My name is Charlie, but if your looking for my work, I go by C. E. Dorsett. I write scifi, fantasy, and a touch of horror. I like to play with gothic, steampunk, decopunk, epic fantasy, and wuxia. I love to tell stories and talk about books, movies, series, and music.
Interview: Chris Cowan and Lex Randleman from Elseworlds
I interviewed Chris Cowan (Cyborg/Cameraman) and Lex Randleman (Mister Teriffic/Writer) from the brilliant new webseries Elseworlds.
Why did you choose to make webseries in the Elseworlds setting? While it is one of the most fascinating DC setting, it is not as popular as their other setting?
Lex Randleman (LR): Elseworlds provided a malleable way to craft a story about a universe I, otherwise, wouldn't have been able to depict. Knowing I could twist and turn things however I wanted gave my imagination some room to wander. We (Cowan and I) would never be able to make a DC Universe like what's seen in comics and other media.
Also, I get a sense of ownership out of this that I couldn't get from another kind of story. Sure, these aren't MY characters, but this is MY vision of them. It's funny to me that your review mentions casting (Praise I TOTALLY appreciate) and what kind of process that must have been for us. It's funny because we didn't match the cast to the characters--we matched characters to the cast. The characters we were confident we COULD portray well are the characters we chose to play out the story. They ARE the story. That was our jump-off point.
Chris Cowan (CC): We’re only planning to do 6 episodes for this story. As much as we love doing this, we also have MANY more projects planned (mostly all original and a few being fan fiction works). But I mean if DC/WB would want to fund a project like this then I’m sure we could do quite a few more episodes <wink> <nudge>
LR: Yeah, 6 episodes. That's not because I couldn't make this story stretch, no. It's because we've set a pace that I can't completely halt. Given free reign, I would basically restart and show SO much more of the action and events that preceded the present action in this story. Cowan can attest to the fact that I've built up a whole history for this world and all of its characters, but reality (a.k.a. $) dictates that I must exercise some restraint.
Are all of the episodes written ahead of time or are they being written as the series progresses?
LR: The episodes have been written one by one as my time allows. I put episode 2 in Cowan's hands. He filmed it. I put episode 3 in his hands. He filmed it. He just got episode 4. I took my time with that one. And he'll film it soon. It's played out that way because this whole project was sprung on me by Cowan (Yes, man, I am taking a dig at you) with the release of the 1st episode (incomplete, at that!) a YEAR after the project had been conceived. Since then, I've had to rethink a lot of the things I had originally intended.
I know it sounds like I'm blaming Cowan like he did something awful. That's not the case. He actually challenged me in a way that I just hadn't expected. In the end, I can't be mad at that. After a long period of not writing the way I should have been, I can feel my blood pumping again. This project has reawakened some of my dormant creativity.
CC: Hey, It’s not my fault that he liked the cut of the first episode. I edited it randomly out of the blue a few months ago and showed it to him and he said “Cowan, that was hot.” Haha. So I said lets keep going with it – and we have. Besides, if I hadn’t, Lex might have never came up with the story that he’s created (which I think is a really good and original one).
But yeah, the episode scripts are given to me one by one. In fact, the Episode 2 script was put in my hands not even 5 minutes before filming hah. We’ve always been a sort of run & gun crew of filmmakers though (when budgets not involved – because it usually isn’t for our personal projects ha).
Episode 3 is over 8 minutes as opposed to the 2 - 3 minute length of the previous episodes, what is the target length for the remaining episodes?
CC: At first, we thought it’d be a good idea to keep the episodes under 4 minutes. One reason being that we were gearing this towards youtube and usually 2-4 minutes is the avg. length of most videos – and I figured that’d be the avg. youtuber’s attention span (because it is for me ha). Not to mention, it would have been a smoother editing flow for me. Now, after seeing how episode 3 came out, we realized that we prefer the 8-10 minute run time. There was a thought to break up Episode 3 into two parts but we liked how it ran all together, so we kept it – and the response towards the runtime was a positive one.
LR: The thing about targets is that you either miss them or they get shot... That's my way of saying I don't know. Even after I write the script and we "should" know how long an episode will be, it all gets muddled in the production. A lot of last minute changes and improvements happen ON SET. That's our creative process.
