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Ferrari F430 - Sunset nigger

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What a nice... title, I'm just not as cool as Webb coming with nice titles.. :P
Image size
1280x740px 534.86 KB
Make
NIKON CORPORATION
Model
NIKON D90
Shutter Speed
1/80 second
Aperture
F/6.3
Focal Length
13 mm
ISO Speed
200
Date Taken
Sep 14, 2009, 6:50:47 PM
© 2009 - 2024 dejz0r
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When you ask who the creator of Batman was most people answer Stan Lee [his real name was Stanley Lieber]. Most people know nothing about Milton "Bill" Finger or Bob Kane [his real name was Robert Kahn] or Sherrill "Jerry" Robinson [creators of Batman, Robin, Catwoman, the Joker, the Penguin, etc.], or Jerome "Jerry" Siegel or Joseph "Joe" Shuster [creators of Superman, Luthor and the Spectre, etc.], or Dr. William Moulton Marston or Harry Peter [creators of Wonder Woman], or Mortimer "Mort" Weisinger [creator of Green Arrow, Aquaman and Tarantula] or Gardner Fox [co-creator of the Justice League, the Green Lantern Corps and Dr. Fate] or Dennis "Denny" O'Neil or Neal Adams [creators of the black John Stewart Green Lantern and Ra's al Ghul] or William "Bill" Parker or Charles Clarence "C.C." Beck [creators of Billy Batson/Captain Marvel and Shazam] Joseph "Joe" Simon or Jack Kirby [his real name was Jacob Kurtzberg] [creators of Captain America, the Guardian, the Hulk, the Demon Etrigan, Iron Man, Orion, Thor, Kamandi, the Avengers, the Forever People, the Black Panther, the Fantastic Four, the Challengers of the Unknown, the X-Men, Darkseid, etc.] or Stephen "Steve" Ditko [co-creator of Spider-Man, creator of the Ted Kord Blue Beetle, Dr. Strange, etc.] or Leonard "Len" Wein [creator of Wolverine and Swamp Thing], they only have seen the famous Stan Lee on TV and in movies [and maybe Frank Miller too], and they assume Stan Lee created all the superheroes. 

Stan Lee is also to blame for that misunderstanding in a way because he had done so much publicity on TV promoting himself as the creator of the "world's greatest" superheroes and when TV hosts said Stan Lee is "the man whose created all of the superheroes of our day, creating the heroes of today" Stan Lee didn't correct them.
Stan Lee was friends with Bob Kane as seen in this picture with Stan Lee's arm around Bob Kane, and they were a lot alike in taking as much creator credit they could, craving fame and promoting Batman [in Bob Kane's case] and Spider-Man, the Hulk, etc. [in Stan Lee's case] and self promoting themselves. Stan Lee did credit Steve Ditko and Jack Kirby for the art in the Marvel comics in the '60s, but not for the stories and creator credit for the top Marvel superheroes and villains. Bob Kane didn't credit anybody but himself in the DC Batman comics in the '30s, '40s and '50s, Bill Finger was the true writer and creator of the top DC Batman superheroes and villains and Jerry Robinson at least helped create Robin and the Joker and did most of the Batman art instead of Bob Kane.

Steve Ditko wrote that all editor Stan Lee did in the co-creation of Spider-Man was write a 1 or 2 page basic synopsis plot for Steve Ditko to create the complete story, the look of the characters and draw, pencil and ink the art in 21-24 pages for Amazing Fantasy #15 (1962) "Spider-Man". Then Stan Lee would just write in dialogue, then Stan Lee would credit only himself for the story and only credit Steve Ditko for the art, although Steve Ditko was creating the story from Stan Lee's synopsis plot. So it should have been credited Steve Ditko: story and art, Stan Lee: plot synopsis, dialogue and editor. 

