IN: Abbey Road is the eleventh album by English rock band the Beatles, released on 26 September 1969 by Apple Records. The recording sessions for the album were the last in which all four Beatles participated. Although Let It Be was the final album that the Beatles completed before the band's dissolution in April 1970, most of the album had been recorded before the Abbey Road sessions began. A double A-side single from the album, "Something"/"Come

"Her Majesty" was recorded by McCartney on 2 July when he arrived before the rest of the group at Abbey Road. It was included in a rough mix of the side two medley, appearing between "Mean Mr. Mustard" and "Polythene Pam". McCartney disliked the way the medley sounded when it included "Her Majesty", so he asked for it to be cut. The second engineer, John Kurlander, had been instructed not to throw out anything, so after McCartney left, he attached the track to the end of the master tape after 20 seconds of silence. The tape box bore an instruction to leave "Her Majesty" off the final product, but the next day when mastering engineer Malcolm Davies received the tape, he (also trained not to throw anything away) cut a playback lacquer of the whole sequence, including "Her Majesty". The Beatles liked this effect and included it on the album. "Her Majesty" opens with the final, crashing chord of "Mean Mr. Mustard", while the final note of "Her Majesty" remained buried in the mix of "Polythene Pam". This is the result of "Her Majesty" being snipped off the reel during a rough mix of the medley on 30 July. The medley was subsequently mixed again from scratch although "Her Majesty" was not touched again and still appears in its rough mix on the album. Original US and UK pressings of Abbey Road do not list "Her Majesty" on the album's cover nor on the record label, making it a hidden track. The song title appears on the inlay card and disc of the 1987 remastered CD reissue, as track 17. It also appears on the sleeve, booklet and disc of the 2009 remastered CD reissue, but not on the cover or record label of the 2012 vinyl reissue.
QUESTION: What was on the cover?
IN: Octavia Estelle Butler was born on June 22, 1947, in Pasadena, California, the only child of Octavia Margaret Guy, a housemaid, and Laurice James Butler, a shoeshine man. Butler's father died when she was seven, so Octavia was raised by her mother and maternal grandmother in what she would later recall as a strict Baptist environment. Growing up in the racially integrated community of Pasadena allowed Butler to experience cultural and ethnic diversity in the midst of racial segregation. She accompanied her mother to her cleaning work, where the two entered white people's houses through back doors, as workers.

Most critics praise Butler for her unflinching exposition of human flaws, which she depicts with striking realism. The New York Times regarded her novels as "evocative" if "often troubling" explorations of "far-reaching issues of race, sex, power". The Magazine of Fantasy and Science Fiction called her examination of humanity "clear-headed and brutally unsentimental" and Village Voice's Dorothy Allison described her as "writing the most detailed social criticism" where "the hard edge of cruelty, violence, and domination is described in stark detail." Locus regarded her as "one of those authors who pay serious attention to the way human beings actually work together and against each other, and she does so with extraordinary plausibility." The Houston Post ranked her "among the best SF writers, blessed with a mind capable of conceiving complicated futuristic situations that shed considerable light on our current affairs." Scholars, on the other hand, focus on Butler's choice to write from the point of view of marginal characters and communities and thus "expanded SF to reflect the experiences and expertise of the disenfranchised." While surveying Butler's novels, critic Burton Raffel noted how race and gender influence her writing: "I do not think any of these eight books could have been written by a man, as they most emphatically were not, nor, with the single exception of her first book, Pattern-Master (1976), are likely to have been written, as they most emphatically were, by anyone but an African American." Robert Crossley commended how Butler's "feminist aesthetic" works to expose sexual, racial, and cultural chauvinisms because it is "enriched by a historical consciousness that shapes the depiction of enslavement both in the real past and in imaginary pasts and futures." Butler has been praised widely for her spare yet vivid style, with Washington Post Book World calling her craftsmanship "superb". Burton Raffel regards her prose as "carefully, expertly crafted" and "crystalline, at its best, sensuous, sensitive, exact not in the least directed at calling attention to itself."
QUESTION:
What has been her criticism?