Do you have any plans to make them available for download/ podcast? (with the abundance of companies like Mevio who offer free hosting I hope you do)
LR: I don't know. Cowan, do we have plans like that??
CC: Haha honestly, I don’t know why I haven’t thought about doing that already. I’ll definitely make them available for download.
What software are you using to make the special effects?
LR: I have this awesome special effects program called Triple C...Christopher Clark Cowan.
CC: Hah and I this awesome special effects program called Adobe After Effects. In terms of any other technical questions that anyone might have – I edit on Final Cut Pro and shoot on the Panasonic DVX100a. I’m hoping to be able to shoot the finale in HD – More on that to come though.
How long does it take you to produce an episode?
CC: It always depends. Script writing and scheduling are the biggest time consumers – even more so than with the shooting an editing. Shooting is fairly easy because after reading the script, I can already see what I want to do (let me rephrase – I can already see what I’m able to do haha). Editing usually takes me 2 days because after we have it all shot, I clear my schedule and sit in front of my computer for 2 days straight and edit. There’s usually food/sleep and some Xbox 360 spliced throughout those 48 hours.
LR: That always varies because of the time I might take to write the script and the scheduling that needs to get worked out for the actors and such. When everyone works for free, it's hard to put a demand on anyone's time-- except, of course, for mine. Cowan is always making demands on my time... I'm so disrespected...
What is your production schedule like?
LR: What's a schedule?
CC: Yeah we don’t really have one. It all depends on all of our work schedules. I call a friend and ask “can you film today?” they say “no.” I say “what about tomorrow?” they say “sure” and then we film. That seems to be the extent of our “schedule” ha.
Do you have any advice for anyone who wants to make their own webseries?
CC: Just go out and do it. You don’t need a huge budget to do everything (it helps – but it’s not always necessary). One of the most fun parts for me is reading a script and challenging myself to come up with ways to achieve a certain shot and/or effect that I wouldn’t otherwise be able to do with out a lot of money. Even if you do have the funds, it’s always nice to keep a “that look for less” type of mindset.
LR: Don't be afraid to do take the time to make things RIGHT. There's no profit to be made, really, but the chance to share your passion and your vision. If you compromise those two things, then you've wasted your time and your project will suffer. I find that when I look back onto our older projects, the things I regret are the decisions we made for any reason other than "that's how we want it." Compromise = Regret.
Also, embrace your dorkdom. I don't write for the masses. I write for myself. I write for other comic book nerds like myself. They're the only people I hope will truly "get me." Everyone else can catch up. That's what Google is for.
LR: Have we thought about it? We did it! X3i is the name of the series we produced in college at The Ohio State University. We diverted our attentions from that series to do a feature based off of the series...Long story short...We didn't finish either the series or the movie.
Don't look at me! The scripts were written! The culprit is always the same: RESOURCES. Resources in the form of money (or lack thereof), casting, sufficient time, and ALL of the stuff that can derail a zero-budget project. It also goes back to our policy to not deliver crap. If it wasn't going to get done RIGHT, why do it?
Here's some good news: even though the project was never finished, I'm sure my dearest buddy Cowan can provide you with some fancy footage of our stuff. ;)
CC: Yeah, we’ve definitely done that already ha. X3i was our first shot at an original webseries – And one of the most fun filmmaking experiences I’ve had. Our crew is actually doing another webseries called “Komikarate” which is a sketch comedy based show (dealing with original skits and fan spoofs). All of which can be found on youtube. If you’d like to know more about X3i, you can visit: www.myspace.com/X3i
Aaaand lastly, to keep updated with the Elseworlds project, you can go to: http://dcelseworlds.blogspot.com
No more links haha.
I am enjoying the series, and will have a review of the first three episodes up shortly.
LR: I'm happy you've enjoyed our work! Your interest and excitement is what makes it all worthwhile.
CC: Many thanks to everyone for viewing and supporting! Also big thanks to Eric and Project: Shadow for the review, interview and overall interest. We’ll have episode 4 out to you all shortly!
Thank you for your time.
LR: If you made it through all 3 episodes, we should be thanking you for YOUR time.
Two nice guys and amazing artists. If you haven’t read it yet, check out my review of Elseworlds. I think we can expect great things from them in the future.
