When I were a youngling, fanfic was a despised genre. The internet has made it less despised, more common and apparently more nearly legal in a “don’t ask, don’t tell” sort of way. To quote the link from TV Tropes above:
No statement on the legality of fanfic has ever been given in American formal law or in its courts. Some argue that it’s a form of copyright infringement; however, see “Legal Fictions: Copyright, Fan Fiction, and a New Common Law”, and note the above precedents.
Authors often have conflicted reactions to fan fiction set in “their” universe, which sometimes leads to a Fanwork Ban. J. K. Rowling has largely embraced Harry Potter fan fic, albeit with certain limitations, for example, and Tamora Pierce advises aspiring writers that fan fiction can be a good way to hone one’s writing skills. By contrast, Sir Terry Pratchett acknowledges it exists and is cool about it, pointing out that everything works so long as people are sensible about it. He adds two caveats: anyone doing Discworld fanfic shouldn’t even think of doing it for money, and authors should take care not to put it where he might see it. George R. R. Martin, author of the epic fantasy series A Song of Ice and Fire, expressed his disdain for the practice, saying that “creating your own characters is a part of writing.” He’s even gone so far as to threaten legal action should he become aware of any fan fiction set in the Westeros universe. In contrast, writer/journalist James Bow makes a rather firm case for supporting fan fic, pointing out that it forms a stepping stone towards creating your own characters and setting. As far as media businesses are concerned, reactions have ranged from Archie Comics demanding immediate removal to Paramount Pictures taking some of the better Star Trek fanfics and having them published in print books.
My impression is that fanfic has become like music downloads, a tide that washes past all breakwaters of law or justice. What do you think? What do you recommend? Come on, out with it! – what have you written?
But another story provided a fun distraction from all the hard work campaigning for tax cuts: it is the thirtieth anniversary of the first NOW! That’s What I Call Music album. There’s no bigger ‘Now’ fan than our Political Director Jonathan Isaby who has a complete set of all 86 albums! He spoke to Sky News and other TV stations about his collection.
- Matt Sinclair of the TaxPayers’ Alliance provides a little light relief, in the latest TPA mass email. (Link in the quote added.)
I realise that the sums of money that get spent on “culture” are very small potatoes indeed when set beside other sorts of government extravagance.
Nevertheless, I can’t help thinking that there is a connection between this report about France’s “new wave of culture-focused building projects”:
A Napoleon III villa in a Parisian suburb, squatted by artists and musicians; a cathedral-like hangar, the vestige of Dunkirk’s naval industry that used to define the life cycle of the entire city; a new, 240m-long bridge in the French Alps. This is just a sample of France’s recent crop of architectural projects, and they have at least one thing in common: they are all cultural facilities that offer a draw both through their content and their site.
… and reports like this one from the BBC about French economic pessimism, or this one entitled Is France the new Italy?
Hollande’s Socialist administration faces protests over taxes and burdensome regulation not just from business leaders, as you might expect, but also from farmers, shopkeepers, teachers, truck drivers and soccer players. …
Leaning heavily on higher taxes, the government has been slow to get public spending under control. France’s ratio of public spending to gross domestic product is now 57 percent – the highest in the euro area.
As Instapundit likes to say, what can’t go on forever won’t.
What, I wonder, will those new culture palaces end up being used for?
Although I am only posting this at midday, I wrote most of it at three o’clock this morning.
I did this because I am now suffering from severe Ashes Lag (The Horror! The Horror!), and also because it is in the spirit of the news I am passing on, which is that soon, London will be experiencing (no doubt some would prefer to make that “enduring”) all night underground train service at weekends:
For better or worse, London is on the way to becoming a city that never sleeps, leaving other British cities even further behind.
Not the District Line, though. That’s one of the lines I often use late at night, and I would have liked that one also to be going round the clock. The other line I use, but less often late at night, is the Victoria, which will be all round the clock at the weekend.
But this is only a start. And it is only at the weekend. What has long puzzled me is why London has not, for the last several decades, been a city that never sleeps, but is instead only groping slowly towards one day becoming such a city. London always comes near the top of those lists of the world’s greatest cities, yet for much of the time London is almost entirely asleep, unlike one, in particular, of its most famous rivals (immediate music warning – don’t click on that if you wish to go on listening to something else). All that frighteningly expensive office space, basically doing nothing for about a third to a half of every day, and nothing at all at the weekends, since for ever. Why? Modern electronics means that there is always someone wide awake to be doing business with, somewhere in the world. So, why no big night shift activity in the City? It can’t take all night just to keep those places clean.
Maybe there is lots of City of London night shifting going on already, and I merely haven’t been told about it. After all, night shifters mostly only need transport when they start and when they finish, which they already have. I can see why they are starting this at the weekend, for people for whom the difference between getting home at 4 am rather than at 8 am is all the difference.
Talking of London staying awake all night, there was a time, in about 1941, when a lot of it did just that, for quite a while. This was when London Pride got itself written. Take that, Sinatra. Someone (can’t find who – anyone know?) once said something like: there are many more tunes to be written in C major. I don’t know the key of London Pride, but it is one of my favourite tunes ever, and it always makes me think of that remark.
Don’t buy cheap gates.
- On a Top Gear repeat on Dave TV this afternoon, the celebrity guest was Sir Cliff Richard. Sir Cliff talked about the difficulty of driving out of the gates of his London estate onto the main road outside. Clarkson asked about these gates because, he said, his didn’t work properly. The above was Sir Cliff’s reply.
