Joalanovaubrat, biviēntés. (Stands for "Happy New Year, folks" in my conlang of Tovasala, né Relformaide, whose official wiki was swept away in Referata's September 2020 database crash, and whose revival at my ByetHosted creative-venture wiki is under hiatus as I seek enough hosting funds to keep the lights on; more on that a bit later.)
TL/DR: Prepare for a writeup as rambling as anything I've dished out in the past nine years of my tenure--and it shows as you read on. (4700+ words per Ecency's tracker--we've set a record.) Also, stay tuned for today's mildly interesting day counter.
22 days into 2021 (I started typing this on the 12th), and I've been caught up not only in the midst of this year's movie marathon (15 titles and five nonconsecutive days in so far), but also renewed enthusiasm as a Wikisource proofreader.
Yes, you read right: After an eight-year lull re: major projects, no thanks to G+ and whatever else standing in the way, I jumped back into Wikisource thanks to The Great Gatsby's entrance into the U.S. public domain days ago. As a matter of coincidence, I rescued the slightly similarly named Gadsby out of obscurity back when I last took WS seriously; that lipogram's U.S. copyright lapsed due to renewal failure back in 1968. (The one with a couple of "t"s was penned by none other than F. Scott Fitzgerald; the other with the "d" was typed by Ernest Vincent Wright.) At this writing, I'm engaged in a couple of "match-and-split" missions, while reaching back to another that got stalled long after my WS activity faltered away. (For those outside that site, "Match and Split" involves migrating traditionally transcribed texts to DJVU/PDF indexes--first by putting a special header atop the text, then pressing "MATCH", cleaning up en route to export, and finally letting one "Phe-bot" do the rest via a special "split" tab.)
Sadly, the likes of projects like WS ultimately did in the public-domain-reprint side of what used to be Constitution Books (whose Gadsby reprint I bundled with an essay of my own writing and research), because why bother selling tried-and-tested classics that are already available online for free anyway? The renamed Constant Noble label has since stayed around as a front for my unfulfilled projects--Unspooled, Sevton, RFM, et al.--and who knows when any of those might see the light of day in completed form.
All that renewed enthusiasm got me thinking: With Gadsby (and another E.V. Wright title, The Wonderful Fairies of the Sun) long out of the way, why not take a stab at the last Wright work that hasn't surfaced online yet? I'm talking about The Fairies That Run the World and How They Do It (1903), which is listed as being held by three U.S. libraries at WorldCat, and which I requested over the phone on Thursday 14th (before noon) via interlibrary loan with the HCPLC system. (I myself haven't gone to the Brandon branch in quite a long while, and said location has closed its doors since last March, when the COVID-19 pandemic started unfolding stateside.) In a matter of days, I'll remind the WS Scriptorium as well. Just so you know, I am not leaving my home (for the sake of my health) till this pandemic gets curbed, so either they'll have to mail it over to me or the superiors may settle for curbside pickup. Whatever happens, we shall soon see.
As I type these next several paragraphs (on the 15th), Wikipedia--of which I am a 16-year veteran--has turned 20. Which reminds me: The sooner I update my profile there (and at Wiktionary and Meta--the latter long out of date and which could really benefit from the new boilerplate I conceived at my ByetHost wiki last season), the better.
Meanwhile in the real world, the 15th also marked my deadline to spend everything I could on my $25 Target holiday gift card--as a first-time member of theirs. And spend it all I almost did--"right on the dollar", to quote my younger sister. (As you might have known from earlier bulletins, I have long yearned for a TD card instead if only for the Last.fm resubscription; despite my best efforts last time, a good deal of inaccurate scrobble data is still unaccounted for. The estimated artist count of ~3,750 is up for recalculation.)
The real reason I'm writing this right now is just to remind readers that:
- I'm reactivating my Patreon soon after this goes to press--if only because I'm starting to relay my portrait for u/WhimsicalWillowfern wherever I'm based. (The Patreon team, apparently some time ago, "unlaunched" my profile behind my back.)
- I'll open an account at Publish0x just so I can continue my relay of the "Eleventy Gambit".20/1
- I recently found a commission deal from an r/furry (and Reddit) newcomer, and for that I'm accepting PayPal's "accept the money" offer after several years with ~$77.00 in reserves there if I am to pay him.
- I quietly updated my Inkbunny/FurAfffinity bio back in November, with another pass coming soon.