Morning Vision Blue
What a wonderful concert! What a wonderful time! In the middle of a great show, I got to sit down with Morning Vision Blue again for another interview. Thanks to everyone who joined us in the live chat especially Brian, and to Susan & Mike Shea who asked questions from the audience. We talked about a lot of things, from their work to St Louis Musicians Unite. Listen to the interview here or
Underground Blue Division
Sorry it took me so long to get these Pics up, but I got my butt kicked by a wicked cold starting on New Years Day and my hands were not stable enough to get the pics and sound ready for you. But I am better today and I cannot stay silent anymore.
On New Years Eve, we went to see Underground Blues Division at the Wine Rack/Java Stop in Poplar Bluff, MO. Thanks to these guys, I had one of the best New Years I have had in years. I was glad I broke my, "No going out on New Years" Rule.
There music is hard to describe, they swung from Cream to Rage Against the Machine so naturally. If you can imagine that kind of a range in a band, you have an idea of the talent and energy they filled the stage with.
Pamela Moore Interview
Pamela Moore is one of the greatest vocalists I have ever heard. My first exposure to Pamela's soulful and sultry voice, was in 1988 when she stole the show in Queensryche's epic rock opera, Operation: Mindcrime. I was thrilled when she returned for Operation: Mindcrime II as the ghost of Sister Mary who is hungry for revenge. Now, Pamela Moore has released a new album, Stories from a Blue Room .
Without further ado, the interview:
- Why do you write and record music? Is it a drive from within you, the connection you feel with your audience, or some combination?
PM: I would say it’s a combination… For me, recording and performing are two different outlets for creativity. Performance deals with more of the visual aspect that is designed to make the musical experience more powerful while recording is all up to the music that is being created. I enjoy both performing and recording equally because they have aspects to it that are very satisfying. When I’m in that creative mode I get so consumed sometimes I literally forget time. That’s when I know I am “in the zone” and it feels awesome! When I perform I get that same trance like feeling but it’s being shared with my audience and that connection in the room is a very powerful drug! There IS something to be said about the adulation of an adoring crowd! Almost as good as sex…. almost! (Laughs)
- When someone hears your music for the first time, how do you want to be remembered? Your voice, the song writing, the performance or the connection they make with your songs and what do you do to make that happen?
PM: The connection. I want my writing and performing to touch the listener in such a way that they find ownership in the song! In other words they easily embrace a personal attachment to the performance because they can relate to it. I try to do this by writing about real life situations that most all of us have had happen at one time or another.
When the final encore is done and they are walking to the car I want people to feel satisfied. Kind of like that feeling you when you’ve seen a great movie or had an awesome gourmet dinner with friends!
- What was it like in the studio recording Music From a Blue Room? Do you have any fun stories to share?
PM: It was an awesome experience. First, I was excited to finally get the opportunity to work with legendary producer Neil Kernon; he is an amazingly talented man and was one of the key ingredients for making the record sound so good. My song-writing partner Benjamin Anderson (Rorschach Test) and I decided to take Neil's advise and record the bulk of the album at a studio near El Paso Texas called Sonic Ranch. It’s an all-inclusive studio, which means they provide meals, lodging and state of the art studios. Needless to say, this allowed us to completely immerse ourselves into the project without any distractions and we put in many hours in a day without even realizing the time!
One particular night, we had just finished another long day at the studio and the owner of the studio (who is a wine connoisseur) decided we needed to relax and celebrate Bastille Day! So he pulled from his wine cellar a couple of amazing Bordeaux’s and we proceeded to drink but for some reason it caught up with us fairly quickly. (Laughs) It was quite innocent really. We had such a successful day we were reeling with contentment… it’s just that the combination of the wine and sleep deprivation made us all bit goofy! Before I knew it, I was outside playing with a huge toad and Ben was taking pics of himself with corks in his mouth! I felt like I was in a chapter of Alice in Wonderland… To this day I still can’t believe how big that toad was!
- When will the tour for Music from a Blue Room begin?
PM: I haven’t yet started touring. I was touring with Queensryche all last year which took up all my time but now I am in the rehearsal phase with my solo band and hope to start booking shows this next year before I join Queensryche in Europe next summer.
- Do you prefer to play stadiums or small venues and why?
PM: Actually, I love playing anywhere! I might prefer the smaller venues a little more because they tend to feel more intimate. However, the large festivals and arenas are awe-inspiring… gazing out to a wash of thousands and thousands of people is quite a rush!
