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	<title>social-history &amp;laquo; WordPress.com Tag Feed</title>
	<link>http://en.wordpress.com/tag/social-history/</link>
	<description>Feed of posts on WordPress.com tagged "social-history"</description>
	<pubDate>Fri, 01 Jan 2010 20:25:14 +0000</pubDate>

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<title><![CDATA[Football in decline?]]></title>
<link>http://dalyhistory.wordpress.com/2009/12/31/football-in-decline/</link>
<pubDate>Thu, 31 Dec 2009 14:05:29 +0000</pubDate>
<dc:creator>James Daly</dc:creator>
<guid>http://dalyhistory.wordpress.com/2009/12/31/football-in-decline/</guid>
<description><![CDATA[Recent events surrounding Portsmouth Football Club have reminded me of a unit I studied while at Uni]]></description>
<content:encoded><![CDATA[Recent events surrounding Portsmouth Football Club have reminded me of a unit I studied while at Uni]]></content:encoded>
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<title><![CDATA[Young Singaporeans Reading History and the Politics of Age]]></title>
<link>http://lkshistory.wordpress.com/2009/12/31/young-singaporeans-reading-history-and-the-politics-of-age/</link>
<pubDate>Thu, 31 Dec 2009 04:49:34 +0000</pubDate>
<dc:creator>pathslks</dc:creator>
<guid>http://lkshistory.wordpress.com/2009/12/31/young-singaporeans-reading-history-and-the-politics-of-age/</guid>
<description><![CDATA[Presented at the forum on 2009 Year in Review, organised by The Online Citizen, 29 December 2009 200]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p>Presented at the forum on <em>2009 Year in Review</em>, organised by The Online Citizen, 29 December 2009</p>
<p>2009 was a return to history. <em>Men in White</em>, written by three <em>Straits Times</em> journalists, appeared noisily in September, purporting to tell the ‘untold story’ of the PAP, including that of the ‘losers’. It was, however, one of the ‘victors’ who made an eye-catching critique of the book the following month. Yoong Siew Wah, former Director of CPIB and ISD, complained on his blog, <em>Singapore Recalcitrant</em>, that the authors had taken at face value a statement by Prime Minister Lee Kuan Yew on Yoong’s alleged mishandling of an investigation into lawyer Francis Seow in 1971. The authors hastily apologised and promised to withdraw the offending point from subsequent prints of the book. For Yoong, now 82, reading <em>Men In White</em> was about restoring his reputation.</p>
<p>Younger Singaporeans have also been reading <em>Men in White</em> for political errors and suspicious silences, although for quite a different purpose. Before the book’s official launch, film-maker Martyn See posted an entry on his blog, responding to a preliminary news report on the book. Martyn raised two questions on the book’s credibility: that the report made no mention of Operation Coldstore, in which over a hundred leading leftists in Singapore were detained in 1963, and that the authors had not contacted two of the PAP’s main opponents in the early 1960s: Dr Lim Hock Siew and Dr Poh Soo Kai. In responding to Martyn’s queries, the authors, well, defended their work, stating that they did approach Dr Lim but he refused to be interviewed. They of course used his oral history interview at the National Archives of Singapore which many researchers are aware of, but this, I think, was not Martyn’s point. And there were many other instances of ‘history watching’. In a subsequent column in the <em>Straits Times</em>, one of the authors, Sonny Yap, lamented that the numerous salvoes, many in cyberspace, fired in their direction were ‘factually off the mark’.</p>
<p>Regardless of whether the allegations were true, I believe Sonny Yap missed the point. He should have been happy, rather than flabbergasted, that so many netizens, especially young Singaporeans, responded so acutely to a book on Singapore history. This is a country where Singaporeans born after the 1950s and 1960s are periodically reprimanded by the state for not showing interest in the country’s past. The responses to <em>Men In White</em> demonstrate that this is not entirely true. What is important is not whether the allegations were accurate, but that they were allegations. They revealed what histories, and whose histories, mattered to the Singaporeans born after independence. In comparison to the former ISD Director, their concerns have greater import.</p>
<p>I wish to talk about the possibilities and pitfalls of young Singaporeans reading our country’s history today. This is an enterprise which is crucially important but also perilous, both academically and socially. Writers of history, whether it is historians or the participants, inevitably select their facts, interpret their data and make their claims. The readers likewise: how they read will be largely determined by their views and values, by the social and political context, by their age.</p>
<p>There is a tendency for young Singaporeans to read our past for inspiration and vilification. This is not surprising and is part of the enduring appeal of history. Inspiration because the past provides positive precedents, or heroes, of an earlier generation of Singaporeans (also young and idealistic then) struggling to make Singapore a better, fairer and more open society. Vilification because history also provides what appears to be proof of what some present day young Singaporeans want to believe – that the government is repressive, manipulative and narrowly neo-liberal. In short, we read Singapore history for Lim Chin Siong and Operation Coldstore.</p>
<p>This is to some extent unavoidable. I have had my own ‘honeymoon’ with Lim Chin Siong, this formidable, yet humble, political and labour activist who could bring 40,000 people to their feet with a few choice words of Hokkien, whose work was destroyed in the making of Malaysia. Lim Chin Siong has passed into legend in Singapore’s cultural imagination, which makes writing and reading about him doubly difficult.</p>
<p>One of the first living leftists I met in 2005 left a lasting impression. Walking up to him in Toa Payoh MRT station, he looked no different from many other <em>ah peh</em> in the graying estate. He firmly grasped my hand and lowered his head in greeting. I never forgot that sense of humanity he conveyed in that single moment. He was Lee Tee Tong, a labour unionist in the Singapore Bus Workers’ Union, who in 1963 stood and won in Bukit Timah (the old constituency of Lim Chin Siong), but never took his seat as he was arrested and detained without trial shortly after for 16 years. I interviewed Lee Tee Tong on a later occasion for over five hours about his life, work and politics.</p>
<p>Writing history for me is about getting ‘inside’ the past, achieving empathy and then crafting an independent narrative and analysis. I have researched on different facets of the Singapore left: trade unions, university political clubs and rural associations. I find a good number of possibilities for writing the subject. We can frame the left as offering the alternative ‘paths not taken’ to a different (maybe better?) Singapore. Or as pathbreakers whose work made possible the PAP’s success, visionaries whose ideas enabled the making of modern Singapore. Or as nationalists who were outmaneuvered in the geopolitics of the Cold War and then forgotten. Still, I am concerned with what the left did for Singapore and how that contribution has for so long been ignored.</p>
<p>The possibilities are closely related to the pitfalls. The left’s history is far richer than the themes of inspiration and vilification. The left fought for a union of Singapore and Malaya – in fact, this belief was unquestioned to a point which most young Singaporeans born into a sovereign state would have difficulty imagining. The left’s ideology was socialist, although that some radicals were less doctrinaire than others. Socialism as a doctrine entails a belief in radical change and transformation, of both nature and human nature, no less radical than the development pursued by the government since the 1960s. Will Singapore be necessarily better, fairer and more open under a socialist regime? I believe deeply in the need for greater social justice in Singapore; much of my research has been on marginalised groups in Singapore history. But I doubt the road of socialism leads to a just society any more than the highway of neo-liberalism.</p>
<p>These are aspects of the history of the left which we should also read and consider. I recognise the complete history is yet to be written, but at the same time, we have a moral duty to be more creative, more rigorous in the ways we explore our history. Above all, we need to ask new questions. Lee Kuan Yew gave a grudging stamp of approval to <em>Men In White</em> but still deemed it necessary to repeat his charge that Lim Chin Siong was a communist. I think most of us here have no interest in reviving that question, much less the answer. Each generation writes its own history but this cannot begin until we first ask new questions, questions for a new era, for a new purpose. And young Singaporeans cannot simply inherit the perspectives of the older generation.</p>
<p>That generation of leftists is already writing its own histories. <em>Men In White</em> was quickly followed by <em>The Fajar Generation</em>, a book by former members of the University Socialist Club in the 1950s and 1960s (a subject which I have also been working on separately). <em>The Fajar Generation</em> is a collective biography, a classic example of a generation writing its own history. But it also significantly blurs the line between biography and history because, as far as I know, it is the first instance where the participants have relied not just on their own memories, but also the colonial archives, to establish their views. Young Singaporeans who seek only inspiration and vilification in history will find much of both in <em>The Fajar Generation</em>. My suggestion is we read the book as a collective biography, and then ask ourselves, why are the former leftists now writing their histories, and what else do we want to know?</p>
