Star Trek: The Forgotten Series

While we’re talking about Trek, lemme mention something that many may remember but many may have forgot or never known about.

There’s a sixth Star Trek series that is seldom discussed today except in fearful whispers.

Despised and shunned more than Voyager, it is Star Trek: The Animated Series (TAS).

It ran for two years (22 episodes) in the 1973-1975 seasons.

To quote H. P. Lovecraft: "It was horrible . . . blasphemous . . . loathsome . . . abnormal."

Or was it?

The series did indeed have clunker episodes, and a disproportionate number of them. But then so did The Original Series which ran 78 episodes and, in the words of Phillip J. Fry were "About a third of them good."

TAS had the advantages of having the original cast members (Bill Shatner, Leonard Nimoy, etc.) doing the character voices. It had the advantage of Star Trek veterans and mainstream sci-fi writers doing scripts (Larry Niven, David Gerrold, D.C. Fontana). Its animated format allowed the creation of aliens, including crew members, who could never have been done in a live-action series at the time. It also introduced the holodeck technology that reappeared and became a fixture starting with Next Gen.

Some of the stories were very well done, including one (Yesteryear) set on Vulcan during Spock’s boyhood that was so well done details of it later became canonical on live-action shows despite the fact that the animated series has generally been ejected from continuity.

Yes, the series is regrettably considered non-canonical by most. Thus (except for events mentioned in Yesteryear) it is not included in Michael and Denise Okuda’s Star Trek Chronology. This is a pity because the two-year animated series could serve as a nice completion of the Enterprise’s famed "five-year mission" which only ran three years in the original series. Instead, the Chronology treats the five-year mission as having begun two years before TOS and ejects TAS from the timeline.

Admittedly, the series wasn’t up to the same standard. It had more clunker episodes, and even the good ones suffered from being only twenty-one minutes long (as opposed to about fifty for TOS) and aimed to a greater degree at children. Still, I have a fondness for it and, as bad as Trek has been on other occasions, I incline toward including it in the canon.

The series is currently out on VHS. Hopefully it’ll be out on DVD.

In the meantime,

HERE’S A SITE WHERE YOU CAN LEARN ALL ABOUT STAR TREK: THE ANIMATED SERIES.

Whither Trek? JMS Weighs In

Folks may know that DS9 veteran Manny Coto is serving this year as show runner on the now-final season of Star Trek: Enterprise.

He’s doing good stuff.

What folks may not know is that a slot as executive producer on the show was offered to Joe Michael Straczynski (JMS) of B5 fame, but he turned it down.

He did, however, collaborate on a work that was sent to UPN about how to revitalize the Star Trek franchise.

In the wake of Enterprise’s cancellation, just after midnight, he sent out

THIS NOTE TO B5 AND TREK FANS IN WHICH HE OPENLY LOBBIED THEM TO ASK UPN TO LET HIM AND DARK SKIES’ CREATOR BRYCE ZABEL CREATE A NEW STAR TREK SERIES.

Among other interesting things, he wrote:

Bryce Zabel (recently the head of the Television Academy and creator/executive producer of Dark Skies) and I share one thing in common. We are both long-time Trek fans, from the earliest days, who felt that the later iterations were not up to the standards set by the original series. (I’m exempting TNG because that one worked nicely, and was in many ways the truest to the original series because Gene was still around to shepherd its creation and execution.)

Over time, Trek was treated like a porsche that’s kept in the garage all the time, for fear of scratching the finish. The stories were, for the most part, safe, more about technology than what William Faulkner described as "the human heart in conflict with itself." Yes, there were always exceptions, but in general that trend became more and more apparent with the passage of years. Which was why so often I came down on the later stories, which I did openly, because I didn’t feel they lined up with what Trek was created to be. I don’t apologize for it, because that was what I felt as a fan of Trek. That’s why I had Majel appear on B5, to send a message: that I believe in what Gene created.

Because left to its own devices, allowed to go as far as it could, telling the same kind of challenging stories Trek was always known for, it could blow the doors off science fiction television. Think of it for a moment, a series with a forty year solid name, guaranteed markets…can you think of a better time when you take chances and can tell daring, imaginative, challenging stories? Why play it safe?

When Enterprise went down, those involved shrugged and wrote it off to "franchise fatigue," their phrase, not mine.