Stan Lee was on Larry King Live in 2000 and said about the creation of the Fantastic Four, the Hulk and Spider-Man, "Well, I had already done the Fantastic Four and the Hulk. I have told this story so often it might even be true. I can't remember. I was siting and I saw a fly crawling on the wall, I said, 'Suppose a person had the power to stick to a wall like an insect.' I thought, 'What will I call him?' I tried Miskito-Man, Insect-Man, and I got to Spider-Man and a legend was born. Nobody wanted me to do it. My publisher [Stan Lee's cousin in-law Martin Goodman] said, 'That's the worst thing I ever heard of. People hate spiders, you can't call a hero Spider-Man.' When I said I want him to be a teenager, he said to me, 'You don't understand, Stan, a teenager can only be a sidekick. He can't be the hero.' Then when I said I want him to have a lot of personal problems and nothing ever goes right for him, he said, 'Stan, don't you know what a hero is?' We had a [comic] book we were gonna drop [Amazing Fantasy], and when you do the last issue of a [comic] book nobody cares what you put into it, so I featured Spider-Man on the cover. A month later the sales figures came in and it had been our biggest seller. So my publisher [cousin in-law] came to me and said, 'Stan, why don't you do a Spider-Man series.' And that's how it happened." 
Stan Lee never mentions Jack Kirby or Steve Ditko at all until Larry King asks, "Who came up with the way he [Spider-Man] looks?" Only then does Stan Lee mention, "Oh, Steve Ditko. Steve designed the character. Everything about the costume and he also gave it such personality the way he did it. Jack Kirby was probably the greatest comic book artist around and I worked with him. We collaborated on so many strips [comic books]. The Fantastic Four, the Hulk, the X-Men, and I wanted Jack [Kirby] to do the Spider-Man but I didn't want Spider-Man to look heroic. I wanted him to be just a typical nebbish kind of guy. But Jack was so use to drawing Captain America and things like that, when he gave me the first couple of pages I said, 'You've got him looking to heroic.' So I gave the [Spider-Man] strip [comic book] to Steve [Ditko]. It didn't matter to Jack and Jack was busy doing all the other [Marvel comic] books. Steve was just perfect for it. He got that feeling of an average guy who turned into a hero and still had problems."  
Spider-Man wasn't really as original as Stan Lee makes it seem. DC's Mort Weisinger already had a superhero that could stick to a wall like an insect called Tarantula in 1941, and Archie Comics' Joe Simon and Jack Kirby already had a superhero based on an insect called the Fly in 1959 [originally was going to be called the Silver Spider], and Fawcett's Bill Parker, France Herron and Otto Binder and DC's Jerry Siegel and Otto Binder already had teenage heroes that were not really sidekicks since 1940 [Billy Batson, Captain Marvel Jr., Mary Marvel, Superboy and Supergirl] and DC's Jerry Siegel already had Clark Kent looking unheroic and looking like just a typical nebbish kind of guy have a lot of personal problem flaws with his job and girlfriend troubles in the Superman comics since 1938. And it's been discovered that in 1962 Steve Ditko clearly based the Marvel Spider-Man costume design on a Spider Man Halloween costume that was made by Ben Cooper Inc. from 1954-1962. 

