Scott first saw Puddles at Sleep No More, a show in Manhattan. Puddles ambled onstage, where he paced nervously, staring back at the crowd. The clown said nothing, sang nothing, for at least five minutes; 400 people stared silently back at him and wondered what was going to happen. “And then he started to sing,” Scott says. “He sang ‘Lonely Guy,’ his signature song; and that voice … that huge, rich, voice, coming from someone who looks so timid and scary, but him just as scared as all the people who are scared of him. The audience was blown away.”
Rendered with permission from the book, Understanding the Times: The Collision of Today’s Competing Worldviews (Rev. 2 nd ed), David Noebel, Summit Press, 2006. Compliments of John Stonestreet, David Noebel, and the Christian Worldview Ministry at Summit Ministries . All rights reserved in the original.
1 The Weekly Standard, November 14, 2005, 41.
2 Zygmunt Bauman, Postmodern Ethics (Oxford, UK: Blackwell Publishers, 1993), 3–4.
3 Richard Rorty, Achieving Our Country: Leftist Thought in Twentieth-Century America (Cambridge, MA: Harvard University Press, 1998), 16.
5 Richard J. Ellis, The Dark Side of the Left: Illiberal Egalitarianism in America (Lawrence, KS: University Press of Kansas, 1998), 79–80: “Whitman profoundly shaped a host of left-wing literary radicals of the early twentieth century, from Randolph Bourne and Van Wyck Brooks to John Reed and Max Eastman, who tellingly identified himself as an ‘American lyrical Socialist—a child of Walt Whitman reared by Karl Marx.’”
6 Rorty, Achieving Our Country, 18.
7 Robert B. Brandom, ed., Rorty and his Critics (Oxford, UK: Blackwell Publishers, 2001), 4–5.
8 Kevin J. Vanhoozer, Postmodern Theology (Cambridge, UK: Cambridge University Press, 2005), 10.
9 Richard Rorty, Philosophy and Social Hope (New York, NY: Penguin Books, 1999), 15.
10 This concept of morality is explored in the essay “Ethics Without Principles” quoted in Ibid., 72–88.
11 A theme throughout Rorty’s Philosophy and Social Hope is the use of words, ideas, and philosophies as tools rather than true things, especially in chapters 22–26.
12 The Weekly Standard, 41.
13 Theodore Dalrymple, Life at the Bottom: The Worldview That Makes the Underclass (Chicago, IL: Ivan R. Dee, 2001), xi.
Recent years have seen increasing legal action from media conglomerates, who are actively protecting their intellectual property rights. Because of new technologies that make media easier to distribute and modify, fan labor activities are coming under greater scrutiny. Some fans are finding themselves the subjects of cease and desist letters which ask them to take down the offending materials from a website, or stop distributing or selling an item which the corporation believes violates their copyright.  As a result of these actions by media companies, some conventions now ban fan art entirely from their art shows, even if not offered for sale, and third party vendors may remove offending designs from their websites.