I don’t believe that for a second. Neither does Bryce. There’s a tremendous hunger for Trek out there. It just has to be Trek done *right*.

Last year, Bryce and I sat down and, on our own, out of a sheer love of Trek as it was and should be, wrote a series bible/treatment for a return to the roots of Trek. To re-boot the Trek universe. Understand: writer/producers in TV just don’t do that sort of thing on their own, everybody always insists on doing it for vast sums of money. We did it entirely on our own, setting aside other, paying deadlines out of our passion for the series. We set out a full five-year arc.

He said that, though he had lots to keep him busy until 2007, he’d set it all aside for the chance to do the Trek series he had in mind.

A few hours later (JMS stays up crazy late at night) he sent out

THIS POST BELAYING THE REQUEST AS HE HAD LEARNED THAT PARAMOUNT PLANS TO LET THE STAR TREK TV FRANCHISE LIE FALLOW FOR A YEAR OR TWO.

He expressed hope, though, that when Paramount is ready to reactivate the franchise that his schedule will be clear and he’d get a shot at doing the show.

I don’t necessarily agree with JMS about the quality of Trek declining after Next Gen. My current impression (this may change after the DVD release of Enterprise) is that the Trek series are to be ranked from best to worst in this way:

  1. Deep Space 9
  2. Next Gen
  3. Original Series
  4. Enterprise (if the fourth season is counted)
  5. Voyager
  6. Animated

I thus feel DS9 rather than TNG was the highpoint.

Nevertheless, I think JMS doing Star Trek could be awesome.

I’m a little cautious about his use of the term "re-boot" in connection with the Star Trek universe. I’d like to see existing Trek continuity stay intact, though I have to admit that I’ve pondered where the franchise might go next, given all that has been established. They’ve written such an extensive backstory that writers may be boxed in creatively. After Voyager closed, their best chance for finding new creative room was in doing a prequel, and they botched that (until the current season). This prevents them from doing another prequel to TOS. If they go further into the future than VOY, they run the risk of having so much technological wizardry that it overwhelms the story. ("Activate a trans-warp conduit! We’ve got to get to the other side of the galaxy before the next commercial break!") So I’m at least theoretically open to the idea of a re-boot.

I suspect that most fans are not, however. Jettison all their beloved stories and intricate continuity and chronology debates and they will be far less understanding than comic book fans were when DC rebooted its universe.

On the other hand, I suspect that JMS may have been using the term "re-boot" in another sense: Just a reinvigoration rather than a complete restart from scratch.

Either way, I’d like to see him get his shot.

I think he could do for Trek what Ron Moore did for Battlestar Galactica. (Though I’m not entirely satisfied with the latter, it’s still several Quantum Leaps [pun intended!] above the 1970s version.)

So Now We Know . . .

. . . the answer to why Klingons looked different in The Original Series (TOS) than they did both before and after this, that is.

Last night’s episode of Enterprise revealed the reason.

Don’t worry, I’m not going to spoil the answer in this post. If you haven’t seen the episode, it may be re-run on Saturday or Sunday night on your station.

CHECK YOUR LOCAL LISTINGS.

I will, however, talk a little bit about the problem.

First, the offscreen explanation for the change is clear: When TOS was being filmed, they had miniscule makeup budgets, so they couldn’t make the original Klingons look that different from humans given that they were a major race that would be appearing often.

They tried to have a little more elaborate makeup for the Klingon leaders (other starship commanders equivalent to James Kirk), but the Klingons in the background were often just black guys in Klingon uniforms.

Notably absent were the forehead ridges that got introduced . . . in Star Trek: The Motion Picture.

Offscreen, when Star Trek went from the small screen to the big screen they went from a small budget to a big budget that could be used on all kinds of things . . . including makeup. So the alien race of Klingons became more . . . alien.

When the change was made, fan theories about it prospered, but onscreen there remained no explanation for the change, the producers of the show hoping that the fans would recognize the makeup change for what it was (the outworking of a budget change) and would just "go with them" on this one.

Fan theories about the change included:

  1. The "human-looking" and "forehead-ridged" Klingons were two different races within the Klingon Empire.
  2. The human-lookings were hybrids with humanity, while the forehead-ridgers were purebloods.
  3. The difference was the result of a virus.
  4. The difference was due to Klingons wanting to appear more human in a particular phase of their history (e.g., we know that one character in the TOS episode "The Trouble With Tribbles" was deliberately disguised as a human for covert ops purposes).