Stan Lee was on Thicke of the Night in 1984 and never mentions Jack Kirby or Steve Ditko at all, instead Stan Lee said, "I created a lot of them and I was the head writer, the art director and the editor. A few years later they [Stan Lee's cousin in-law Martin Goodman, former Marvel publisher] made me the publisher so I stopped writing them. Now the only comic book writing I do is for the Spider-Man newspaper strip which is [in newspapers] around the world and I'm hoping to put these and other properties into movies and television shows. Comic books are the last defense against illiteracy. Most kids will spend as much time as possible in front of a TV set and you cant get em to read but if you take a Marvel comic book and put it on the coffee table he will grab that [comic] book and look at those ridiculous pictures and be fascinated by it, in order to know what's happening he's gotta read the words, and even though he doesn't what to read particularly, before he knows it he's enjoying the story and eventually they go on to read real things. The same kids who like Star Wars (1977), the same kids who like Raiders of the Lost Ark (1981) and so forth are the ones who like this [superhero comic books]. One of them involves the mighty Thor god of thunder in which we explore the old Norse mythology and it's all based on mythology and they even speak in a Shakespearean and Biblical dialect. We use collage level vocabulary. If we wanna use words like proselytize and misanthropic we go ahead and we do it. We find that the young kids enjoy the stories as much as the older ones but we've encouraged an entire older audience to read comics, too, which maybe be good or bad. I've modeled a lot of them after me for example Spider-Man, I mean he's just as apt to have an allergy attack while he's saving the world or he worries about fallen arches, his dandruff. One great thing about the Spider-Man costume, every kid in the world relates to him. You could be an Oriental, you could be black, you could be an Eskimo, but mere fact that you can't tell though the mask what type of person he is makes it very easy for kids all around the world to sympathies with Spider-Man and I often thought that might be one reason for success besides the allergy attacks which I'm sure are irresistible to your average reader. The Hulk has a little problem, too, he turns into a monster when he least expects it. We have a character Iron Man who has a weak heart, and on and on. They've all got some ridiculous flaw. Some Achilles heel."

Jack Kirby ranted in The Comics Journal #134 (1990) about Stan Lee not giving Jack Kirby story credit and creator credit, only artist credit, "I met Stan Lee when I first went to work for Marvel [Timely]. He was a little boy. When Joe [Simon] and I were doing Captain America [1941-1942]. He was about 13 [17] years old. He’s about five years younger than me. I thought Stan Lee was a bother. You know he was the kind of kid that liked to fool around — open and close doors on you. Yeah. In fact, once I told Joe [Simon] to throw him out of the room. Stan Lee was a pest. He liked to irk people and it was one thing I couldn’t take. He hasn’t changed a bit. I couldn’t do anything about Stan Lee because he was the [Timely/Atlas/Marvel] publisher’s [Martin Goodman's] cousin [in-law and Robbie Solomon's cousin]. He ran back and forth around New York doing things that he was told to do. He would slam doors and come up to you and look over your shoulder and annoy you in a lot of ways. Joe [Simon] would probably elaborate on it. Yes, he wasn’t exactly an editor, or anything like that. Even as a young boy, he’d be hopping around — I think he had a flute, and he was playing on his flute. Yeah. He’d come up and annoy me, and I told Joe [Simon] to throw him out. I always liked DC — they were fair, which was very rare in comics.
Marvel was on its ass [in 1958], literally, and when I came around, they were practically hauling out the furniture. They were literally moving out the furniture. They were beginning to move, and Stan Lee was sitting there crying. I told them to hold everything, and I pledged that I would give them the kind of books that would up their sales and keep them in business, and that was my big mistake.
It came about very simply. I came in and they were moving out the furniture, they were taking desks out — and I needed the work! I had a family and a house and all of a sudden Marvel is coming apart. Stan Lee is sitting on a chair crying. He didn’t know what to do, he’s sitting in a chair crying —he was just still out of his adolescence. I told him to stop crying. I says. 'Go in to Martin and tell him to stop moving the furniture out, and I’ll see that the books make money.' And I came up with a raft of new books and all these books began to make money. Somehow they had faith in me. I knew 1 could do it, but I had to come up with fresh characters that nobody had seen before [Groot in 1960, Gorgolla in 1960, Grogg in 1961, Fin Fang Foom in 1961]. I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge — what kind of monster would fascinate people? My monsters were lovable monsters. The monster stories have their limitations — you can just do so many of them. And then it becomes a monster book month after month, so there had to be a switch because the times weren’t exactly conducive to good sales. I came up with The Fantastic Four [in 1961]. There were always precursors to the Fantastic Four. The science fiction pictures were beginning to break, and I felt that the Challengers of the Unknown [in 1957-1959] were part of that genre. I wrote the Challengers. I wrote everything I did. I bounced back and forth like a yo-yo between Marvel and DC. I came up with Thor [in 1962]. Whatever it took to sell a book I came up with. Stan Lee has never been editorial minded. It wasn’t possible for a man like Stan Lee to come up with new things — or old things for that matter. Stan Lee wasn’t a guy that read or that told stories. Stan Lee was a guy that knew where the papers were or who was coming to visit that day. Stan Lee is essentially an office worker, Okay? I’m essentially something else: I’m a storyteller. My job is to sell my stories. When I saw this happening at Marvel I stopped the whole damned bunch. I stopped them from moving the furniture! Stan Lee was sitting on some kind of a stool, and he was crying. 