<p>The politics of age lies between generations of Singaporeans. Another plane of the divide is on social history. In my interviews with leprosy sufferers, kampong dwellers, fire victims, and British base workers, I have come to sense something of the collective psyche of ordinary elderly Singaporeans – what they feel about the breaking events of our recent history; about politics under the PAP government; about the regimen of life and work in a ferociously developmental state.</p>
<p>I bring up social history because it provides new insights into the past, because it allows us to explore ‘politics’ more broadly, but also simply because we really haven’t spoken enough to our elders about the past. Our nation’s history is not simply about the struggle between the left and the Lee Kuan Yew group. One thing which struck me in my interviews with elderly people is the ambivalence in their memories of life, housing, family, work, and change in Singapore. Leprosy sufferers tell me that ‘our lives are bad but our luck is good’; they have been forcibly segregated from society and relocated from their homes several times in their lives. One victim of the 1961 Bukit Ho Swee fire wanted to find a new attap house to live in and did not want to move to an emergency HDB flat, yet recalls Lee Kuan Yew as very <em>hiong</em> as the prime minister in tackling the country’s challenges at the time; young Singaporeans, she insists, have had it much easier. Many elderly Singaporeans firmly support the development of Singapore and the authoritarian government which has made it possible, but are also aware of the personal and social price that they – we – have had to pay in the process. They are also the keepers of memories of events and people which can serve as a valuable counterpoint to the Singapore Story, which will help us to bridge not only generational, but also mental, divides. In listening to them, we realise that history is not painted in black and white, that there are many more ‘untold stories’ to uncover. We will find new ways to look at our history in the last 50 years which will enable us to re-imagine the future.</p>
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<title><![CDATA[My Christmas Morning]]></title>
<link>http://caffeculture.wordpress.com/2009/12/31/my-christmas-morning/</link>
<pubDate>Thu, 31 Dec 2009 01:35:24 +0000</pubDate>
<dc:creator>coffeeshopoffice</dc:creator>
<guid>http://caffeculture.wordpress.com/2009/12/31/my-christmas-morning/</guid>
<description><![CDATA[written by Lori Thiessen This year&#8217;s Christmas was very special so I thought I&#8217;d share m]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p><em>written by Lori Thiessen</em></p>
<p>This year&#8217;s Christmas was very special so I thought I&#8217;d share my day with you.</p>
<p>My mom and I spent Christmas Eve&#8217;s at my sister&#8217;s place;  complete with our jim-jams and everything. My mom settled down for her Christmas sleep in the lazy boy and I in the fold-away sofa bed which tends to want to fold-away even if someone is trying to sleep on it.</p>
<p>At 5 am, Mom heard the pitter-patter of my niece and nephew&#8217;s feet and their stage whisper: &#8220;Santa&#8217;s been!&#8221;</p>
<p>Showing remarkable restraint for children on Christmas Day morning, they waited until 8 am to see if Grandma and Auntie (that&#8217;s me!) was awake. My nephew shone the flashlight in my face and said in a surprised voice, &#8220;Oh, they&#8217;re still asleep!&#8221;. Christmas Day had truly begun.</p>
<p>My sister asked me if I wanted o.j. or coffee. I muttered, &#8220;Coffee.&#8221; She asked what I would like in my coffee. The choices included such tantalizing offerings as Kahula, Bailey&#8217;s, rum, and other delicious but decidedly un-ordinary condiments.</p>
<p>I requested Frangelico. My sister who is the soul of generosity ladled in a hefty helping of the liqueur. The result was that by 9:30 a.m. I was feeling quite&#8230; tiddly.  It is only once a year.</p>
<p>The day wandered along wonderfully well. A multitude of presents were unwrapped and thoroughly enjoyed.  We breakfasted on my sister&#8217;s amazing baking powder biscuits, fruit salad and orange juice plus more coffee (however, sans frangelico because some propriety must be maintained).</p>
<p>I decided to have a short, pre-lunch nap. I awoke to my nephew exclaiming, &#8220;I can&#8217;t believe that Auntie Lori has slept for 3 whole hours!&#8221;Apparently, the spiked coffee had more of an effect than I imagined.</p>
<p>My mom and my sister were busy in the kitchen preparing the Christmas dinner.  Though I was planning on being an active member of the kitchen squad, I wasn&#8217;t. I sucked. Sigh. I did peel some potatoes later on and that made me feel a bit better, but not much.</p>
<p>My brother-in-laws parents arrived for the Christmas feast and we had a marvellous time.  The food was delicious, the company very pleasant.</p>
<p>After dinner, my nephew pulled out a book on making hand-puppet shadows he had received from his Nana and Papa. My brother-in-law produced the hand-crank camp light he had been given. The lights were turned off. Darkness was all around us, save for one bright light.</p>
<p>We saw reindeer, bats, alligators and other shadowy creatures on the diningroom wall.</p>
<p>As the peaceful darkness over took us all, my mom and I packed our bags, presents and memories. We thanked my sister and her husband for a truly magical Christmas.</p>
<p>We soon drove out of sight into the long, dark winter night.</p>
<p>Wishing you and yours a peaceful, joyous holiday season!</p>
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<title><![CDATA[Tansport Secretary hails 2010 'year of high-speed rail in the UK']]></title>
<link>http://dalyhistory.wordpress.com/2009/12/30/tansport-secretary-hails-2010-year-of-high-speed-rail-in-the-uk/</link>
<pubDate>Wed, 30 Dec 2009 12:58:31 +0000</pubDate>
<dc:creator>James Daly</dc:creator>
<guid>http://dalyhistory.wordpress.com/2009/12/30/tansport-secretary-hails-2010-year-of-high-speed-rail-in-the-uk/</guid>
<description><![CDATA[Transport Secretary Lord Adonis has said that 2010 will be the year of &#8220;year of high-speed rai]]></description>
<content:encoded><![CDATA[Transport Secretary Lord Adonis has said that 2010 will be the year of &#8220;year of high-speed rai]]></content:encoded>
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<title><![CDATA[Belfield's 1980s Rave Scene]]></title>
<link>http://ucdhiddenhistory.wordpress.com/2009/12/29/belfields-1980s-rave-scene/</link>
<pubDate>Tue, 29 Dec 2009 18:11:52 +0000</pubDate>
<dc:creator>jaycarax</dc:creator>
<guid>http://ucdhiddenhistory.wordpress.com/2009/12/29/belfields-1980s-rave-scene/</guid>
<description><![CDATA[In this instalment of UCD Hidden History, we talk to François Pittion (former Ents Officer) about Be]]></description>
<content:encoded><![CDATA[In this instalment of UCD Hidden History, we talk to François Pittion (former Ents Officer) about Be]]></content:encoded>
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<title><![CDATA[Erin Go Bragh]]></title>
<link>http://willisweaver1.wordpress.com/2009/12/28/erin-go-bragh/</link>
<pubDate>Mon, 28 Dec 2009 18:02:43 +0000</pubDate>
<dc:creator>Janet</dc:creator>
<guid>http://willisweaver1.wordpress.com/2009/12/28/erin-go-bragh/</guid>
<description><![CDATA[Erin go Bragh There was a fascinating article in the Irish Times today by Donal McMahon in An Irishm]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p><a href="http://http://en.wikipedia.org/wiki/Erin_Go_Bragh">Erin go Bragh</a></p>
<p>There was a fascinating article in the Irish Times today by Donal McMahon in An Irishman&#8217;s Diary.</p>
<p><a href="http://willisweaver1.wordpress.com/files/2009/12/donal-mcmahon-irish-mans-diary.jpg"><img class="aligncenter size-medium wp-image-1641" title="Donal McMahon Irish Man's Diary" src="http://willisweaver1.wordpress.com/files/2009/12/donal-mcmahon-irish-mans-diary.jpg?w=218" alt="" width="218" height="300" /></a></p>
<p>The photograph in the article shows a little girl sitting on her young soldier father&#8217;s knee.  Her father was killed not long afterward when that little girl was just over 15 months old.  It took over 80 years for that little girl, Ina,  to find out the truth about his death.   At the age of 10 that little girl Ina lost her mother and she grew up with cousins and was sent to boarding school.  When she asked about her father, all she could find out was that he had been shot during the Troubles.  She eventually married and had a family who, in turn, grew up ignorant about their grandfather.  Ina knew her father had served with the British Army during the First World War but after that there was a blank.  In actuality, after her death her son Donal found out that his grandfather had served in the Canadian Expeditionary Force.</p>
<p>Now with the resources of the Irish Times archives, Donal has found that his grandfather, Sergeant Thomas Enright, RIC, had been shot dead on December 14th, 1921.  This took place at a turning point in Irish history.  The Anglo-Irish Treaty had been signed eight days previously and was to be ratified by overwhelming majorities in both houses of the English parliament two days later on December 16th.   </p>
<p>Sergeant Thomas Enright, of the Royal Irish Constabulary, and a Constable friend were attending a coursing meeting at which Thomas had entered two dogs.  They wore plain clothes.  They visited the hotel where the draw was made for the following day&#8217;s coursing.  They left the hotel (the establishment) shortly after 11 p.m., and as soon as they appeared on the street a volley of revolver shots was fired at them by a group of men who were standing near the post office.  Thomas was age 31.</p>
<p>Donal shared his findings with his mother.  He speculates that it is quite possible that reading the account of her father&#8217;s death brought some sort of closure to Ina.  She passed away scarcely 2 weeks later.</p>
<p>Donal goes on to write that happily we now have an Ireland where it is possible at last to break the silence surrounding those who served in the police and army of pre-independence times.  The men who shot Thomas, and the reporters of the time, were not to know that Thomas carried a tattoo on his right arm:  &#8220;Erin go Bragh&#8221;</p>