When ST:TNG kicked in, a Klingon (Lt. Worf) joined the main cast, and in keeping with larger TV budgets (and better makeup techniques), the Klingons on TNG were forehead-ridgers.

The same inevitably replicated on the sequel to TNG, Star Trek: Deep Space 9. But DS9 added new wrinkles to the puzzle.

First, DS9 established Klingon characters who had originally been introduced in TOS. All those old Klingon ship captains who squared off against Kirk–Kang, Kor, Koloth? They were all back now–as old men–and played by the same actors. But they were in new makeup. Thus here’s a comparison of how Koloth looked in the two series:

Koloth1 Koloth2

Okay. Big diff.

It also ruled out one of the popular fan theories: that the diff was due to there being more than one race of Klingons.

A theory that could have explained the difference (but that I don’t know was ever posed by fans) was that the forehead-ridge appearance developed with age, so that all the Klingons seen on TOS were younger, while those seen later were . . . older. The change might even strike different Klingons at different times of life the way . . . baldness . . . strikes different human men at different times.

We have our own forehead changes, see.

Well, events continued to overtake speculation, and in the 30th anniversary episode, "More Tribble, More TroublesTrials and Tribble-ations," Lt. Cmdr. Worf establishe a new onscreen fact about the difference: Klingons are embarrassed about it. Specifically, Whorf looked uncomfortable and said: "We do not discuss it with outsiders."

When Enterprise initially hit the airwaves four years ago, it had the forehead-ridgers that we were familiar with from TNG onward.

So this left the writers of Enterprise, now that it finally got good and got cancelled, an interesting puzzle once they decided to finally do an onscreen explanation of the difference. Specifically, they needed to explain:

  1. Why the difference existed.
  2. Why characters in Enterprise’s time had the forehead-ridge appearance.
  3. Why characters in the TOS period had the human-looking appearance.
  4. Why characters from the beginning of the movies onward were back to the forehead-ridge appearance.
  5. Why characters introduced as human-looking in TOS were forehead-ridgers later on.
  6. Why it seemed to affect the whole race.
  7. Why Klingons were embarrassed to talk about all this with outsiders, and:
  8. Why the human-lookers were so . . . human . . . looking.

To my mind, the answer eventually provided last night by ST:ENT to this long-standing Star Trek mystery was a good one.

Don’t spoil it in the comments box.

I’ll reveal it before next week’s episode.

Music Copying

A reader writes:

I was wondering if you have or could write on your blog on the subject of copying music–covering all aspects.  Some of the experts on the EWTN website have touched on it, but they are not really up on all the technology.
Hoooo-eeee! All aspects? ‘Fraid not on a blog. The field’s too big. But I’ll do what I can to answer the points you raise in your e-mail.
I definitely don’t want to do anything sinful.  However, if some form of copying is ok, I would like to do it.  I always thought it was ok to tape some songs from the radio onto a cassette tape.   Now I’m not so sure.
They have sold cassette recorders for years and blank tapes.  For years I have been taping Christmas music and classical music from the radio for my own listening pleasure.  Also, I have taped with my VCR some musical programs shown on PBS (like operas) and saved them for future viewing over the years.  Now I’m wondering  if I’ve been stealing for years.  Are we allowed to tape like this?
You definitely can record songs off the radio or TV (whether to a cassette or any other medium) for your personal use. This was settled a coon’s age ago by a legal case that defined such personal use of broadcast material (TV shows included) as kosher under U.S. copyright law. This is not considered stealing. (Perhaps one of the lawyers reading the blog can fill in the case citation in the comments box.) When technologies like the cassette recorder and the VCR were introduced there were lawsuits trying to get their manufacture stopped, and the lawsuits failed. It’s okay to record off radio or TV for personal use.
I recently read somewhere (during a Google search), that companies or artists (I don’t remember which) get part of the money from blank tapes.  Does this cover any stealing aspect?
To the best of my knowledge, this is not happening. You may have read someone’s proposal for how to address the current situation, but I have no evidence that this is being done. While it initially sounds plausible and might work for purposes of satisfying the recording companies, it would be harder to get royalties to the artists on this basis. Fights would errupt over whether a given artist’s fans are taping him more and therefore he needs a bigger chuck of the pie than some other artist with equally large record sales but who (it is claimed) has fans who copy him less.
I have learned that it is wrong to share music with family or friends.  In other words, I can lend someone my original CD or tape that I bought, but I can’t make a copy for them.
You can’t make a copy for someone else. You can lend them the original recording that you bought and you might be able to lend them a back-up copy you made for yourself (perhaps a lawyer reading could clarify this), but it is my understanding that you would not legally be allowed to simply give someone a copy you made with no intention of getting it back.
These new inventions like the ipod–how does the music get on them?  Are these ok?
In principle, they’re fine. They’re simply new recording & playback devices like cassette players or VCRs. As to how the music gets on them, there are several ways, but the most basic two legal ways are:
  1. You buy a CD in a store and then you "rip" it on your computer (i.e., convert it to a file format that your computer knows, such as .mp3 format) with a program like iTunes (comes with the iPod), which then transfers it to the iPod. Since this is making a personal copy from something you bought, it’s allowed.
  2. You go to a music purchase service like musicdownloads.walmart.com and pay for a copy of the song, which you then download and transfer to the iPod. Again: You’re paying for it. A royalty is going to the record company. So it’s all perfectly legal.
Where some folks get into trouble is they download songs from music services that don’t send a royalty to the record company (like Napster when it first started out, though it has now been revamped after being sued mercilessly and is now clealry kosher), which gets the record company hopping mad and claiming that this is illegal behavior. Whether it is illegal behavior is hotly disputed, but the courts have not been casting a friendly eye on the groups doing this.
Another way people get in trouble is ripping their CDs and simply giving copies of the files to friends, which is analogous to making a cassette copy of an album you bought and then giving the cassette to a friend so he doesn’t have to buy the album for himself and the record company and the artist that produced the album get bupkis.
What about the new satellite radios (like Sirius) where we pay a monthly fee?  Can we tape and save music from them for our personal use, since we are paying for it?  Or are we "stealing" from the artist because we are not buying the song.
My understanding is that, as a broadcast medium, you can tape whatever you want off sattelite radio. Sattelite radio is equivalent to a pay TV service such as cable. If you’re paying for it, you certainly can copy off it for personal use.
You might get into trouble, however, if you had hacked a sattelite or cable service, though. Descrambling something that you aren’t paying for might be regarded as stealing–whether or not you then make tapes from it.
I am trying to grow in holiness, and I don’t want to do anything that is, in essence, stealing. 
Good for you. That’s exactly the right attitude to have.
Hope this helps, and God bless!

Teenage Book Recommend?

A reader writes:

I’m one of the refugees from Mark’s blog.  I’ve really enjoyed your blog as well, even some of your more "bizarre" stories (what the heck is a "chupacabra" anyway? Reminds me of my children’s favorite magic word "abachugaba"….but I digress.)

My question for you has to do with my teen.  She’s 18, and doesn’t have the strongest faith.  She is "interested" in a 19 yo boy, who doesn’t have ANY faith, but is open to Catholicism (and is baptized, btw).  Do you have any ideas for a book or two to keep on hand should any real questions come up?   He’s rather immature, so the Catechism isn’t going to cut it yet.  One of my favorite books for info about what Catholics believe is "The Faith Explained" by Fr. Leo Trese, but again, this isn’t for someone to cut their teeth on.

In regard to your first question, a chupacabra is a legendary create credited with sucking the blood from goats and other small livestock (e.g., chickens). The name is Spanish for "goat sucker" (chupa="it sucks" cabra="goat"). I don’t believe in chupacabras, but I have a taste for X-File-like material and find it interesting to entertain the question of whether some of the creatures mentioned on the blog might be part of the things inspiring the chupacabra legend.

As to your second question, I don’t know of how much help I can be. Not being married (unfortunatly), I don’t have any kids of that age (or any age) and so I haven’t researched the books that might be good for them. In the age that we’re talking about, though, they may be ready for easier-to-read books written for adults. I might give him a book of conversion stories like Surprised by Truth.

Other suggestions, folks?

Legion Clubhouse

A reader writes:


I couldn’t resist…


…showing off my homemade Legion clubhouse. Finely crafted from a Quaker
oatmeal canister and, if my old comics are any indication, it’s correctly
proportioned. (I assume they’re all outside because Bouncing Boy is already inside.)


