by Brent Johnson
In the movie The Matrix, Morpheus (Lawrence Fishburne) offers Neo/Thomas Anderson (Keanu Reeves) a red pill and a blue pill. He explains that if he takes the blue pill he will go back to sleep and continue his life in ignorance, but if he takes the red pill he will go further into the “rabbit hole” and learn the amazing truth about the world as it is.
In the movie Neo takes the red pill, and thus begins his adventures in the world of The Matrix.
The truth is that most people would take the blue pill.
by Brent Johnson
by Brent Johnson
One of the most powerful sociopolitical forces exerting influence over our world today is inertia.
The Merriam Webster definition of the word “inertia” is, “indisposition to motion, exertion, or change.”
In plain language, inertia is the principle of matter in which an object continues doing the same thing it has been doing - if the object was moving, inertia would cause it to continue moving in the same direction and at the same speed; if the object was not in motion, then it would remain in its idle state.
Newton’s First Law of Motion states that an object will remain in its state of inertia unless and until acted on by an external force.
These fundamental laws and principles effectively explain why it is so difficult to get general populations to change their views on anything.
This is reminiscent of the great monologue from the first episode of The Newsroom.
I was raised in Center, Texas where we treated each other with respect. We didn't eat a lot of fast food because it was considered a treat, not a food group. We drank Kool-Aid and ice tea made from water that came from our kitchen sink. We ate bologna sandwiches, or even tuna (which was in a can not a pouch), PB&J & grilled cheese sandwiches, hot dogs, pot pies, but mostly home made meals consisting of mainly meat, potatoes, vegetable, bread & butter and homemade dessert.
We ate lunch in the cafeteria at school, some did brown bag it but very few. Our food was very healthy, delicious & fresh!
We grew up during a time when we would gather glass bottles to take to the store and use the deposit money to buy penny candy. (We even got a brown paper bag to put the candy in). You could get a lot for just 25 cents. We also mowed lawns, babysat, help neighbors with chores, worked with our dad's in the summer. We went outside a lot to play games, ride bikes, run with siblings, cousins and friends & played hide and seek, kick the can, jump rope, hopscotch, Red Rover, red light, Mother May I, kicker, basket ball even dodge ball. We drank tap water or from the hose outside... bottled water was unheard of!!
No cable t.v. just 3 channels!! Yes THREE!! And if the President was on...That was the ONLY THING ON! We had no microwaves, no cell phones.
We ate hot and cold cereal at the breakfast table before going to school. We watched TV as a family: Gunsmoke, Gilligan's Island, Wonderful World of Disney, Grizzly Adams, Mutual of Omaha's Wild Kingdom, Happy Days, Fantasy Island, and Starsky & Hutch. After school, we came home and did homework and chores before going outside or having friends over. And could only watch cartoons on Saturday morning.
If you were bad in school, you got in trouble there and when you got home you got in trouble again because your parents already knew. Paddling was allowed in school and you behaved yourself or else.
We would ride our bikes for hours and talk until the lightning bugs came out. We would make lanterns with the lightning bugs and even pick 4 leaf clovers.
Not every 16 year old automatically expected a brand new car from their parents that they didn't have to worry about paying for. Because their parents were paying for it!
IF YOU GOT A CAR...You worked for it!! And whether you DID pay for it yourself or not....If it was misused in any way whatsoever...doing ANYTHING that you were told NOT to do with it....IT WAS TAKEN AWAY!! Until you could prove you could be responsible and obey the rules!!!
You LEARNED from your parents & grandparents instead of disrespecting them and treating them as if they knew absolutely nothing. What they said was Law!! And you had better know it!!!
If someone had a fight, that's what it was a fist fight and you were back to being friends afterwards or the bullying pretty much ceased. Kids that were around guns were taught how to properly use them and to respect them and never thought of taking a life.
You had to be close enough to home to hear your Mom yelling or Dad whistling to tell you it’s time to come home for dinner. We ate around the dinner table and talked to each other as a family unit. In school we said the Pledge of Allegiance and daily prayer, we stood for the National Anthem & listened to our teachers.
We watched what we said around our elders because we knew If we DISRESPECTED any grown up we would get our behinds whipped, it wasn't called abuse, it was called discipline! We held doors, carried groceries and gave up our seat for an older person without being asked.
You didn't hear curse words on the radio in songs or TV, and if you cursed and got caught you had a bar of soap stuck in your mouth and had to stand in the corner for quite some time. “Please, Thank you, Yes M'am and Yes, Sir" were part of our daily vocabulary! To this day I still say Thank You, I appreciate that, because that’s what I was taught.