<p>Reflections &#8211; 74 years ago today,  December 28, 1935, was my parents&#8217; wedding day.   My father-to-be had 3 children, age 11, 9, and 8.  My sisters-to-be were flower girls, and the ceremony was held in Winchester Massachusetts in the parental home of my mother-to-be.  I suspect that her sisters, my aunts, were her bridesmaids.   I must ask my sisters, now 83 and 82, and my 96 year old aunt for more of the details.  Or maybe I can search the archives of the Boston newspapers.</p>
<p>I blogged a few days ago about The Suspicions of Mr. Whicher.       <img class="alignright size-medium wp-image-1642" title="The Suspicions of Mr. Whicher" src="http://willisweaver1.wordpress.com/files/2009/12/the-suspicions-of-mr-whicher1.jpg?w=218" alt="" width="218" height="300" />Many questions were unanswered in the investigation of this case &#8211; many family secrets still remained.   After reading it I thought about the probability that most families have secrets, some quite innocent but will never be uncovered, others that will be revealed in the course of time if we know the right questions to ask.</p>
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<title><![CDATA[Christmas Reading]]></title>
<link>http://willisweaver1.wordpress.com/2009/12/27/christmas-reading/</link>
<pubDate>Sun, 27 Dec 2009 16:27:42 +0000</pubDate>
<dc:creator>Janet</dc:creator>
<guid>http://willisweaver1.wordpress.com/2009/12/27/christmas-reading/</guid>
<description><![CDATA[  Lillian Beckwith is one of my favourite authors.  When we were up in Bangor Northern Ireland earli]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><h2>  Lillian Beckwith is one of my favourite authors.  When we were up in Bangor Northern Ireland earlier in December I was browsing in a 2nd hand bookshop and came across this one by her.  It was  first published in 1986.  I didn&#8217;trecognize the title or the cover.  I suspected that I had read it before but I decided that even if I had, it was worth reading again.  And sure enough it was.  Lillian Beckwith is better known for some of her other books about life in the Hebrides.  More famous ones include The Hills is Lonely and The Sea for Breakfast.  In the front of the book there is a small list of phrases in the Scottish form of the native languages of the British Isles.  These phrases are similar to Irish Gaeilge.  To quote <a href="http://http://en.wikipedia.org/wiki/Irish_language">Wikipedia,</a> there are  &#8220;three Goidelic languages (Irish, <a title="Scottish Gaelic" href="http://en.wikipedia.org/wiki/Scottish_Gaelic">Scottish Gaelic</a>, and <a title="Manx language" href="http://en.wikipedia.org/wiki/Manx_language">Manx</a>)&#8221;.</h2>
<p> <a href="http://willisweaver1.wordpress.com/files/2009/12/lillian-becwith-a-proper-woman.jpg"><img class="alignleft size-medium wp-image-1635" title="Lillian Becwith A Proper Woman" src="http://willisweaver1.wordpress.com/files/2009/12/lillian-becwith-a-proper-woman.jpg?w=218" alt="" width="218" height="300" /></a><a href="http://willisweaver1.wordpress.com/files/2009/12/scots-gallic-from-lillian-beckwith.jpg"><img class="alignright size-medium wp-image-1636" title="Scots Gallic from Lillian Beckwith" src="http://willisweaver1.wordpress.com/files/2009/12/scots-gallic-from-lillian-beckwith.jpg?w=218" alt="" width="218" height="300" /></a></p>
<p>As the sun shone in to our conservatory I took great pleasure in reading another Haruki Murakami book, After Dark.  This was a splendid book, possibly my favourite so far.</p>
<p> Haruki Murakami &#8211; After Dark<a href="http://willisweaver1.wordpress.com/files/2009/12/haruki-murakami-after-dark.jpg"><img class="aligncenter size-medium wp-image-1637" title="Haruki Murakami After Dark" src="http://willisweaver1.wordpress.com/files/2009/12/haruki-murakami-after-dark.jpg?w=218" alt="" width="218" height="300" /></a></p>
<p>Shortly before Christmas our Book Group met and we had a quiz.  There were a possible 26 points, I think.  My winner got a score of 17.  I think I came dismally last with a score of 6.  This was very bad &#8211; usually I like quizzes.  The only consolation to me was that I might have tied with the quizmaster&#8217;s wife, who also would normally do very well on her husband&#8217;s quizzes.  I was really envious when I saw the prize for the winner.  A book authored by the quizmaster himself and just published.      The Irish Post Box by Stephen Ferguson.   Over the past few months I have been taking pictures of post boxes and wondering about their history &#8211; here was just the book for me.  Stephen very kindly sent me one for Christmas.  In another entry I&#8217;ll show you some of my pictures of post boxes and tell you some of the history as gleaned from Stephen&#8217;s book</p>
<p>    <a href="http://willisweaver1.wordpress.com/files/2009/12/post-boxes-book.jpg"><img class="alignright size-medium wp-image-1638" title="Post Boxes Book" src="http://willisweaver1.wordpress.com/files/2009/12/post-boxes-book.jpg?w=218" alt="" width="218" height="300" /></a></p>
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<title><![CDATA[2009 report on Social History of 7 Generations of Americans]]></title>
<link>http://eldercaredata.wordpress.com/2009/12/24/2009-report-on-social-history-of-7-generations-of-americans/</link>
<pubDate>Thu, 24 Dec 2009 16:28:20 +0000</pubDate>
<dc:creator>lelandiona</dc:creator>
<guid>http://eldercaredata.wordpress.com/2009/12/24/2009-report-on-social-history-of-7-generations-of-americans/</guid>
<description><![CDATA[2009 &#8211; 20 page Population Reference Bureau report entitled, &#8220;20th Century Generations.]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p>2009 &#8211; 20 page Population Reference Bureau <a href="http://www.prb.org/pdf09/64.1generations.pdf" target="_blank">report</a> entitled, &#8220;20th Century Generations.&#8221;  The report, which includes demographic data, details the social history of 7 generations of Americans.  Included is data on trends in marriage, educational attainment, employment, politics, and independent living.</p>
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<title><![CDATA[Tim Horton's Coffee Shop]]></title>
<link>http://caffeculture.wordpress.com/2009/12/23/tim-hortons-coffee-shop/</link>
<pubDate>Wed, 23 Dec 2009 18:53:52 +0000</pubDate>
<dc:creator>coffeeshopoffice</dc:creator>
<guid>http://caffeculture.wordpress.com/2009/12/23/tim-hortons-coffee-shop/</guid>
<description><![CDATA[Written by Lori Thiessen Ah, good ol&#8217; Tim Horton&#8217;s. Timmy&#8217;s. T-Ho. No matter what ]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p><em>Written by Lori Thiessen</em></p>
<p>Ah, good ol&#8217; Tim Horton&#8217;s. Timmy&#8217;s. T-Ho. No matter what name you call it, it&#8217;s a Canadian institution.</p>
<p>I was taking in a couple of Christmas concerts by two amazing homegrown choirs, <a href="http://www.vancouvercantatasingers.com/" target="_blank">Vancouver Cantata Singers</a> and <a href="http://www.musicaintima.org/" target="_blank">Musica Intima</a> in downtown Vancouver on Saturday. (PS. The BC Govt has cut 81% of its funding to the arts. Support your local arts!)</p>
<p>I had some time to spend between the concerts and there was a Tim Horton&#8217;s nearby, as luck and capitalist empire building would have it.</p>
<p>Since it is the Christmas season and it&#8217;s traditional to be a little short on cash at this time of year, I decided that going to Timmy&#8217;s was the best option.</p>
<p>I wandered up to the counter, order a small black coffee and a low-fat cranberry muffin. The clerk asked me if I wanted milk or cream or sugar.  Apparently, you have to ask for cream or milk at the time of ordering.  Neither condiment is available anywhere else in the shop.</p>
<p>The coffee was fine. Not great but fine. The muffin was dry, but then that&#8217;s to be expected of a low-fat muffin.</p>
<p>The shop itself was fairly consumer industrial: plastic everything in colours that don&#8217;t quite suit my taste. But it was warm and dry plus there was food and drink at low prices.</p>
<p>I think that&#8217;s the critical point about Tim&#8217;s: coffee at low prices. Where else can you get a cup of coffee for less than $2 these days?</p>
<p>Q: Do you prefer Tim Horton&#8217;s or Starbucks? Why?</p>
<p>Until Next Time,</p>
<p>May Your Coffee Always Be Freshly Brewed!</p>
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<title><![CDATA[James Connolly's Dublin Addresses]]></title>
<link>http://comeheretome.wordpress.com/2009/12/23/james-connollys-dublin-addresses/</link>
<pubDate>Wed, 23 Dec 2009 17:42:34 +0000</pubDate>
<dc:creator>jaycarax</dc:creator>
<guid>http://comeheretome.wordpress.com/2009/12/23/james-connollys-dublin-addresses/</guid>
<description><![CDATA[James Connolly lived in a number of houses in Dublin during his time in the city. How many have plaq]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p>James Connolly lived in a number of houses in Dublin during his time in the city. How many have plaques to mark this? None.</p>
<p>In 1896 when Connolly first came to Dublin the family lived in a one roomed tenement at 76 Charlemont Street. The following summer they moved to 71 Queen Street (beside Smithfield) and then to an end of terrace house at 54 Pimlico in the Liberties.</p>
<div id="attachment_374" class="wp-caption aligncenter" style="width: 310px"><a href="http://comeheretome.wordpress.com/files/2009/12/connolly1895.jpg"><img class="size-full wp-image-374 " title="connolly1895" src="http://comeheretome.wordpress.com/files/2009/12/connolly1895.jpg" alt="" width="300" height="200" /></a><p class="wp-caption-text">James Connolly  with his wife, Lillie and daughters Mona, and Nora, c. 1895.</p></div>
<p>Before their move to the United States, they lived in a cottage in Weaver Square off Cork Street.</p>
<p>On his return to Dublin in 1910, James Connolly lived at 70 South Lotts Road, Ringsend. You can see the 1911 census return for the household <a href="http://www.census.nationalarchives.ie/pages/1911/Dublin/Pembroke_West/Lotts_Road__South/10339/">here</a> On his visits to Dublin in 1913 he stayed occasionally at Moran&#8217;s Hotel (now O&#8217;Sheas) at the corner of Gardiner Street and Talbot Street.</p>
<div id="attachment_376" class="wp-caption aligncenter" style="width: 310px"><a href="http://comeheretome.wordpress.com/files/2009/12/liverpool1913.jpg"><img class="size-full wp-image-376 " title="liverpool1913" src="http://comeheretome.wordpress.com/files/2009/12/liverpool1913.jpg" alt="" width="300" height="200" /></a><p class="wp-caption-text">At back:  Jim Larkin &#38; James Connolly. In front: Mrs Bamber (Liverpool Trades Council) &#38; Bill Haywood (IWW), 1913.</p></div>