Love your site.

Legion_clubhouse

Kewl!

That’s just what the original Legion’s clubhouse looked like! (I.e., a rocket accident.) Good work!

Kudos on the action figure collection, too!

Comic Book Recommend!

Dcdsaturngirl2_4This weekend I went to my local comics shop and picked up the books that had accumulated for me in December and January. As a result, last night I read the December and January issues of the Legion of Super-Heroes.

The Legion is, for sentimental reasons, my all-time favorite comic. I started reading it as a boy and fell in love with it.

It’s about a group of young superheroes in the 30th (now 31st) century. It’s also the longest-running super -hero team in existence (having first graced the pages of DC comics in 1957).

It hasn’t always been well-written or well-drawn (and so I haven’t always read it uninterrupted), but hey, it’s a boyhood favorite, and everybody’s entitled to at least one of those.

I’m mentioning it here because I’d like to recommend that comic books fans go out and pick up the two most recent issues.

The reason is that the Legion has just been "rebooted," though they aren’t using the term "reboot" in the industry literature (they’re saying it’s been "re-envisioned").

For those who may not be aware, comic books periodically write themselves into creative corners and the creators decide that the best thing to do is to start over and tell the story afresh, honoring the spirit of what went before while jettisoning all the continuity that has boxed the writers in to a corner creatively. This "do over" is known in the industry as a "reboot."

The biggest reboots in history were the transition from the Golden Age of comics to the Silver Age, which occurred in the 1950s, and the 1988 event Crisis on Infinite Earths, in which the entire DC Universe was rebooted, with the most dramatic changes happening for Superman and Wonder Woman (Batman saw his way through the Crisis relatively unscathed).

Unfortunately, Crisis didn’t do all the work that needed to be done in some corners of the DC Universe, and some titles, like the Legion of Super-Heroes have been rebooted several times since.

The last time the Legion was rebooted, DC went to comic writer wunderkind Mark Waid to do it, and he did a great job. The new Legion was more fun to read than the title had been in some time. Unfortunately, Waid left the book and eventually the writing level declined as subsequent writers boxed themselves in creatively. By the end of that run, I’d basically stopped reading the comics (though I still bought them).

In December, DC brought Waid back to reboot (er . . . "re-envision") the title once again.

After reading the first two issues of the reboot, I’m sold.

Waid has done it once again.

The book is bristling with creativity. There are lots of nods to established Legion tradition, but it’s accessible enough that a new reader can jump in and enjoy it (this being one of the principal goals of a reboot).

The art (by Barry Kitson) is really nice, with a good eye for detail and design that rises well above the pedestrian pencilling that the Legion has suffered from in recent times.

Most important for me, though, are the story and the characters.

As far as the story goes, the Legion is still a super-hero team of about twenty (!) members from different planets and that dwells in the 31st century. What’s different is that it’s now at the center of a youth-movement with more than 75,000 affiliate members. Any kid on any planet who endorses the Legion philosophy can consider himself a legionnaire, even though the core team is still just the twenty-or-so we spend most of our time reading about.

The Legion philosophy is radical for its time. For the last thousand years, humanity has lived in a near-utopian environment with scarcely a breeze to ruffle a bird’s feathers. But it’s a world with a dark side whereby parents have their kids hooked into an invisible Internet that monitors everything they see and hear . . . for their safety, of course.

The opening narration to the Legion explains:

Ours is an age of peace and tranquility. By the dawn of the 31st century, an Earth-based network of worlds has created a rigidly mannered serenity throughout the cosmos–a near-utopia. All we, our parents, and their parents have ever known is security, stability, and order.

We’re so sick of it, we could scream.

The Legion is determined not only to fight bad guys, but to bring back to society a sense of fun, adventure, and excitement.

The first two issues are a good start!

While the story is good (an inter-stellar war is about to start), the characters are also good.

These are important for a long-time fan who has known and loved these character (literally, in my case) for decades.

One of the things that happens each time a title reboots is that the creators adjust the characters in ways they hope will create interesting story potential. Sometimes they are successful; sometimes they are not.

For example, last time the Legion rebooted, one of the most easy-to-look-at legionnaires, the gorgeous Princess Projecta, became a giant snake! (Bad move! My philosophy is: If you want to introduce a legionnaire who is a giant snake, fine, just don’t mess with an established character who is easy to look at.)

