The Year Of The Disabled,” balance between folk music and folk the house of cards activism. He saw came down. the emphasis at Guest editor Sing Out! to be Jean Stewart was on “music as given the task of get- communication,” ting out the special remarking: “We issue. It was started encourage people early in 1981, but to make music. money wasn’t there That’s the whole and logistical prob- point of our name. lems loomed. That We’re still politi- issue finally came cal, but we think out a year later ... anybody can relate unfortunately, to Sing Out!, no when “The Year matter what their Of The Disabled” personal politics.” had all but passed. Six months he war ended, later, and no new T and there were Sing Out! By June new battles to fight. of 1982, it was Norman left by 1977. decided that no further subscriptions Both political activism and a sea of could be taken. The rent and staff pay- red ink defined the era following his ments were months behind. This was departure. This time was also char- the darkest period since People’s acterized by a rapid turnover of the Songs had folded. If not addressed, the editorial staff which had included fate of People’s Songs would be re- Abby Newton, Rhonda Mattern, visited and the singing would cease. Alan Senauke, Estelle Schneider, Once again it was Pete Seeger Francine Brown and soon saw Sara and the spirit of People’s Songs to Plant, Mimi Bluestone, Peter Worts- the rescue, this time with the help of man, Carolyn Bevis, Bob Lusk and a young advisory board member others in the office. from Easton, Pennsylvania, current Resources were so low that the editor and executive director Mark salary for paid staffers was a pit- D. Moss. They took quick and deci- tance. The debt was essentially be- sive action to save Sing Out! Pete ing carried by the workers, who ac- felt that Sing Out! was too important cepted little pay for their services, to let die. He believed that even if and the printer, who was being paid Sing Out! had to be mimeographed three jobs late in order to print the in someone’s basement, it had to current issue. Many other creditors keep going. A reorganization meet- waited patiently, and not so patiently, ing was held after that year’s Hudson for payment. River Revival to discuss options.

28 After a debt of $20,000 was es- help cast the mold that would form timated, there was a strong voice from the template for future Sing Out!s. many staffers to close up shop. They Readers were encouraged to describe pointed to the fact that the subscriber the magazine they wanted Sing Out! list had fallen to 2,000. Perhaps they to become and the readers responded! had forgotten the power of song ... and that Seeger doesn’t give up easily. ox by box, the magazine was Not remarkably, it was a song B moved out of its high-rent mid- that came to Sing Out!’s aid, just as office on Eighth Avenue Sing Out!’s songs had rallied other and relocated to Moss’ hometown of rescue efforts. A song? No, not just Easton. Pete picked up his banjo and any song, but the very same “Ham- headed many fundraising concerts, just mer Song” which graced the cover like the hootenannies of old. Friends of the first issue of Sing Out! to re- from the People’s Songs days, notable vive the dream of People’s Songs. founders such as Carl Reiner and Lena Pete allowed his manager Horne, and also more recent friends Harold Leventhal to license the use like Bob Dylan and Joan Baez, donated of “The Hammer Song” to an En- to the resurrection. When the dust glish tea company for radio commer- cleared, more than $30,000 had been cials, for which the company would raised, Seeger and Moss were co-edi- pay $2,000. Pete offered to use that tors, $22,000 was paid off with $8,000 money to publish a available for seed money. The spring monthly newsletter and was set for the start- the first issue of The up of the renewed Sing Out Bulletin was Sing Out!. On the out by August. It let seventh day, Pete the readership know Seeger rested. what was going on be- While setting hind the scenes, carry- up a not-for-profit ing this sad message: corporation in March “A fine issue of of 1983, Moss discov- Sing Out! magazine ered there were back has been prepared, but taxes due, another there is not money to $9,000 added to the typeset, print, and debt. So much for seed mail it. Rather than money. Still, in April of undertake emergency 1983, the first new-era fund raising, Sing issue was ready. Once Out! has temporarily again, it was Phoenix suspended publica- rising from the ashes. tion. It has not gone This time, Moss remem- bankrupt. Subscrib- bers; the old bird was ers will receive issues due sporting some new feath- them eventually. Creditors will be ers. The concept of the not-for-profit paid.” corporation came with a new twist. The newsletter sought to in- “It was decided to form a national volve all subscribers in the dialogue board of directors comprised of people of solving the crisis. It asked them to within the community of folk music to

