In all this Cuban business there is one man stands out on the horizon of my memory like Mars at perihelion. When war broke out between Spain and the United States, it was very necessary to communicate quickly with the leader of the Insurgents. Garcia was somewhere in the mountain fastnesses of Cuba - no one knew where. No mail or telegraph could reach him.
The President must secure his co-operation, and quickly. What to do! Someone said to the President, “There’s a fellow by the name of Rowan will find Garcia for you, if anybody can.”

Rowan was sent for and given a letter to be delivered to Garcia. How “the fellow by name of Rowan” took the letter, sealed it up in an oil-skin pouch, strapped it over his heart, in four days landed by night off the coast of Cuba from an open boat, disappeared into the jungle, and in three weeks came out on the other side of the island, having traversed a hostile country on foot, and having delivered his letter to Garcia, are things I have no special desire now to tell in detail. The point I wish to make is this: McKinley gave Rowan a letter to be delivered to Garcia; Rowan took the letter and did not ask, “Where is he at?”

By the Eternal! There is a man whose form should be cast in deathless bronze and the statue placed in every college in the land. It is not book-learning young men need, nor instruction about this or that, but a stiffening of the vertebrae which will cause them to be loyal to a trust, to act promptly, concentrate their energies; do the thing - “carry a message to Garcia!”

General Garcia is dead now, but there are other Garcias. No man, who has endeavored to carry out an enterprise where many hands were needed, but has been well-nigh appalled at times by the imbecility of the average man - the inability or unwillingness to concentrate on a thing and do it.

Slipshod assistance, foolish inattention, dowdy indifference, and half-hearted work seem the rule; and no man succeeds, unless by hook or crook, or threat, he forces or bribes other men to assist him; or mayhap, God in His goodness performs a miracle, and sends him an Angel of Light for an assistant.

You, reader, put this matter to a test: You are sitting now in your office—six clerks are within your call. Summon any one and make this request: “Please look in the encyclopedia and make a brief memorandum for me concerning the life of Corregio.”

Will the clerk quietly say, “Yes, sir,” and go do the task?

On your life, he will not. He will look at you out of a fishy eye, and ask one or more of the following questions:
Who was he?
Which encyclopedia?
Where is the encyclopedia?
Was I hired for that?
Don’t you mean Bismarck?
What’s the matter with Charlie doing it?
Is he dead?
Is there any hurry?
Shan’t I bring you the book and let you look it up yourself?
What do you want to know for?

And I will lay you ten to one that after you have answered the questions, and explained how to find the information, and why you want it, the clerk will go off and get one of the 2 other clerks to help him find Garcia - and then come back and tell you there is no such man.

Of course I may lose my bet, but according to the Law of Average, I will not. Now if you are wise you will not bother to explain to your “assistant” that Corregio is indexed under the C’s, not in the K’s, but you will smile sweetly and say, “Never mind,” and go look it up yourself. And this incapacity for independent action, this moral stupidity, this infirmity of the will, this unwillingness to cheerfully catch hold and lift, are the things that put pure socialism so far into the future. If men will not act for themselves, what will they do when the benefit of their effort is for all?

A first mate with knotted club seems necessary; and the dread of getting “the bounce Saturday night holds many a worker in his place. Advertise for a stenographer, and nine times out of ten who apply can neither spell nor punctuate - and do not think it necessary to.
Can such a one write a letter to Garcia?

“You see that bookkeeper,” said the foreman to me in a large factory.
“Yes, what about him?”
“Well, he’s a fine accountant, but if I’d send him to town on an errand, he might accomplish
the errand all right, and, on the other hand, might stop at four saloons on the way, and
when he got to Main Street, would forget what he had been sent for.”
Can such a man be entrusted to carry a message to Garcia?
We have recently been hearing much maudlin sympathy expressed for the “down-trodden denizen of the sweat shop” and the “homeless wanderer searching for honest employment,” and with it all often go many hard words for the men in power. Nothing is said about the employer who grows old before his time in a vain attempt to get frowsy ne’er-do-wells to do intelligent work; and his long patient striving with “help” that does nothing but loaf when his back is turned. In every store and factory there is a constant weeding-out process going on. The employer is constantly sending away “help” that have shown their incapacity to further the interests of the business, and others are being taken on.

No matter how good times are, this sorting continues, only if times are hard and work is scarce, this sorting is done finer - but out and forever out, the incompetent and unworthy go.
It is the survival of the fittest. self-interest prompts every employer to keep the best-those who can carry a message to Garcia.

I know one man of really brilliant parts who has not the ability to manage a business of his own, and yet who is absolutely worthless to anyone else, because he carries with him constantly the insane suspicion that his employer is oppressing, or intending to oppress, him.