In the Legion’s latest incarnation, that hasn’t happened (yet), but other changes, good and not-as-good, have occurred.

I don’t mind the character changes if they serve a conceptual purpose. For example, I was tickled pink by what they did with Colossal Boy.

Originally, Colossal Boy was an Earthling who had invented a serum that allowed him to grow to . . . well . . . colossal proporitions. In the new version, he’s a man from a race of giants who has the ability to shrink himself down to being six feet tall and who wants to be called "Micro Lad" (he doesn’t get his wish).

Ha!

That’s great!

Another creative change centers on Dream Girl, who is from a planet where people have visions of the future, often in their dreams. Dream Girl has always been a hard character for writers to handle, but Waid has broadened the character’s conceptual background immeasurably in the new reboot. In the past she’s been kind of ditzy, but now she spends enough time in the future that she forgets things like . . . we haven’t yet defeated the bad guy in front of us.

Especially nice is the way the second issue plays Dream Girl off the ultra-rational Brainiac 5 (a super-genius from the planet Colu). Brainiac 5 resents here because he spends untold amounts of mental effort deducing the likely outcome of events from gigaquads of seemingly-unrelated data, only to have a precognitive like Dream Girl waltz in and come up with the same conclusion by sheer intuition.

At the end of the second issue, we get this exchange between the two of them regarding Dream Girl’s seemingly infallible predictions:

BRAINIAC 5: All it would take is for one future casualty–just one–to find the will to break the lockstep of destiny. If that happens, all probabilities shift.

The universe is more unpredictable than we give it credit for.

Your predictions don’t have to be infallible.

DREAM GIRL: . . . (pauses) . . .  (smiles) . . .  You’ll feel different when we’re married.

Hah!

Yes!

(Previous Legion continuity has already established that Brainiac 5 has a thing for blonds, and Dream Girl is a blond).

Not all of the character changes are ones I would have made. For example, Star Boy (who has the power to increase an object’s mass) has inexplicably been changed into a black guy for no apparent purpose relating to the story. There are already people in Legion history who could (and should) be introduced to establish adequate black representation on the team: the second Invisible Kid and both of the Kid Quantums, for example. New characters also can be introduced. Unless they have a special story to tell relating to the new Star Boy’s ethnicity, I don’t see the point of the switch.

That being said, I do like the new Star Boy’s character. He looks really cool, and he gets some of the best comedic lines.

In any event, I’d like to recommend the new Legion title for any comic book fans in the audience.

LONG LIVE THE LEGION!

(Saturn Girl had just better not turn into a giant star-nosed mole!)

A Complex Circle

Willthecirclebeunbroken1NOTE: In its native form, "Will the Circle Be Unbroken" is one of the three saddest songs ever written together with "Tomorrow Never Comes" (Creedence Clearwater Revival) and "Ashokan Farewell" (Various). 

NOTENOTE: By the authority vested in me as blog administrator, I am the arbiter of what counts as the saddest songs ever written. No song is in this category until I hear it and judge it so.

NOW: A good piece back I started getting into the unique sound of the Nitty Gritty Dirt Band.

The Dirt Band’s sound was unique in that it didn’t fit into any of the typical categories of popular music in its day (the late 1960s and 1970s). "What is it?" some promos asked. Was it Rock? Country? Folk? Bluegrass? Or something else?

Truth be told, the Dirt Band’s music is today what we might classify as Country-Rock. This was before Rock n’Roll fell apart in the late 1980s and the ensuing remnants were swept up into contemporary Country (which is surprisingly Rock-like), insipid Pop, noxious Hip-Hop, and offensive Rap.

But not all the Dirt Band’s work is Country-Rock. A notable exception is its 1971 album Will The Circle Be Unbroken.

This album is much more traditional, with melodious melodies courtesy of Country-Folk-Bluegrass artists such as Doc Watkins, Earl Scruggs, and Mother Maybelle Carter.

It was a meeting-of-the-generations album, with the Dirt Band (representing youth) joining established artists (representing the older generation) to create wonderful, traditional music.

In a time when the "generation gap" was the talk of the nation, the cover of the album bore the hopeful legend: "Music forms a new Circle."

Indeed it did.

The title song of of the album was sung by country-legend Mother Maybelle, together with the Dirt Band and all the other artists appearing on the album.

