political challenge

freckled-orange  asked:

What advice would you give to young women who want to get into politics?

That’s a fantastic question! When I was campaigning and young girls would find out that I was the first Latina to potentially be elected into the Senate, I heard so much excitement from them. I realized that they looked at me and thought: If she can do it, so can I. And that is just amazing. Because they can! And they should. There are women who were trailblazers for me and that’s why I’ve been successful. Now it’s my turn to open doors for those behind me.

So, if you want it and are willing to work hard – go for it! There’s nothing young girls shouldn’t feel like they can’t do. When women apply for a job, we ask ourselves, “Am I qualified? Do I have the experience? Do I have the education? Do I have the abilities?” We need to stop second-guessing our abilities. We need to stand up and make ourselves heard. Women can be whoever they want to be. In today’s challenging political environment, it’s more important than ever that we have strong, passionate, fierce women working in politics. So, if you are thinking about getting into politics, just do it. But do it for the right reasons: Fighting for the most vulnerable.

Now Presenting: Brujos

BRUJOS IS A QUEER-OF-COLOR, RADICALLY POLITICIZED WEB SERIES FOLLOWING FOUR GAY LATINO DOCTORAL CANDIDATES–THAT ARE ALSO WITCHES. THEY NAVIGATE MAGIC, SEXUALITY, AND SURVIVING A WITCH-HUNT LED BY A SECRET SOCIETY OF WHITE HETERONORMATIVE MALE DESCENDENTS OF THE FIRST NEW WORLD COLONIZERS.

Installment 1: The Devil

Episode 1: Aries

Episode 2: Taurus

Episode 3: Gemini 

Episode 4: Cancer

TV can be art. TV can be revolutionary. TV can be popular entertainment AND incite critical dialogue. Audiences are hungry and intelligent enough for challenging work. This describes the philosophy behind BRUJOS, a counter-hegehmonic web series. Produced by Open TV (beta), conceived, written and directed by Ricardo Gamboa and to be shot by cinematographer Ben Kolak, BRUJOS is a queer-of-color web series.

BRUJOS blends the Latin American soap opera, American sitcom, and critical theory as it follows a coven of four queer Latino doctoral candidates as they learn magic, indulge in nightlife, navigate intimate relationships, and write seminar papers all while trying to survive a witch-hunt. These young protagonists confront histories and realities of racial and gendered inequality as they battle the secret society of white, heteronormative male descendants of the first New World colonizers behind the witch-hunt. Twelve, seven-minute episodes corresponding to signs of the zodiac cycle have been developed through queer men of color testimony; interviews with actual practitioners of divination and magic, i.e. psychics, santeras, tarot readers, etc.; and with academics of cultural studies, performance studies, and queer theory.

BRUJOS addresses the current the landscape of television: Gay men and people of color are more apparent than ever in mainstream television. Sitcoms like “Blackish” and “Fresh Off The Boat” depict families of color attaining the American dream. Programs such as “Looking” and “Modern Family” feature middle and upper class white gay men searching for love or functioning as an all-American family. While these shows are representational achievements, they are not revolutionary ones.

In these cases, ethnic, racial and sexual minorities are portrayed in ways that support dominant culture, narratives, values and relationality. Commercial television studios and networks preoccupied with “scale” and “big data” seldom produce aesthetically or politically challenging work to secure mass viewership. This only further marginalizes non-normative people who’s lives, realities, and stories do not fit within their depictions and who devise new ways of being under the pressures of inequality that are never affirmed.

Moreover, Chicago has become a hotbed for television production. However, series such as Chicago P.D. reiterate stereotypes of people of color as criminals. Mega-hit EMPIRE provides more complex portrayals but it’s get-rich-or-die-trying messaging is consistent with popular culture. Too often work that offers alternative images, narratives, and values is not seen as viable by mainstream producers.

For such reasons, Stephanie Jeter moved from big budget television producing to assume a critical and creative approach to television production. Jeter’s commitment to working with independent artists led her to BRUJOS. BRUJOS was conceived by Ricardo Gamboa, an award-winning “artivist” committed to creating work outside institutional frameworks. Gamboa began development for BRUJOS in 2014 through informal interviews with queer Latino men and healers and psychics.