- Thanks to something that caught my eye among WS' recent changes, we're going nonlinear with development of the Unspooled series from this point on--but don't expect another draft preview from Volume 1 for another few weeks yet. (Something to do with Sam the raccoon's romantic pinings for Nemona, a Malagasy black-furred rodent hybrid in the tentative sixth and final volume; I made a Marigot Notebook entry listing her character traits back in the G+ era. Did I finally spell her name right?)
Speaking of Malagasy:
- It's about time Wikisource received A Simplified [Trübner] Grammar of that language--whose DJVU I shall upload before or around February. As well as this JSTOR open-source article on an epic folktale called "Ibonia" (doi:10.2307/j.ctt5vjtj7); has any other modern JSTOR material surfaced on WS? As I assume, Malagasy culture has been vastly underrepresented in U.S. media--especially on Wikipedia (my old home turf), and far more so on WS. (I hear you asking, but DreamWorks' Madagascar already doesn't count.)
- Hard to believe, but the New Year's Eve revision of our "Eleventy Gambit" commentary also marked the very first appearance of veloma--the language's word for "goodbye"--anywhere on Hive. (Any folks from the real Madagascar on this platform? So far, I've only been acquainted with one "Erkhyan" by nickname on social media [since the G+ days]--and he's a furry as well.)
Speaking of the Dixwell cousins and company: Yesterday (the 14th), the last 30 of the Central American Reflections crew affected by Eta and Iota finally settled into their new provisional complex in Mexico's Baja--right next door to Film Roman/Waterman's local branch. Unfortunately, the recent death of Disney animator Dale Baer (whose outside studio recently assisted in their efforts) has put a one-month dent in their plans. (Thanks, r/movies!) After the Panama City team pays their tributes, it's back to putting the finishing touches on Volume 5 under Kino Lorber's watch. Said volume is coming this March; if all goes well, look out for Volume 6 this Golden Week, and Vol. 7 on Memorial Day. (And you know what this means where I am: I must swap SD cards if I must go ahead. Only keeping the 16 GB starter pack around for now, because there are a good deal of story notes from earlier attempts at Unspooled that'll help me out sooner or later. )
Speaking of technology: The spare HP laptop I've kept around since late 2018 is officially on its last legs. (And has been that way since the end of October.) I have recently determined that ongoing demands from the WinSXS feature are the real culprit for the decreasing storage, already not helped by the fact that 32/29.1 GB for any Windows system is nowadays laughable and inadequate as they come. (Way beyond that--32 GB is the current size for Windows installation packages; no wonder I long forewent the occasional prompts for Windows Update.) Not even attempts with DISM could stem the increasing tide. In retrospect, I should've set a System Restore point when I had the opportunity--but how much better would that system have fared if I'd gone ahead? Well, looks like a 128 GB replacement is officially in our sights; again, that's part of what my anthro commission line is for. (Thankfully, everything of value was already on my USB decks and SD cards.) Or perhaps a few tech gurus at Reddit can diagnose the problem better than me?
And speaking of Christmas gifts: Apart from the Target card, this year's dowry amounted to little more than a pack of socks and a pack of underwear. (As for the socks, don't count on them yet till everyone's really safe to go out again.)
As I continue typing this post (on Monday 18):
- I must report that I took r/conlangs' survey the morning prior, before nine or ten. (Said subreddit is approaching 60,000 subscribers; I joined after they reached 20,000.)
- To redeem myself and my conlang (in lieu of the former rfm.referata.com and the currently on-hiatus ByetHosted creative-venture wiki of mine), I spent the 1:00 p.m. hour on the 18th on an Tovasala/Relformaide termison overview at Google Docs, and much of my late afternoon and evening on its "Articles, Demonstratives, Determiners, and Pronouns". Don't be surprised if 1) I make new root/affix lists and stem-change rundowns from here, and 2) I make said efforts public any time from now.
- Selbeunu (Speaking of which), I feel like spending some time on (re)translations too. New takes on the Lord's Prayer, Psalm 23, John 3:16, and Article 1 of the Universal Declaration of Human Rights are up for grabs--as well as a revisit of "The Conceited Mouse" by Ella Foster Case from the Referata days. (Once went under the title "Lo Vaníteuzi Mórino"; now it's "Vaniteuzi Tuebedlo".) Next time around, the crucial Babel text (which I never had time for back then, a few hints in the old root tables aside).
