It was never my intent, to die for my country… I live to fight onward, for Americans.
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@gunsul
It was never my intent, to die for my country… I live to fight onward, for Americans.
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Samuel Tom Holiday, one of the last surviving Navajo Code Talkers who used his native language to create an uncrackable code to help win World War II, died at the age of 94 on Monday in Utah. https://fxn.ws/2sSUpki
RIP a true American Hero !!!!!
Rest easy Marine. We have the watch.
Before I go any further ...
It is time for actual Muslims to take a stand against the Pseudo-Islamists and live in peace as Mohammed originally intended ...
These Pseudo usurpers are the very paganist infidels that He warned us all to beware of ...
Jews, Christians, Muslims, Sikhs, B'hai's, Buddists, Hindus, Taoists and every other peaceful faith must defeat these monsters, before we all decide to become cowards in order to "go along to get along" ...
Pseudo-Islam is an abomination ...
This is a binary choice. Either you condemn radical Islam or you condone it. There is no fence to sit on.
On June 3, 1969, the final episode of Star Trek aired. Created by Gene Roddenberry it follows the adventures of the starship USS Enterprise (NCC-1701) and its crew. It later acquired the retronym of Star Trek: The Original Series (Star Trek: TOS or simply TOS) to distinguish the show within the media franchise that it began.The show is set in the Milky Way galaxy, roughly during the 2260s. The ship and crew are led by Captain James T. Kirk (William Shatner), first officer and science officer Spock (Leonard Nimoy), and chief medical officer Leonard McCoy (DeForest Kelley). Shatner’s voice-over introduction during each episode’s opening credits stated the starship’s purpose:Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before.The series was produced 1966–67 by Desilu Productions, and by Paramount Television 1968–69. Star Trek aired on NBC from September 8, 1966 to June 3, 1969. Star Trek ’s Nielsen ratings while on NBC were low, and the network canceled it after three seasons and 79 episodes. Several years later, the series became a bona fide hit in broadcast syndication, remaining so throughout the 1970s, achieving cult classic status and a developing influence on popular culture. Star Trek eventually spawned a franchise, consisting of five additional television series, twelve feature films, numerous books, games, toys, and is now widely considered one of the most popular and influential television series of all time.
And would have never happened without Lucille Ball.
“Loooooocee! Ju got some splainin to do!”
Old Assumptions
There was a time when the world was built upon different assumptions. Not better people. Not smarter people. Just different assumptions.
The assumption was that a broken chair would be repaired. That a worn tool would be sharpened. That a machine would be rebuilt rather than discarded. That a man who did not yet know how to do something could learn.
The assumption was that usefulness was not purchased, but made.
Open an old magazine and you can still see it between the pages. Instructions for building a boat in the backyard. Plans for a radio assembled on the kitchen table. Articles explaining how to pour concrete, wire a workshop, repair an engine, build a cabinet, raise a barn.
No one stopped to explain why an ordinary person was capable of these things. It was simply assumed.
The world expected participation.
Somewhere along the way, the assumptions changed.
Now we are surrounded by things we are not meant to open, repair, modify, or understand. We are told to replace rather than mend, to hire rather than learn, to consume rather than create. And because we hear it often enough, many begin to believe that building is the work of specialists, and repair the work of experts.
Yet the old assumptions still linger in certain places.
They live in machine shops where tools older than their owners still earn their keep. They live in workshops where scraps of steel become brackets, where worn bearings are replaced instead of ignored, where old radios glow to life after decades of silence. They live in garages, barns, basements, and sheds. They live in calloused hands and notebooks filled with measurements.
Most of all, they live in the quiet belief that nearly anything can be understood if one is willing to spend enough time with it.
That is the oldest assumption of all.
A broken machine is not a mystery. It is a lesson waiting to be learned.
A missing part is not the end of a project. It is a problem waiting for a solution.
A thing does not lose its value simply because it requires effort. Perhaps that is why old tools, old buildings, and old machines feel different. They come from a world that expected stewardship. They were built by people who assumed someone would care for them after they were gone.
