You can also Search

Debbie Ridpath Ohi reads, writes and illustrates for young people. Every few weeks, she shares new art, writing and resources; subscribe below. Browse the archives here.

Twitter Facebook Instagram
Subscribe Pinterest Flickr
My other social media.

Search the Filk FAQ
Current Projects




I'm Bored Bonus Page
I'm Worried

Welcome to my Filk FAQ! If you stumbled here accidentally and aren't sure what this is all about, feel free to read What Is Filk? first. You can also browse all entries here.


What is the Filk Hall Of Fame?

While the Pegasus Awards focuses on performance and songwriting, the Filk Hall Of Fame awards tends to focus on people whose contribution is more behind the scenes. You can see a list of past inductees and their citations here.

From the Filk Hall of Fame Web site: "Created in 1994, the Filk Hall of Fame inducted its first members at FilKONtario 5. Each year three to five more members of the filk community will be recognized and added to the roster of the Hall of Fame. The Filk Hall of Fame was created to honour the people whose contributions have made a difference to what the filk community means to all of us. Members are chosen based on the nominations made by the filk community in general. At FilKONtario, they are presented with a plaque and a citation that summarises the reasons for the nominations."

Dave Hayman keeps a list of all nominees; you can request a list from him by e-mail. You can also e-mail him if you'd like to update a nomination that you sent in the past. Here is info about who is eligible and how to nominate, as well as sample nominations.

The awards are presented during the Saturday night banquet at FilKONtario.

See my Blathering about the Filk Hall of Fame.

More info:
Filk Hall of Fame

How do I get a concert?

Should you wait for a convention to ask you to do a concert? What's the proper etiquette for asking? In general, concom-types seem to be open to filkers asking for concerts as long as you do so well in advance, politely, and without special demands. DON'T take it personally if you're turned down. And above all, do remember that filking isn't about concerts.

I loved Brenda Sutton's comment: "It's not supposed to be about the concerts and who has them. Filking is supposed to be about the joy of creating music with your friends. What I've noticed over all these mumbledy-mumble years is that, the folks who are really enjoying themselves, and who are really helping others to enjoy themselves as well, don't need concerts to have a good time... but they are the ones to eventually get concerts. Hmmmm. Hmmmmmm."


From Mary Bertke (re: OVFF programming):

"Ask for a concert the year before. Don't wait until only three months before the concert to ask. I may make my schedule before other people, but due to Ren Faire, I like to have my schedule for OVFF pretty solid by early August at the very latest (and to me, that's really pushing late - unless I'm really tempted to cram something in, I want scheduling done by the beginning of July).

Give the person in charge of programming a CD - a burned-on-your-computer copy is just fine - with at least three songs of you performing to show them what you sound like. Remember - they may never have heard of you, or even if they've heard you, they may not remember due to con-induced sleep deprivation. Make sure appropriate contact information is included with the CD (Name, email, phone number, address).

Important: once you've been offered a concert, be gracious and helpful. DO NOT:

- Complain about the time slot you've been offered.
- Tell the programming coordinator that no one in their right mind would schedule things the way they have, and that you would do it much better.
- Attempt to make special demands.
- Complain that your concert is too short.
- Demand the programming coordinator take care of/find out for you things having to do with the hotel, registration, or anything outside the realm of programming.

While none of these will cause you to get the offer of a concert retracted, it will cause the coordinator to regret giving you a concert - a regret which will, most likely, be expressed to concoms of other conventions."


From Judith Hayman (re: FKO programming):

"I would agree with Mary on most everything she said but one... FKO doesn't have a programming head and ninety percent of our communication is filtered through the conchair. Even the person appointed to do the final coordination take suggestions to committee. Not all concoms work the same.

Asking for a concert:

Ask. Ask WELL ahead. Know that when you ask, you are really saying 'I'm coming to your con _anyway_. I am buying a membership. I am booking a hotel room and paying for transportation. Since I'm already doing that it would be cool to be able to play on stage'. Don't assume that the convention will comp your membership for a concert.

Also don't assume that by asking you will get one. Our con awards only two or three concert spots outside the guests. It's good to start by asking for only fifteen minutes. Go back and look at Erica's comments on balancing style, gender mix, local/distant, old fave/new wave.