ARTNOIR + Black Lives Matter: Black Futures Month || ANSWER TIME on February 14th, 10am (PST) || 1pm (EST)

Submit Your Questions Here

ARTNOIR is excited to be collaborating with Black Lives Matter on their Black Futures Month project during Black History Month. This project is designed to inspire people during this challenging social & political climate through art and the written word to dream about tomorrow today. 

Each day in February, Black Lives Matter will release an original piece of art and an accompanying written piece to reclaim Black History Month and demonstrate the importance of using art as both an inspiration and an organizing tool. Artists from around the world have been commissioned to use their genius to promulgate the conversation about systemic racism and violence against Black people.

Today we are thrilled to co-host an interactive Q&A with visual artist Delano Dunn, digital all-rounder Babusi Nyoni and organizer/writer Miski Noor for a candid and spirited conversation via Tumblr’s Answer Time series. 

Our conversation explores how visual art and writing can serve as a platform to discuss pressing issues that impact Black communities throughout the diaspora from education to immigration.

Send us your questions and join the conversation live on  February 14th, 10am (PST) || 1pm (EST) on our Tumblr site.

anonymous asked:

remember when Tony was all like "people need to be held accountable" and even before he found out about his parents, was totally ok with Bucky being arrested for the crimes he was forced to commit when he was under Hydra's control, but conveniently forgot about that one time he, while in full possession of his free will, went behind his teammates' backs and built Ultron, leading to the deaths of thousands????

RIGHT?! “People need to be held accountable” - except for him who got to make money off of weapons, literally is the only reason that Sokovia no longer exists and by proxy, the reason Wanda doesn’t have a brother anymore, got to walk free and “put himself under house arrest” for the events at the airport in Civil War, despite the fact Ross literally acknowledges that he should be put in a prison cell too, where most of Team Cap end up.

Honestly Tony, and everything he represents can choke. Stop celebrating white privilege???? Stop praising the wealthy getting away with stuff the less fortunate get persecuted over???? Stop putting him up on a pedestal when he literally represents everything that is wrong with class, racial and judicial systems??????

In other news, I love Sam Wilson. Not related to the question, I just like to remind people every now and then.

retail etiquette

alternatively titled, “how to be a decent human being to people who are suffering enough as it is to help your supposedly entitled ass”

1. get off your cell phone.  
      - cashiers ( not to mention the people patiently waiting in line ) don’t need to hear about how little Kelsey’s doing on the soccer team, or how your mother-in-law is coming into town for her birthday and you’re just SO INCONVENIENCED by having to purchase paper plates and cheap napkins before her arrival.  just tell them you’ll call them back when you’re done.
      - if you can’t be assed to think about other people, at least acknowledge the cashier with a smile or a wave.  if they speak to you or ask you a question, don’t shush them.  tell your BFF Tanisha to hold on for what might be a total of four seconds. 

2.  when an item doesn’t immediately scan, please say anything but “oh, it must be free!”  please, dear god, anything but that.  you’re not being funny.  or clever.  or original.  they hear this at least ten times a day.  

3.  the number of items listed on the express lane is not a suggestion.  if you know that you have more items, don’t go there.  it’s that simple.  the express lanes have to be kept open for people who have small orders, so they’re not stuck behind someone with a cart piled high with what’s maybe a week’s worth of food and clothes you’ll inevitably be returning. 

4.  while unloading your cart, put the big items ( i.e., packages of toilet paper, crates of water bottles ) last.  there’s very little room for the cashiers to work with.  when you’re done unloading your cart, pull it up to the loading space and start putting the bags and other items into your cart instead of standing there and staring off into space or fiddling with your phone. 

5.  when you ask a cashier a store-related question ( i.e., how many coupons are allowed per order, whether or not you’re getting the right BOGO deal, etc. ), and they answer you politely and confidently, don’t challenge them.  they work there.  you don’t.  they know the way the store works.  you don’t.  if they’ve forgotten something or made a mistake, by all means, ask them about it – but do it politely.  we all make mistakes.  

6.  do not – i repeat, do not – put your money down on the counter or conveyor belt, especially if the cashier is visibly ready to take it.  hand it over to them.  if you need to count out some change, tell them so they can wait.  oh, and if they’ve already cashed you out, don’t hand over some random amount of change after the drawer’s open.  