To hold something once meant more than possession. It meant responsibility. It meant maintenance. It meant repair. It meant preserving what was worth preserving and passing it on with a little more life left in it than when it was received.
Those assumptions have become less common, but they have not disappeared. They survive wherever someone looks at a broken thing and says, "Let's see if I can fix it." They survive wherever someone looks at a problem and says, "I can learn." They survive wherever creation is valued more than convenience.
And in those places, the old world has not vanished completely. It is still there, quietly waiting, built upon old assumptions.
EXCELLENT article!!
The producers wanted to kill him. Stallone refused. Then he sat down with twenty real veterans and wrote the scene that changed action movies forever.
When Sylvester Stallone signed on to star in First Blood in 1982, the ending was already written. John Rambo was supposed to die. In the original script, based on David Morrell's 1972 novel, Colonel Trautman would shoot Rambo in the police station. Credits roll. The end.
Kirk Douglas, who was originally cast as Trautman, demanded that Rambo die. He believed it was the only artistic choice. Stallone disagreed. The two clashed so intensely that Douglas quit the production. Richard Crenna was brought in to replace him at the last minute.
But Stallone wasn't just fighting over a plot point. He was fighting for something bigger.
He told the producers directly that if Rambo died, every Vietnam veteran watching the film would walk away with the same message: the only thing waiting at the end is death. He refused to let that stand.
So he rewrote the ending himself.
He sat down and conducted twenty interviews with real Vietnam veterans. He listened to their stories about coming home to a country that didn't want them. About the nightmares that never stopped. About friends who died in their arms from booby traps and bombs. About the guilt of surviving when others didn't.
Then he took everything he heard and compressed it into a single monologue. A stream of consciousness that would come pouring out of a character who had barely spoken a word for the entire film.
When the scene was filmed, Rambo — cornered in the police station, surrounded by armed men — finally broke. For four raw minutes, Stallone delivered one of the most emotionally devastating performances in action movie history. He talked about friends who never came home. A buddy named Danforth who dreamed about cruising Las Vegas in a red 1958 Chevy convertible. A shoeshine boy in Saigon whose box was wired with explosives. The moment everything changed and could never be put back together.
The producers didn't want the scene. They told Stallone to cut it. He refused.
The first cut of First Blood was three hours long and more drama than action. Stallone hated it so much he reportedly tried to buy the negative just to destroy it. But they kept cutting, reshaping, tightening, until the film became a lean ninety-minute experience where Rambo's near-total silence made that final monologue hit like a freight train.
When the film screened for a test audience in Las Vegas, they loved it. But when they screened the original ending where Rambo dies, the audience turned hostile. One voice reportedly said that if the director was in the theater, he should be strung up from the nearest lamppost.
The ending with the monologue stayed. Rambo lived.
Years later, the author of the original novel said something remarkable. He said that Rambo's emotional breakdown in that scene had helped save the marriages of countless Vietnam veterans. Men who had never been able to express what they carried inside watched Stallone weep on screen and, for the first time, learned how to cry again.
Stallone didn't channel his own Hollywood rejections into that scene. He channeled the real voices of men who had been silenced by a war and forgotten by their country. He fought the producers, fought the director, fought the original ending, and won — not for himself, but for every veteran who needed to hear that their pain was real and that someone was listening.
He later told The Hollywood Reporter that all he wanted was for people to leave the theater with some sense of hope. He said he didn't want his heroes to die.
That's why the scene still hits forty years later. It wasn't acting. It was testimony.
Very true and the book was still better
Hang the gay assed fucker!
As pleasurable as that would be, I’d rather see his ass in federal prison with only Fox News on the TV and have him sit there watching while we undo and unfuck everything he did to ruin this country so he’d see daily proof that he failed miserably…
A wholesome fable
It was wholesome, until......
Y’all gon’ learn today!
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Notice a pattern here!!
Absolutely correct.
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