Make sure you note added value: Debuting a new CD, taken on a new singing partner, batch of new material, learned a new instrument, baton twirling... (no, that's Christine Lavin)

Above all, ask nicely, and take being declined gracefully.


If you have to ask for assistance with an instrument (borrowing an instrument locally) or other equipment, stop, think twice and try not to do that. The concom is busy trying to accommodate the guests flakey requests and don't need yours.

If you can't manage without help, ask for someone local who's NOT on concom who might be a resource.

If that fails make your request at least several months ahead. The last thing a committee needs is a request for an electronic keyboard left in e-mail two days pre-con. It happened and we said "no".

Don't be a prima donna. Word gets around. When concoms talk, they talk about who defaulted, who was unprepared, who was late, who was demanding. If you're asked to cut your set by a song, do it. Do it with a smile. If you're entertaining but hard to work with, you'll be tolerated. If you're entertaining and EASY to work with, you'll be in high demand. (I will not give an example of the former, but the owner of this list and her cohorts definitely fall into the latter category of both entertaining and blissfully easy to work with).

Remember that your half-hour set INCLUDES the set up and intro. It's really a 25 min set. If the sound team is slow it's a 20 min set.

And on the other side:

I also believe that cons have responsibilities toward concerts. Set the damn schedule early. At least select those for concerts and let them know that they will have one, with a rough time range. It takes hard work to prepare a good concert set. Not all of us like to go on stage without a set list.

Run as close to on time as you can (yes, actually that IS a comment about two of the filk cons). Being ready for a concert and having it delayed and delayed may mean the performer is so nervous s/he can't function. Or is hungry, overtired, upset, etc. Or gets their concert set cut short because some other event has to take place at a certain time. Some performers deal with this, many don't.

If possible offer comps for concerts. FKO doesn't because we simply cannot afford it, being smaller."


From Erica Neely (re: UK filk programming):

"Okay, I've done concom-y things for 2 UK filkcons, so I'll say a few things here.

Do you prefer filkers to wait to be invited?

Oh good god, no. I don't know who everyone is and I certainly don't remember everyone I *do* know at any given time. It's good to ask. You shouldn't wait to be invited. (Having said that, gentle nudging of your shy friends or mentioning to someone in programming 'have you heard X?' isn't bad either if it's low-key. Sometimes people need a little encouragement to do a concert. But it's much better if you try to encourage the people to volunteer rather than expect that programming people will be omniscient.)

What's the right way and wrong way to ask for a concert?

Ask politely and, if turned down, be gracious in accepting it. If you've done a lot of concerts at cons recently, realize that you may not get a spot at the con; most concoms strive for variety. This holds true of your 'local' con as well; you aren't entitled to a spot just because you're nearby. So, for instance, I've told the last few east coast cons that I'd love to do a spot if there's space, but I'm cool with not doing it as well, if they have other people they want to showcase; I've done a lot of concerts at east coast cons and I don't mind at all not getting one. Being easy-going is definitely a good thing.

Also, try not to take it too personally if you don't get a slot. You may be the best thing to come out of filk since Leslie Fish, but if you left it too late or if they're trying to balance certain criteria (gender mix, parody/serious mix, whatever), you may just not fit in this year. Being nice about the refusal makes it more likely that you'll get in next time.

I'm actually going to make a slight break with some of the previous comments and say that there's nothing wrong with indicating some general constraints on when you'd like a set - for instance, if you have small children and can't do much late-night stuff or if (like I used to be) you have stagefright so badly you really would prefer not to be directly after a meal because you won't be able to eat if you are...just be aware that a) you may not get your preference, b) that makes it somewhat less likely to get a spot, since there are fewer spots that you would fit in to, and c) again, be nice about asking. You are *requesting* accomodation. You should not be demanding it. And you should definitely request it in advance, preferably with an explanation as to why; the programming person will be much more likely to be able (and willing) to help you if she has prior notice (and a good reason!) than if it's last-minute.

Any other advice?

This isn't exactly advice, but I'll add it anyway. I have no idea what the periodicity of concerts at major American filkcons is. That is to say, if you've had a concert at OVFF or FKO or Consonance or whatever, I don't know how long should you wait before asking for another. I have performed at OVFF and FKO and I haven't asked to perform at either of those cons again because I have no idea how long I should wait before doing so. (Other than, in my book, longer than it's been so far. *grin*) There is definitely an art to making clear that you'd love to perform but won't be huffy if you don't get to and aren't trying to filkhog. I'd love to know what the committees for the cons think about this issue - and also how they find people for, say, performer's circles and other events that have multiple people sharing a spot (who aren't a rehearsed group like Urban Tapestry.)

