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.
Review- Sonic Boom by Kiss
[reus name="Music Review" meta="cd=Sonic Boom&artist=Kiss&release=October 6, 2009&recorded=2009 at Conway Recording Studios, Hollywood, California&genre=Hard Rock&length=43:07&label=KISS Records, Universal / Roadrunner&rating=10"] It took me a little while to figure out what I thought about the new Kiss album Sonic Boom for one major reason:
I am a huge Kiss fan. My sister started listening to them the year before I was born. Their music quite literally is the soundtrack of my life. They were the first band I ever saw in concert.
I rushed out and bought the album right away, and listened to it all the way through. First impressions can be misleading, but I really enjoyed it.
Kiss returned to their roots with this one. A 3 disc set: Sonic Boom (New Album), Kissology (Greatest Hits), Concert DVD. The cover is an homage to Rock and Roll Over, and in a lot of ways, so is the music. Sonic Boom feels like an album that has been a part of the catalogue for a long time. Fans of the band and this style of classic rock will love it. The usual suspects will not.
Paul wrote 9 out of the 11 tracks in whole or in part, as opposed to:
- Gene: 6/11
- Tommy: 3/11
- Eric: 0/11
Paul's influence on Sonic boom is easy to see, but it's definitely a Kiss album, and not like Paul's solo work. The one thing that could have made this album better is if Gene spent more time on his song writing and performance and less time promoting himself. He sounds distracted, and his songs feel incomplete, especially "Hot and Cold".
The Return of Kiss
The songs revolve around staples in the Kiss catalogue:
- Loving who you are
- Standing up for what you believe in
- Keeping your head up no matter what
- Sex (in a less direct way): "Danger Us" and "I'm an Animal"
Sonic Boom is a great Kiss album, and will be remembered as a high point for the band.
Straight on Rock: Sonic Boom returns us to the world of Rock music. Fun, moving, and inspirational.
Oh, Gene: Gene's songs are usually among my favorites, but on this one, it really feels like he phoned it in.
- Modern Day Delilah
- All For the Glory
Track List- Sonic Boom
- "Modern Day Delilah" Fun song. Paul brought his A Game to it!
- "Russian Roulette" This is probably the best song Gene sings on the Album
- "Never Enough" The music in this song reminds me a little of Poison's Nothing but a Good Time. Fun, pick me up song from Paul!
- "Yes I Know (Nobody's Perfect)" This is probably the best song Gene wrote on the album
- "Stand" I cannot hear this song without smiling.
- "Hot and Cold" This is probably the only song on the Album I might suggest you skip. The lyrics are a little too goofy, and their delivery is off. Tommy's guitar work is the best thing on the track.
- "All For the Glory" Eric blew me away with his vocal work on this one. The repeated chorus makes this a new anthem I will gladly throw my fist in the air and sing along to!
- "Danger Us" Fun
- "I'm an Animal" Gene... focus on the band again please.
- "When Lightning Strikes" Tommy's first song. He channels the Space Ace on this one.
- "Say Yeah" This song is my 4th favorite Track.
Track List- Kissology
Previously released exclusively for Japan as Jigoku-Retsuden
- "Deuce" Tommy nails the guitar, and Paul adds an little twist on the riff that brings this song to new heights.
- "Detroit Rock City" Eric's drumming, WOW, this song has a vitality about it it never had before.
- "Shout it Out Loud" Probably the only disappointing Track on the album, but for a weird reason. It is too well done. They sing the chorus... It's shout it out loud, not sing it out loud!
- "Hotter Than Hell" I really like the distortion on Paul's voice
- "Calling Dr. Love" Well done
- "Love Gun" Classic
- "I Was Made For Lovin' You" So much better than the original!
- "Heaven's on Fire" Perfect
- "Lick It Up"
- "I Love It Loud" I don't think I have ever heard a version of this song I didn't love
- "Forever" One of the best love songs ever recorded
- "Christine Sixteen"
- "Do You Love Me"
- "Black Diamond"
- "Rock and Roll All Nite"
Star Wars: The Old Republic
LucasArts and BioWare™, a division of Electronic Arts Inc., today announced the development of Star Wars®: The Old Republic™, a story-driven massively multiplayer online PC game set in the timeframe of the Star Wars®: Knights of the Old Republic™ franchise. Star Wars: The Old Republic, being developed and published by BioWare and LucasArts, represents an innovative approach to interactive entertainment, featuring immersive storytelling, dynamic combat and intelligent companion characters (Star Wars: The Old Republic).
It is nearly impossible for me to contain my excitement about this game. I heard the rumors for ages, but I never dared to believe they could possibly come true.
I am not new to Star Wars MMOs. I have been an off and on player of Star Wars Galaxies for years. The love/hate development cycle Sony Online Entertainment has maintained for years has kept me falling in and out of love with the game. I often joked with my friends that a day would come when someone other than SOE would one day make a new game. That day has finally come.
I am not sure I would be as excited as I am if anyone other than Bioware were making the game. Knights of the Old Republic is one of the best games I have ever played, rivaling Final Fantasy VII for the top slot on the list. Add to that their success with Mass Effect, and my hopes are exceedingly high. Now, I will be the first to admit that Knights of the Old Republic II was not the best game and could have used much more time in development before release, but the potential was still there, and even though it was incomplete, it was still enjoyable.
