Jason Flatt’s animal rescue operation, Friends to the Forlorn, has saved 600 dogs and counting since 2009 and specializes in rescuing pit bills.
Tumblr has chosen a peculiar form of self-inflicted hari-kari. By now we’ve all heard of their total ban on ‘adult’ material, beginning on Dec. 17, 2018. Several artists and producers I’m following have already abandoned ship. I understand what prompted this extreme action, and I’m all for banning child pornography. But these new guidelines are broad enough to boot open the door to all manner of censorship across the Internet.
I have to wonder just how stringent the censorship search program they’ll have to use is going to be. There are literally hundreds, possibly thousands of sites and posts that may not be considered family-friendly on Tumblr. That’s been its major draw. Supposing someone posts a clip of an animal nursing its young–with its NIPPLES, of course. Will that set off the klaxons?
What’ll be next? If a person’s bog is not considered pure enough…if it’s too (OHHH!!!) politically correct, whatever that means these days, do we strike down that infidel’s webpage and block his/her access to all servers? Who’s to say where this stops, IF it stops?
We’ve seen this before. From 1930 until 1968, American motion pictures were bound by the Hays Code, which placed any films and television programs under a strict regime of self-censorship. There would be no ridicule of religion, no mention of homosexuality; men were men–white, usually, bad was bad and life went on in a virtual la-la land where good people [again, white people] always win.
Another example; Fredrick Werthem’s Seduction of the Innocent, published in 1954, put forth the claim that comic books promoted juvenile delinquency, which led to an inquiry by the Senate Subcommittee on Juvenile Delinquency, which led to publishers voluntarily neutering comics with the imposition of the Comics Code in 1954. Marvel Comics began to break down thee improbable standards in 1971 with a three-part story involving drug-addition in The Amazing Spider-Man # 96-98.
In both cases, these codes were imposed by self-righteous ideologues inflating the dangers posed by their respective mediums all out of proportion, and often distorting the facts to achieve their ends. That does not appear to be the case with Tumblr at this time, but the window of exploitation is now open.
I take hope in the fact that while we may be entering a period where we will be forced to water down our artistic impulses, the day will come when new outlets of self-expression WILL arrive. The restrictions of far-right, narrow mined goons will be loosened, most likely with the passing of this generation of vipers that is set on putting these chains on us in the first place.
Tumblr by that time is likely to be either an anamoly, a platform once popular soon to be forgotten; or it will act as a compliant tool of ‘The Establishment’ the Internet was born to resist. In either case, you can’t cork a volcano, nor will the artistic impulse be caged forever.
I’ve just realized why Rubber Soul was never one of my favorite Beatles albums growing up. I had no way of knowing better of course; did any of us know in the fall of 1965? You see the problem was, we were getting the Americanized version.
A sign of a great work of art is its openness to more than one interpretation. In his blog Psychobabble, Mike Segretto gave the impression that certain alterations were an improvement on the original British LP; that these substitutions were more in line with the folk-rock stylings of the majority of the set. On that count, I respectfully disagree. The rock numbers [“Drive My Car” & “Nowhere Man”] I feel balanced out the introspection of “Norwegian Wood” & “In My Life”. There is very little question that the British album was the better of the two versions.
Granted the classics were all in their proper places—“Norwegian Wood (This Bird Has Flown)”, “Michelle”, “In My Life”, even “The Word”. The point is, I grew up listening to what was provided by Capitol Records. Capitol was the American distributor for EMI-Parlophone Records in the U.S. And they butchered Rubber Soul.
The back cover of the UK release, at least the remastered CD from 2009
Running order of the Capitol Records release
The first sin they committed was to strip four songs from the original LP, ie “Drive My Car”, “Nowhere Man”, “What Goes On” & “If I Needed Someone”. This was standard practice for Capitol: take a few songs off one Beatles album and collect as many as possible into a ‘new’ album. Something New [July 1964] may be the most egregious example of such mash-ups, and I’m saying this as someone who does in fact prefer some of the American LPs over their British counterparts.
Here’s what rubs me; two of those songs were among the strongest tracks the Fabs had done in this period; and they substituted two of the weaker tracks from the British Help! LP. If I may digress, Capitol got s lot of mileage out of that record. Over the following two years they managed to spread those six Side-2 songs over three different albums. Most of us who grew up in the ‘60’s didn’t realize how badly we’d been gipped until the official British albums saw their first CD release in 1987. That was the year we in America finally received Rubber Soul in its full glory, as God [or the Fab Four anyway] intended.