<p>More frequently he lodged in 49b Leinster Road, Rathmines, (a.k.a Surrey House) the home of Constance Markievicz where several of her colleagues in the Fianna organisation also lived. (James Larkin hid in this house after he was arrested on 28 August 1913 and before he addressed the crowd from The Imperial Hotel on Sackville Street on 31 august. The house also served as Connolly&#8217;s and Markievicz&#8217;s office for <em>The Spark</em> and <em>The Workers&#8217; Republic</em> which was also printed here.)</p>
<p>Some time before the Rising Connolly moved into Liberty Hall. During this time, his family stayed with Constance Markievicz&#8217;s in her cottage at the foot of Three Rock Mountain in South Dublin.</p>
<p>The houses in Charlemont Street, Queen Street, Pimlico, Weaver Square and South Lotts Road where Connolly and his family lived should have small plaques to mark their importance. If Dublin City Council can&#8217;t provide them, maybe all the left wing groups active in the city could raise the money?</p>
<p>[References:<br />
Joseph E.A. Connell Jnr, <em>Dublin in Rebellion: A Directory 1913 &#8211; 1923</em>, Lilliput Press, 2009 and Donal Nevin, <em>James Connolly: A Full Life</em>, Gill &#38; Macmillan, 2006.)</p>
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<title><![CDATA[Detective Stories]]></title>
<link>http://willisweaver1.wordpress.com/2009/12/23/detective-stories/</link>
<pubDate>Wed, 23 Dec 2009 15:02:16 +0000</pubDate>
<dc:creator>Janet</dc:creator>
<guid>http://willisweaver1.wordpress.com/2009/12/23/detective-stories/</guid>
<description><![CDATA[    The Suspicions of Mr. Whicher or The Murder at Road Hill House by Kate Summerscale What a good b]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p><a href="http://willisweaver1.wordpress.com/files/2009/12/the-suspicions-of-mr-whicher.jpg"><img class="alignnone size-medium wp-image-1614" title="The Suspicions of Mr. Whicher" src="http://willisweaver1.wordpress.com/files/2009/12/the-suspicions-of-mr-whicher.jpg?w=218" alt="" width="218" height="300" /></a>    <strong>The Suspicions of Mr. Whicher or The Murder at Road Hill House by Kate Summerscale</strong></p>
<p>What a good book this was.  If you want to follow the development and early days of detective story writing this is the book for you.  This book is about a murder case which happened in 1860 in England.  The case was most bizarre and was never solved to the 100% satisfaction of all concerned.  But I leave it to you to read the details.  I found it absolutely fascinating.</p>
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<title><![CDATA[Is Bloody-mindedness British?]]></title>
<link>http://dalyhistory.wordpress.com/2009/12/22/is-bloody-mindedness-british/</link>
<pubDate>Tue, 22 Dec 2009 13:53:52 +0000</pubDate>
<dc:creator>James Daly</dc:creator>
<guid>http://dalyhistory.wordpress.com/2009/12/22/is-bloody-mindedness-british/</guid>
<description><![CDATA[I&#8217;ve been reading a very interesting article on the BBC News website, by Finlo Rohrer. It argu]]></description>
<content:encoded><![CDATA[I&#8217;ve been reading a very interesting article on the BBC News website, by Finlo Rohrer. It argu]]></content:encoded>
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<title><![CDATA[Rage Xmas no. 1!]]></title>
<link>http://dalyhistory.wordpress.com/2009/12/21/rage-xmas-no-1/</link>
<pubDate>Mon, 21 Dec 2009 13:34:59 +0000</pubDate>
<dc:creator>James Daly</dc:creator>
<guid>http://dalyhistory.wordpress.com/2009/12/21/rage-xmas-no-1/</guid>
<description><![CDATA[Rage against the Machine have made History and claimed the Christmas no.1 spot in the UK singles cha]]></description>
<content:encoded><![CDATA[Rage against the Machine have made History and claimed the Christmas no.1 spot in the UK singles cha]]></content:encoded>
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<title><![CDATA[Osu - The Caste System in Igbo Land]]></title>
<link>http://todaysnaira.wordpress.com/2009/12/21/osu-the-caste-system-in-igbo-land/</link>
<pubDate>Mon, 21 Dec 2009 08:15:25 +0000</pubDate>
<dc:creator>January</dc:creator>
<guid>http://todaysnaira.wordpress.com/2009/12/21/osu-the-caste-system-in-igbo-land/</guid>
<description><![CDATA[I listened to an interactive programme on the radio (102.3FM-Continental Radio) sometime ago, and th]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p>I listened to an interactive programme on the radio (102.3FM-Continental Radio) sometime ago, and the discussion was about the prevalent caste system in the south eastern part of Nigeria. It was quite interesting and the various contributions from both the audience and the invited guests made it so. From what each contributor said, the Osu people were dedicated to the gods &#8211; for their service. Contrary to negative perceptions concerning this special set of people, I learnt that they were the first set of people to be educated when the missionary people came to the South Eastern part of the country.</p>
<p>According to the history persona, it was quite easy to become an Osu. For instance, if an individual was trying to escape from an adversary, by swearing an allegiance to the society, such a person becomes an Osu. It was also interesting to know that due to the special duties being carried out by the Osus&#8217;, they were rewarded with choice lands, property and other valuables. They also had their own schools, markets and other social amenities. It was also interesting to note that only the fairest and the brightest people were members of this special community. I understand that within the South Eastern part of the country, they&#8217;re the most prolific and eminent individuals. So, I wonder where all the negative connotations started from.</p>
<p>Why would parents threaten to disown their children for marrying an Osu, who obviously has an illustrious pedigree? Why the unnecessary discrimination? I don&#8217;t know all the answers, but I&#8217;m of the opinion that this kind of abominable discrimination has got to stop.</p>
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<title><![CDATA[Warming Coffee Drinks for the Dark Winter Days]]></title>
<link>http://caffeculture.wordpress.com/2009/12/17/warming-coffee-drinks-for-the-dark-winter-days/</link>
<pubDate>Thu, 17 Dec 2009 03:44:06 +0000</pubDate>
<dc:creator>coffeeshopoffice</dc:creator>
<guid>http://caffeculture.wordpress.com/2009/12/17/warming-coffee-drinks-for-the-dark-winter-days/</guid>
<description><![CDATA[Written by Lori Thiessen My Dear Readers, the frost is on the meadow and we have all but hidden away]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p><em>Written by Lori Thiessen</em></p>
<p>My Dear Readers, the frost is on the meadow and we have all but hidden away in our respective burrows for the duration of this wintry weather. To help while away the hours, invite some close friends in for conversation and sample the following warming beverages.</p>
<p><strong>The Polar Bear</strong></p>
<p>Though there are many variations on this cocktail, most of them cold, I recommend the following concoction to warm the cockles of your heart. Pour into a heat-proof cup or mug:</p>
<ul>
<li>2 oz of Peppermint Schnapps</li>
<li>3 oz of good quality hot chocolate</li>
<li>3 oz of medium strength, good quality hot coffee</li>
</ul>
<p>You may want to top the mixture with a dollop of whipping cream and a candy cane to give it a festive twist!</p>
<p><strong>Christmas Coffee</strong></p>
<p>Here&#8217;s a post festive dinner coffee that could double as dessert!</p>
<ul>
<li>6 cups strong, good quality coffee</li>
<li>4 tbsps sugar</li>
<li>1 organic, unsprayed orange studded with 3 whole cloves</li>
<li>1 stick of cinnamon</li>
<li>2 bay leaves</li>
<li>3 1/2 tbsps of Van der Hum, tangerine flavoured liqueur</li>
<li>1/2 cup of brandy</li>
<li>1 cup of cream</li>
<li>freshly ground cinnamon</li>
</ul>
<p>Put the first 6 ingredients into a heavy bottomed cooking pot. Set the heating element to low &#8212; just warm the ingredients, DO NOT BOIL.</p>
<p>In a metal soup ladle with an insulated handle, warm the brandy near the coffee. BE VERY CAREFUL. Hold the soup ladle full of warmed brandy over the cooking pot of coffee. Light a match and set the brandy aflame. Carefully pour the flaming brandy over the coffee.</p>
<p>Pour the coffee mixture into heavy mugs (your fine china teacups cannot handle this!). Place a spoon over a mug and slowly pour a little of the cream so that it floats on the top of the drink. Sprinkle with freshly ground cinnamon. Repeat with each mug. Serve.</p>
<p><strong>Special Christmas Morning Coffee</strong></p>
<p>This coffee is a great way to start your Christmas Day!</p>
<ul>
<li>10 cups strong, good quality coffee</li>
<li>1/2 cup sugar</li>
<li> 1/4 cup unsweetened good quality cocoa</li>
<li> 1 cinnamon stick</li>
<li>1 teaspoon freshly ground nutmeg</li>
<li> 1/3 cup water</li>
</ul>
<p>Whipped cream, optional. Frangelico, Amaretto or Bailey&#8217;s Irish Cream, optional. Freshly ground cinnamon and nutmeg for topping. Milk and sugar for serving.</p>
<p>Brew your coffee in the regular way. Take the next 4 ingredients and put them into a small, heavy bottomed pot. Bring to a boil. Remove pot from heat. Pour mixture into the coffee. Stir well. Add Frangelico, Amaretto or Bailey&#8217;s, if desired. Pour into mugs. Top with whipped cream, if desired. Top with ground cinnamon and nutmeg.</p>
<p>I hope these recipes will delight you and your friends and keep you warm.</p>
<p>Please remember to limit your alcohol intake during the Christmas holidays and be responsible. Call a cab if you&#8217;ve had too much.</p>
<p>Until Next Time,</p>
<p>May your coffee always be freshly brewed!</p>
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<title><![CDATA[A quick anecdote.... II (Now that's what I call a lock-in.)]]></title>
<link>http://comeheretome.wordpress.com/2009/12/16/a-quick-anecdote-ii/</link>
<pubDate>Wed, 16 Dec 2009 23:46:24 +0000</pubDate>
<dc:creator>hxci</dc:creator>
<guid>http://comeheretome.wordpress.com/2009/12/16/a-quick-anecdote-ii/</guid>