- Which song on your new album means the most to you and why?
PM: All of my songs on BLUE ROOM have special meaning for me. I tend to write semi-autobiographically so a lot of my lyrics come from personal life experiences, either my own or those of people I know. My favorites seem to change each time I listen to the CD.
- With so many artists making tribute albums to the songs and artists that inspired and influenced them most, If you decided to make such an album what would some of the songs be and why?
PM: This is always a tough question for me because I have so many favorite artists who have influenced me in one way or another!
If I have to name a few I would say U2 because they are brilliant songwriters and tell powerful stories that most people can connect with. Bono as a singer has wonderful phrasing and is such a passionate singer. Phil Collins and Peter Gabriel for the way they weave lyrics into music so elegantly. Perfect Circle, Tool, and Puscifer for passionate songs that make you think and feel at the same time.
God my list can go on and on…
- What is your fondest memory of music in your life?
PM: I have a so many!
Winning Best Vocalist award in a High School competition. (It was my first competition ever)
Many fond moments with Queensryche:
Recording “Suite Sister Mary” for Queensryche at Le Studio in Montreal. Experiencing my very first professional tour with Queensryche in 1990 (The Empire tour)
Receiving my first Gold and Platinum records.
Recording basic vocal tracks for a project that Brian Johnson (ACDC) was working on. (He is awesome!)
Writing and recording my latest Cd STORIES FROM A BLUE ROOM
- What was it like returning to the Role of Sister Mary for Operation: MindCrime II? Mary's role in the second Mindcrime was much more profound and emotional than in the first. What did you think about her ghostly presence in the story?
PM: It was AWESOME! I was wondering how it was going to work because as most people know, Sister Mary killed herself in OMC1. But as the storyline became more familiar to me I started to understand my role as “ghost Mary” and the character really came to life, in a ghostly sort of way. (Laughs).
I enjoy working with Geoff too. We work well together on stage and vocally our voices match up. It’s very satisfying.
- How has your experience with social networking sites like MySpace and Facebook changed the way you interact with your audience? Do you feel it has brought you closer to your fans?
PM: Most definitely it puts you more in touch with the fans and that is a very good thing. If you think about it there are over 200 million people on myspace! That’s a staggering number! Granted maybe half those numbers are bands (Laughs) but needless to say, that’s a lot of exposure!
- Thank you for your time.
PM: Thank you for inviting me. Such great questions too…I do appreciate that!
Get her new album, Stories from a Blue Room at
Project: Shadow Manifesto
To mark the 10 year anniversary of the Project: Shadow Manifesto, we thought it was time to overhaul it again, but this time to open up the project to all of the like-minded fans out there who are tired of the status quo, and who are hungry for something new. Brian and I drafted the original Project: Shadow Manifesto in 1999 as an outline we saw in professional publishing. The original draft was heavy on problems, light on vision, and even lighter on solutions. We took years investigating the limited options available at the time, built the original Project: Shadow, and I started writing.
In 2004, we revised the manifesto, and re-launched Project: Shadow. The new draft focused on the solutions possible through new technologies. The world/culture presented us with newer challenges.
We are fans.
We love our music, stories, characters, and settings. We know about what we love. We participate in what we love. We support what we love. What we love supports us.
At heart, a fan is not someone who enjoys a movie, a song, a band, a book, or a show. A fan feels an intense connection with the object of their love. Fans decorate their homes, offices, and desktops with items that announce their allegiance with their favorite bands, movies, shows, and books.
The problem with our popular culture is that it doesn’t blink at a sports fan wearing a t-shirt emblazoned with their favorite team, or even a replica jersey, but wear a Star Wars shirt or dress like a goth and they think they have the right to mock you.
What is the difference between a fan wearing a jersey to a game or fan bringing a light saber to a movie? Or for that matter, what is the difference between a sports fan painting themselves up to go tailgating or a fan dressing as their favorite character at a convention?
Perception. Pop Culture has classified sports fans as acceptable and speculative fiction fans as geeky. I have to say, it is just as geeky to now all of the stats for everyone who has ever played for a particular sports franchise as it is to know the stats for every creature in the Monster Manual. The only real difference is one fan accepts they are a geek, and the other pretends their geekiness is proof they are a jock.
The disapproval is the least of the problems facing today’s fan.