Heading into the 20th (the inauguration of America's new President, Joe Biden), time for the latest on Rogatia:
Too bad 2020 did in what I originally had in mind for the darker incarnation of The Sevton Saga. Sevton was originally conceived as a slice-of-life story back in late 2005; evolved into an art-theft mystery by the start of the New Tens; and morphed into an action-packed revenge thriller once the Disaster-in-Chief stepped in. (Even in the Bulwark of the Atlantic, who's even missing him anyway?) With COVID-19 now in the picture, I retooled it as a Ready Player One homage with a synopsis sketch surfacing last northern fall at Byet. But days ago, it struck me how daunting a task it would be for our hero and sidekick, Diane and Wyorst, to carry on their mission in the virtual world. As a matter of consequence, I have now turned both into second-string, first-time 2D animators, going up against the likes of Disney, DreamWorks, and their ilk--even local, Elmshire-based company TJE.
- In the Sevton mythos--get ready, kodomo buffs; this is gonna be a long read--TJE is well-renowned for its plethora of subtitled releases for the Caribbean market, as well as playing a part in the early years of the music-video era (with what they branded as "Cine-Tunes"). In recent years, they turned to in-house feature animation for a while, and even made headlines with a 2009-11 English redub of Toei's Maple Town [commissioned by Disney's local branch]. Vastly underrated in the real world, but Rogatians have eaten up the Region 1 DVD sets (which beat Toei's own R4s to the market by several years), plush toys, official wardrobe, and even Simplicity sewing patterns like hotcakes. (Yes, Virginia, the Simplicity company is still around.) So much so, Disney and TJE teamed up further to bring the adventures of Patty Rabbit and friends into languages new to the franchise (or its second season Palm Town in many cases). It even came to the point where Disney-ABC (as they're officially called there) promoted it far more than their U.S. parent's own offerings for ages! (Which is saying a lot already, as anime has long been a footnote for Disney in the west; see their former Studio Ghibli distribution deal.)
In early 2020, fresh off Maple Town's success, TJE followed it up with their work on another anime just as underrated: Nippon Animation's Bosco: Tales of the Woodland Folk (or Bosco Adventure in its native Japan), at the behest of regional license holder and syndicator WildBrain. (For which you and they can thank one of Looq/Whippy's GIF icons of the month on his members-only Inkbunny account, which featured Otter fixing something in the middle of the night; the TJE team built the dub and its promotion around him, giving him a Splodge-esque accent to match. [For those outside Australia or the cub-art scene, Splodge is Blinky Bill's kangaroo friend.]) They managed to finish up the voicework just days before word on the pandemic took hold everywhere. By last September, Bosco became one of the inaugural titles in WildBrain's Watashi line, along with Shimajiro. (The latter show was a carryover from the kidvid catalogue of their predecessor, Skouras; as a coincidence, WildBrain's parent company in Canada picked up the U.S. rights with Funimation that summer. )
- In the Sevton mythos--get ready, kodomo buffs; this is gonna be a long read--TJE is well-renowned for its plethora of subtitled releases for the Caribbean market, as well as playing a part in the early years of the music-video era (with what they branded as "Cine-Tunes"). In recent years, they turned to in-house feature animation for a while, and even made headlines with a 2009-11 English redub of Toei's Maple Town [commissioned by Disney's local branch]. Vastly underrated in the real world, but Rogatians have eaten up the Region 1 DVD sets (which beat Toei's own R4s to the market by several years), plush toys, official wardrobe, and even Simplicity sewing patterns like hotcakes. (Yes, Virginia, the Simplicity company is still around.) So much so, Disney and TJE teamed up further to bring the adventures of Patty Rabbit and friends into languages new to the franchise (or its second season Palm Town in many cases). It even came to the point where Disney-ABC (as they're officially called there) promoted it far more than their U.S. parent's own offerings for ages! (Which is saying a lot already, as anime has long been a footnote for Disney in the west; see their former Studio Ghibli distribution deal.)
Speaking of Rogatian entertainment: The Bulwark's national stations were sold last month by their owner, Aquarius Media (renamed in November 2018 from Rogatia Media Partners). Rogatia's national cable operator Stride, and American news site Axios Media, took over the holdings of the former HCP network. Aside from broadcasting, Aquarius' only other effort--ever--was distributing the 2019 public-domain furry documentary Rukus as filler for its outlets. After they unveiled their new brands on air on the morning of January 4:
- Flagship station ZHCP-FM-DT (98.7 Trouvaille; ATSC 3.1) became ZHXN, the base of Axios' Caribbean operations...