<description><![CDATA[Master at work&#8230; As told to me by a gentleman of high standing in a local hostelry a couple of ]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p style="text-align:center;"><strong><em><strong><em><img class="aligncenter" title="The Master at work..." src="http://www.chibarproject.com/Ireland/McDaids/McDaidsBehan.bmp" alt="" width="382" height="359" /></em></strong></em></strong></p>
<div class="mceTemp mceIEcenter">
<dl class="wp-caption aligncenter">
<dd class="wp-caption-dd"><strong><em>Master at work&#8230;</em></strong></dd>
<p><strong><em></em></strong></dl>
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<p><strong><em>As told to me by a gentleman of high standing in a local hostelry a couple of weeks ago&#8230;</em></strong></p>
<p>McDaids Bar has always done a brisk passing trade, being off one of Dublins busiest streets, while at the same time maintaining it’s regular and staunchly loyal customer base. Now, this story is set in the late fifties/ early sixties, and Ireland at that time was not awash with cash, and this regular and staunchly customer base was not shy of asking for a couple of half ones to be “put on the tab,” or of looking for a way to cadge a pint or two.</p>
<p>On an Easter Monday, sometime around the turn of the sixties, the owner of the bar decided to take himself and some close allies on a trip to the races, leaving the bar in the not so capable hands of a new, young (and very naïve) barman. Away he went on his jolly way, and not long after he was gone, one of the locals (who, as the story goes, was a notoriously nice man, but a terrible one for not having two shillings to rub together,) spotted his chance for a day on the gargle. A carpenter by trade, he still had his toolbelt on him when he came in the door. Up to the bar he went and asked the barman for a pint of plain and a Créme De Menthe. The barman, only in the job a couple of weeks, looked nervously around him before saying, “I don’t think we have that sir.” “Oh, sure of course ye do. The boss keeps it down in the cellar; to keep it cool.” The barman looked around him undecidedly but deciding rather than face the wrath of the boss for annoying a regular customer, took the chance, swung open the cellar door and darted down the ladder. Not wasting any time, the carpenter hopped the counter, slammed the door shut and drove several six inch nails into it, fastening it shut and promptly started dishing out the scoops.</p>
<p>Needless to say, word travelled fast that McDaids were having an unwitting free bar and the place very quickly filled up with Dublin’s finest. Whiskey and Porter were being thrown across the counter at a ferocious pace, with little to be seen of money passing the other way. Of course, our carpenter friend drank his fill and promptly scarpered…</p>
<p>So, after a grand day at the races, a few shillings up and all the happier for it, the landlord turned off Grafton Street and started up Harry Street, towards where his pub was, and still is, situated. He was only too delighted to see the place full to the gills, people staggering around outside and inside. I’m sure he thought all his dreams had come true… Until he got inside… And recognised none of the people behind the bar. With a roar, he made his way through the fast-emptying pub and got the strangers out from behind the taps. With the pub now empty at this stage, he noticed the cellar door crudely nailed shut, and heard the feeble knocks that emanated from within. He took a jemmy bar to it and managed, after a time, to prise it open. Upon opening it, a very dazed and anxious looking barman hauled himself out of the hatch and asked “No Créme De Menthe then?”</p>
<p><em>As with all Dublin stories, I’m sure this one has sprouted legs but sure who gives a toss. These stories are the ones that will soon disappear unless we tell them, and keep re-telling them…</em></p>
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<title><![CDATA[So Pathé...]]></title>
<link>http://comeheretome.wordpress.com/2009/12/16/so-path/</link>
<pubDate>Wed, 16 Dec 2009 22:50:28 +0000</pubDate>
<dc:creator>hxci</dc:creator>
<guid>http://comeheretome.wordpress.com/2009/12/16/so-path/</guid>
<description><![CDATA[Image taken from the British Pathé site. I&#8217;ve recently been introduced to a great site that I]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><div class="wp-caption aligncenter" style="width: 287px"><img title="An image from the British Pathé site." src="http://www.britishpathe.com/images/pagegraphics4.jpg" alt="" width="277" height="205" /><p class="wp-caption-text"> Image taken from the British Pathé site.</p></div>
<p>I&#8217;ve recently been introduced to a <a href="http://www.britishpathe.com" target="_blank">great site</a> that I&#8217;m sure will be of interest to some CHTM followers. British Pathé have archived over 3,500 hours of footage filmed from 1910 onwards on their site;  The historian in me loves the old newsreels, the football fan in me goes directly for the likes of <a href="http://www.britishpathe.com/record.php?id=6874" target="_blank">this video</a>, a rare clip from 1936 of a team representing Nazi Germany playing, and losing, 5-2, to an Irish team at my beloved Dalymount Park, true home of Irish football&#8230;</p>
<p>Another highlight is <a href="http://www.britishpathe.com/record.php?id=20361">this clip</a> of &#8220;Glasgow Celtic Vs. The Irish Free State&#8221; filmed in 1924, again in Dalymount Park. Notice the fans on the roof of the stand; If only people were as eager to get into League of Ireland grounds these days&#8230;</p>
<p>The freeview videos aren&#8217;t of any great length, they generally weigh in close to two minutes long but some of the scenes are just fantastic.</p>
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<title><![CDATA[Land Girls and Their Impact - Ann Kramer]]></title>
<link>http://dalyhistory.wordpress.com/2009/12/13/land-girls-and-their-impact-ann-kramer/</link>
<pubDate>Sun, 13 Dec 2009 23:01:23 +0000</pubDate>
<dc:creator>James Daly</dc:creator>
<guid>http://dalyhistory.wordpress.com/2009/12/13/land-girls-and-their-impact-ann-kramer/</guid>
<description><![CDATA[Land Girls and Their Impact I must admit, I have always tended to shy away from Gender History. Or, ]]></description>
<content:encoded><![CDATA[Land Girls and Their Impact I must admit, I have always tended to shy away from Gender History. Or, ]]></content:encoded>
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<title><![CDATA[Popular Culture: Good Guys, Bad Guys]]></title>
<link>http://socialhistorytimelines.wordpress.com/2009/12/11/popular-culture-good-guys-bad-guys/</link>
<pubDate>Fri, 11 Dec 2009 00:07:38 +0000</pubDate>
<dc:creator>Maureen Flynn-Burhoe</dc:creator>
<guid>http://socialhistorytimelines.wordpress.com/2009/12/11/popular-culture-good-guys-bad-guys/</guid>
<description><![CDATA[xxxx Timeline of events related to popular culture 1903 Twelve-year-old Carl Stalling (1891– 1972) w]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p>xxxx</p>
<h3>Timeline of events related to popular culture</h3>
<p><strong> </strong></p>
<p><strong> </strong></p>
<div>
<p><strong>1903</strong> <span style="font-weight:normal;">Twelve-year-old Carl Stalling (1891– 1972) was the principal piano accompanist in his hometown- Lexington, Missouri&#8217;s silent movie house </span><a id="f2qc" title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html"><span style="color:#000000;"><span style="text-decoration:none;"><span style="font-weight:normal;">(Goldmark 1997)</span></span></span></a><span style="font-weight:normal;">.</span></p>
<p><span style="font-weight:normal;"> </span></p>
<p><strong>1913-02-17</strong> Thomas A. Edison&#8217;s Kinetophone was on the bill at four of the Keith Theatres, the Union Square and the Fifth Avenue in New York. The first demonstration was of a man describing the technology by breaking a plate, blew a whistle and then brought in a pianist, violinist and soloist who performed &#8220;The Last Rose of Summer.&#8221; Edson, after inventing the motion picture and the talking machine dreamed of talking pictures. Edson found the solution to the perfect synchronization of record and film in his Kinetophone which was first successfully used in vaudeville (<a href="http://books.google.com/books?id=PZ6lgRl6VAwC&#38;pg=PA126&#38;vq=%22words+fitted+to+gestures+and+movements,+could+be+done+from+the+wings+or+behind+the+curtain.+And+so+we+could%22&#38;source=gbs_quotes_r&#38;cad=6#v=onepage&#38;q=&#38;f=false" target="_blank">White 1975</a>).</p>
</div>
<div>
<p><strong>1914-02-13</strong> <span style="font-weight:normal;">The American Society of Composers, Authors and Publishers (ASCAP) was founded by a group of prominent, visionary music creators at the Hotel Claridge in New York City, forever changing music history. ASCAP, a member-owned organization, is the world&#8217;s most powerful advocate for the rights of creators.</span></p>
<p><span style="font-weight:normal;"><strong>1917</strong></span><span style="font-weight:normal;"> Fifteen-year-old Frank Churchill (1901-1942) began his career playing piano in cinemas. &#8220;An instinctive musician, inspired by classical music and composer Franz Schubert, Frank won his first professional job as a pianist at 15 accompanying silent movies at a local theater in Ventura, California (<a href="http://legends.disney.go.com/legends/detail?key=Frank+Churchill" target="_blank">Disney Legends</a>).&#8221; </span></p>
</div>
<p><strong>1923</strong> <span style="font-weight:normal;">In his early twenties Carl Stalling (1891– 1972)  was conducting his own orchestra and improvising on the organ at the legendary Isis Movie Theatre in Kansas City </span><a id="g0ia" title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html"><span style="color:#000000;"><span style="text-decoration:none;"><span style="font-weight:normal;">(Goldmark 1997)</span></span></span></a><span style="font-weight:normal;">.</span></p>
<p><span style="font-weight:normal;"><strong>1924 </strong>Twenty-</span><span style="font-weight:normal;">Frank Churchill (1901-1942) became accompanist at the Los Angeles radio station KNX (AM).  He &#8220;played piano for honky-tonks in Tijuana, Mexico, followed by an orchestra in Tucson, Arizona. He returned to Hollywood in 1924, and despite his lack of formal education in music, Frank won a contract as an accompanist and soloist with radio station KNX and later recorded for RKO-Radio Pictures (<a href="http://legends.disney.go.com/legends/detail?key=Frank+Churchill" target="_blank">Disney Legends</a>).&#8221;</span></p>
