Chapter Two: "Silver and Gold"
Prominent fans, new and old


(NOTE: THIS CHAPTER MOSTLY FOR FANS WHO WERE RENOWNED OUTSIDE OF THEIR REGION OR SUBFANDOM. ALSO FOR FANS MENTIONED IN AWOF WHO HAD SIGNIFICANT ACTIVITIES IN THE 1960S. MANY OTHER IMPORTANT FANS WILL BE COVERED IN CHAPTERS ON REGIONAL FANDOMS, INTERNATIONAL FANDOM, AND PUBLICATIONS.)

* Irish Fandom
  - Irish fandom can be traced back at least as far as 1947; that was the year
    that Walt Willis met James White
    > they immediately discovered they had a common interest in prozine
      collecting
    > when Willis acquired a reliable typewriter, White almost immediately
      started producing fan fiction.
    > it was only a short step from that to Willis's first fanzine, SLANT,
      which made its first appearance in 1948
      -- was originally produced on a printing press with hand-set type
      -- became a home for some of the fan fiction
  - HYPHEN
    > successor to SLANT; was much more fannish and less sercon
      -- (need some info here on historical beginnings, and some quotes about
         why HYPHEN was started and SLANT ended)
    > edited by Walt Willis and Chuck Harris in 1950s
      -- Dublin fan Ian McAuley became co-editor in late 1960 (issue 25)
    > became one of the most legendary fanzines ever published
      -- (details)
    > five issues published in 1961 (nos. 26-30)
    > (other info on 1960s issues)
    > last issue was #36 (Feb. 1965) except for a 1980s revival issue
      -- (info or quotes on the end of HYPHEN)
  - Irish Fandom had been the center of fannish fandom during the 1950s
    > had introduced fandom to `ghoodminton', fansmanship, the Goon Defective
      Agency...
      -- `ghoodminton' was a fannish equivalent of badminton; the only place
         you could play it was in the attic of Oblique House, the Willis home
         at 170 Upper Newtownards Road in Belfast
      -- net was stretched between a printing press and a chair; a decrepit
         shuttlecock and two squares of cardboard were only equipment
      -- there was only one enforced regulation for the game: you couldn't
         throw heavy objects at your opponent
      -- ghoodminton gained fame in the pages of HYPHEN, and later in other
         fanzines, as one of the things in Irish Fandom that made it fun and
         special
    > been the genesis of such timeless fan writings as THE ENCHANTED
      DUPLICATOR, which derived from a BBC production called "The Dark Tower"
    > each year, they published a entertainly fannish Christmas Card which
      they sent to fans in Britain and North America
    > during the early 1960s, their fannishness remained an energy source for
      the rest of fandom
  - Walt Willis
    > besides SLANT and HYPHEN, Willis also was a frequent contributor to
      other fanzines
      -- his column "The Harp That Once or Twice", perhaps his most famous
         series of articles, appeared in Lee Hoffman's QUANDRY in the early
         1950s
    > was brought to U.S. in 1952 in one of the first fan fund trips
      -- the `WAW with the Crew in '52' campaign, organized by Shelby Vick,
         succeeded in bringing Willis to the second Chicon, with visits to
         fans on both coasts as well
      -- his subsequent trip report, "The Harp Stateside", was arguably the
         best fan trip report ever written
      -- the founding of the Trans-Atlantic Fan Fund in 1954 can be directly
         traced to the 1952 Willis fan fund
    > (fan activities in early 1960s?)
    > Return to U.S. in 1962
      -- Madeleine, who did not make the first trip, did come to North America
         this time
      -- once again, special fan fund had been set up
      -- attended 1962 Worldcon
         >> Greyhound lost their luggage, setting off scorching letter from
            Willis to Greyhound, and a large-scale fan search of Greyhound
            terminals
            --- over a year later, one of the two pieces was finally located
                in Brooklyn
         >> another Willis trip report resulted: "Twice Upon a Time"
            --- installments published in HYPHEN
    > after mid 1965, his presence faded out from British fandom
      -- HYPHEN ended publication
      -- did only occasional articles for U.S. fanzines, though he did author
         a nonfiction book, THE IMPROBABLE IRISH, which was published in 1969 
         under the pseudonym of `Walter Bryan'
      -- his farewell appearance in fandom was at 1965 Worldcon
         >> more than a decade would pass before he appeared at another
            convention
  - Bob Shaw
    > (short bio and other info here)
  - George Charters
    > perhaps the least well-known member of IF, but the most prolific member
      of IF in the 1960s
      -- (short bio here)
      -- 19 issues of fanzine THE SCARR (anagram of "Charters") published
         between 1963 and 1970
  - John Berry
    > (short bio here)
    > very active in early 1960s
      -- voted Best Fan Writer in SKYRACK poll of 1960
      -- one of founders of the apa IPSO in 1960
    > activity started to fade after 1962
      -- stopped going to meetings of Irish Fandom
      -- final fanzine collaboration with ATom, HARLEQUIN, in 1964
      -- only a few sporadic fanzine contributions after that
         >> would be more than 2 decades before Berry became active again
  - James White
    > (short bio and other info here)
  - Last meeting of Irish Fandom in Oblique House, May 6, 1965, as reported in
    the 79th issue of SKYRACK
    > "On 6th May the old red brick house at 170 Upper Newtownards Road,
      Belfast, which had been the H.Q. of Irish Fandom for nearly 20 years,
      finally reverted to the mundane plane of existence. At a house-cooling
      party the occasion was marked by a simple but moving ceremony attended
      by all Irish fandom. In the fan attic the last ghoodminton service was
      solemnly performed by Bob Shaw. Symbolically, it was not returned.
      Instead the last shuttlecock was picked up by John Berry and
      reverently removed to its final resting place, a time capsule donated
      by Sadie Shaw. Also in the glass, cylindrical two pound capsule were
      deposited a copy of THE ENCHANTED DUPLICATOR (1st edition), some
      hyphens in printing type, used for SLANT, a dollop of duplicating ink,
      James White's first bow tie (symbolising the professional element of
      IF) and signatures of the great fans and good friends who had stayed
      at Oblique House during the years... The time capsule was then buried
      in the front lawn, underneath the cherry tree, in earth with which had
      been mingled the sacred soil of South Gate, donated by Rick Sneary. A
      fannish era had ended."