Umm, I guess that wasn't a helpful answer, just a request for more info. Sorry!"


From Lissa Allcock (re: UK filk programming):

"For UK filk cons we usually put a call out in our first PR telling people to come sign up for concerts. Very occasionally we might ask people to do a concert (or ask them if they'd like to do one) but most of our spots are filled by volunteers. Then how long they get depends on how many volunteers we get. At 16 Tones we had several shocked people who found out a bit late in the day that they'd got an hour when they were expecting to get half an hour, but everyone coped heroically. I usually prefer to give people an hour if possible, but it depends on how much material they have (or are confident of).

When asking for a concert it helps to give an idea of how much time you want and what level of tech you need, how many people are in your group if you are a group etc, but that can be sorted out closer to the time too."


From Rob Wynne (re: GAfilk programming):

"Gafilk is a bit of an odd duck in this regard, because aside from the Guest concerts and the banquet, we only do *one* concert every year, and it is chosen by the concom from the attendees. So there really aren't any concert slots to ask for.

As for a good way to ask for them, my approach has always been the following:

'Just wanted you to know that I'm going to be attending $CON, and if there's anything I can do to help out with programming (concert, panels, etc), let me know.'

Which doesn't pressure them to give you a 'yes or no' answer, or make them feel like the only reason you're coming is to try and get an audience from them. but that's just my own personal opinion."


From Alan Thiesen (re: Consonance programming):

"Filker question: 'How do I go about getting a concert at a convention?'
Ask politely, several months in advance.

Do you prefer filkers to wait to be invited?
No. If you don't ask us, we may ask you, especially if you're preregistered, but don't count on it.

What's the right way and wrong way to ask for a concert?
To quote Erica: 'Ask politely and, if turned down, be gracious in accepting it.'

If we turn you down, that doesn't mean we don't think you would put on a good show. There isn't time to give concerts to all or even most of the worthy performers. Sometimes we have to make arbitrary decisions, and sometimes we make mistakes, but we do the best we can."


From Lori Coulson (re: OVFF programming):

"OVFF tries to get filkers that aren't often heard in the Midwest and at least one 'new' filker. Because of the demand for concert slots, the concom often debates who is to be offered one.

We like to be told if a filker is planning on attending and is interested in a concert slot, with this caveat: Don't wait until 2-3 months before the con to tell us you're available. By that point in time our schedule is usually set. [1]

The right way to ask for a concert? Be polite, and do it as soon as you know you'll be attending the con. Offer to be a back-up should an already scheduled filker be detained.

The wrong way? Telling one or more of the concom that we *have* to give you a concert slot. (And yes, this has happened.)

In order to avoid the appearance of favoritism[2], OVFF has a rule that we do not give a filker or filk group a concert slot in consecutive years.

Other advice?

Please remember that we have only 6 concert slots. Out of these six, there's one for the GoH, one for the Toastmaster/mistress, and one for the Interfilker, leaving only 3 slots for our Programming person to fill.

[1] Many of the OVFF concom participate in or attend RenFaires, Pennsic or Worldcon -- since this eats up a great chunk of time in August and September, we try to have our schedule locked in before the end of July.

[2] Would you believe me if I said we didn't have favorites? Didn't think so.

Lori Coulson
ConChair, OVFF 20"


From Mike Richards (re: UK filk programming):

"The conventions I've been involved with, I've generally waited for someone to ask us for a concert slot. Some groups get slots tentatively booked in (eg the n'Early Music Consort) in advance of them asking, but they still have to ask. In my experience it's rare, though not completely unknown, for specific non-Guests to be asked if they want to do a slot.

So: no, I don't prefer filkers to wait to be invited, I'd *MUCH* rather they came forward and asked me The right way to ask for a concert: something like, 'I was wondering if it would be possible for me to have a slot at =your con's name here=? Say for about 20 minutes? It would be me playing a few songs on my gamelan.'

The wrong way would be someone telling me they were going to do a concert, OK?

Advice. Hmm. I've still not been to a con in the US or Canada (one day, one day...) so I can only really speak about the UK ones.