<p><strong>1924-05</strong><span style="font-weight:normal;"><strong> </strong></span><span style="font-weight:normal;">The Max Fleischer&#8217;s series of animated short films with synchronized soundtracks entitled &#8220;Song Car-Tunes&#8221; made in DeForest Phonofilm were shown. </span></p>
<p><span style="font-weight:normal;"><strong><strong>1926</strong></strong><span style="font-weight:normal;"> An animated short film with synchronized soundtracks entitled &#8220;My Old Kentucky Home (1926)&#8221; was shown. </span> </span></p>
<div><strong>1927</strong> <span style="font-weight:normal;"><em>The Jazz Singer</em>, the first feature-length motion picture with synchronized dialogue sequences, heralded the end of silent movies. It inspired Walt Disney to attempt to synchronize a soundtrack system with his animated films. &#8220;Produced by Warner Bros. with its Vitaphone sound-on-disc system, the movie stars thirty-year-old, Al Jolson, a Russian-born Jew who performed in blackface. Directed by Alan Crosland, it is based on a play by Samson Raphaelson. The story begins with young Jakie Rabinowitz defying the traditions of his devout Jewish family by singing popular tunes in a beer hall. Punished by his father, a cantor, Jakie runs away from home. Some years later, now calling himself Jack Robin, he has become a talented jazz singer. He attempts to build a career as an entertainer, but his professional ambitions ultimately come into conflict with the demands of his home and heritage.&#8221; wiki</span></div>
<p><strong>1927-06</strong><span style="font-weight:normal;"> Producer Pat Powers attempted unsuccessfully to take over Lee DeForest&#8217;s Phonofilm Corporation. Phonofilm Corporation was financially weakened and did not sue Powers when he illegally cloned Lee DeForest&#8217;s innovative synchronized soundtrack technology. </span></p>
<p><strong>1927</strong><span style="font-weight:normal;"> Producer Pat Powers hired a former DeForest technician, William Garrity, to illegally produce a cloned version of the Phonofilm system, which Powers dubbed &#8220;Powers Cinephone.&#8221; Producer Pat Powers convinced Disney to use Cinephone for a few sound cartoons such as <a id="bejh" title="Steamboat Willie" href="http://www.disneyshorts.org/years/1928/steamboatwillie.html">Steamboat Willie</a>, The Gallopin&#8217; Gaucho, and Plane Crazy (all 1928) before Powers and Disney had a falling-out over money — and over Powers hiring away Disney animator Ub Iwerks — in 1930.</span></p>
<p><span style="font-weight:normal;"><strong><strong>1928-09-01</strong></strong><span style="font-weight:normal;"> Paul Terry&#8217;s animated short film with synchronized soundtracks entitled &#8220;Dinner Time&#8221; was released. </span></span></p>
<p><strong>1928-05</strong><span style="font-weight:normal;"><strong> </strong></span><span style="font-weight:normal;">The first Walt Disney Mickey Mouse animated cartoon entitled &#8220;Plane Crazy (1928)&#8221; was released with Carl Stalling&#8217;s musical scores. Goldmark claimed that Stalling introduced a new form of music that did not exist before </span></p>
<p><span style="font-weight:normal;"><strong>1928</strong></span><span style="font-weight:normal;"> <a title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html">(Goldmark 1997)</a>. Producer Pat Powers convinced Disney to use an illegally cloned version of the Lee DeForest&#8217;s Phonofilm Corporation synchronized soundtrack system, dubbed the &#8220;Powers Cinephone&#8221; in the production of &#8220;Plane Crazy (1928).&#8221; </span></p>
<div><strong>1928</strong><span style="font-weight:normal;"> The second Walt Disney Mickey Mouse animated cartoon entitled &#8220;Gallopin&#8217; Gaucho&#8221; was released with Carl Stalling&#8217;s musical scores. Goldmark claimed that Stalling introduced a new form of music that did not exist before </span></div>
<p><span style="font-weight:normal;"><strong>1928</strong></span><span style="font-weight:normal;"> <a title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html">(Goldmark 1997)</a>. Producer Pat Powers convinced Disney to use an illegally cloned version of the Lee DeForest&#8217;s Phonofilm Corporation synchronized soundtrack system, dubbed the &#8220;Powers Cinephone&#8221; in the production of &#8220;&#8221;Gallopin&#8217; Gaucho (1928).&#8221; </span></p>
<div><strong>1928-11-18</strong><span style="font-weight:normal;"> The third and most popular Walt Disney Mickey Mouse animated cartoon entitled &#8220;<a id="u1rw" title="Steamboat Willie" href="http://www.disneyshorts.org/years/1928/steamboatwillie.html">Steamboat Willie</a> (1928)&#8221; written and directed by Walt Disney and Ub Iwerks, was released with music put together by Wilfred Jackson, one of Disney&#8217;s animators, and included popular melodies including &#8220;Steamboat Bill&#8221; and &#8220;Turkey in the Straw&#8221;.. <span style="font-weight:normal;">&#8220;Steamboat Willie (1928)&#8221; was the first Disn</span><span style="font-weight:normal;">ey cartoon to feature synchronized sound. Disney used Pat Powers&#8217; Cinephone system, created by Powers using Lee De Forest&#8217;s Phonofilm system without giving De Forest any credit. &#8220;Steamboat Willie&#8221; premiered at New York&#8217;s 79th Street Theatre, and played ahead of the independent film Gang War. The title &#8220;Steamboat Willie&#8221; is a parody of the Buster Keaton film &#8220;Steamboat Bill Jr.&#8221; Producer Pat Powers convinced Disney to use an illegally cloned version of the Lee DeForest&#8217;s Phonofilm Corporation synchronized soundtrack system, dubbed the &#8220;Powers Cinephone&#8221; in the production of &#8220;&#8221;Gallopin&#8217; Gaucho (1928).&#8221; The film has been the center of a variety of controversies regarding copyright and is probably in the public domain due to technicalities related to the original copyright notice. In 1994, it was voted #13 of The 50 Greatest Cartoons of all time by members of the animation field. (wiki) In the original &#8220;Steamboat Willie&#8221; (1928) Mickey Mouse displays violence against animals as he plays a nursing sow&#8217;s teats like an accordion keyboard, pulls a cats tail and swings it around his head, and used a goose as a bagpipe. Social behaviours considered acceptable and humourous in 1928 were censored in later years bur reinstated as part of authentic pop culture. </span></span></div>
<p><strong>1928</strong> In Kansas City Carl Stalling also composed several early cartoon scores for Walt Disney&#8217;s animated comedy shorts, including Plane Crazy and Gallopin&#8217; Gaucho. Goldmark claimed that Stalling introduced a new form of music that did not exist before 1928 <a title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html">(Goldmark 1997)</a>.</p>
<p><strong>1929 <span style="font-weight:normal;">Walt Disney discouraged his studio from using copyrighted music in his films to avoid royalty payments (<a id="w3ga" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>. </span></strong></p>
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<p><strong>1929-1939<span style="font-weight:normal;"> Walt Disney combined music from various traditions: classical, traditional folk, operatic and popular along with animation in his series entitled the <em>Silly Symphonies</em> (<a title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997).</a> His star composer composer and song-writer was Frank Churchill who worked on the <em>Silly Symphonies </em>for Disney studios from 1930-1939 when Churchill joined the musicians&#8217; union to protect his rights. Frank Churchill continued to work for Disney but not as part of <em>Silly Symphonies </em>which Disney disbanded at the same time that Churchill joined the union. Churchill allegedly committed suicide in 1942. Churchill&#8217;s original music which was not protected by rights of the author went on to become &#8220;Disney&#8221; classics. </span></strong></p>
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<div><strong>1929-30</strong> Stalling claimed that on at least one occasion, Walt Disney told Stalling to &#8220;compose a tune that suggested a popular song without actually plagiarizing it (Barrier and Gray 1971 cited in <a id="cpst" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.&#8221;</div>
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<p><strong>1930-12</strong> Pianist, composer and song-writer Frank Churchill (1901-1942) began working as staff composer for The Walt Disney Studios where he scored nearly 65 animated shorts, including &#8220;Mickey&#8217;s Gala Premiere,&#8221; &#8220;Funny Little Bunnies,&#8221; and &#8220;Who Killed Cock Robin?&#8221; He also wrote music for the famous Pluto and the sticky flypaper sequence featured in &#8220;Playful Pluto (<a href="http://legends.disney.go.com/legends/detail?key=Frank+Churchill" target="_blank">Disney Legends</a>).&#8221; Disney&#8217;s Hollywood studios writing for the Silly Symphonies series eventually becoming Disney&#8217;s star composer. He composed and wrote &#8220;The World Owes Me a Living (1934)&#8221;, &#8220;Whistle While You Work&#8221;, &#8220;Some Day My Prince Will Come&#8221;, &#8220;I Bring You a Song&#8221;, &#8220;Love Is a Song&#8221;, &#8220;Who&#8217;s Afraid of the Big Bad Wolf?&#8221;, &#8220;Spring Is in the Air&#8221;, &#8220;Ain&#8217;t Nature Grand?&#8221;, &#8220;The Golden Youth&#8221;, &#8220;Slow but Sure&#8221;, &#8220;With a Smile and a Song&#8221;, &#8220;I&#8217;m Wishing&#8221;, &#8220;Heigh-Ho&#8221;, &#8220;Happy as a Lark&#8221;, &#8220;The Sunny Side of Things&#8221;, &#8220;One Song&#8221;, &#8220;Baby Mine.&#8221; Churchill won the Academy Award as composer and songwriter (&#8220;Whistle While You Work&#8221;, &#8220;Some Day My Prince Will Come&#8221;), Churchill Rumford, Maine then studied at the University of California then became a pianist in silent movie theatres in Ventura, California. He joined ASCAP in 1938, his chief musical collaborators included Ann Ronell and Larry Morey. He died at his ranch near Newhall, 40 miles north of Los Angeles of fatal gunshot wounds, an alleged suicide.</p>