He can not give orders, and he will not receive them. Should a message be given him to take
to Garcia, his answer would probably be, “Take it yourself.” Tonight this man walks the streets looking for work, the wind whistling through his threadbare coat. No one who knows him dare employ him, for he is a regular firebrand of discontent. He is impervious to reason, and the only thing that can impress him is the toe of a thick-soled No. 9 boot.

Of course I know that one so morally deformed is no less to be pitied than a physical cripple; but in your pitying, let us drop a tear, too, for the men who are striving to carry on a great enterprise, whose working hours are not limited by the whistle, and whose hair is fast turning white through the struggle to hold the line in dowdy indifference, slipshod imbecility, and the heartless ingratitude which, but for their enterprise, would be both hungry and homeless.

Have I put the matter too strongly? Possibly I have; but when all the world has gone a-slumming I wish to speak a word of sympathy for the man who succeeds - the man who, against great odds, has directed the efforts of others, and, having succeeded, finds there’s nothing in it: nothing but bare board and clothes. I have carried a dinner-pail and worked for a day’s wages, and I have also been an employer of labor, and I know there is something to be said on both sides. There is no excellence, per se, in poverty; rags are no recommendation; and all employers are not rapacious and high-handed, any more than all poor men are virtuous. My heart goes out to the man who does his work when the “boss” is away, as well as when he is home. And the man who, when given a letter for Garcia, quietly takes the missive, without asking any idiotic questions, and with no lurking intention of chucking it into the nearest sewer, or of doing aught else but deliver it, never gets “laid off,” nor has to go on strike for higher wages. Civilization is one long anxious search for just such individuals. Anything such a man asks will be granted; his kind is so rare that no employer can afford to let him go. He is wanted in every city, town, and village - in every office, shop, store and factory. The world cries out for such; he is needed, and needed badly—the man who can Carry a message to Garcia.

1/10/2015 12:41:26 AM

I whistled for a cab and when it came near

1/10/2015 4:56:28 PM

jesus christ that's a lot of words to just fucking say "message to garcia" means "just find a fucking way to get it done"

1/11/2015 9:27:28 PM

Outside sales, etc.

1/12/2015 11:25:41 AM

You should give credit to the actual writer

1/12/2015 11:38:57 AM

I just want to start off by saying if you want an answer at the end, prepare to be disappointed. There just isn't one.

I was an intern at Nickelodeon Studios for a year in 2005 for my degree in animation. It wasn't paid of course, most internships aren't, but it did have some perks beyond education. To adults it might not seem like a big one, but most kids at the time would go crazy over it.

Now, since I worked directly with the editors and animators, I got to view the new episodes days before they aired. I'll get right to it without giving too many unnecessary details. They had very recently made the SpongeBob movie and the entire staff was somewhat sapped of creativity so it took them longer to start up the season. But the delay lasted longer for more upsetting reasons. There was a problem with the series 4 premiere that set everyone and everything back for several months.

Me and two other interns were in the editing room along with the lead animators and sound editors for the final cut. We received the copy that was supposed to be "Fear of a Krabby Patty" and gathered around the screen to watch. Now, given that it isn't final yet animators often put up a mock title card, sort of an inside joke for us, with phony, often times lewd titles, such as "How sex doesn't work" instead of "Rock-a-bye-Bivalve" when SpongeBob and Patrick adopt a sea scallop. Nothing particularly funny but work related chuckles. So when we saw the title card "Squidward's Suicide" we didn't think it more than a morbid joke.

One of the interns did a small throat laugh at it. The happy-go-lucky music plays as is normal. The story began with Squidward practicing his clarinet, hitting a few sour notes like normal. We hear SpongeBob laughing outside and Squidward stops, yelling at him to keep it down as he has a concert that night and needs to practice. SpongeBob says okay and goes to see Sandy with Patrick. The bubbles splash screen comes up and we see the ending of Squidward's concert. This is when things began to seem off.

While playing, a few frames repeat themselves, but the sound doesn't (at this point sound is synced up with animation, so, yes, that's not common) but when he stops playing, the sound finishes as if the skip never happened. There is slight murmuring in the crowd before they begin to boo him. Not normal cartoon booing that is common in the show, but you could very clearly hear malice in it. Squidward's in full frame and looks visibly afraid. The shot goes to the crowd, with SpongeBob in center frame, and he too is booing, very much unlike him. That isn't the oddest thing, though. What is odd is everyone had hyper realistic eyes. Very detailed. Clearly not shots of real people's eyes, but something a bit more real than CGI. The pupils were red. Some of us looked at each other, obviously confused, but since we weren't the writers, we didn't question its appeal to children yet.

The shot goes to Squidward sitting on the edge of his bed, looking very forlorn. The view out of his porthole window is of a night sky so it isn't very long after the concert. The unsettling part is at this point there is no sound. Literally no sound. Not even the feedback from the speakers in the room. It's as if the speakers were turned off, though their status showed them working perfectly. He just sat there, blinking, in this silence for about 30 seconds, then he started to sob softly. He put his hands (tentacles) over his eyes and cried quietly for a full minute more, all the while a sound in the background very slowly growing from nothing to barely audible. It sounded like a slight breeze through a forest.