7.  if your card’s declined, it’s not their fault.  don’t ask them why it wasn’t accepted.  they don’t know.  and don’t get angry or impatient with them, or insist you have money because you just deposited a check – they do not care.  they cannot help you with problems that are clearly on your end.  

8.  do not yell at a cashier.  once again, for the people in the back:  do not yell at a cashier, especially someone who’s clearly new to the job.  would you appreciate being yelled at for something beyond your control, or a simple, fixable mistake?  no.  so don’t do it to them.  

9.  if you get an answer you don’t like from a cashier and ask to speak to a manager, guess what?  you’re most likely gonna get the same answer from them.  here’s a news flash: the customer is not always right, the company will not always pander to your temper tantrums, and making a scene in front of a line of people with quickly-diminishing patience will not change their minds. 

10.  overall, please just be polite.  these people are working their asses off to help their customers, most of which don’t appreciate their efforts at all.  they’re constantly ignored, mistreated, questioned and degraded, and over time, it really does a number on their emotional state.  just be kind and courteous.  they’re human beings, not mindless drones.  smiles and nice conversations go a long way.  

if anyone else has anything to add, feel free.  floor associates, back room / production workers – go crazy.  share your woes and pet peeves.  

2

SE MoodboardsDepartment of Business, Commerce, and Politics.

“For all of the future entrepreneurs, CEOs, and politicians, there is the Department of Business, Commerce, and Politics. Students in this department are fierce, confident, ambitious, and focused. They aim high and settle for nothing but the best. If you love to lead and dream of changing the world, then this specialization is for you.”

“The gaming industry in general is far, far more Liberal than the average gamer. It worries me a bit that Liberal politics is forcing it’s way into games; I just want to enjoy a fun experience, or take part of someone’s artistic vision. Do you think that’s a legitimate worry for me to have?”

Hoo boy.

This is the kind of answer that is bound to cause some amount of controversy, but I also try and pride myself on not avoiding the tough questions, so I’ll give it a shot. 

[Deep breath.]

First, I’m going to assume that you aren’t really talking about politics per se. If League tried to sneak in lessons on how taxes should be structured, or opinions on health care, or state versus federal power, then I’d get that we were being too political for a “mere game.” I’m going to take the leap and guess that what you’re really getting at is how League (or any game) depicts diversity. That’s usually the controversial social issue surrounding games. Please correct me if I have assumed incorrectly.

And on the topic of diversity, I’ll try and answer from the point of view of player value, since that is what Riot tries to use to guide our decisions. 

From the point of view of someone like yourself, it’s likely you came to League (or WoW or Destiny or Zelda) because your friends or the internet told you it was a good game. You probably stuck with it because you could get wrapped up in the gameplay, or found it satisfying to get better over time, or just found it to be a good diversion from work, school, or family. Based on your own description, I’m thinking it’s pretty unlikely that you came to League because you wanted your own political or social beliefs challenged. And I get that, I really do. At the end of the day, this is an entertainment product. It’s something a lot of us use as an escape from the real world. Maybe not everything we engage with needs to challenge our values or make us uncomfortable.

But let’s switch that around and examine the game from the point of view of a player with a different set of values. Just as you may not have the same values as a bunch of game developers living and working in California USA (and again I’m just going by what you’re saying in your question), a lot of gamers out there may not have the same values as you do (or that we do for that matter). For some players (like me), it seems really weird when a game doesn’t acknowledge that the real world of other gamers or the fictional world of game characters are diverse places with different religions, genders, skin colors, and economic statuses. Having an openly gay character or punishing a player for calling another player a racial slur doesn’t feel political to me. It’s just a reflection of Earth circa 2017.

Let’s also keep in mind that gamers live in a lot of different places around the world, and that France, Russia, Taiwan, Brazil, and the Philippines have really different expectations about what is comfortable, appropriate or mainstream than you or I might.

So getting back to your original question….

In my opinion, your worry is legit if a game you love (League or anything) loses its way and starts focusing too much on social messages at the expense of gameplay. There are games that make a great social commentary while also being fun, but I’m not super interested in games that make a great social commentary at the expense of being fun. Maybe those works of media are something else and not games. Movies and art don’t have to be “fun” for me to enjoy them. I dunno. I hate trying to categorize things with certain labels. I just want games to be fun.