The UK version opened with a strong lead-in, ‘Drive My Car”; the Capitol album had the temerity to replace that with the significantly weaker number, “I’ve Just Seen a Face”. Worst of all, “Nowhere Man” was also taken off the Capitol release. I never knew it was supposed to be on Rubber Soul until I listened to that damn CD for the first time. George Harrison had originally been allotted two numbers, “Think For Yourself” & “If I Needed Someone”. I don’t know why I’m so taken with the latter number; that riff just seemed to hook me. It’s mostly the guitar. These are both decent songs, but at a time when George was just beginning to flex his songwriting muscles, Capitol cut his contributions by half.
Adding insult to injury, the one song allotted to Ringo Starr, ‘What Goes On”, the first instance in which he actually received any songwriting credit, was swapped with “It’s Only Love’, a song even John Lennon said was abysmal. Which meant Ringo got NO vocal numbers at all on our side of the Atlantic. In fact, in 1965 Ringo would appear on two, count ‘em, two tracks for U.S. release. One was “Act Naturally”, the B-side of the “Yesterday” single. “Boys” [from The Early Beatles, March ‘65] was part & parcel of the re-re-release of the Beatles’ first Parlophone album Please Please Me–from 1963.
That leaves fully half of the album dominated by Lennon compositions—on either side of the Atlantic—“Norwegian Wood”, “Nowhere Man”, “The Word”, “What Goes On”, “Girl”, “In My Life” & “Run For Your Life”. John Lennon songs tended to dominate Beatles albums up to this point. Rubber Soul would actually be the last time this was the case until the White Album sessions three years later—honestly, mostly on account of John’s growing, admitted laziness.
The four tracks that were stripped from the Capitol album would eventually conglomerate in July 1966 on the Yesterday and Today set, along with the final two orphans from Help!, Side 2, plus three more recent cuts stolen from the upcoming Revolver. And that would be the last time such butchery would be committed against a Beatles long-play.
–“It’s Only Love” was mine. I always thought it was a lousy song. The lyrics were abysmal. I always hated that song.
-John Lennon to David Sheff, The Playboy Interviews with John Lennon & Yoko Ono, @ 1981 Playboy Press
by Michael Robbins
This story is dedicated to my father.
Kiana had been in the wilderness alone. It was against protocol, and exactly what she needed. That’s what she told herself anyway. Lions came to nuzzle her belly, rumbling softly, perhaps due to that acute animal instinct for knowing when something was wrong. Usually they scattered when the Old man came around.
The first time was on the first day of the month, on the first hour past noon. Of course it was. He popped around a tree on those sand scattered Kalahari plains and waved. Kiana started, then bent over the hand-held UV monitor in both her mitts and muttered, “It’s not real.”
On the second day, at the appointed hour, he climbed into the sun-screened Jeep with her with a cheery “Hello!” Her grip tightened knuckle white on the steering wheel. “You’re not real,” she repeated, almost as a mantra. Her bright green eyes shunted her off onto a vision, flashing to the live-feed six weeks past, to the same man, now more emaciated than he’d been at their last contact, seemingly plied with ever-more tubes in every vein. She blinked, jerking to the side, but the man was gone, at least for now.
Twice more she saw him, at a distance paralleling her as she did her job, collecting genetic samples from the indigenous wildlife. It wasn’t normally dangerous work, but it was always better to work in teams. Especially on the Kalahari with its hundred-degree-plus temperatures, sparse grasses, pale sand pans and gnarled camel thorn trees clawing infrequently at the sky. On the sixth day, it almost cost her.
Kiana had sampled some weaver birds but hadn’t been paying enough attention to her surroundings. Which was how the cheetah had stumbled into her. They literally tripped over one another. Luckily Kiana rolled one way and the spotted cheetah the other. Her heart hammered at her ribs with startling ferocity. That was nothing compared to the snarl issuing from the big cat.
Its eyes were cloudy. It must have an older cat who stumbled carelessly into the noonday sun and been blinded. With all the other adverse effects of climate change it couldn’t have been helped. This was not helping her at all, though. Her limbs were still trying not to move. She didn’t seem to have much control over her shrill breathing, something the cheetah’s ears tuned in on with terrible accuracy.
That’s when the Old man stepped around her, waving both long arms and yelling, startling the cat enough that she could get off a shot with her tranq pistol. It took a couple of shots to flatten the agitated beast, but it was done.
The pistol thunked to the brittle yellow grass as the Old Man swung back to her with that familiar grin. “That’s why you shouldn’t be out here by yourself,” he said. “Baby? What’s wrong?”
“…please stop,” she whispered, her overflowing eyes burning. “…god, please stop…you can’t be here…”
“I don’t see why not. The cheetah seemed to agree with me.”
“B-but, Poppa, you’re gone. You’re…y-y-you’re…”
It all came spilling out, all the tears dammed for the past six weeks, all the suppressed emotions, stealing her breath, choking her. The Old Man returned from the truck with a paper bag for her to breath into. He held onto her with soothing words as she hunched over herself, hyperventilating for how long, an hour? All she was able to choke out in all that time was, “forgive me.”