- while Stride assumed control of the entertainment-oriented stations (21.1-21.4, 22.1, 23.1, 24.1, and 28.1) and renamed them after their eponymous service. Their new slogan, The Caribbean Network, reflects their status as the region's analogue to WGN America.
- ZHCP and ZHCN (on channels 3.1 and 27.1 respectively) traded dial positions/formats in July 2019 after an Article 13-induced simulcast stunt, but not the calls. (The latter was launched on July 24, 2011 as HCP's reply to the closure of the BBC World Service's Caribbean branch.) Ahead of the relaunch, ZHCN moved to 21.1 late last November (replacing a one-hour-delayed timeshift feed), and adopted the new calls of ZHSR.
- ZHCT (HCP2--formerly The Blip; 22.1), the secondary/"landfill" outlet, is now ZHST (Strident). (And by "landfill", we literally mean it--a dumping ground.)
- ZHCA (Zeitgeist--formerly Z3; 23.1) is now ZHSV (Strive). Home to the fine arts; reruns of Knots Landing; and in recent months, The World According to Jeff Goldblum pre-Disney+.
- ZHCY (Zone; 24.1) = ZHSJ (Stridejr.). The kids-and-family outlet, with age-friendly music videos and classic cartoon shorts as occasional filler. Don't be surprised if you see Krale Zero's "Petals" there from time to time--and I'm saying this as a nightflighter on hiatus.
- ZHCS (surplus/sur+; 28.1) lives on as ZHSA, Astride. The extra channel devoted to what Stride's schedules don't have space for.
Rogatia also used to have a Referata wiki, but like I said above (and in my recent RFM commentary), the Semantic MediaWiki host has practically bitten the dust. In light of its absence, I'll take time to list each and every current distribution firm with a presence in the Bulwark; giving them new profiles on GDocs as I find time.
- Divisions of American-based companies: A24 (formerly Skouras), Disney-ABC, Sony Pictures, StarzGroup (i.e. Lionsgate), ViacomCBS, Warner Bros.
- Divisions of non-American companies: Siriko (joint venture between Jamaica's Palace Amusements and South Africa's Naspers; formerly CIC, UIP, revue, UPI, and StudioCanal), WildBrain (Canada)
- Locally founded: Hycam, LCI Entertainment, Merlette, Upland
Last but definitely not least, our New Year's Eve 2019 post (from the Steemit days) touched on Rogatia's copyright provisions for foreign works (40 years after creation--without exception in regular cases), but left the details regarding material from Rogatia itself undealt with. (This year ushered in material from the first 12 months of the 1980s.) To fill in a long-overlooked gap:
In the traditional sense, all works whose first publication occurred in Rogatia are no longer protected--regardless of age; Rogatia's government has actively encouraged using the open-source licenses provided by Creative Commons since the new law went into effect in March 2019 (in protest of Article 13). CC0 and Kopimi, used on this feed, are highly recommended. For which you can thank Hycam--and Nina "Sita Sings the Blues" Paley. (That alone just goes to show you how much they--and I--feel about the issue. Not to mention the Bulwark is on the verge of breaking away from the Berne Convention after coronavirus gets curbed elsewhere.)
- Even better: The same is true for my "conlands" of Veritas, St. Isabel, and Tovasala. Novissima, however, is subject to life + 95 (as an unincorporated outpost of Jamaica).
In this year's first "404 Files":
- Two of the pioneers of the Web (for better or worse) left us on New Year's Eve. After a grace period of several years, Adobe finally phased out the Flash program, while webcomics' SmackJeeves smacked themselves silly--big time--after various changes in owners, site layout, and availability over the past 12+ months. Furry connections afoot: Flash was a longtime relic of FurAfffinity's infrastructure (even as HTML5, WEBM and MP4 became more prominent), as well as Inkbunny's; and as any established fan will tell you, SmackJeeves was once the home of Forest Hill (Tim Rodriguez's odyssey about rabbit, otter, and fox kits and their families facing the real world). Forest Hill itself is now too dark for me to link here; responsible adults are better off Googling it.
- Then there's Quibi, the short-form content streamer from Jeffrey Katzenberg whose library Roku picked up weeks ago. Mocked by millions, missed by no one.
- Meanwhile, Voat and Parler (respective alternatives to Reddit and Twitter) shuttered within weeks of each other. One, a cesspit of vitriol on the surface, lasted practically the rest of the New Tens; the other was brought down by its role in the insurrection of Congress on January 6. Neither stood a chance--but bonus points for trying.