From Storytellers to Copyright
Problem: People are natural storytellers. We hear a story, embellish it, and pass it on.
Solution: We tell each other stories, sing songs, write books, make videos, and create art to share these stories with each other.
Every story we tell is not original. We like to tell the same stories over and over. We borrow stories from any where and retell them in our own vernacular. It is intrinsic to who and what we are to share stories with each other.
Problem: The only constant in the world is change.
Solution: We ask ourselves the question, "What if," and share the answer with each other.
Problem: Artists and Writers need to make a living singing their songs, writing their books, making their videos, and creating their art.
Solution: We establish systems of Copyright.
The Cultural Cycle
Before the era of Copyright, stories, heroes, melodies, and lyrics belonged to the people. Stories were told, and retold. Numerous visions of each story competed against each other. The best were remembered, collected, retold, embellished, and built upon. The rest were forgotten.
Who told the first story about Hercules? Or Jason? or Troy? Who started the legends of King Arthur? or Beowulf? The first tales and their countless reiterations have been lost, but the best, most iconic stories survived.
Of all of Shakespeare’s plays, only a few comedies have no obvious sources, and even they rely upon well established patterns and archetypes.
This is the Cultural Cycle that keeps important stories alive. Each generation must retell the tales of the preceding generations in their own context to keep them relevant. This cycle has been broken.
- Problem: Companies lobby to prevent Intellectual Property from reentering the commons of the culture.
- Problem: Companies control the instruments of culture, making it harder to engage culture creatively.
- Solution: Fans retell these stories as not for profit tales, films, and songs.
- Solution: Fans organize themselves into clubs and conventions.
These solutions are are not enough. Fanfiction and film relies on the good will of the copyright holders and the fact that the fans do not make money from their works to slip through the thinnest of loop hole in copyright. As a result, pop culture is unaware of the cultural developments and retelling of these new stories. The subculture may be enriched by them, but the culture as a whole is not.
The Creative Commons and the Cult of the Dollar
Problem: Publishers and producers focus more on the commercial and popular value of a work, and the creative energy of the work suffers. Readers/viewers will not become fans, and fans will not continue to accept passionless works of Speculative Fiction.
Solution: Placing honesty over consumerism, we fans must stake out our own home to create and share the works we love. We must stand between the darkness and the light: This is the purpose of Project: Shadow.
Problem: The Companies and Rights holders lashed out against the fair use of their properties.
Problem: Some Rights Holders have lulled fandom into a false sense of security by not suing and even encouraging those who produce fanworks
Creative Commons is one of many proposed solutions to this problem. Others have lobbied for copyright reform. Neither of these is a solution to the problems.
Copyright reform is a doomed enterprise while corporate lobbyists have the power they do over the congress. While it is a goal to work for, it is just not realistic in the short term.
Creative Commons is closer to a solution, but the adoption rate has not been sufficient to even start chipping away at the problem.
The reason Creative Commons is an uphill battle is that it is a major evolution in the way rights holders handle permissions to use their work, and exists without an intermediary form. Existing rights holders have not adopted it because they are unwilling to give up all the rights entailed under Creative Commons.
I approached the Creative Commons Foundation with a proposal for a Fan Works License:
Some of the rights holders I have talked to are reluctant to use the CC because they are concerned they are giving up too many rights to their works. A Fan Works License would allow rights holders to clearly state what they will allow others to do with their characters, content, and settings.
It would be a bit more complicated than a standard CC, stating whether others may make original text, video, music, or art projects based on their works. It would also allow them to set the content rating they would allow fan works to have. This could be aligned with the MPAA ratings or the ESRB ratings system or an original system. The reason for this is so a young adult novelist could set a max rating of PG-13, allowing others to know what standards they would apply to determine whether a fan work is legitimate or not.
The other terms would be the same as in the standard CC.
You may not think something like this is necessary, but the current state of fan works is hazy. While few have been sued in the last couple years, at any time, rights holders could decide to start suing again. By creating a license that covers works with the same characters and settings rather than a particular book or movie, I believe we could get more rights holders to use the license to allow for the creation of fan works, which is a step on the road to open up works to the commons.
They responded with a simple, “CC probably isn't going to be expanding the license offerings, and in fact, over the past few years CC has been reducing the number of licenses.”
I do not believe that a fanwork or Creative Commons license is the ultimate solution, but as a possible stepping stone toward an open culture.