The screen slowly begins to zoom in on his face. By slow I mean it's only noticeable if you look at shots 10 seconds apart side by side. His sobbing gets louder, more full of hurt and anger. The screen then twitches a bit, as if it twists in on itself, for a split second then back to normal. The wind-through-the-trees sound gets slowly louder and more severe, as if a storm is brewing somewhere. The eerie part is this sound, and Squidward's sobbing, sounded real, as if the sound wasn't coming from the speakers but as if the speakers were holes the sound was coming through from the other side. As good as sound as the studio likes to have, they don't purchase the equipment to be that good to produce sound of that quality.

Below the sound of the wind and sobbing, very faint, something sounded like laughing. It came at odd intervals and never lasted more than a second so you had a hard time pinning it (we watched this show twice, so pardon me if things sound too specific but I've had time to think about them). After 30 seconds of this, the screen blurred and twitched violently and something flashed over the screen, as if a single frame was replaced.

The lead animation editor paused and rewound frame by frame. What we saw was horrible. It was a still photo of a dead child. He couldn't have been more than 6. The face was mangled and bloodied, one eye dangling over his upturned face, popped. He was naked down to his underwear, his stomach crudely cut open and his entrails laying beside him. He was laying on some pavement that was probably a road.

The most upsetting part was that there was a shadow of the photographer. There was no crime tape, no evidence tags or markers, and the angle was completely off for a shot designed to be evidence. It would seem the photographer was the person responsible for the child's death. We were of course mortified, but pressed on, hoping that it was just a sick joke.

The screen flipped back to Squidward, still sobbing, louder than before, and half body in frame. There was now what appeared to be blood running down his face from his eyes. The blood was also done in a hyper realistic style, looking as if you touched it you'd get blood on your fingers. The wind sounded now as if it were that of a gale blowing through the forest; there were even snapping sounds of branches. The laughing, a deep baritone, lasting at longer intervals and coming more frequently. After about 20 seconds, the screen again twisted and showed a single frame photo.

The editor was reluctant to go back, we all were, but he knew he had to. This time the photo was that of what appeared to be a little girl, no older than the first child. She was laying on her stomach, her barrettes in a pool of blood next to her. Her left eye was too popped out and popped, naked except for underpants. Her entrails were piled on top of her above another crude cut along her back. Again the body was on the street and the photographer's shadow was visible, very similar in size and shape to the first. I had to choke back vomit and one intern, the only female in the room, ran out. The show resumed.

About 5 seconds after this second photo played, Squidward went silent, as did all sound, like it was when this scene started. He put his tentacles down and his eyes were now done in hyper realism like the others were in the beginning of this episode. They were bleeding, bloodshot, and pulsating. He just stared at the screen, as if watching the viewer. After about 10 seconds, he started sobbing, this time not covering his eyes. The sound was piercing and loud, and most fear inducing of all is his sobbing was mixed with screams.

Tears and blood were dripping down his face at a heavy rate. The wind sound came back, and so did the deep voiced laughing, and this time the still photo lasted for a good 5 frames.

The animator was able to stop it on the 4th and backed up. This time the photo was of a boy, about the same age, but this time the scene was different. The entrails were just being pulled out from a stomach wound by a large hand, the right eye popped and dangling, blood trickling down it. The animator proceeded. It was hard to believe, but the next one was different but we couldn't tell what. He went on to the next, same thing. He want back to the first and played them quicker and I lost it. I vomited on the floor, the animating and sound editors gasping at the screen. The 5 frames were not as if they were 5 different photos, they were played out as if they were frames from a video. We saw the hand slowly lift out the guts, we saw the kid's eyes focus on it, we even saw two frames of the kid beginning to blink.

The lead sound editor told us to stop, he had to call in the creator to see this. Mr. Hillenburg arrived within about 15 minutes. He was confused as to why he was called down there, so the editor just continued the episode. Once the few frames were shown, all screaming, all sound again stopped. Squidward was just staring at the viewer, full frame of the face, for about 3 seconds. The shot quickly panned out and that deep voice said "DO IT" and we see in Squidward's hands a shotgun. He immediately puts the gun in his mouth and pulls the trigger. Realistic blood and brain matter splatters the wall behind him, and his bed, and he flies back with the force. The last 5 seconds of this episode show his body on the bed, on his side, one eye dangling on what's left of his head above the floor, staring blankly at it. Then the episode ends.

Mr. Hillenburg is obviously angry at this. He demanded to know what the heck was going on. Most people left the room at this point, so it was just a handful of us to watch it again. Viewing the episode twice only served to imprint the entirety of it in my mind and cause me horrible nightmares. I'm sorry I stayed.

1/12/2015 11:40:37 AM