I came up with the Fantastic Four [in 1961], I came up with Thor [in 1962] (I knew the Thor legends very well), and the Hulk [in 1962], the X-Men [in 1963], and the Avengers [in 1963]. I revived what I could and came up with what I could. No, Stan didn’t know what a mutation was. I was studying that kind of stuff all the time. I would spot it in the newspapers and science magazines. I still buy magazines that are fanciful. I don’t read as much science fiction as I did at that time. 1 was a student of science fiction and I began to make up my own story patterns, my own type of people. Stan Lee doesn’t think the way I do. Stan Lee doesn’t think of people when he thinks of [characters]. I think of [characters] as real people. If I drew a war story it would be two guys caught in the war. The Fantastic Four to me are people who were in a jam — suddenly you find yourself invisible, suddenly you find yourself flexible. Remember this: Stan Lee was an editor. He worked from nine to five doing business for Martin Goodman. In other words he didn’t do any writing in the office. He did Martin Goodman’s business. That was his function. There were people coming up to the office to talk all the time. They weren’t always artists, they were business people. Stan Lee was the first man they would see and Stan Lee would see if he could get them in to see Martin Goodman. That was Stan Lee’s function. 
Stan Lee and I never collaborated on anything! I’ve never seen Stan Lee write anything. I used to write the stories just like I always did. DC would send me scripts, I’d throw them out the window. 
No, I dialogued them. If Stan Lee ever got a thing dialogued, he would get it from someone working in the office. I would write out the whole story on the back of every page. I would write the dialogue on the back or a description of what was going on. Then Stan Lee would hand them to some guy and he would write in the dialogue. In this way Stan Lee made more pay than he did as an editor. This is the way Stan Lee became the writer. Besides collecting the editor’s pay, he collected writer’s pay. I’m not saying Stan Lee had a bad business head on. I think he took advantage of whoever was working for him.
I did. All right? I came up with all those names. I came up with Thor because I’ve always been a history buff. I know all about Thor and Balder and Mjolnir, the hammer. Nobody ever bothered with that stuff except me. I loved it in high school and I loved it in my pre-high school days. It was the thing that kept my mind off the general poverty in the area. When I went to school that’s what kept me in school — it wasn’t mathematics and it wasn’t geography; it was history.
The Hulk I created when I saw a woman lift a car. Her baby was caught under the running board of this car. The little child was playing in the gutter and he was crawling from the gutter onto the sidewalk under the running board of this car — he was playing in the gutter. His mother was horrified. She looked from the rear window of the car, and this woman in desperation lifted the rear end of the car. It suddenly came to me that in desperation we can all do that — we can knock down walls, we can go berserk, which we do. You know what happens when we’re in a rage — you can tear a house down. I created a character who did all that and called him the Hulk. The Hulk was Frankenstein. Frankenstein can rip up the place, and the Hulk could never remember who he formerly was.
On the contrary, it was I who brought the ideas to Stan [Lee]. I brought the ideas to DC as well, and that’s how business was done from the beginning.
I created [the prototype] Spider-Man [in 1962]. We decided to give it to Steve Ditko. I drew the first Spider-Man cover. I created the [Spider-Man prototype] character. I created the [prototype] costume. We decided to give the book to Steve Ditko who was the right man for the job [and Steve Ditko redesigned the costume]. He did a wonderful job on that. It was Steve Ditko that made Spider-Man the well-known character that he is.