Continuing on the last hour of January 21, going into the overnight and early morning of the 22nd (complete with two bits of "404" addenda):
- My renewed WS stint is getting more ambitious by the moment--far too ambitious, it may turn out. At the Scriptorium, I pledged to locate a first-edition copy of Doctor Dolittle's Circus (1924), one among the several lesser-known sequels to Hugh Lofting's "talking to the animals" adventure. (Modern-day viewers are more acquainted with the 1998 Eddie Murphy remake.) So far, all that's surfaced online is a PDF rendition of a Project Gutenberg Australia copy--with no help even from the otherwise-dependable GBooks. Beyond that, the Stetson University system (close to our hometown of Dover, FL) has just what we're looking for--and even better, WS' affiliates at the National Library of Scotland (NLS) may save us some of the trouble. That is, assuming they're actually on the case any day from now.
- Didn't I say Malagasy culture has been vastly underrepresented on WS? Well, for that matter, so is material related to my homeland of Dominica. I know...what about Thomas Atwood's 18th-century History of...? Once I port its IA DJVU to Commons, proofreading begins next month en route to the Nature Island's independence celebrations in November. (This was once set to join Constitution's PD reprint catalogue, but, well...see the opening paragraphs.) And I've but scaled the tip of the iceberg--as I load up my WS queue after press time.
- As we pass by Anthro Alley, one for the fans of Wolf Children, from one "roina" by artist nickname. "Roina" recently hit the front page of e926 (SFW counterpart to e621), and her works are highly reminiscent of said anime feature.
- As for fanworks of Maple Town: Back in 2019, Komeya of Pixiv did a really, really good job of redesigning Patty Rabbit, Rolley Cocker, and company--especially Marie the dormouse. Someone at Toei should hire them post-pandemic.
- I wanted to get in another Maple Town tribute, but that might have to wait till sometime in February or March.
- As for the Dixwells et al.: Raccoon cousins Sam and Alfred can actually relate to this variation on an urban-music meme; art by "RaccoonNik" on Twitter. A good while back, Inkbunny's "Fuf" and "Ceeb" introduced me (through a cub-based rendition I can't otherwise refer to here) to the fine art of "Drakeposting" (as stated by e9's tags).
- All of the above really remind me:
- An r/movies thread provided a recent story from Amid Amidi's Cartoon Brew, profiling five underdogs on this year's Best Animated Feature Oscar shortlist. One of the highlights, A Whisker Away (on Netflix), is going on my marathon queue (a while after we buy new AAAs for our Fire remote). As soon as I saw the director's name, my mind went: "Junichi Sato? You mean, that Junichi Sato?" Turns out even WP wasn't joking. (Sato, as longtime otaku will know, was the series director for Sailor Moon's first two seasons.)
- While we're on the subject of anime, a blast from the past (from the end of last year): One "KaelanRamos" on the feed in blue unearthed several celluloid stills from 1986's Project A-Ko and the Final of its OVA sequels (two of them QFW). Back in the early 1990s, A-Ko (one of the earliest works from A.P.P.P.) was one of the gateways for the English-speaking fandom, and continues to thrive (more or less) as a cult favourite. Since the original 35 mm masters have long gone missing in its native Japan, this gallery (and the accompanying commentary) is quite the treat. All this, as current U.S. license holder Discotek is preparing yet another remaster from the Laserdisc backup previous releases have depended on.
- A.P.P.P. is better known as the studio behind Robot Carnival (1987), itself best known for the stock footage it provided to Disney's 1994 rich-kid comedy Blank Check.
- Saying hi to @hjchilb (nine or so months later)--and Pixabay's "cdd20"--because thanks to looking deeply into "popular illustrators on Pixabay" on Google Images quite some time ago, I finally located the art I wanted to base my long-tentative red-panda picture on. (As a reminder, there are red-panda cub idols as supporting characters in the Unspooled mythos, taking a cue from the Q-Teez in Illumination's Sing.) Told you I knew what I saw all along.
- There is but one catch: Pixabay moved away from CC0 a couple of years ago in favour of a similar company-exclusive license--whose terms are incompatible with those on Wikimedia Commons. (Same goes for competitor Unsplash word-for-word, effective after the mid-2010s.) Try my luck there as I may have ages ago, guess I'm not coming back as a member or contributor. (There's always Flickr, though...but that's another story.)