I thank God everyday for my Mom and Dad, the way I brought up to believe in God.
Lots of good times and memories.
The good ol' days!
These brilliant words are from American Patriot Christy Borders in Texas. Her father was a great man and a true Patriot. She obviously carries on his legacy by her comments.
by Brent Johnson
Have you ever experienced the anguish of dealing with a government official who just refuses to understand your specific situation, or a banker who will not help you with a particular problem you are having, or an educator who cannot see your point of view regarding the raising of your children? The frustrations that you have experienced are due to the fact that you are dealing with bureaucrats.
LOS ANGELES, Kalifornia (PNN) - November 12, 2018 - If Stan Lee revolutionized the comic book world in the 1960s, which he did, he left as big a stamp - maybe bigger - on the even wider pop culture landscape of today.
Think of Spider Man, the blockbuster movie franchise and Broadway spectacle. Think of Iron Man, another Hollywood gold-mine series personified by its star, Robert Downey, Jr. Think of Black Panther, the box-office superhero smash that shattered big screen racial barriers in the process.
That is to say nothing of the Hulk, the X-Men, Thor, and other film and television juggernauts that have stirred the popular imagination and made many people very rich.
If all that entertainment product can be traced to one person, it would be Stan Lee, who died in Los Angeles on Monday at the age of 95. From a cluttered office on Madison Avenue in Manhattan in the 1960s, he helped conjure a lineup of pulp-fiction heroes that has come to define much of popular culture in the early 21st Century.
Lee was a central player in the creation of those characters and more, all properties of Marvel Comics. Indeed, he was for many the embodiment of Marvel, if not comic books in general, overseeing the company’s emergence as an international media behemoth. A writer, editor, publisher, Hollywood executive, and tireless promoter (of Marvel and of himself), he played a critical role in what comics fans call the medium’s silver age.
Many believe that Marvel, under his leadership and infused with his colorful voice, crystallized that era, one of exploding sales, increasingly complex characters and stories, and growing cultural legitimacy for the medium. (Marvel’s chief competitor at the time, National Periodical Publications, now known as DC - the home of Superman and Batman, among other characters - augured this period, with its 1956 update of its superhero the Flash, but did not define it.)
Under Lee, Marvel transformed the comic book world by imbuing its characters with the self-doubts and neuroses of average people, as well an awareness of trends and social causes, and often, a sense of humor.
In humanizing his heroes, giving them character flaws and insecurities that belied their supernatural strengths, Lee tried to make them real flesh-and-blood characters with personality.
“That’s what any story should have, but comics didn’t have until that point,” said Lee. “They were all cardboard figures.”
Energetic, gregarious, optimistic and alternately grandiose and self-effacing, Lee was an effective salesman, employing a Barnumesque syntax in print to market Marvel’s products to a rabid following.
He charmed readers with jokey, conspiratorial comments and asterisked asides in narrative panels, often referring them to previous issues. In 2003 he told The Los Angeles Times, “I wanted the reader to feel we were all friends, that we were sharing some private fun that the outside world wasn’t aware of.”
Though Lee was often criticized for his role in denying rights and royalties to his artistic collaborators, his involvement in the conception of many of Marvel’s best-known characters is indisputable.
He was born Stanley Martin Lieber on Dec. 28, 1922, in Manhattan, the older of two sons born to Jack Lieber, an occasionally employed dress cutter, and Celia (Solomon) Lieber, both immigrants from Romania. The family moved to the Bronx.
Stanley began reading Shakespeare at 10 while also devouring pulp magazines, the novels of Arthur Conan Doyle, Edgar Rice Burroughs and Mark Twain, and the swashbuckler movies of Errol Flynn.
He graduated at 17 from DeWitt Clinton High School in the Bronx, and aspired to be a writer of serious literature. He was set on the path to becoming a different kind of writer when, after a few false starts at other jobs, he was hired at Timely Publications, a company owned by Martin Goodman, a relative who had made his name in pulp magazines and was entering the comics field.
Lee was initially paid $8 a week as an office gofer. Eventually he was writing and editing stories, many in the superhero genre.
At Timely he worked with the artist Jack Kirby (1917-94), who, with a writing partner, Joe Simon, had created the hit character Captain America, and who would eventually play a vital role in Lee’s career. When Simon and Kirby, Timely’s hottest stars, were lured away by a rival company, Lee was appointed chief editor.
As a writer, Lee could be startlingly prolific. “Almost everything I’ve ever written I could finish at one sitting,” he once said. “I’m a fast writer. Maybe not the best, but the fastest.”