29 help guide the magazine. We also source Center came into being. It sought to realign and refocus ourselves would use all manner of information – clearly stating that folk music was the (sound recordings, books, periodi- magazine’s mission and purpose. Do- cals, photos, video and ephemera) to ing so acknowledged the magazine’s document the diverse nature and his- political roots, but centered the focus tory of folk music. The Resource of the magazine on what we could do Center stands today to serve the folk best ... share music!” community and is being made even Moss became a full-time paid more accessible with the advent of editor when his unemployment computers. This repository of knowl- checks from a former construction edge helps to serve Sing Out!’s edu- job stopped coming. Staff was added cational mission. It is a reminder that as needed. From this point forward, the magazine is grounded in the role it was ever onward and steadily up- of keeping the tradition of folk mu- ward. The editorial policy held fast sic alive and accessible to the public. that folk music be the raison d’etre Putting out a magazine and hous- of Sing Out! This philosophy was ing a resource center takes space. As fiercely defended from the back the magazine grew, it required a move room editorial board meetings, right to larger digs, and this brought it to out into print in Mark’s editorials. Bethlehem, Pennsylvania, first in a At the same time, in his own ex- rented location at 125 East Third Street, amination of the history of Sing Out!, then to help ensure Moss found the future of our ef- that the symbi- forts to a three-story otic relation- building purchased ship the maga- and renovated at zine had with 512 East Fourth Oak Publica- Street which today tions during houses our grow- Sing Out!’s hey- ing Resource Cen- day was an im- ter and increas- portant reason ingly sophisti- for its success. cated magazine This was one of and publication the things that operations. worked about Comput- Sing Out! It was ers and software decided to re- aplenty have launch a publish- changed the ing arm in 1984 process of put- when Peter Blood ting together a came to Sing Out! magazine. It is with the prototype a far cry from of what two years the look and later would become Rise Up Singing. sound of the old People’s Artists of- “Sing Out! Publications” was born. fice, yet the dedication is still there. It was also during this period Computers merely make the operation that the concept of the Sing Out! Re- more efficient and ready for the next

30 century where, we hope, there will still Legacy Books now offers a portal for be plenty of good songs to sing, sing- Sing Out! members to find a vast ar- ers willing to sing them and Sing Out! ray of current and out-of print books to bring singers and songs together. and song collections. More than two decades ago, a n the decade following incorpora- very perceptive young writer was chal- Ition, the magazine evolved steadily lenged to define this “little magazine into a professionally that could” in a column he wrote respectable journal for the Free with a most impres- Aquarian. He sive look and con- suggested, tent, and it is today “The best way still maturing. Some to describe Sing of the changes were Out! is to call it subtle, some more a mail-order noticeable; maga- folk festival.” zine format size I was right and layout, type then – and it is styles and size, ever more true color cover graph- today – Sing Out! ics, style and story alone brings us selection. this close to the New col- folk music we umns have pop- love. After all, ped up like Sing Out! has had “Courting the 50 years experi- Muse,” “Hey ence in publishing Rube!” “The the best songs and British-North the best in folk for America Act,” “Kidsbeat,” “Home- singers and listeners made Jam,” “The Endless Tale,” like you and me. Now that’s something “RagTag” and even “The SORCe Re- to sing out about! port,” a column for those interested in the resource center. There are still — Roger Deitz familiar companions such as “What’s Happening,” Teach-Ins, “The Song- finder,” reviews, festival listings and “As long as traditional styles usually more than 20 songs. All this of folk music are preserved helps to make Sing Out!s quarterly ar- rival a special occasion. and new styles created, In late 1998, Sing Out! ac- Sing Out! will be there, quired the respected mail-order folk earning its exclamation music and lore book seller, Legacy Books, merging it with the Sing Out! point.” Publications imprint to better serve — Utne Reader its membership and the field. An- © 1995, 2000 THE SING OUT! CORPORATION chored by its long-running review Thanks to the advertisers for their generous newsletter and catalog, Come All Ye, support of this reprint.

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