Progressive Speculative Fiction
- Problem: Modern and Post-modern fiction is antithetical to hope, imagination, and community
- Problem: Success is easier through snark, hate, and discrimination.
- Solution: We will promote, support and create Progressive Speculative Fiction.
What is Progressive Speculative Fiction?
Progressive Speculative Fiction is a story told in any medium which has a "What if" at its core and is filled with hope for the future and promotes a sense of community.
How can disaster fiction be progressive?
Watch a Godzilla movie or either The Day the Earth Stood Stills. If there is nothing worth saving, then there is no tragedy. The heroes must at least try to save someone or something worth saving.
How can horror be progressive?
Watch nearly any horror film made prior to 1990 or for the best example read The Hellbound Heart by Clive Barker or anything by Anne Rice. If life is not worth living or there is nothing worth defending, where is the horror. If life is worthless, then death is merely a release from a nightmare. There is nothing scary about it. If there is no free will, nothing is lost by imprisonment or possession. If sanity is not worth preserving, why bother.
What works are Progressive Speculative Fiction?
There are too many to mention all of them, but to offer a spectrum:
- The Matrix/ The Matrix Reloaded/ The Matrix Revolutions/ The Animatrix
- The Dark Knight
- Final Fantasy - The Spirits Within
- The Lord of the Rings
- Interview with the Vampire, The Vampire Lestat, The Queen of the Damned, and The Tale of the body Thief
Just to name a few.
- Problem: The word "Myth" has become a marketing term.
Homogenized works are released more often by the industry every year. Focus groups and market analysis have replaced quality work, but since the cultural cycle is broken, industry has no alternative. It is safer to release works like the ones that sold last year than it is to seek out new talent/ideas that would be more of a risk.
They know what the fans want. We want myths, stories that speak to us on a deep level while entertaining us. Myths are hard to make. It is easy to add in a wizard or a starship and call it mythology. Fans see through it, but the masses are looking for little more than sex, violence, and humor. Speculative Fiction has been watered down to little more than:
- imitation space opera
- knock-off cyberpunk
- repackaging of the rings
- martial arts boom-boom
- torture porn
They, then, wrap it in a shiny box, slap the word myth, saga, legend, or reboot on it, and wait for the masses to spend their money on it... and they usually do.
We do not need another company driven by profit margins, or another author whose self-important propaganda obscures the art.
We need writers and artists that love what they are doing.
We need fans who are not afraid to speak their minds.
We need places in our towns/cities and online where we can meet and share the few gems that we find from the industry and from the independent artist, writers, and filmmakers who are still following their bliss rather than the dollar.
That is why we are here. Project: Shadow and dashPunk will provide a platform for writers, artists, filmmakers and fans to “follow their bliss.” We are dedicated to finding and promoting the best Speculative Fiction out there: the little/well known writers, filmmakers, artists and works, fostering their talents, and helping them to not only follow their hearts, but to share that vision with others.
But we cannot do it alone!
Fandom Strikes Back
- Solution: We must seek out and support the writers, artists, and producers that encourage and support fan works.
- Solution: We must get writers, artists, and producers on the record about their position regarding fan works.
- Solution: We must live according to our values of hope, imagination, and community.
- Solution: We must build a community around hope, imagination, and community, and reject the rote cynicism that defines the faux-fandom that loves to tear things down rather than build things up.
- Solution: We must spread the stories, videos, songs, and art that speak to us.
Together, We can make dashPunk and Project: Shadow more than an idea or a website, but a vibrant community of fans who share the things we love with each other.
Together, we can make it easier to find and share the things we love and find new things to love.
Together, we can build a community of fans who support and engage one another for our mutual benefit.
Alone, none of us can stand up to the corporate powers who control the music, video, text, and art that we love, but together, our voice will be heard.
Fandom is a vibrant culture with its own music (filk), events (conventions), games, and myths. Until now, we have gathered periodically, or in disparate groups.
Now is the time to bring the great multitude of fan bases together.
Now is your time! Copy this Manifesto. Print it, post it, email it, share it! Tell a friend, and most importantly Make your voice heard.
Project: Shadow Manifesto by Project: Shadow is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. Based on a work at dashpunk.com. Permissions beyond the scope of this license may be available at http://dashpunk.com/about/.