<p><strong>1931</strong> Twenty-nine-year-old &#8220;Walt Disney suffered a breakdown that left him emotionally fragile. Often despondent, he would retreat to his home to play with toy trains. At the office, he terrorized workers with harsh criticisms as he impatiently drummed his fingers.&#8221;</p>
<p><strong>1933</strong> Frank Churchill&#8217;s hit song &#8220;Who&#8217;s Afraid of the Big Bad Wolf? (1933)&#8221; in Disney Studio&#8217;s &#8220;Three Little Pigs (1933) in the Silly Symphonies series contributed to the success of &#8221;Three Little Pigs (1933) which is considered by some to be the most successful cartoon short of all time running in theaters for many months. Churchill&#8217;s irresistible hit song &#8221;Who&#8217;s Afraid of the Big Bad Wolf? (1933)&#8221;  became the unofficial anthem of the Great Depression. The two carefree brothers sang it to tease their hard-working and more cautious brother (<a id="x1jn" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997).</a>&#8221; Empowered by the extraordinary success of Franklin&#8217;s song &#8220;Who&#8217;s Afraid of the Big Bad Wolf&#8221;, Disney launched a new phase of his musical productions in which he had his staff composers produce original music for all his productions. Virtually every subsequent Silly Symphony film from then on included an original song of some kind, written by either Churchill or Harline. [Frank Churchill, was not credited with his own work until after he joined the The American Society of Composers, Authors and Publishers (ASCAP) in 1939?]</p>
<div><strong>1933</strong> Frank Churchill&#8217;s &#8220;Who&#8217;s Afraid of the Big Bad Wolf? (1933)&#8221; in &#8220;Three Little Pigs (1933) appeared in sheet-music form, published by Irving Berlin, Inc. and embellished with additional lyrics by Ann Ronell. (In recent years her contribution has been disputed&#8211;inexplicably, since the &#8220;additional lyrics&#8221; attributed to her are embarrassing at best.) (<a id="mrrm" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997).</a>&#8220;</div>
<p><strong>1933</strong> &#8220;By the end of 1933, at least a dozen recordings of Frank Churchill&#8217;s &#8220;Who&#8217;s Afraid of the Big Bad Wolf? (1933)&#8221; in &#8220;Three Little Pigs (1933) had been issued by various record labels, and several of those recordings were further &#8220;milked&#8221; by recoupling with alternate B-sides or on subsidiary labels. One side by Harry Reser and His Eskimos, recorded in October 1933, was used on seven different records!(<a id="f.tw" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997).</a>&#8220;</p>
<p><strong>1933</strong> After Frank Churchill&#8217;s song &#8220;Who&#8217;s Afraid of the Big Bad Wolf? (1933)&#8221;  became such a hit, Walt Disney studios injected even more original songs by staff composers Frank Churchill and Leigh Harline into the Silly Symphonies. Walt Disney encouraged his staff composers to write for the popular music market not just as musical dialogue.</p>
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<div><strong>1933</strong> Walt Disney studios staff composer Frank Churchill wrote the theme song &#8220;Lullaby Land of Nowhere&#8221;  for the animated short entitled Lullaby Land&#8221; one of the films of the &#8220;Silly Symphonies&#8221; series produced in the spring and summer of 1933 as Three Little Pigs was first appearing in theaters. Most of the rest of the Lullaby Land score was composed by Leigh Harline. It was Churchill&#8217;s song &#8221;Lullaby Land of Nowhere&#8221; that set the mood of the film but was also a pleasant tune in its own right, and enjoyed a modest life of its own apart from the film (<a title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997).</a></p>
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<p><strong>1934</strong> Wilfred Jackson directed the 8:25 minute animated short entitled &#8220;<a id="l:zo" style="color:#551a8b;" title="Jackson, Wilfed. Director. 1934-02-10. &#34;The Grasshopper and the Ants.&#34; Disney Animated Shorts also Silly Symphonies 8:25 minutes" href="http://www.disneyshorts.org/years/1934/grasshopperandtheants.html" target="_blank">The Grasshopper and the Ants&#8221;</a> for Walt Disney studios&#8217; <em>Silly Symphonies </em>series.<em> <span style="font-style:normal;">The story written by Bill Cottrell and based on Aesop&#8217;s fable entitled &#8220;The Ants and the Grasshopper&#8221; was animated by Albert Hurter and Art Babbitt for Disney studios.  The Grasshopper (voice-over by Pinto Colvig) who plays the fiddle and dances in the summer finds himself in the cold hard winter without food and shelter while the ants who worked hard during the rest of the year under the rule of the Queen Ant were safe, warm and well-fed in winter. When the homeless Grasshopper comes the their door begging for food and shelter, the Queen Ant takes him in and lets him literally sing for his supper. The moral lesson in the story is that it is necessary to follow the ruler&#8217;s plan working hard to prepare for periods of future difficulties instead of wasting your time on music and enjoyment of life. </span></em></p>
<p><em><span style="font-style:normal;"><strong>1934 </strong>Frank Churchill&#8217;s song &#8220;The World Owes Me a Living (1933) theme song sung by the grasshopper in &#8220;<a id="sdfu" style="color:#551a8b;" title="Jackson, Wilfed. Director. 1934-02-10. &#34;The Grasshopper and the Ants.&#34; Disney Animated Shorts also Silly Symphonies 8:25 minutes" href="http://www.disneyshorts.org/years/1934/grasshopperandtheants.html" target="_blank">The Grasshopper and the Ants&#8221;</a> <span style="font-style:normal;">was the result of much scrutiny by Walt Disney studios who wanted to repeat the success of Churchill&#8217;s &#8220;Who&#8217;s Afraid of the Big Bad Wolf? (1933)&#8221;. Although &#8220;The World Owes Me a Living (1933) was not as popular as &#8220;Who&#8217;s Afraid of the Big Bad Wolf?&#8221; it eventually Goofy&#8217;s unofficial theme song (voice-over by gag man/vocalist Pinto Colvig) used in in Disney films over the next fifteen years (1935-1950). Goofy-Pinto Colvig first sang Churchill&#8217;s &#8220;The World Owes Me a Living&#8221; in 1935 and as late as 1950, in </span><em>Lion Down</em><span style="font-style:normal;"> </span></span></em> (<a id="rzhd" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997).</a>&#8220; &#8221;The World Owes Me a Living (1933) was also published and recorded.</p>
<p><strong>1935 </strong>The orchestral score quotes a few bars of Frank Churchill&#8217;s song &#8220;The World Owes Me a Living (1933) during a nightmare sequence in Mickey&#8217;s Garden (1935), when Mickey Mouse discovers he is menaced by a giant grasshopper!</p>
<p><strong>1935</strong> Goofy (voiced by gag man/vocalist Pinto Colvig) made his first appearance in Disney productions in On Ice singing Frank Churchill&#8217;s song &#8220;The World Owes Me a Living (1933).</p>
<p><strong>1935</strong> After late 1935 the use of original songs in Walt Disney studios&#8217; Silly Symphonies series (1929-1939) suddenly declined with Disney using outside sources for songs.</p>
<p><strong>1935</strong> The cartoon series, &#8220;Popeye the Sailor,&#8221; produced by Max Fleischer, was more popular than Disney Studio&#8217;s &#8220;Mickey Mouse.&#8221;</p>
<p><strong><span style="font-size:small;"><span style="font-size:x-small;"> </span></span></strong></p>
<p><strong> </strong><strong><strong>1936-1958</strong> </strong>Carl Stalling composed cartoon music in Hollywood created scores to hundreds of Warner Bros. cartoons <a id="rlds" style="color:#551a8b;" title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html" target="_blank"><span style="font-size:x-small;">(Goldmark 1997)</span></a><span style="font-size:x-small;">. </span><span style="font-size:x-small;"> </span></p>
<p><strong><span style="font-size:x-small;"> </span></strong></p>
<p><strong>1950</strong> Goofy sang Frank Churchill&#8217;s song &#8220;The World Owes Me a Living (1933) for the last time in Lion Down.</p>
<div><strong>1934</strong> Walt Disney studios produced &#8220;The Tortoise and the Hare&#8221; in the <em>Silly Symphonies </em>series.<em> </em><span style="font-style:normal;">Disney insisted that his staff composer-songwriters like Frank Churchill compose tunes &#8220;that suggested popular songs without actually plagiarizing (Barrier and Gray 1971 cited in <a id="vru3" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.&#8221; The original theme song by staff composer Frank Churchill entitled &#8220;Battin&#8217; the Balls Around (1934)&#8221; suggested but did not plagiarize Albert Von Tilzer and Jack Norworth&#8217;s &#8220;Take Me Out to the Ball Game.&#8221; The song &#8220;Battin&#8217; the Balls Around (1934)&#8221; accompanied the antics of the speedy Hare &#8220;playing&#8221; baseball to taunt the Tortoise&#8217;s slow pace.  Kaufman explained that this is one of the best examples of the way in which Disney avoided paying royalties to musicians in his film productions (<a id="ye4w" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>. Disney staff composers, Churchill and Morey wrote the the song &#8220;Slow But Sure&#8221; for &#8220;The Tortoise and the Hare&#8221; but it was never sung in the finished version. It was only used as an instrumental theme (<a id="q5pk" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.</span></div>
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<p><strong>1934-1939<span style="font-weight:normal;"> Following the huge popularity of Frank Churchill&#8217;s original music in &#8220;<a id="v-87" style="color:#551a8b;" title="Jackson, Wilfed. Director. 1934-02-10. &#34;The Grasshopper and the Ants.&#34; Disney Animated Shorts also Silly Symphonies 8:25 minutes" href="http://www.disneyshorts.org/years/1934/grasshopperandtheants.html" target="_blank">The Grasshopper and the Ants&#8221;</a> virtually every subsequent <em>Silly Symphony</em> included an original song of some kind, written by either Frank Churchill or Harline (<a id="nhe0" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>. Walt Disney combined music from various traditions: classical, traditional folk, operatic and popular along with animation in his series entitled the Silly Symphonies (Kaufman 1997). His star composer composer and song-writer was Frank Churchill who worked on the Silly Symphonies for Disney studios from 1930-1939 when Churchill joined the musicians&#8217; union to protect his rights. Frank Churchill continued to work for Disney but not as part of Silly Symphonies which Disney disbanded at the same time that Churchill joined the union. Churchill allegedly committed suicide in 1942. Churchill&#8217;s original music which was not protected by rights of the author went on to become &#8220;Disney&#8221; classics. Virtually every subsequent 1934 Symphony included an original song of some kind, written by either Churchill or Harline. </span></strong></p>