* Inchmery fandom
  - one of focal points for British fandom of the late 1950s
    > Vincent Clarke
      -- (mini-bio goes here)
    > Joy Clarke
    > Sandy Sanderson
      -- (mini-bio goes here)
  - personal problems surfaced in mid-1960
    > Sanderson and Joy Clarke emigrated to U.S., eventually married
    > Vincent Clarke quit fandom, was not heard from again until the 1980s
      -- moved back to his parents' house in Welling
      -- He said later, "Fandom was too painful for me at that time."

* Seattle fandom (The Nameless Ones)
  - Jack Speer
    > (mini bio here)
    > moved to New Mexico in 1961
  - Wally Weber
    > (mini bio here)
  - F.M. & Elinor Busby
    > (mini bios here)
  - William Austin
    > (mini bio here)
  - Wrai Ballard
    > (mini bio here)
  - Seattle fandom hosted a Worldcon in 1961, which will be described later,
    but it's most notable contribution to fandom was the fanzine CRY
    > it was born in the 1950s as CRY OF THE NAMELESS
      -- in mid 1950s, shortened its name to CRY, as fans there came to
         realize that it had taken a life of its own, and was not really an
         entity of The Nameless Ones any more
    > edited by a variety of people over its lifetime
      -- in 1960s, mostly the project of Wally Weber
    > gained a reputation in the 1950s as one of the most fannish fanzines
      -- one of its most popular features was its large letters column, "Cry
         of the Readers"
      -- in the 1950s, it was the conduit into fandom for many younger fans
         who were just beginning to send off for fanzines
      -- it was a place where newer fans were at home with science fiction
         personalities such as Ellison, Asimov, Silverberg, Walt Willis, and
         Harry Warner, Jr.
         >> becoming a CRY letterhack was a kind of fannish rite of passage
    > contained prozine review column by F. M. Busby (as "Renfrew Pemberton");
      "Fandom Harvest" column by Terry Carr; John Berry's serialized 1959
      North American trip report "The Goon Goes West"
    > first issue of the 1960s was #135, the tenth annish, was one of best
      ever
      -- in that issue, Hal Lynch provided piece of fan fiction about a fan
         who wanted to make a 12-hour film based on Moskowitz's THE IMMORTAL
         STORM
         >> Jose Ferrer played Don Wollheim; Gregory Peck as Bob Tucker; Yul
            Brynner as Hoy Ping Pong; and Raymond Burr as Sam Moskowitz
      -- also included Dean Grennell denying that he was Les Nirenberg, an
         article by Les Gerber "How to Write Faan Fiction", and a letter from
         Bob Lichtman that summarized how many seasoned fans must have felt
         about fandom as the 1960s were just beginning: "I'm glad I'm not
         joining fandom now; think of all the things I'd have to wait ever so
         long to enter into the fun of, while I'm already in them.  The
         learning process continues, and as I read every new fanzine I get,
         and with every letter I receive, and so on.  I doubt that even Bloch
         knows everything about fandom, but imagine what a vast knowledge the
         elder Ghods like he and Tucker must have -- fannish illusions and
         jokes long forgotten by other fen."
    > ceased publication after the 174th issue in mid 1964
      -- primarily due to Wally Weber being moved by his employer, Boeing,
         from the Seattle area to Huntsville, Alabama
      -- briefly made a comeback in the late 1960s under Vera Heminger, but
         it wasn't the same
      -- Rich Brown, a frequent contributor to the letters column, looked back
         at CRY some decades later, and delivered this eulogy: "No other
         fanzine of the time had quite the same mixture of pros and BNFs and
         new fanzine fans as *enthusiastic* participants; people didn't just
         `like' CRY, they were genuinely *fond* of it."

