Spotlight

  • Political Parody: The Revolution
  • PODCAST: How Do You Know That It's True?
  • The Ron Paul Channel provides fresh, engaging original programming each week, available to subscribers live or on-demand.

Guest Appearances

  • vof guest app 1

    January 2, 2019
    3:30 p.m. Central time
    Show: The Power Hour, airing on Genesis Communication Network
    Host:
     
    Daniel Brigman

    Shortwave DX: 7.490 – WWCR; 13.845 – WWCR
    Call in number: 1-866-582-9933
    Stream: https://powerhournation.com/
  • vof guest app 1

    Brent Johnson is the radio host of the longtime radio show the Voice of Freedom.

VOF Podcasts

  • vof podcast 1

    Are we creating a race of artificial humans?

    Dr. Thomas Horn is an internationally recognized lecturer, publisher, radio host and best selling author of several books including his newest, Forbidden Gates.

    read more

  • vof podcast 1

    How Do You Know that it's True?

    Brent Johnson asks the question "How do you know it's true?".

    read more

Stan Lee - superhero of Marvel Comics - is dead at 95!

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.”

Eulogies

Eulogy for an Angel
1992-Dec. 20, 2005

My Father
1918-2010

brents dad

Dr. Stan Dale
1929-2007

stan dale

A. Solzhenitsyn
1918-2008

solzhenitsyn

Patrick McGoohan
1928-2009

mcgoohan

Joseph A. Stack
1956-2010

Bill Walsh
1931-2007

Walter Cronkite
1916-2009

Eustace Mullins
1923-2010

Paul Harvey
1918-2009

Don Harkins
1963-2009

Joan Veon
1949-2010

David Nolan
1943-2010

Derry Brownfield
1932-2011

Leroy Schweitzer
1938-2011

Vaclav Havel
1936-2011

Andrew Breitbart
1969-2012

Dick Clark
1929-2012

Bob Chapman
1935-2012

Ray Bradbury
1920-2012

Tommy Cryer
1949-2012

Andy Griffith
1926-2012

Phyllis Diller
1917-2012

Larry Dever
1926-2012

Brian J. Chapman
1975-2012

Annette Funnicello
1942-2012

Margaret Thatcher
1925-2012

Richie Havens
1941-2013

Jack McLamb
1944-2014

James Traficant
1941-2014

jim traficant

Dr. Stan Monteith
1929-2014

stan montieth

Leonard Nimoy
1931-2015

Leonard Nimoy

Stan Solomon
1944-2015

Stan Solomon

B. B. King
1926-2015

BB King

Irwin Schiff
1928-2015

Irwin Schiff

DAVID BOWIE
1947-2016

David Bowie

Muhammad Ali
1942-2016

Muhammed Ali

GENE WILDER
1933-2016

gene wilder

phyllis schlafly
1924-2016

phylis schafly

John Glenn
1921-2016

John Glenn

Charles Weisman
1954-2016

Charles Weisman

Carrie Fisher
1956-2016

Carrie Fisher

Debbie Reynolds
1932-2016

Debbie Reynolds

Roger Moore
1917-2017

Roger Moore

Adam West
1928-2017

Adam West

JERRY LEWIS
1926-2017

jerry lewis

HUGH HEFNER
1926-2017

Hugh Hefner

PROF. STEPHEN HAWKING
1942-2018

Hugh Hefner 

ART BELL
1945-2018

Art Bell

DWIGHT CLARK
1947-2018

dwight clark

CARL MILLER
1952-2017

Carl Miller

HARLAN ELLISON
1934-2018

Harlan Ellison

STAN LEE
1922-2018

stan lee