As for one of our marathon attractions? I reserve almost no nice words for it; nor can I remember half the details. I was introduced to feature #11 in this year's edition--a 1993 animated musical version of Dickens' David Copperfield (watched on 6/1, 4:35 a.m.; YouTube "fanload")--through an NSFW tribute by "bbmbbf" ages ago. (Again, responsible adults, search out that one.) Whatever the Latino wolf drew (that's his fursona) is better rendered and crafted than this 91-minute atrocity of a would-be contender in the field of "animal characters do classic works"--and by "atrocity", we mean the modern-day styles of the songs (by Kasha + Hirschhorn, who I hope have done better before or since) definitely do not fit in with a 19th-century Victorian England backdrop.
- The very first number--a calypso-tinged rout whose name and circumstances even Don Quixote's narrator would've barely wished to recall--really took me out of the picture.
- It's saying a lot when "The Good Ship Misery" from Don Bluth's discredited The Pebble and the Penguin (from two years after) triumphs over the "welcome-to-the-cheese-factory" number that reminds me of the former.
- Still, there are a couple of nice moments in this department, which wouldn't sound out of place on the adult-contemporary oldies circuit nowadays...but I can't even recall their titles or melodies either--at least for the moment. Next time Briarwood prepares a Reflections volume, though...
There's a sweet birth scene in the first few minutes--right before the first tune ruins the mood--and a smattering of decent character designs abound (those of the title character, his mother, and his girlfriend--all cats--and Mrs. Pegotty the mole). But they alone are already not enough to save the proceedings, and the less-than-stellar, weaker-than-Saturday-morning animation clearly does not even help matters any. This was a nationally broadcast (on NBC) primetime Christmas special?! Heck, even Taiwan's Wang Film (and their U.S. contemporary, Hanna-Barbera) flexed far more muscle on their worst day.
Take my word for it (in true LeVar Burton fashion), this is definitely one time where you're better off reading the original book. (Or better yet, settle for the tried, tested, and true--all from Disney: Oliver & Company, The Great Mouse Detective, and Robin Hood.)
I've long moved on from IMDb (remember their message-board fiasco from a few years back?), but next time I log on, I'll give it the lowest score in my system--a 5 out of 10. (And yes, I'm pretty sure "zero stars as a rating-scale feature" remains a running gag in their site requests department.) Abandon hope, all ye who watch....
On the upside: The after-segment refresher, "Dog Brain" (1988) from International Rocketship, was 1,000 times way better than anything I (and the nephew who watched along while deciding to sleep over in the upstairs loft) was subjected to. Then again, so were the previews (for Cats Don't Dance and Oliver '88).
If nothing beats the dud of this lineup, it'll really be too soon.
O.K., rant over. Now, as we wind down, time for one more Dixwell-related bit (because we need a picture to spruce things up): "Peach Raccoon!" by u/berrry-tea (from r/DrawForMe), based on a suggestion by this contributor and uploaded under this feed's PD waivers with permission. A few hours after press time, look for this at the usual sources.
Which is reflective of the biggest irony in all of this: Sam and Alfred remain allergic to peaches as grown-up procyonines; the former turned 19 last holiday season. No wonder the likes of this critter are their nemesis in occasional breaktime scribbles at Briarwood.
As for the last word: After missing out last year, I did tune in to ABC for the 2021 ball drop (courtesy of New York affiliate WABC-7--off-market), but with connection/buffering issues partly militating against me. The CNN coverage, with Anderson Cooper and Andy Cohen, provided a backup--and that's where I saw the stroke of midnight. (No telling what app I used; keep in mind we've gone a year without traditional cable--but that's O.K.)
¤¤¤¤
Through all of this, I feel pretty much like the turn-of-the-century college lady-cum-letter writer whose writeups I've revived match-and-splitting after that long Wikisource sabbatical. That's right: I'm referring to Jerusha Abbott, or Judy, who wrote to Daddy-Long-Legs Smith in the 1912 young-adult classic named after him. At my current rate, we are set to finish the migration anytime by or around Wednesday 27--as we move on to other titles and appealing topics. (Once again, don't expect any reprints from Constant Noble any time soon.)
So that's it for your fellow Captain until such time as we meet again. Come next week, meet the "Lost Five" from the last days of my Steemit phase; in the weeks ahead, more cabbages, more kings, and a couple more Notebook entries galore. (And don't forget to support my ByetHost site's upkeep with a $9.99 commission; I'm still learning the ropes, and must settle for black outlines next time around.) Until then, take care, stay safe, wipe down all you can, wear masks if you're out...and God bless.
All of us, and Mr. Floyd's family.
And justice--and freedom--for all!
Onward and upward...
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