* Terry Carr
  - TAFF delegate
  - also can be included in list of fans who became pros
    > novel WARLORD OF KOR published by Ace in 1963
    > short story "Hop Friend" selected for 1963 F&SF anthology
    > worked for Scott Meredith Agency
  - during last half of 1950s and first half of 1960s, was perhaps the world's
    most prominent fan
    > (recap activities of 1950s, including Carl Brandon hoax)
    > his fanzine INNUENDO, one of the best fanzines of the 1960s, deserves
      a special summary of its own
      -- was started in February 1957
      -- ran for (how many?) issues
      -- there were many outstanding issues in the run
         >> the 94-page third annish, in 1960, was filled with quality
            contributions, including Walt Willis's entertaining "The Raybin
            Story", a fannish `screenplay' about the WSFS fan feuds of the
            late 1950s (correct?), and Harry Warner, Jr.'s detailed review 
            of Moskowitz's THE IMMORTAL STORM

* Bob Bloch
  > (quick recap of fan/pro activities from prior decades)
  > unfortunately for fandom, during 1960s, his fan activities became almost
    imperceptible when compared to his burgeoning career as a writer of books
    and screenplays
    -- his script for the STAR TREK episode "What Little Girls Are Made Of"
       was hailed as one of the best in the show's run
    -- also wrote for the British TV show JOURNEY INTO THE UNKNOWN, which got
       him an extended trip to England

* Elmer Perdue

* Richard Geis
  - fanzine PSYCHOTIC, started in the 1950s
    >> (brief recap goes here)
    >> changed its name to SCIENCE FICTION REVIEW in 1968
       --- by the late 1960s, its focus had changed, away from fandom toward
           science fiction.  As Geis described the reason for the title
           change, "Essentially, PSY is/was too inappropriate as a title for
           what the zine had become.  I don't mean to sound as if the zine
           will be stuffy and formal -- it'll be casual and active as usual,
           but a lot of the adult juvenility will be cut.  A lot, but not all.
           I'm a kid at heart, even if I am slowly growing up."

* Harlan Ellison
  - (recap of 1950s stuff, including 7th Fandom, Midwestcon Door, etc.)
  - in 1960s, he mostly went about his business of becoming one of the best
    science fiction writers of all time
    > won three Hugo Awards for fiction; another Hugo went to a STAR TREK
      episode he had written the screenplay for
  - in addition to his science fiction stories, he also found other outlets
    for his writing
    > became a pundit with his continuing column about television, `The Glass
      Teat', in the L.A. FREE PRESS
      -- these brought him a plaudit from TV news personality Walter Cronkite,
         who praised Ellison for "being one of the few writers in the field
         doing responsible reportage on the subject."
    > also became very active as a screenwriter for television, with teleplays
      for STAR TREK and THE OUTER LIMITS, of which more will be said in later
      chapters
  - however, his biggest achievement during the 1960s was not in anything he
    wrote, but rather, in an anthology he edited that was titled DANGEROUS
    VISIONS
    > (a bit of background here, including an Ellison quote)
    > won him a special award at the 1968 Worldcon
    > by end of the decade, a companion volume, AGAIN, DANGEROUS VISIONS was
      in the works
  - his fan activities were mostly limited to convention appearances
    > however, his limited fan activities by no means made him immune to
      controversy, as we will see in later chapters of this book