What excites me the most about Bioware making an MMO is that they are masters of story and setting. Two things often missing from most MMOs. Even better is there goals for the game:
"Traditionally, massively multiplayer online games have been about three basic gameplay pillars - combat, exploration and character progression," said Dr. Ray Muzyka, Co-Founder and General Manager/CEO of BioWare and General Manager/Vice President of Electronic Arts Inc., "In Star Wars: The Old Republic, we’re fusing BioWare’s heritage of critically-acclaimed storytelling with the amazing pedigree of Lucasfilm and LucasArts, and adding a brand-new fourth pillar to the equation – story. At the same time, we will still deliver all the fun features and activities that fans have come to expect in a AAA massively multiplayer online game. To top it all off, Star Wars: The Old Republic is set in a very exciting, dynamic period in the Star Wars universe (Star Wars: The Old Republic)."
I have been skeptical about claims like this in the past, but since it is Bioware. They are the one company that have the long track record making brilliantly enthralling role playing games. A track record is of course no guarantee. Square Enix did not do the best job with Final Fantasy XI.
What they are hoping to accomplish is a game with few instances where the choices of the players dictate the events in the setting. Many have tried this in the past, and I have heard good things about Warhammer Online.
Dr. Greg Zeschuk, Co-Founder and Vice President Development Operations, BioWare and Vice President, Electronic Arts Inc. [added], "Star Wars: The Old Republic is set roughly 300 years after the events of Knights of the Old Republic, a timeframe that is completely unexplored in the lore. BioWare has been able to add to the Star Wars history in developing the game’s story and has created an overarching narrative that players can enjoy, regardless of their play style. Our goal is to offer players an emotionally rewarding experience that combines the traditional elements of MMO gameplay with innovations in story and character development (Star Wars: The Old Republic)."
This is the dream, whether or not it can become a reality will have to wait to be seen. They have only a released a few hints at what they are working on.
1) The lightsabers in the screenshots will shrink – but not by much.
2) They really, really, really mean it when they say that there is story in this game and it is what sets Old Republic apart from every MMO out there.
3) You don’t pick good or evil right off the bat
4) There will be crafting, there will probably be guilds, there will definitely be PvP and there won’t be a whole lot of instancing
5) Star Wars: Galaxies is not getting shut down (Kotaku)
Yes, you will be able to travel to many of the planets featured in the Star Wars movies and in Star Wars: Knights of the Old Republic. There will also be a number of new planets and star systems to explore (SWTOR FAQ).
There are many questions that need answering:
- What races will be available for play?
- How many factions will be represented in the game? Republic? Jedi? Sith? Hutt?
- What classes will be playable other than force sensitive?
- What planets will be included?
- Will there be space battles?
- How will squad based play work in game?
- How will they incorporate lightside/darkside meters into the game?
For more information see:
- Star Wars: The Old Republic Official Site
You may want to sign up for their community to try to get into the beta when it starts.
Filk is the culture, community, and music related to speculative fiction. It has also in some circle become almost synonymous with parody lyrics. Having said that, it is important to note that the definition of Filk has been a bit of a discussion topic among fans. Groups as varied as space enthusiasts, science fiction fans, and Society for Creative Anachronism have adopted the term to describe the music they create. Filk ranges from poignant to hilarious, but for me, the music is secondary to the sense of community and fellowship among fans of the genre. At most conventions, if you look deep in the schedule, you will find a filksing or a chaos filk on the grid late into the night. These are the hardest of the hardcore fans and artists who gather together to celebrate the things they love.
That is the what makes Filk so magical and wonderful for me. I love to seek out passionate people. When someone shares something they love with others there is (more often then not) an infectious enthusiasm that fills the room. Filksings are beautiful thing. Humor and insight dance together as a group of strangers become one with the songs.
These are the songs of my culture. I have never resonated with much of the folk music traditions of the United States. Often, they are regional, or based in a religion that I do not subscribe to. Filk takes the characters, themes, goals, and ideals that I believe in, and presents it through music that speaks to me on a very deep level.
I have never thought that I have anything but a bad singing voice, but I am not one to shy away from singing "That Real Old Time Religion," "The Rooster Song," "The Birthday Dirge," or "Holy, Holy." These are the songs that reside within me. They are the music to which my heart beats. When I participate in a filksing, I feel like I am with my people and a part of a larger community.
Perhaps, I am taking this all too far, but it is important for people to find the community that they belong in, embrace it, and carry it around with them always. When we allow ourselves to identify the culture we thrive in, we give ourselves a fertile ground in which to grow.
Most modern people suffer feelings of isolation as a result of the corporate culture that dominates the mainstream. We have become detached and disillusioned by its shallow materialism. To be separate from our culture is to be a part of nothing.
I felt this way for most of my childhood. I was lucky to stumbling into the SF culture when I was about 11, for the first time in my life I found a place that I belonged. Filk, as the music of that culture, forms a strong backbone of that culture.
I invite you to look into it and see if it speaks to you. You might see it as nothing more than a novelty genre that is entertaining or a bizarre style, but if you are like me, you might just find a music that speaks to you on a deep level.
Sites to Check Out
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/.