A Silvered Bear

Boston Hunters:

New England’s coastal hunter, the osprey doesn’t circle and wait. It picks its target, folds its wings, and hits the water talons first. We move fast and we move first, striking out the competition without hesitation. The Hunters are inspired by Harriot Hunt who, like the osprey, set her mind on a goal and made it happen. A trailblazing physician, she was one of the first women to practice medicine professionally in the USA, despite being denied admission to Harvard twice because of her gender. Like Harriot, the Hunters are ready leave their mark on history books.

Los Angeles Queens:

Inspired by our namesake, Lizzie Murphy – nicknamed the “Queen of the diamond”- the LA Queens are built on the confidence, presence and influence she carried throughout her trailblazing career, qualities that also define Los Angeles. Lizzie Murphy broke barriers at a time when opportunities for women in pro sports were extremely limited, showing the world how true talent rises to the top. We carry the Queen of the diamond’s legacy, channeling her confidence, ambition, and style. It’s time to claim the throne.

New York Heights:

Built around the ambition, intensity and relentless standards associated with New York, the Heights demands excellence. Just like our namesake, Dorothy Height, we’re ready to rise to the occasion. One of the most influential leaders of the civil and women’s rights movements, Dorothy Height dedicated her life to advancing equality for all. As we take the field, we‘re inspired by her confidence, leadership, and unwavering commitment to her goals. Just like Dorothy Height, we‘re ready to rise to the occasion and change the game.

San Francisco Firebells:

HI IT’S ME AGAIN

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?

That one is from his autobiography, Becoming Superman. See also:

When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.

The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.

The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.

There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.