1. If you aren't used to playing in front of other performers, do an item in the sign-up "open concert" a few times first; it's different being up on stage than in a circle.

2. Ask the concom nicely, and don't be downhearted if their program is full or you get given a shorter set. Be as flexible about timing as you can.

3. Plan your set. Time it. Include some patter and applause time. Include time for stage set-up and tear down. That's how long you need. For novices, it's worth talking to more experienced performers for some of the tricks.

4. Let the tech crew (if any) know well in advance what you'll need. Don't change it at the last minute if you can help it.

5. Don't go for every year unless people are asking you to do so or the program is relatively quiet. The UK cons have packed programmes so a lot of people do a slot every few years.

6. Don't be afraid to try. You don't have to have been singing in circles for 20 years before you can do a concert slot!"


From Lee Gold:

"I think filkers should write to say they expect to be at the convention and would like to help out. They might go so far as to mention what sort of songs they could sing if given a concert.

From then on, it should be up to the concom. The staffer should feel free to ask if the would-be concert singer is interested in

a) staying around for other concerts that day

b) attending open circles that day

Consideration should be given to singers who'll be involved in other parts of the filk program.

Concert time should be given well in advance so the singer can prepare the material. It should not include set up and take down time, which should be budgeted separately.

Concerts should not be scheduled opposite each other. Concerts should not run so long that people on a normal sleep schedule (i.e. those who go to bed by midnight) can only attend an hour or less of circles. (You know if your concert schedule is apt to slip 5-10 minutes or 2-3 hours, and should use the likely time that circles will start, not the scheduled time in evaluating the above.)

I advocate scheduling a singing of 'Banned from Argo' and any other songs that many people in the region wish to avoid while a minority very much wants to hear.

Theme Circles need at least two people willing to anchor them, and this is a good spot for people not up to attracting a signifiant concert audience."


From Chris Croughton:

"Depends on the con. At British and German filkcons, you ask for a spot (having ascertained what sort of lengths are being offered), in whatever reasonably polite form you like and providing as much relevant information as you can. Something like:

Hi, I'm xxx, I'd like a 30 minute set please, I'll be playing my trumpet and singing at the same time, with a friend helping on vacuum cleaner in one song. I'd prefer a Saturday or Sunday morning spot if possible, because I'll be arriving late on Friday and leaving early Sunday. Thanks...

Or fill in the form in the PRs.

It helps if they are flexible on time, and if they aren't known possibly something about the type of music they do (or poetry/pietry or whatever) can help to place them somewhere sensible.

Don't demand a concert slot, or whine. That will put people off. If you had a spot last year, in general don't bother asking this year (there are exceptions for groups who don't get any other opportunity to perform together, and if you want to volunteer with a statement like "if you happen to need something to fill a spot, I'm willing" it can be useful especially if you can fill in with very little notice)

However, I gather there are some cons which invite all of the performers. I don't go to those..."


From Eric Gerds:

"I am so glad that I no longer chairman of Con-Chord just for this reason.

Scheduling the concerts was always a headache and was the total no win situation because it was impossible to keep everyone happy. The philosophy we had was that while song circles were important for filking we had monthly house filks that did that. The Convention gave us the opportunity to showcase people from out of town and outstanding locals and to give them an opportunity to shine.

How to get a concert?

1) Make sure that the convention you are going to does have a concert and filking to start with.

2) Find out who is in charge of the concerts and contact them well in advance of event to let them know that you are available to perform if there is an open concert slot.

3)Do not get angry if you do not get a concert slot. It's not personal, there is a limited amount of time and there are normally way too many people to fill those slots.

4) Even if you don't have a concert, perform in the song circles and do the one-shots. Let people see that you should have concert next time.

How to have a good concert and/or how to be invited back next time for a concert.

1) Practice, practice, practice - No kidding: know your songs!

2) Choose your martial carefully. A good mix of your new and best martial will get the best response.

3)Know how long it takes to perform your songs. Have enough songs to cover the performance and a few back up in case you are given extra time. Also know which songs you can cut in case there is less time.

4)When planning your performance include time to get on and off stage and time for you to talk between songs. Keep the introductions of your songs short as possible.*

5) Show up early for you performance. Don't make people run around looking for you.

*The worst offender of this happened many years ago when a big name filker started off their concert telling a 15 minute story and gave a about 5 minutes of introduction for each songs. Then complain when we said that that they had run out of time. The filker was offended at us saying that they had not finished all the songs that they had planned."