Lee used several pseudonyms to give the impression that Marvel had a large stable of writers; the name that stuck was simply his first name split in two. (In the 1970s, he legally changed Lieber to Lee.)
During World War II, Lee wrote training manuals stateside in the Army Signal Corps while moonlighting as a comics writer. In 1947, he married Joan Boocock, a former model who had moved to New York from her native England.
His daughter Joan Celia Lee, who is known as J. C., was born in 1950; another daughter, Jan, died three days after birth in 1953. Lee’s wife died in 2017.
A lawyer for Ms. Lee, Kirk Schenck, confirmed Lee’s death, at Cedars-Sinai Medical Center in Los Angeles.
In addition to his daughter, he is survived by his younger brother, Larry Lieber, who drew the Amazing Spider Man syndicated newspaper strip for years.
In the mid-1940s, the peak of the golden age of comic books, sales boomed. But later, as plots and characters turned increasingly lurid (especially at EC, a Marvel competitor that published titles like Tales From the Crypt and The Vault of Horror), many adults clamored for censorship. In 1954, a Senate subcommittee led by Tennessee Democrat Estes Kefauver held hearings investigating allegations that comics promoted immorality and juvenile delinquency.
Feeding the senator’s crusade was the psychiatrist Fredric Wertham’s 1954 anti-comics jeremiad, Seduction of the Innocent. Among other claims, the book contended that DC’s Batman stories - featuring the team of Batman and Robin - were “psychologically homosexual”.
Choosing to police itself rather than accept legislation, the comics industry established the Comics Code Authority to ensure wholesome content. Gore and moral ambiguity were out, but so largely were wit, literary influences, and attention to social issues. Innocuous cookie-cutter exercises in genre were in.
Many found the sanitized comics boring, and - with the new medium of television providing competition - readership, which at one point had reached 600 million sales annually, declined by almost three-quarters within a few years.
With the dimming of superhero comics’ golden age, Lee tired of grinding out generic humor, romance, western and monster stories for what had by then become Atlas Comics. Reaching a career impasse in his 30s, he was encouraged by his wife to write the comics he wanted to, not merely what was considered marketable. Goodman, his boss, spurred by the popularity of a rebooted Flash (and later Green Lantern) at DC, wanted him to revisit superheroes.
Lee took Goodman up on his suggestion, but he carried its implications much further.
In 1961, Lee and Kirby - whom he had brought back years before to the company, now known as Marvel - produced the first issue of The Fantastic Four, about a superpowered team with humanizing dimensions: nonsecret identities, internal squabbles, and in the orange-rock-skinned Thing, self-torment. It was a hit.
Other Marvel titles - like the Lee-Kirby creation The Incredible Hulk, a modern Jekyll-and-Hyde story about a decent man transformed by radiation into a monster - offered a similar template. The quintessential Lee hero, introduced in 1962 and created with the artist Steve Ditko (1927-2018), was Spider Man.
A timid high school intellectual who gained his powers when bitten by a radioactive spider, Spider Man was prone to soul-searching and leavened with wisecracks - a key to the character’s lasting popularity across multiple entertainment platforms, including movies and a Broadway musical.
Lee’s dialogue encompassed Catskills shtick, like Spider Man’s patter in battle; Elizabethan idioms, like Thor’s; and working-class Lower East Side swagger, like the Thing’s. It could also include dime-store poetry, as in this eco-oratory about humans, uttered by the Silver Surfer, a space alien:
“And yet - in their uncontrollable insanity - in their unforgivable blindness - they seek to destroy this shining jewel - this softly spinning
gem - this tiny blessed sphere - which men call Earth!”
Lee practiced what he called the Marvel method. Instead of handing artists scripts to illustrate, he summarized stories and let the artists draw them and fill in plot details as they chose. He then added sound effects and dialogue. Sometimes he would discover on penciled pages that new characters had been added to the narrative. Such surprises (like the Silver Surfer, a Kirby creation and a Lee favorite) would lead to questions of character ownership.
Lee was often faulted for not adequately acknowledging the contributions of his illustrators, especially Kirby. Spider Man became Marvel’s best-known property, but Ditko, its co-creator, quit Marvel in bitterness in 1966. Kirby, who visually designed countless characters, left in 1969. Though he reunited with Lee for a Silver Surfer graphic novel in 1978, their heyday had ended.
Many comic fans believe that Kirby was wrongly deprived of royalties and original artwork in his lifetime, and for years the Kirby estate sought to acquire rights to characters that Kirby and Lee had created together. Kirby’s heirs were long rebuffed in court on the grounds that he had done “work for hire” - in other words, that he had essentially sold his art without expecting royalties.
