This is far too simplistic. Trendle was a good businessman who knew when to invest and when to sell out. He had to balance this ability with his obvious stubborn ways. It was this very stubbornness that drove him to go it alone and make a success of producing his own shows and it was his business sense that brought about his ruthless cost cutting (a trait he never shook off even in more affluent times). He had a vision and nobody was going to knock him off his horse. He was a great leader who had a knack of getting the best out of his people at least cost. If the Lone Ranger saved him then it should never be forgotten that it was George Trendle who created his own savior. For American citizens currently 50 years of age, and older, what did the Disney logo, the magic kingdom castle, mean to them when they saw it on television screens preceding the "Disney's Wonderful World of Color," and other Disney-made movies and television specials during the 1960s and '70s? What did it mean for Walt Disney, himself, when he put his personal recommendations on his earliest television and movie productions, wishing America's children good benefit from watching them? To me, and probably 90 percent of the nation's children and their parents during that historical timeframe, it meant quality entertainment for the American family that would inspire good peaceful feelings and thoughts, and serve as redeeming bedtime stories for all preadolescent children. Walt Disney had his faults, but one of them wasn't the burning desire to create cartoons, like Mickey Mouse and Donald Duck and fantasy movies like "Cinderella," which would uplift the childhood mind, evoke tasteful humor, and engender peaceful imaginative thoughts. The old Mickey Mouse Club and Disney's childhood ambassadors, like Annette Funicello, were symbols of a supernal Disney culture intended by its creator to promote peace, tranquility, and redeeming moral valuesNonetheless, the present day Disney Corporation is certainly much more concerned about appealing to the appetites of the typical adult American mind, and the gross profits garnered by graphic portrayal of shockingly violent and unnatural themes, not fit for children's eyes and ears. When Disney CEO Ron Miller acquired Touchstone movie studios in 1984, Disney began cranking-out motion pictures, under another trade banner, that would attract more adult viewers than children through an appeal to the typical adult appetite, emphasizing sexual promiscuity instead of modesty and virtue, graphic violence instead of ordinary situational discord prudently displayed for a child's understanding, and graphic immorality showing the shadowy virtue of criminality instead of an absolute right, and an absolute wrong, about thievery, murder, and vice.

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