Comments? Suggestions? Please post below:

What is a 'BNF'?

Informal term for "Big Name Filker". Usually refers to someone who is well-known in the filk community but like the term "filk", the exact definition varies depending on the person you ask.

Comments? Suggestions? Please post below.

Is it ok to perform a spoken word piece in open filk? Any performance tips?

Respondents unanimously agreed that spoken word pieces are fine in an open filk circle. From Phil Parker: "With regard to spoken word pieces, I have never seen a spoken word piece that was well written, well chosen for the moment, and well recited or told fail to get a good reaction from a filk circle."

Advice included the following:

- Most seemed to agree that YOU SHOULD KEEP YOUR SPOKEN WORD PIECE SHORT. From Gary Ehrlich: "I have no problem with spoken-word performances. We have some excellent storytellers in the community: Mark Bernstein, Harold Feld, Ian Hanley are the ones who come immediately to mind. As folks have said, the timing is key, especially in a typical circle; I'd say keep it to around 5 minutes (similar for songs). Longer is fine for concerts or smaller circles where folks might be willing to listen to a longer piece.

I still recall with horror one story told in a circle that went so long I was able to go to the bathroom, hit the con suite, check out the alternate room, come back, pack my stuff up, and **move** to the alternate room...and the story was still going when I left with my last load of gear..."

From Harold: "Given that people come to circles to perform as well as to listen, it is polite to make sure your own material does not run overlong. Time yourself when practicing. Don't rush the performance, but you personally should know whether you will be taking 5 minutes, 10 minutes or possibly more and judge whether the audience is really in the mood for such a long piece."

- Practice. A LOT. From Justin Eiler: "Like musical performance, spoken word performance is just that--a performance. Therefore, it requires practice. Memorizing your performance is a necessity, but practice also helps with tempo and timing, delivery, and style."

- There were mixed opinions about whether memorization was necessary or not. Most seemed to feel that memorizing isn't necessary as long as you give an entertaining performance (i.e. don't just read in a monotone with your face glued to your piece of paper). "I disagree slightly re memorization being a necessity, just as you don't have to completely memorize every song you perform," says Joe Keshlam. "Doing so is definitely advantageous, because it frees you from having to spend attention on keeping track of where you are, avoids misreading errors, and lets you focus on the audience (which can be really useful). But if you need a lectern/music-stand in front of you, that's fine too -- just remember to deliver the piece to the audience, not to the paper, and try not to be *completely* dependent upon the printed page."

- Do a lot of prep. Practice (yes, again!) and study the material carefully. From Joe Keshlam: "Performance thought: Even prose is not _unstructured_ text. I'm not sure I could really claim there's a rhythm to it, but there's generally some clear sense of the author's style and the characters' personalities... and if you can develop an ear for those, it actually helps you memorize the material. It's a method-acting sort of thing; once you have a sense of how the character or narrator speaks, it's easier to remember exactly what they actually said."

- Put emotion into your performance. "Get into the emotion of whatever story you're telling," says vixyish in LJ. "It's all about the emotion, whatever that emotion is. That's going to be the thing that hooks your audience, above all else."

- From surrdave in LJ: "A bit of acting goes a long way with spoken word--specifically, using gestures and posture to intensify, interpret, or simply attract visual focus. I'd say at the least stand up to do the spoken piece, which helps get the attention in a chaos circle anyway. It's easy to leap from song to patter to talkin' blues to storytelling with musical interludes to plain ol' storytelling; the key is to maintain the fundamentals of rhythm, pitch variation, dynamics, enunciation... and passion."

- Consider adding musical accompaniment during your recitation. From Paul Bristow: "UK filkcons have also featured storytelling with harp accompaniment - although I think a vital lesson here is to keep it brief, given that some of your audience just won't be into story telling and will get fidgetty. (Of course, an over-long self-indulgent saga is still an over-long self-indulgent saga, whether it is sung to a tune or not.)"