On the other hand, I don’t think your worry is legit, meaning I don’t think it’s fair or probably healthy, if you want to somehow wall yourself off (in a game or anywhere) from the diversity that the world offers.

I’m going to close my quoting my friend, Jeff Kaplan:  

There was this shift on the team, where we realized we had to stop thinking of Earth as this boring place. It’s an amazingly cool place and what makes it cool is all its differences. We no longer look at the cultural sensitivity as a land mine or as an obligation. We look at it as an opportunity.

3/27/2017

when can we stop pretending that mainstream, middle-of-the-road status-quo peddling capitalist properties are “progressive”?

Yeah, it’s nice when things don’t go out of their way to be reprehensible, but giant media conglomerates and multi-million dollar companies are not your friends.

related: it’s fine to like things that aren’t progressive also. The danger of all this tepid liberal media crit is that it is warping the meaning of political art by desperately stretching its definitions so that all your faves can be included rather than seeking out, creating or demanding art that is actually political and challenging (alongside your perfectly acceptable diet of Art That is Not Challenging).

okay maybe they’ve actually learned not to spoil malec to much for season 2b with their trailers and stuff; I’m actually really excited cause it seems they will face political/diplomatic challenges, and I’m looking forward to see how it all plays out for them.

7

José Clemente Orozco (November 23, 1883 – September 7, 1949) was a Mexican painter, who specialized in political murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Alfaro Siqueiros, and others. Orozco was the most complex of the Mexican muralists, fond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by Symbolism, he was also a genre painter and lithographer. Between 1922 and 1948, Orozco painted murals in Mexico City, Orizaba, Claremont, California, New York City, Hanover, New Hampshire, Guadalajara, Jalisco, and Jiquilpan, Michoacán. His drawings and paintings are exhibited by the Carrillo Gil Museum in Mexico City, and the Orozco Workshop-Museum in Guadalajara. Orozco was known for being a politically committed artist and promoted the political causes of peasants and workers.

José Clemente Orozco was born in 1883 in Zapotlán el Grande (now Ciudad Guzmán), Jalisco to Rosa de Flores Orozco. He married Margarita Valladares, and had three children. At the age of 21, Orozco lost his left hand while working with gunpowder to make fireworks.


The satirical illustrator José Guadalupe Posada, whose engravings about Mexican culture and politics challenged Mexicans to think differently about post-revolutionary Mexico, worked in full view of the public in shop windows located on the way Orozco went to school. In his autobiography, Orozco confesses, “I would stop [on my way to and from school] and spend a few enchanted minutes in watching [Posada]… This was the push that first set my imagination in motion and impelled me to cover paper with my earliest little figures; this was my awakening to the existence of the art of painting” (Orozco, 1962). He goes on to say that watching Posada’s engraving decorated gave him his introduction to the use of color. After attending school for Agriculture and Architecture, Orozco studied art at the Academy of San Carlos. He worked as an illustrator for Mexico City newspapers and directly as an illustrator for one of the Constitutionalist armies overseen by “First Chief” Venustiano Carranza. When the revolutionary factions split in 1914 after Victoriano Huerta was ousted, Orozco supported Carranza and General Álvaro Obregón against Pancho Villa and Emiliano Zapata.

With Diego Rivera, he was a leader of the artist movement known as Mexican Muralism. An important distinction he had from Rivera was his darker view of the Mexican Revolution. While Rivera was a bold, optimistic figure, touting the glory of the revolution, Orozco was less comfortable with the bloody toll the social movement was taking. Orozco is known as one of the “Big Three” muralists along with Diego Rivera and David Alfaro Siqueiros. All three artists, as well as the painter Rufino Tamayo, experimented with fresco on large walls, and elevated the art of the mural.


Between 1922–1924, Orozco painted the murals: “Maternity”, “Man in Battle Against Nature”, “Christ Destroys His Cross”, “Destruction of the Old Order”, “The Aristocrats”, and “The Trench and the Trinity” at the National Preparatory School. Some of the murals were destroyed by Orozco himself, and later repainted. Others were vandalized by conservative students and practically destroyed. Thus, Orozco had to repaint many of them when he came back to the School in 1926. 1925, he painted the mural “Omniscience” at Mexico City’s House of Tiles. In 1926, he painted a mural at the Industrial School in Orizaba, Veracruz.