“Whenever you listen to musicians of a certain age, they’ll always tell you how much better and more real everything was in the old days. This is only natural – because that’s when they were younger, with more energy and more dexterous fingers and a greater vocal range than they can manage today. And it’s also because if there’s one thing that obsesses them above all else, it’s authenticity: a quality, of course, that was abundant in the days when they were playing to two men and a dog in toilet venues, but which no longer applies when you’re filling stadiums.”
- James Delingpole.
Pretentiousness is one of the besetting sins of some music folk. I occasionally like to wind up my more earnest friends by pointing out that one of my favourite albums is Thriller, by Michael Jackson. This is particularly effective among more ostentatiously “conservative” types. Just watch those paleocon jaws hit the floor.
Incoming from David Thompson:
Wondered whether the discussion linked here – about art and public funding – might be of interest to Samizdata readers.
Here are some of my objections to taxpayer-funded arts subsidies:
- It is immoral to steal money to subsidise other people’s hobbies.
- The greatest art seems to happen when high art and low art combine, in the form of something that is superficially entertaining and stirring and popular, and also as profound as profundity seekers might want it to be. Arts subsidies harm art by dividing it into less good entertainment art, paid for by punters, and less good high art, paid for with subsidies. Arts subsidies in Britain are now being cut somewhat. The result will be somewhat better art.
- Arts subsidies turn art into political agitprop, in favour of subsidies for art and for everything else that the subsidising classes consider to be worthy, and at the expense of everything productive that the subsidising classes consider to be unworthy. This is why abolishing arts subsidies is politically and ideologically so much more important than the relatively small sums of money involved, compared to other subsidies, would suggest.
If you want more from me about this, see also this and this, from way back.
LATER: … and this, here, quite recently.
For years, particularly with the advent of the Internet, people have been griping about lessening attention spans. But if someone can watch an entire season of a TV series in one day, doesn’t that show an incredible attention span? When the story is good enough, people can watch something three times the length of an opera.
- Kevin Spacey
Neill Blomkamp must be living in some parallel universe as he speaks about his new film “Elysium”:
The 33-year-old film-maker, who moved from South Africa to Canada as a teenager, adds that “healthcare, immigration and class” are his targets, and “it’s not really the future I’m talking about”. “It’s not science fiction. This is now. The divide between rich and poor is getting more and more extreme.”
Actually Neill, never in human history has there been a smaller percentage of humanity living one failed harvest away from communal starvation. Is the divide between rich and poor actually increasing and more extreme than, say, in the eighteenth century? Or any time before then actually? In reality never has a larger percentage of humanity been, by any reasonable definition, middle class, than right now.
The fact large areas of poverty exists at all in our technologically advanced age is a dark miracle wrought largely by state imposed impediments to trade, disincentives to employ, insecurity of private property title and many other government policies of the sort Matt Damon (that tireless supporter of state education whose children are in a private school) strongly approves of.
If I had the option of living in a nifty orbital torus filled with fellow capitalists, I would want it to be well defended too, Neill… mostly in order to keep out all the champagne socialists.
I had a rather enjoyable evening at the Lancaster Museum of Art and History last night. Quite an unusual event, although perhaps not so unusual for a community that hosts the Skunkworks, is not all that far from Edwards Air Force Base and NASA Dryden Research Facility… not to mention the Mojave Spaceport where there is a higher density of folks working in New Space than in any other spot on the planet.
So. What was so special? Perhaps the proverbial picture (of the main room of the Art Exhibit) is worth a thousand words.
An early XCOR rocketship and several rocket engines are the central attraction of the art show. Copyright DMA, All Rights Reserved.
A work from Doug Jones’ Middle Period. Copyright DMA, All Rights Reserved.
Yep. There is a strong wing of the Art’s community that is excited about not just the concept of the adventure, but also the sheer beauty of the creations of engineers in the field. As major exhibitors, we were part of the after exhibit dinner in the museum and us rocket guys got on great with the artists. I found many of them think the ‘two cultures’ was a farce that needs to end. From my conversations I would say it was no accident some of the works refered to Leonardo da Vinci.
I also was quite surprised at one exhibit item that was a reproduction of the original. Gob-smacked might be a better word. It seems that a tiny art museum was smuggled on board Apollo 12. A tiny metal rectangle contained six even tinier works by 6 artists, among whom were Robert Rauschenberg and Andy Warhol. Yes folks, there is an original, albiet tiny, work by Andy Warhole still attached to an Apollo landing leg. On the Moon.
After dinner, the remaining crew, made up entirely of artists and rocket guys. Sort of. Even us rocket guys gave lie to the two cultures thesis. Doug Jones, a long time reader of Samizdata, was a stand up comic for awhile. As for myself I was in the music business professionally for many years.
XCOR engineer Doug Weathers and his wife Anne discussing the EZ-Rocket cockpit with Lancaster artist and teacher Monica Mahoney. Copyright DMA, All Rights Reserved.
After the entire group of artists and XCORians were filmed flying about the exhibit room pretending to be airplanes… yes artists have fun doing silly surreal things… we headed for Bex’s bar across the street where a marvelous time was had by all as we sat outside in a perfect desert evening talking art and space flight.
I also talked to one businessman who is a big arts supporter and a fed up Republican who has a solid dislike for the religious right. He asked a key question: How are Libertarians different from Conservatives? I think the illegal Edison Light Bulb went on over his head when I explained.
Naturally I was the last one of the crew to leave the bar. Those old music biz habits die hard.
It’s a problem when the people who are supposed to be the curators of your culture fundamentally don’t like it.