In September 2014, Marvel and the Kirby estate reached a settlement. Lee and Kirby now both receive credit on numerous screen productions based on their work.
Lee moved to Los Angeles in 1980 to develop Marvel properties, but most of his attempts at live-action television and movies were disappointing. (The series The Incredible Hulk, seen on CBS from 1978 to 1982, was an exception.)
Avi Arad, an executive at Toy Biz, a company in which Marvel had bought a controlling interest, began to revive the company’s Hollywood fortunes, particularly with an animated X-Men series on Fox, which ran from 1992 to 1997. (Its success helped pave the way for the live-action big-screen X-Men franchise, which has flourished since its first installment, in 2000.)
In the late 1990s, Lee was named chairman emeritus at Marvel and began to explore outside projects. While his personal appearances (including charging fans $120 for an autograph) were one source of income, later attempts to create wholly owned superhero properties foundered. Stan Lee Media, a digital content start-up, crashed in 2000 and landed his business partner, Peter F. Paul, in prison for securities fraud. (Lee was never charged.)
In 2001, Lee started POW! Entertainment (the initials stand for “purveyors of wonder”), but he received almost no income from Marvel movies and TV series until he won a court fight with Marvel Enterprises in 2005, leading to an undisclosed settlement costing Marvel $10 million. In 2009, the Walt Disney Company, which had agreed to pay $4 billion to acquire Marvel, announced that it had paid $2.5 million to increase its stake in POW!
In Lee’s final years, after the death of his wife, the circumstances of his business affairs and contentious financial relationship with his surviving daughter attracted attention in news media. In 2018, Lee was embroiled in disputes with POW!, and The Daily Beast and The Hollywood Reporter ran accounts of fierce infighting among Lee’s daughter, household staff and business advisers. The Hollywood Reporter claimed “elder abuse”.
In February 2018, Lee signed a notarized document declaring that three men - a lawyer, a caretaker of Lee’s, and a dealer in memorabilia - had “insinuated themselves into relationships with J. C. for an ulterior motive and purpose,” to “gain control over my assets, property and money.” He later withdrew his claim, but longtime aides of his - an assistant, an accountant, and a housekeeper - were either dismissed or greatly limited in their contact with him.
In a profile in The New York Times in April, a cheerful Lee said, “I’m the luckiest guy in the world,” adding, “My daughter has been a great help to me” and that “life is pretty good” - although he admitted in that same interview, “I’ve been very careless with money.”
Marvel movies, however, have proved a cash cow for major studios, if not so much for Lee. With the blockbuster Spider Man in 2002, Marvel superhero films hit their stride. Such movies (including franchises starring Iron Man, Thor and the superhero team the Avengers, to name but three) together had grossed more than $24 billion worldwide as of April.
Black Panther, the first Marvel movie directed by an African-American (Ryan Coogler) and starring an almost all-black cast, took in about $201.8 million domestically when it opened over the four-day Presidents’ Day weekend this year, the fifth-biggest opening of all time.
Many other film properties are in development, in addition to sequels in established franchises. Characters Lee had a hand in creating now enjoy a degree of cultural penetration they have never before had.
Lee wrote a slim memoir, Excelsior! The Amazing Life of Stan Lee, with George Mair, published in 2002. His 2015 book, Amazing Fantastic Incredible: A Marvelous Memoir (written with Peter David and illustrated in comic-book form by Colleen Doran), pays abundant credit to the artists many fans believed he had shortchanged years before.
Recent Marvel films and TV shows have also often credited Lee’s former collaborators; Lee himself has almost always received an executive producer credit. His cameo appearances in them became something of a tradition. (Even Teen Titans Go! to the Movies, an animated feature in 2018 about a DC superteam, had more than one Lee cameo.) TV shows bearing his name or presence have included the reality series Stan Lee’s Superhumans and the competition show Who Wants to Be a Superhero?
Lee’s unwavering energy suggested that he possessed superpowers himself. (In his 90s he had a Twitter account, @TheRealStanlee.) The National Endowment for the Arts acknowledged as much when it awarded him a National Medal of Arts in 2008. But he was frustrated, like all humans, by mortality.
“I want to do more movies, I want to do more television, more DVDs, more multi-sodes, I want to do more lecturing, I want to do more of everything I’m doing,” he said in With Great Power… The Stan Lee Story, a 2010 television documentary. “The only problem is time. I just wish there was more time.”