* Dave Kyle

* Bjo Trimble
  - came into fandom in the early 1950s; one of her first appearances in
    fandom was the 1952 Worldcon, when she was known as Betty Jo McCarthy
  - became one of the leading fans in LASFS in last half of 1950s
    > her interests were varied: she almost immediately became known as a
      fanzine publisher, fan artist, fan writer, and convention attendee
    > however, she became better known for her organizing ability, which would
      directly translate into two activities in the 1960s that brought her
      even more prominence
  - the first of these was announced in the February 24, 1960 issue (no. 53)
    of FANAC as follows: "A project is starting to form an art exhibit
    featuring the work of fan-artists from all over at the Pittcon; assistance
    from artists and interested parties is requested -- write to Bjo."
    > this announcement was the harbinger of the Worldcon art shows, the first
      of which was at the Pittcon in 1960
    > originally called "Project Art Show", later in the decade it became "The
      International Science-Fantasy Art Exhibition"
    > the idea was Bjo's but she was assisted by her husband John (whom she
      had married in 1960)
    > Bjo took show on the road to Worldcons and other conventions
      -- helpers included Juanita Coulson, who administered the show at Discon
         when Bjo couldn't attend, and Bruce Pelz, who administered the show
         at the 1964 Baycon, when Bjo's pregnancy prevented her from attending
    > by 1969, had evolved into organization that was involved with judging
      and awarding prizes, in addition to administration
      -- by this time, Bjo and Bruce Pelz were Directors
      -- rules for entering, judging, etc. had been codified into a
         publication, THE INTERNATIONAL SCIENCE-FANTASY ART EXHIBITION
         HANDBOOK
    > however, by 1968, Bjo's interests had shifted towards the second of her
      major activity areas in the 1960s, the television show STAR TREK and its
      fandom, which will be described in a later chapter
      -- in 1969, she relinquished control of ISFAE to an umbrella
         organization, Con-Fusion, set up by Bruce Pelz, Chuck Crayne, and Ken
         Rudolph
         >> Con-Fusion was also involved in running the 1969 Westercon and the
            1972 Worldcon, lasted through 1972 before passing from existence
      -- in later decades, art shows became a rule rather than an exception at
         science fiction conventions, a showplace for professional artists to
         display and sell their work and for fan artists to gain renown
         >> all this can be traced back to a good idea Bjo came up with at the
            beginning of the decade of the 1960s

* Eric Bentcliffe
* Charles Burbee
* Dean Grennell
* Bill Donaho
* Lou Tabakow
* Milton Rothman
* Jack Speer
* Bill Rotsler
* Richard Bergeron
* Roger Sims
* Howard DeVore
* George Barr
  - in addition to fan activities, sang with Salt Lake City Symphonic Choir
* Elliot Shorter
* Ron Bounds
* Tim Kirk
* Ed Meskys
* Andy Porter
* Mike Resnick

* Jay Kay Klein
  - noted fan photographer
  - did "Convention Annual" publications for sale to fans, consisting of
    photographs taken at the previous year's Worldcon
    > started in 1961, with photos of the 1960 Pittcon
    > others in the series included albums of 1962's Chicon III, 1963's
      Discon, 1966's Tricon, 1967's NyCon 3, (others?)

* Norm Metcalf
* George Heap

* Harry Bell
  - came into fandom in 1965
    > was told about fandom by John Barfoot, a fan who was a co-worker of his
      at Department of Health and Social Security in Newcastle
  - first convention was Yarcon, the 1966 Eastercon
  - became known as one of fandom's premiere artists
    > first fanzine contribution was a cover for Barfoot's fanzine, BUMBLIE,
      that was part of a PADS apa mailing in 1965

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