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Rocky began as a script about one man's struggle, but five decades later, it has become a global symbol of perseverance that transcends borders. As we celebrate America 250, people still show up to run those same steps Rocky ran in 1976, all 72 of them. Narrated by Sylvester...

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Mamdani: The powerful have always known their answer. America, in their view, is an arena of supremacy, where only a select few are allowed freedom, where not all are created equal. America, if you ask them, becomes less the more people it welcomes. America, they will tell you, belongs only to those with the right accent or the right shade of skin. The rest of us, they insist, should be grateful for merely being allowed to visit. How small they are, how weak, how unoriginal. At every moment in our past, those who led through exclusion and isolation have tried to win power and enrich themselves by turning us against one another. Division is the oldest trick in politics, and the cheapest. But time and again-including 250 years ago-those forces of division have been vanquished by the forces of progress. And yet today, too many of our leaders do not believe in a vision of this nation as an asylum for the persecuted-but rather as one that persecutes those seeking asylum. As we mark 250 years, what do we see? We see a city of contradictions within a nation of contradictions. We see the wealthiest country in the history of the world— one where children go to sleep hungry while the world's first trillionaire hungers for more. We see monopolies that dominate every industry and oligarchs who buy elections. We see masked agents terrorizing our streets, eating food cooked by our undocumented neighbors before spiriting them away in unmarked vans. We see a nation whose immense wealth has been built by those with calloused, dirt-streaked hands —those who toil on factory floors and chisel into stone —and we see a nation that has allowed so much of that wealth to be held instead in the soft hands of a precious few.

Acyn

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Sylvester Stallone on the "blissful stupidity" that got Rocky made Sylvester Stallone turned down $265,000 when he had $106 in the bank. He explained why to Johnny Carson, weeks after *Rocky* opened. Carson set it up by telling his audience he had watched the film with a room full of friends and everyone got up saying it was a knockout. "I have met no one yet really who has seen the picture who did not like it," he said. The film had already won best film of the year from Scholastic Magazine and Coronet Magazine. Carson's point: if somebody made a movie about how this movie got made, the audience wouldn't buy it. Stallone agreed, and gave the reason it worked anyway: "It was quite a long shot; if I had known it was gonna be that difficult I wouldn't have done it. I think it was a classic case of blissful stupidity because I didn't know you couldn't do something like this." His financing strategy was not sophisticated: "To me it seemed very normal honking your horn in the driveway of the producer and tapping on his window at all hours of the night and saying please, please, please. Eventually, I think they just gave me the money to go away." The script came out of his own dead end. He was turning 30, had been acting for ten years, and had concluded nothing was going to happen. So he took his own plight, "my inability to be recognized as an actor," and, in his words, put it in boxing shorts. "When you're a down-and-out underdog fighter, that's about as low down as you can get." The studio liked it. They also wanted somebody else in it. Stallone lists the names that came up: James Caan, Ryan O'Neal, Burt Reynolds. All bankable. None of them him. So they made offers. First $100,000 for the script. Then, as he puts it, $150,000 "to take a walk." He said no. They came back at $265,000. Carson asked him directly what goes through your head when someone offers you two hundred and sixty-five thousand dollars. "Well I said that's a lot of bread. Well after I stood up, you know it's one of those things. I felt as though the money meant nothing when you haven't dealt in money that much; it really had no bearing." He had about $106 in the bank at the time. His explanation for turning down more than 2,500 times that: a number that large was so far outside his experience that it had no emotional weight. Carson compared it to a man at the racetrack who wins $100,000, loses it all by the end of the day, and reports his loss as six dollars. Stallone's summary of his own position was one line: "So it really didn't bother me, plus $106 was gaining interest." The thing he was protecting was not the script. It was the part. And the part was the point of the script in the first place. "Many people consider it a fight film which is not true; there's only like nine minutes of fighting." Source: The Tonight Show Starring Johnny Carson, NBC, Sylvester Stallone interview, airdate 16 December 1976

History Nerd

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