I came up with the Black Panther [in 1966] because I realized I had no blacks in my [Fantastic Four] strip. I’d never drawn a black. I needed a black. I suddenly discovered that I had a lot of black readers. My first friend was a black!
I could never see Stan Lee as being creative. The only thing he ever knew was he’d say this word 'Excelsior!' I think Stan has a God complex. Right now, he’s the 'father' of the Marvel Universe. He’s a guy with a God complex. There’s nothing I can do about it. I’m not going to be believed at Marvel. Stan Lee was the editor, and Stan had a lot of influence at Marvel, and there was nothing you could do about it. I had to render to Ceasar what he considered Ceasar’s. Taking credit for the writing. I found myself coming up with new angles to keep afloat. I was in a bad spot. I was in a spot that I didn’t want to be in and yet I had to be to make a living. 
So I went to DC, and I began creating for them. I took Jimmy Olsen because it was a dog. It didn’t have the sales of Superman, and I felt the best way I could prove myself was taking a book that was slow and speeding up it’s sales. That’s the way to prove yourself. And so I took Jimmy Olsen, and Jimmy Olsen became part of the series of books that I did for DC, and they all made money. Jimmy Olsen was making money. DC couldn’t believe it. They cut the heads off my Superman, and then they replaced them with a standard ['60s Curt Swan style] Superman head. Yes, it bothered me, of course, because a man is entitled to draw things in his own style. I didn’t hurt Superman. I made him powerful. I admire Superman, but I’ve got to do my own style."

The "Marvel way" in the '60s and '70s was really John Buscema's copy of the Jack Kirby way. "Stan thought I should study Jack's art and books so he gave me a pile of Kirby's comics. Well, everybody was given Jack Kirby books! It was the first time I'd seen his work. I started working from them, and that's what saved me. The layouts! I copied! Every time I needed a panel, I'd look up at one of his panels and just rearrange it. If you look at some of the early stuff I did - y'know, where Kirby had the explosions with a bunch of guys flying all over the place? I'd swipe them cold! (laughter) Stan was happy. The editors were happy, so I was happy."
twomorrows.com/kirby/articles/…
And the "DC way" back in the '70s was really to copy the Neal Adams way to draw comics. “There were at least three artists who began to imitate my style at DC,” Neal Adams said matter-of-factly. “So by the time I left Batman, I had left behind three guys who could pretty much draw Batman the way I had.” He named Irv Novick, Jim Aparo and Bob Brown. “All terrific guys. And if your next question is, ‘How do I feel about people imitating my style?’ People have to raise families. They have to live. And if it makes sense to do, then it makes sense to do and that’s pretty much my view on it. I have no problem with any of that. I’m honored. In fact, each one of them came to me and said, ‘Neal, how would you feel if I did this, because they’re asking me to do it.’ And I said, ‘You know what? I love it. Please. Do it.' So, no, I have no problem with that.”
13thdimension.com/the-neal-ada…
The "DC way" house style changed almost with each decade. The "DC way" in the '30s was the Joe Shuster and Bob Kane/Sheldon Moldoff way, in the '40s and '50s it was the Wayne Boring and Dick Sprang way, in the '60s it was the Curt Swan and Carmine Infantino way, in the '70s it was the Neal Adams way, in the '80s it was more scatter brained at DC with first the 1982 José Luis García-López style guide doing the Neal Adams way, and then there was the 1986 John Byrne [Superman reboot] way and Frank Miller/David Mazzucchelli [new Catwoman costume] way and then the 1989 Jerry Ordway [Michael Keaton Batman and Jack Nicholson Joker] way etc., in the '90s it was 1990 the Neal Adams [new Robin costume] way, 1992 Steve Erwin/José Luis García-López [Michael Keaton Batman, Michelle Pfeiffer Catwoman and Danny DeVito Penguin] way and 1993 Dan Jurgens [long haired Superman] way, and since the '00s the "DC way" house style has been the Jim Lee way to draw comics.