- Consider taking a public speaking course, or at least listen to some well-known performers who use the spoken word effectively. From Jim Poltrone: "One of my favorite orators is the late Shel Silverstein. Listen to him read "Someone Ate The Baby" or "The Smoke-Off". There's vocal variety (pitch, volume, cadence, even character voices), descriptive words (I can see pictures in my mind when he speaks), and enthusiasm. Christine Lavin is another performer who often reads prose or poetry during her concerts, and some have been featured on her albums. Listen to these and other spoken-word performers, and try to imitate them. Or better yet, develop your own style. And one more thing: No. Shatner. Impressions. Please! :-)"

How should/shouldn't I be marketing my CDs?

Grizelda has a new CD to sell, a compilation of filk songs she's written over the years. She's pretty darned proud of it. Gomer already has several commercial CDs for sale, and is new to the filk community. Both Grizelda and Gomer are wondering how they should or shouldn't be marketing their products.

On the one hand, it's cool that Grizelda's hard work has paid off and she'd like everyone to know (and buy!) her new CD. On the other hand, the majority of the filk community is there to share and enjoy their music with each other, and heavy-handed sales pitches may turn them off Grizelda and her music. Gomer is especially worried that people might think he only joined the filk community so he could sell more CDs.


From redaxe on LJ:

"I'd say this, to both: speak with the dealer(s) at the con(s) you are at, and ask if they might be interested in carrying your CD. Each has a different case to make as to why; different dealers may or may not be interested, and they'll all have their own usual terms. Find out what those are, and, if you can reach a deal, great!

For Grizelda, I would say definitely mention the CD at every event you're at. Especially mention it to all the people whom you know for years in filking; the folks who request your songs, for example, are likely to want your CD. (Some may not be able to afford it at present; be prepared for that.) Put the news about your CD on your website, blog/LiveJournal, in, and wherever else the folks you already know are likely to be.

For Gomer, I would say tread more lightly. Like Grizelda, you can and should mention your work on a website or blog, if you have one. But although your CD is probably technically and musically excellent, your concern about acceptance in the filk community has some merit. Spend time with filkers; sing for and with them; go to cons, including filk cons, and mention your CD in passing, or if asked. ("I saw your CD at the dealer's table -- is it filk?") Once you've established that you are NOT just passing through, then sure, post announcements in and other places that filkers, per se, are likely to see them.

In neither case would I suggest doing a sales spiel (unless it's the sort of thing that's in character for the person as known; especially for a parodist, it's possible to put together a comedic routine); provide the information and let your reputation in the community sell the disc."

From tigertoy on LJ:

"I'd consider three different situations where G might talk about their CD: At their concert If either G has a concert at the con, they're entitled to assume that people are interested in their music, so an unsolicited mentioned that CDs are available is appropriate, and maybe a hint or two during the set. (If a song is well received, for example, mention that it's on the CD.) G does need to avoid turning their set into an infomercial, though. Saying it a couple of times will get the message to those who want it, and trying to force it on the rest will quickly become a turn off.

In open filk Gomer should definitely not say anything unless he's asked. Even Grizelda should not make an unsolicited mention of her new CD, unless she can honestly say that several people who have asked her if she has a CD in the past when she didn't are now in the room. If someone does ask "Is that song on an album?" or "Do you have an album out?" of course either G should take advantage of the opportunity.

In conversation Neither G should be trying to aggressively push their albums into conversation, especially with someone they don't know well. If Grizelda knows someone well enough that the actual making of the album is a reasonable topic, as opposed to just that it exists, that's fine.

The convention is about personal interaction and live music, not about selling things, and it only takes a little bit of commercialism to become crass."

From Blake Hodgetts:

There's nothing wrong with tastefully announcing a new CD in online filk communities such as, or the "filk" and "filkhaven" communities on LiveJournal, but it would be seen as bad form to do so repeatedly or with too much of a commercial slant. Such announcements are more likely to be met with enthusiasm if the artist is already a recognized member of the filk community, however, so this points up the importance of actually being an active filker (attending cons and filk circles) if you want to gain this sort of acceptance. Gomer's concern is well-placed in this regard. You can't just pretend to be a member of the community, as filkers know whom they know and can be quite biting towards those they don't.

Another important thing to do is to get to know the established filk dealers; they'll do a certain amount of publicity for you in the course of their own business. The major filk dealers in the US are:

Random Factors productions
Southern Fried Filk
Dodeka Records (Bill & Gretchen Roper)
Juanita Coulson

Note that also runs an online filk radio station; getting airplay on filk radio is a great way to get publicity."
Page 1 ... 2 3 4 5 6 ... 10 Next 5 Entries »