The song tells the story of a person who is forced to surrender one’s mother to the reality of death and who wonders whether the whole of the family circle will or will not be reunited with God in heaven.

The central lyric and the chorus of the song is as follows:

Will the circle be unbroken?
By-and-by, Lord, by-and-by?
There’s a better home a-waitin’,
In the sky, Lord, in the sky!

As the chorus suggests, the song has notes of hope, caution, and loss.

It was fitting that Mother Maybelle take the lead in singing the song since she was a member of the original Carter Family. The Carter Family was centered on A. P. Carter, who originally wrote the song. The Carter Family also included his sister-in-law Mother Maybelle Carter and, eventually, her daughter June Carter.

June Carter married music-legend Johnny Cash, to become June Carter Cash.

Mother Maybelle died in 1978, leaving her daughter (June Carter Cash) and he son-in-law (Johnny Cash) behind her.

In the 1980s, the Dirt Band decided to do a sequel album titled Will The Circle Be Unbroken, Volume 2.

This time around, Johnny Cash was one of the main guest singers on the album, and he took the lead on the album’s rendition of the song "Will The Circle Be Unbroken" (which, once again, was sung with the Dirt Band and all the artists participating on the album).

It was a nice touch.

A. P. Carter had written the song.

His sister-in-law, Mother Maybelle, took the lead in recording it the first time around.

Now Mother Maybelle’s son-in-law, Johnny Cash, took the lead.

But the Dirt Band didn’t leave it untouched. They made one of the three saddest songs ever written sound . . . happier, with more hope than before in it. And they added a new stanza to it:

We sang the songs of childhood,
Hymns of faith that made us strong,
Ones that Mother Maybelle taught us,
Hear the angels sing along!

HEAR THEM!

AND THEIR (CLASSIC!) PREDECESSORS!

SpongeBob GaySquarePants

A while back there was a flap over Jim Dobson and comments he made regarding a video involving SpongeBob SquarePants.

To hear some tell it, Dobson accused SpongeBob of being homosexual or of promoting homosexuality in the new video.

Since I have previously said that I find SpongeBob funny, a number of readers sent me links to stories and asked me for comment.

I didn’t comment at the time because of what I considered an absence of hard fact. The stories seemed shaky to me–long on conjecture and short on fact. Frankly, I didn’t trust them. I suspected that something was being blown out of proportion somewhere.

Sure enough, by coincidence I happened to catch an appearance of Dobson on the Hannity and Colmes program in which he vociferously denied having claimed that SpongeBob was gay or that the video–which only has a few seconds of SpongeBob in it and which features just about every major cartoon character currently on Nickelodeon and similar networks–promotes homosexuality.

What he had said was that certain teaching materials associated with the video (which features cartoon characters singing the song "We Are Family" and which is to be distrubuted to schools for showing to children) are in some way supportive of homosexuality. He said that SpongeBob and the video were fine in and of themselves, but they were being used as part of a bait-and-switch strategy on school kids.

There’s some merit to that charge.

While the teaching materials that Dobson (is alleged to have) quoted aren’t readily available, the website of the makers of the video is, and it contains the following "Tolerance Pledge":

Tolerance is a personal decision that comes from a belief that every person is a treasure. I believe that America’s diversity is its strength. I also recognize that ignorance, insensitivity and bigotry can turn that diversity into a source of prejudice and discrimination.

To help keep diversity a wellspring of strength and make America a better place for all, I pledge to have respect for people whose abilities, beliefs, culture, race, sexual identity or other characteristics are different from my own [SOURCE].

The (probably deliberately) ambiguous phrase "sexual identity" can well be construed as referring to those who have "sexual identities" other than the straightforward biological categories "male" and "female." It likely is meant to cover people of one biological sex who have homosexual (or other) temptations. Certainly it’s ambiguous enough that it lends itself to this interpretation. The words are clunky and suggestive of an interpretation meant to cover more than what the simple word "sex" would have covered.

If I were a parent with a kid in school, I’d certainly be critical of any attempt to get my kid to say a pledge like that, including showing him a video of his favorite cartoon characters that is sponsored by an organization promoting this pledge.

Even apart from the "sexual identity" clause, there are better, more direct, and more effective ways of teaching kids to be tolerant of the legitimate differences of others besides encouraging them to say pretentious pledges. For that matter, there’s too much "tolerance" rhetoric in the schools (and in society) than is good for us, as it’s used as a codeword to stigmatize those who want to maintain traditional moral values.

