Power to the People and the Concern of Censorship
- Thread starter mccaboose13
- Start date
mccaboose13
Mike
I didn’t see that one so maybe the gang already took care of it.
As for your post, I did see it and I did respond. It’s your call and your money after all. Spend it how you see fit.
Of course. But I wrote my thoughts on the release, which thousands share with me going by posts on music forums, and the best response I got was a Batman slap.
That wasn't aimed at you my friend, I was thinking about something totally different.
mccaboose13
Mike
We took that down, sorry about that. When I said I responded I meant earlier not the Batman one. That was very not cool of me and I apologize
Thank you for the clarification, Sir.
Some food for thought, although with very different reasons and circumstances: to anyone on this forum or elsewhere who remain convinced this is somehow an act of 'censorship,' would you level the same idea at EMI for refusing to distribute Two Virgins over its 'obscene' cover?
It was seen as controversial in its own time, even when UK television was demonstrating 'full frontal nudity' (to quote Monty Python) in a way that other territories still haven't come close to - the better part of six decades later.
Like or loathe the decision, Universal was as much within its rights as EMI were then in that they weren't convinced of the benefits of attaching the company's backing to a project with potentially controversial implications inherent to the release itself - even if released by an ex-Beatle.
John and Yoko's work is deeply imbued with social and cultural impact, but we must also recognize that the businesses that got their product into stores and music into ears were just that: businesses! Likewise, the importance of the music - as it is undoubtedly important, meaningful, and often personal to every one of us here - has to also be recognized as a commodity.
Universal and the Estate understand the importance of the content and its quality, both for its artistic impact as well as its commercial prospects. Both of those relevant parties have every right and good intention in removing something which would lessen the saleability of their product. Everyone wants to see these projects succeed.
While no one is owed an explanation - not having taken the original recording out of print physically or digitally, and the general reasoning being rather self-evident - they have been very open and engaging regarding this topic, for which I extend so much credit and appreciation.
So much work has been put into this release, as all of the Ultimate Collection releases have - from photo restoration, compiling the text from countless sources old and new, the laborious work on the audio, to the promotional coordination and activities - and for anyone to negate the efforts of so many individuals out of butthurt emotions over this one song would be to dismiss an immense amount of love and care for John and Yoko's work, as well as many hours of their work itself!
I would deeply encourage anyone who intends not to purchase it or remains on the fence over this issue to reconsider what this is: an era-enveloping archival trove that adds so much to the STiNYC story. To me, this release enhances the existing album, it is not a replacement or desecration of it - thus why it is not presented or packaged as such.
For those who intend to patiently await Walls and Bridges and whatever else the future may bring, please show your support for this one to continue showing Universal the demand and interest for the other John and Yoko titles you wish for.
It was seen as controversial in its own time, even when UK television was demonstrating 'full frontal nudity' (to quote Monty Python) in a way that other territories still haven't come close to - the better part of six decades later.
Like or loathe the decision, Universal was as much within its rights as EMI were then in that they weren't convinced of the benefits of attaching the company's backing to a project with potentially controversial implications inherent to the release itself - even if released by an ex-Beatle.
John and Yoko's work is deeply imbued with social and cultural impact, but we must also recognize that the businesses that got their product into stores and music into ears were just that: businesses! Likewise, the importance of the music - as it is undoubtedly important, meaningful, and often personal to every one of us here - has to also be recognized as a commodity.
Universal and the Estate understand the importance of the content and its quality, both for its artistic impact as well as its commercial prospects. Both of those relevant parties have every right and good intention in removing something which would lessen the saleability of their product. Everyone wants to see these projects succeed.
While no one is owed an explanation - not having taken the original recording out of print physically or digitally, and the general reasoning being rather self-evident - they have been very open and engaging regarding this topic, for which I extend so much credit and appreciation.
So much work has been put into this release, as all of the Ultimate Collection releases have - from photo restoration, compiling the text from countless sources old and new, the laborious work on the audio, to the promotional coordination and activities - and for anyone to negate the efforts of so many individuals out of butthurt emotions over this one song would be to dismiss an immense amount of love and care for John and Yoko's work, as well as many hours of their work itself!
I would deeply encourage anyone who intends not to purchase it or remains on the fence over this issue to reconsider what this is: an era-enveloping archival trove that adds so much to the STiNYC story. To me, this release enhances the existing album, it is not a replacement or desecration of it - thus why it is not presented or packaged as such.
For those who intend to patiently await Walls and Bridges and whatever else the future may bring, please show your support for this one to continue showing Universal the demand and interest for the other John and Yoko titles you wish for.
mccaboose13
Mike
Very well said, friend!Some food for thought, although with very different reasons and circumstances: to anyone on this forum or elsewhere who remain convinced this is somehow an act of 'censorship,' would you level the same idea at EMI for refusing to distribute Two Virgins over its 'obscene' cover?
It was seen as controversial in its own time, even when UK television was demonstrating 'full frontal nudity' (to quote Monty Python) in a way that other territories still haven't come close to - the better part of six decades later.
Like or loathe the decision, Universal was as much within its rights as EMI were then in that they weren't convinced of the benefits of attaching the company's backing to a project with potentially controversial implications inherent to the release itself - even if released by an ex-Beatle.
John and Yoko's work is deeply imbued with social and cultural impact, but we must also recognize that the businesses that got their product into stores and music into ears were just that: businesses! Likewise, the importance of the music - as it is undoubtedly important, meaningful, and often personal to every one of us here - has to also be recognized as a commodity.
Universal and the Estate understand the importance of the content and its quality, both for its artistic impact as well as its commercial prospects. Both of those relevant parties have every right and good intention in removing something which would lessen the saleability of their product. Everyone wants to see these projects succeed.
While no one is owed an explanation - not having taken the original recording out of print physically or digitally, and the general reasoning being rather self-evident - they have been very open and engaging regarding this topic, for which I extend so much credit and appreciation.
So much work has been put into this release, as all of the Ultimate Collection releases have - from photo restoration, compiling the text from countless sources old and new, the laborious work on the audio, to the promotional coordination and activities - and for anyone to negate the efforts of so many individuals out of butthurt emotions over this one song would be to dismiss an immense amount of love and care for John and Yoko's work, as well as many hours of their work itself!
I would deeply encourage anyone who intends not to purchase it or remains on the fence over this issue to reconsider what this is: an era-enveloping archival trove that adds so much to the STiNYC story. To me, this release enhances the existing album, it is not a replacement or desecration of it - thus why it is not presented or packaged as such.
For those who intend to patiently await Walls and Bridges and whatever else the future may bring, please show your support for this one to continue showing Universal the demand and interest for the other John and Yoko titles you wish for.
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