Between 1927–1934 Orozco lived in the USA. Even after the fall of the stock market in 1929, his works were still in demand. From March to June 1930, at the invitation of the Pomona College Art Department, he painted what he noted was the “first fresco painted outside the country by a painter of the Contemporary Mexican School.”  The fresco, Prometheus (Prometeo del Pomona College), on the wall of a Pomona College dining hall, was direct and personal at a time when murals were expected to be decorous and decorative, and has been called the first “modern” fresco in the United States.[7] Later that year, he painted murals at the New School for Social Research, New York City, now known as the New School University. One of his most famous murals is The Epic of American Civilization at Dartmouth College, New Hampshire, USA. It was painted between 1932 and 1934 and covers almost 300 m² (3200 square feet) in 24 panels. Its parts include: “Migrations”, “Human Sacrifices”, “The Appearance of Quetzalcoatl”, “Corn Culture”, “Anglo-America”, “Hispano-America”, “Science” and “Modern Migration of the Spirit” (another version of “Christ Destroys His Cross”).

After returning to Mexico in 1935, Orozco painted in Guadalajara, Jalisco, the mural “The People and Its Leaders” in the Government Palace, and the frescos for the Hospicio Cabañas, which are considered his masterpiece. In 1940 he painted at the Gabino Ortiz Library in Jiquilpan, Michoacán. Between 1942–1944 Orozco painted for the Hospital de Jesús in Mexico City. Orozco’s 1948 “Juárez Reborn” huge portrait-mural was one of his last works.

In 1947, Orozco illustrated the book The Pearl, by John Steinbeck.

Orozco died in 1949 in Mexico City.

anonymous asked:

Spideypool at disneyland

Peter had made a mistake. He made a huge mistake in thinking that bringing Wade Wilson to Disneyland would be manageable. It was like babysitting seventeen toddlers at the same time. Only they were one large, overly enthusiastic man that was constantly on the verge of getting them kicked out of the park. 

Wade had tried to climb the shoulders of almost all the mascots, had asked for a kiss from all the Disney princesses and princes (all of them politely declined), challenged Gaston to an arm wrestle and won, and made Peter regret not bringing his web shooters with how much he ran ahead. Peter contemplated buying a child leash more than once. 

By the end of the day, Wade had chilled out from many hours of screaming on rides and fangirling over all of the Disney characters and running around as fast as his feet could carry him. They were watching the fireworks and Wade leaned back, resting his head on Peter’s shoulder and sighed against his neck. Peter wrapped his around around Wade’s chest and kissed his temple. 

“You are… a handful but I’m glad you had fun today,” Peter said softly, 
“I had fun, too.”

Wade grinned up at him, “Good. Because I’m gonna have two more energy drinks tomorrow morning and we’re doing this again.”

Peter blinked up at the exploding lights in the sky and silently asked for one to go off next to him and end his torment.

I’ve been thinking a lot about Harry related discourse lately, including some suggestions that the way his statements get scrutinised is unbalanced in comparison to the way the other 1D boys are treated when it comes to song lyrics, statements they make in interviews and the general bar we set for them.

I get that it’s annoying that Harry appears to meet more political challenges in relation to the stuff he puts out there, but I’m going to put a positive flip side to that observation. I think Harry attracts particular scrutiny because he’s been more vocal and nuanced about issues which have a social justice lean, such as women’s rights and LGBT activism and that he’s even thinking about this stuff is a very good thing. I know that’s one of the reasons why, as a solo artist, he’s held particular appeal for me and I’ve been so excited to hear more from him as an individual. I think the reason he attracts more extensive critique is because he has consciously positioned himself as someone who gives thought to these issues, as someone who cares about, as he puts it himself, fundamental equality. He comes across in his marketing as someone who thinks about things like gender, women’s rights and LGBT identity and that’s a very, very inspiring thing to see in a 20-something popstar who could frankly choose to be a ‘rich kid of instagram’ and enjoy wealth and privilege without giving a fuck about anything or anyone.