"Tolerance" is not an abstract virtue any more than "intolerance" is an abstract vice. Some things ought not to be tolerated (murder, for example). Whether tolerance in any particular case is virtuous depends entirely on what one is proposing as the object of tolerance. Propose the wrong object and tolerance of it is a vice.

Now, why have I decided to comment on all this now when I didn’t at the time?

Basically, because I ran across

THIS WENDY McELROY EDITORIAL THAT CAME OUT LAST WEEK.

She says a number of things in it that I find valuable, including underscoring the basic point that people shouldn’t be dogpiling on Dobson or creating a media furor without first investigating the facts of the case, and the facts in this case are precious few.

I always like it when people in the media point out that we shouldn’t go off half-cocked before we have the facts (the latter being a chronic danger of their profession).

McElroy also points to contributing factors that led to the furor, including the fact that the media is simply hostile to Dobson.

I’d add an additional contributing factor that McElroy fails to mention: SpongeBob has been at the center of rumors of homosexuality for some time. I’ve encountered the "SpongeBob is gay" rumor a number of times from well-meaning Christians who have never watched the show but who have heard it from others.

Lemme set the record straight on that: So far as one can tell from the show, SpongeBob ain’t gay. He even has a (kind of) girlfriend. (I say "kind of" because shows meant to be enjoyed by young children tend not to get into romance very far these days.) It is very easy to explain what SpongeBob is:

He’s Jerry Lewis.

Like Jerry Lewis, SpongeBob is a comic character trapped perpetually between childhood and adulthood. He’s a perpetually awkward character who in some ways functions as an adult (he has a job, a house, he lives on his own) but has many of the mannerisms and limitations of a child (he’s socially inept, can’t drive a car, has a high-pitched voice, and is naive as all get out).

There are only two major differences between SpongeBob and Jerry Lewis: (1) He’s a sponge, and (2) he’s actually funny.

I’m given to understand (though I have not verified this) that some in the homosexual community have tried to adopt SpongeBob as a mascot, and it’s easy to understand why they might want to do so. Many in the homosexual community (like any community) enjoy the thought of popular figures being members of their community, and the fact that SpongeBob is a popular and perpetual awkward man-child unlikely to ever overtly contradict the idea that he’s gay (when was the last time you saw a cartoon character do that?) makes him a tempting target.

Indeed, there is even an impulse in the homosexual community to take wholesome images of adolescence and turn them into a kind of homosexual parody. That’s why homosexual men dress up as Judy Garland from The Wizard of Oz at gay pride parades. Judy Garland’s character Dorothy is such a wholesome image of a person trapped between childhood (where the character was) and adulthood (where the actress clearly was) that homosexual activists have delighted in corrupting that image.

Well, that’s their lookout. I’m not about to let the fact that some of them have tried to subvert Dorothy into some kind of gay icon stop me from enjoying The Wizard of Oz, and if some are trying to do the same for SpongeBob, I’m not going to let that stop me from laughing at his humor.

All this does go to the question of why the Dobson vs. SpongeBob thing took off as fast as it did, though.

Though I appreciate much of McElroy’s editorial, I’m not persuaded by all of it. In particular, I’d cut Dobson more slack than she does. I’d also challenge her on one particular point. She writes:

[O]ne of the first questions I would ask is whether he would object to cartoon characters being used to inculcate sexual values with which he agrees. Frankly, I doubt he would protest Winnie the Pooh being used to advance the traditional family or the choice of women to become mothers and housewives.

Yet those choices, no less than homosexuality, are politically charged and offensive to some.

After beating up on others for conjecturing rather than checking the facts, it’s a little surprising that McElroy would feel to free to conjecture what Dobson would say about a situation without checking with him.

That aside, I’ll speak directly to the merits of the question she raises: What schools should do is reinforce the traditional moral values that society needs to keep running and that promote human dignity. Heterosexuality, the traditional family, and the choice of women to become mothers and housewives are high on that list. Those are the things that keep society running and they should be encouraged for all too obvious reasons.

If American social fabric has disintegrated to the point that this idea is now taboo in schools, all I can say is, "Well, that’s one more reason my children (should I be so fortunate as to have any) will never be placed in public schools."