“What for, baby?” he asked.
“I-I wasn’t there, Poppa. I-I didn’t come for the end.”
“The cancer was pretty far along this time. There wasn’t a lot anyone could do.”
As he’d done when she was younger and brought home every stray dog in the neighborhood, teary-eyed, he now dabbed her cheeks with a kerchief that was the same safari-brown as his sleeveless shirt and shorts. “It’s okay, Baby. Say what’s really bothering you.”
She could look at him now, into the smiling eyes that had raised her, the face now smoothed of all aches. “Is heaven real?” she asked.
“It’s better than heaven,” he shrugged. “Go on. You can do it.”
“What, the little girl who frolicked with lions? That’s not who I remember.”
“That’s just it. I didn’t want to remember you like that, all wasted away. I wanted you to be strong in my memory. I wanted to remember all the fishing trips with you and Momma. I wanted to remember that big hug you gave me when I came home from my mission.”
“You can still have that. Nothing wrong with that.”
“But I-I’m not ready.”
“I wasn’t. Nobody’s ever ready. That’s okay. I have faith in you, baby.”
“Does Momma hate me, for not coming home?”
He blew a raspberry out the side of his mouth. “Never. ‘Worried’ is more like it. You should give her a call.” Together they stood. “I’ve been allowed this one visit. I’ve probably overstayed it already. Why don’t I help you load that cat in the cage before I get back?”
This was done in no time at all. As she slammed the metal cage shut in the back of the Jeep, he tipped her chin up, chucking her on it. “I’m proud of you, baby.”
She ducked her head with a smile. A stiff breeze whipped through her bones and he was gone. In the depression in the grass where he’d stood, there remained a small red book of Psalms, the one he’d always carried with him for forty years. The one Momma swore she’d buried with him.
How do you progress with a character you adore? Trust me on this, as the author and creator you are the last person with any objectivity on this subject. I’ve been carrying the soul of my OC Jamai since my high school days, which isn’t saying much considering way back when she was second banana to her lover Youssou’s predecessor Conan-the-Barbarian wanna-be. Oh yeah, they were white too. A white barbarian tribe in Africa. That’s how much work I had cut out for me.
Well, yes. I brought that on myself. Fortunately, I was connected with some friends in a Seattle group that called itself Writer’s Cramp. I’m trying to remember all the details; forgive for if I get a few wrong. I was invited to one such meeting, in Kent I believe, and as we were leaving for home, Fran asked what I thought. I just spent two hours reviewing the works of five people who were considerably more talented and imaginative than I was, who took considerable pleasure in ripping their precious works to shreds. All I could say was, “You guys are vicious!”
That kind of breaking things down from the ground up was exactly what I needed. It was a hard couple of years, but I am grateful to all my friends for the grueling education in improving your science fiction writing that I acquired. What this meant for Jamai was that I had to take a few months off to do a hard reset.
For starter, that whole ‘white barbarians in an African setting’ b.s. had got to go. Second, and in no way would I suggest there was a stark moment of enlightenment that drove my thinking at this point. Doesn’t really happen in writing, folks. Sorry. At some point, however, I started putting Jamai face-forward, as she seemed to be the stronger character, even with the shoddy works I’d been showcasing her in before.
So where did that leave us? Well, now we had a new problem, something you may have noticed with most TV programs and comic book characters. Namely, that at the beginning of each story Jamai wound up at the same point she started at in the last fekking story! My strategy, such as it was, would be to lead up to the big life-defining conflict she’d face as an adult. The new stories began in childhood and would lead her through her teens. My friends in Writers Cramp pointed this weakness out to me, and honestly, I didn’t want to hear it! I knew what I was doing! Heh heh, I thought did, anyway.
Took a while for the lesson to sink in. Things happened. I lost contact with Cramp, and in the Double-Oughts, the ever-lovin’ 2000’s, I was engaged in a self-engaged quest to raise awareness for the issue of the slave trade in the Sudan. I was proud of the work I did with my fictional team, the Emancipation Posse; I think I did some of my best work with this book collection. I loved these people: Kate, Fong, Quench and Dru. And about three stories in, I added my favorite OC to the mix.
This wasn’t the same girl I’d ben writing tales for before, though. This was Old Jamai, hereafter known as Granny. I liked Old Jamai. She was confident, self-assured, a spiritual guide who did not suffer fools. I needed that time apart in her narrative to jog my brain cells and figure out how that young lady grows into the goddess she would become. And in a way I’m still exploring that issue.
Butterfly & Serpent
in paperback and Kindle
available at Amazon.com