Keep reading

theguardian.com
The destruction of Hillary Clinton: sexism, Sanders, and the millennial feminists | Susan Bordo
In this extract from her book, Susan Bordo asks how the most qualified candidate ever to run for president lost the seemingly unloseable election
By Susan Bordo

As one Sanders supporter wrote:

Yes, equal rights for women and minorities are critically important. To consider these ideals progressive, however, seems passé. At this point, it’s more fair to suggest they are traditional. Gender and civil rights and equality may remain under attack from the right, but these ideals are positively engrained in two generations of Americans. Progressive voters, at this stage in our young country’s political history, want to challenge corrupt systems. The prison-industrial complex, the military-industrial complex, the financial-industrial complex, and the other lobbies that control our politicians and our government, for example.

DAY 3246

Jalsa, Mumbai                    Feb 16/17,  2017                  Thu/Fri 2:06 am



Sitting after, and in conversation with, the serial that plays on the teleV,  there is a discovery .. sleep induced, finds opportunity to nap against some of the scenes that pour out .. and remarkably there does not seem to be loss of story or the missing of any particular sequence descriptive of the scenario at all .. the vacant mind absorbs, as if there were to be an afterthought play back machine engineered by the mind ..

The mind has itself had many incarnations in a life time, and it is the most complicated and curious element of the body - they now talk of brain transplant - and there would be a time I suppose when, the capacity and credential of the kind of brain one would desire, would not be an impossibility ..


Each hour spent within the walls of this supreme element, gives rise to an opinion, an idea, a direction for the project to be contracted .. or projects to be contracted .. they come in droves now … each one superior in content than the last one .. or the one just before that .. we live in fascinating times .. times when the flow of talent and creativity abound .. burst into the firmament with excessive enthusiasm, making it most difficult for a ‘decision making challenged person’ , even more challenged and undecided ..

Blessed are they that do not ever wantonly face the stigma of insecurity .. many do and perish under its weight, despite the contrary effect .. but insecurity may have a million connotations .. for a million minds .. all different and tough to fathom ..

It can - insecurity - secure one from impending disaster, or perceived disaster ! One could either succumb to its weighted implant, or stand up in ‘bravehearted chest beating avataar’ and overcome it ..

One may be brave in believing that ‘all will be well’ .. but that shadow of doubt and uncertainty .. that fence which seemingly protects, finds itself, bruised and cut in many places, presenting a picture which may have nothing to do with the start of this discussion .. INSECURITY .. !!!

Deformity in any form is challenging .. handicapped, or to be politically correct, challenged in the form, can cause some empathy .. but is least desired .. it envelops the  brave and strong, but somewhere the bravery side steps and leaves one alone aloof and vulnerable to all possible weaknesses.

There can never be any single human that can boast of ‘zero vulnerability or weakness’ .. we are all in the oven together and on a scale which does not differ from each other .. or perhaps does .. who knows .. the act of disclosure is also an insecurity .. !!!


We all live and exist with multiple shortcomings .. and our tenure in the years of our lives shall ever be filled with the effort we make to rid ourselves of this purported stigma .. it isn’t .. it is not a stigma .. it is a comment .. much like the comments that shall appear as soon as this missive goes socially media conscious .. ie a post on the BLOG ..

My love shall be short but filled with immense value and concern ..

Amitabh Bachchan

Love & Peace and Sarcasm

I beginning to find that I would be more open to empathizing with the other superheroes if the fans weren’t such assholes to Tony Stark. Seriously, I would love to feel bad that Steve lost 70 years of his life, that Wanda is a war orphan, that Natasha’s life sucked so much growing up, that Clint was mind controlled by aliens, that Wilson watched his brother fall to his death, but it always ends with how much Tony sucks. Example: Poor Clint+ Tony Sucks, Poor Wanda+ Tony Sucks, Poor Natasha+ Tony Sucks, etc. For each Poor Tony, I could write a Rogers Sucks. But I don’t. I don’t because I can try and admit life in general sucks. Hell, I’d be more open to sympathy if those so called heroes didn’t treat Tony as a scapegoat while they lived off his money. So all I ask is that you spread the empathy and not the hate. Tony is someone who should be defended, and I’m seriously sick of him being the Marvel’s scapegoat. 

Just so you know: A woman challenged Tony’s political views, and he decided she was awesome. A group of people we’re nervous dealing with Tony Stark and Tony did everything he could to make them feel relaxed. Terrorists attacked him, and his first move was to get up and fight with other soldiers, and he didn’t have a single armor. Tony was a good man even before he was Ironman.

Tony was a good man even before Ironman. Pass it on.