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<div><strong>1935</strong> Walt Disney studios staff composers wrote &#8220;Dirty Bill&#8221; for the animated short entitled &#8221;The Robber Kitten&#8221; in the Silly Symphonies series. Disney insisted that his staff composer-songwriters like Frank Churchill compose tunes &#8220;that suggested popular songs without actually plagiarizing (Barrier and Gray 1971 cited in <a id="g31h" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.&#8221;</div>
<p><strong>1935</strong> Walt Disney studios staff composers wrote &#8220;The Sweetest One of All&#8221; for the animated short entitled &#8221;The Cookie Carnival&#8221; in the Silly Symphonies series (<a id="ou16" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.</p>
<p><strong>1935 </strong>Walt Disney studios staff composers wrote &#8220;We&#8217;re Gonna Get Out of the Dumps&#8221; for the animated short entitled &#8220;Broken Toys&#8221; in the Silly Symphonies series (<a id="j635" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.</p>
<p><strong>1935</strong> Walt Disney studios staff composers wrote the title &#8220;Slow But Sure&#8221; for the animated short entitled &#8220;Water Babies&#8221; in the Silly Symphonies series. It was written as a vocal song but was heard in the film only in instrumental form (<a id="hmhd" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.</p>
<div><strong>1935</strong> Walt Disney studios staff composer Frank Churchill wrote the song &#8220;Somebody Rubbed Out My Robin&#8221;  for the animated short entitled &#8220;Who Killed Cock Robin?&#8221; one of the most brilliant films of the Silly Symphonies series. &#8220;In a key sequence Jenny Wren, designed as a caricature of Mae West, struts into the courtroom singing Churchill&#8217;s &#8220;Somebody Rubbed Out My Robin,&#8221; a canny and hilarious sendup of Mae West&#8217;s own songs (<a id="x_9." style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997)</a>.</div>
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<p><strong>1936</strong> Serious work was under way on Disney Studio&#8217;s first full-length feature <em>Snow White and the Seven Dwarfs</em>. Disney Studios &#8220;absorbed&#8221; Silly Symphonies&#8217; top talents including its composers like Churchill. Disney then used Churchill&#8217;s original compositions for Silly Symphonies like &#8220;Someday My Prince Will Come,&#8221; &#8220;Whistle While You Work,&#8221; &#8220;When You Wish Upon a Star&#8221; in Disney&#8217;s new full-length features with Churchill&#8217;s music which set standards for Disney songs (<a id="d_dv" style="color:#551a8b;" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman 1997).</a> Silly Symphonies had led the way but what really happened to the musical genius Churchill?</p>
<p><strong>1937 </strong>Disney Studios released<strong> </strong>his first full-length animated feature &#8221;Snow White and the Seven Dwarfs.&#8221; Most of the music for the film was composed by Frank Churchill (1901-1942) including &#8220;Whistle While You Work&#8221; and &#8220;Some Day My Prince Will Come&#8221;. Frank Churchill&#8217;s (1901-1942) Ultimately,  &#8221;musical genius that helped bridge the Studio&#8217;s daring transition from animated shorts to features in 1937.&#8221; His &#8220;catchy, artfully written songs played a large part in the film&#8217;s initial success and continuing popularity (wiki).&#8221; &#8220;Some Day My Prince Will Come&#8221; (without the Larry Morey lyrics) became a jazz standard covered by various jazz greats including Oscar Peterson, Miles Davis and Dave Brubeck. Churchill became supervisor of music at Disney.</p>
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<p><strong>1939</strong> Walt Disney&#8217;s most brilliant pianist, composer and song-writer Frank Churchill (1901-1942) joined the The American Society of Composers, Authors and Publishers (ASCAP).</p>
<p><strong>1940</strong> Jiminy Cricket AKA Cliff Edwards sang &#8220;When You Wish Upon a Star&#8221; in the 1940 Walt Disney film <em>Pinocchio</em>. The song &#8221;When You Wish Upon a Star&#8221; written by Disney staff writers Ned Washington and Leigh Harline was introduced in the 1940 Walt Disney movie <em>Pinocchio</em>, where it is sung by Cliff Edwards in the character of Jiminy Cricket, over the opening credits and again in the final scene of the film. The song won the Academy Award for Best Original Song that year.</p>
<p><strong>1941</strong> &#8220;Walt Disney was a hated figure at his own Burbank studio. When the Screen Cartoonists Guild gathered petitions to organize a union, the man who gave America Mickey Mouse and Snow White brought in armed guards to intimidate employees. He fired organizers, slashed pay, and even instituted austerity measures that included cutting hours at the coffee shop. On one occasion, when pickets gathered outside the studio gates, every parent&#8217;s best friend charged from his Packard and had to be restrained from attacking the ringleader <a href="http://www.businessweek.com/magazine/content/06_49/b4012117.htm" target="_blank">(Business Week 2006)</a>.&#8221; Walt Disney Studio began to make propaganda WWII films for the United States.</p>
<p><strong>1942-05-14</strong> Walt Disney&#8217;s most brilliant pianist, composer and song-writer Frank Churchill (1901-1942) allegedly committed suicide. &#8220;Frank Churchill committed suicide on May 14, 1942 at his ranch north of Los Angeles in Castaic, CA. He is purportedly to have died &#8220;at the piano&#8221; of a self inflicted gunshot wound. Although there is some speculation that his suicide was a result of negative discourse with Walt Disney regarding his latest scores for Bambi, it was more likely due to his deep depression and bout with heavy drinking after the deaths of two of his closest friends and fellow Disney orchestra members who had died earlier that year within a month of each other. He was buried in Glendale&#8217;s Forest Lawn Memorial Park Cemetery.&#8221;</p>
<p><strong>1942-08-13</strong> Walt Disney studios’ canonical animated film <em>Bambi</em> was released. In Walt Disney studios’ canonical animated film Bambi it was revealed that talking animals with cute eyes bonded between species as close friends, shared human feelings and values. The Inuk hunter, Nanook, and his kind became the arch enemy of three generations of urban North Americans and Europeans. Hunters were bad. Cute-eyed animals that could talk were good. Today many animals’ lives have been saved from these allegedly cruel hunters by the billion dollar cute-eyed-talking-animals-industry.</p>
<p><strong>1942</strong> Frank Churchill (1901-1942-05-14) and fellow composer Oliver Wallace won an Oscar in the category &#8220;Scoring of a Musical Picture&#8221; for cowriting the score for Dumbo. He also shared an Oscar nomination with Ned Washington for the song &#8220;Baby Mine&#8221; from Dumbo for Best Song.</p>
<p><strong>1943</strong> Frank Churchill (1901-1942-05-14) received two posthumous Oscar nominations; the first for cowriting the score to <em>Bambi</em> with Edward Plumb, and the second for cowriting the song &#8220;Love is a Song&#8221; from Bambi with lyricist Larry Morey (1905-1971).</p>
<p><strong>1945 &#8211; 1972</strong> Rev. Wilbert Awdry wrote a series of 41 childrens story books entitled <em>The Railway Series</em> about an anthropomorphised railway engines in a railway system on the fictional Island of Sodor. Twenty-six were written by Rev. Wilbert Awdry, up to 1972. Although the stories were fiction Awdry based them on real-life events so they would seem more realistic. The engines themselves were based on real classes of British locomotives and real railway lines in the British Isles.</p>
<p><strong>1947-1960</strong> The pioneer children&#8217;s television program entitled &#8220;Howdy Doody&#8221; with a frontier/western theme, created and produced by E. Roger Muir and broadcast on NBC, became the template for many similar shows. TV manufacturer RCA had just begun to sell colour television sets in the 1950s also owned NBC. Howdy Doody was one of the first productions in colour. Howdy Doody&#8217;s characters included Buffalo Bob Smith, the puppets Howdy (How are you doing?) and Heidi Doody, Mayor Phineas T. Bluster, Dilly Dally, Princess Summerfall Winterspring, and the curious Flub-a-Dub. In an interview with journalist Val Adams (1954) Buffalo Bob commented on the popular Howdy Doody show whose target audience was children from three to five-years-old. &#8220;Some people say our show is silly [. . .] and I am not going to argue with them. [ But it is geared for young children and we] &#8220;do constructive things. We talk about good manners and encourage the kids to go to their place of worship on Sunday. And the show is an emotional outlet for children. They like to see Clarabell chase me with a seltzer bottle because it&#8217;s something they&#8217;d like to do.&#8221; Journalist Val Adams reminds readers however that, &#8220;Howdy Doody&#8221; was not conceived as a public service. Buffalo Bob, in fact, has turned his pal Howdy into one of the hardest-working pitchmen in television. They frequently discuss a sponsor&#8217;s product and encourage the children to influence parents to purchase it (<a href="http://books.google.com/books?id=PZ6lgRl6VAwC&#38;pg=PA288&#38;lpg=PA288&#38;dq=Bob+Smith:+Idol+of+the+Peanut+Gallery+Set&#38;source=bl&#38;ots=gHqRRxECNm&#38;sig=lqRaYjQywWAEB1qkYuhUHa2EWrs&#38;hl=en&#38;ei=fH4iS--GIYqSNuCR3dwJ&#38;sa=X&#38;oi=book_result&#38;ct=result&#38;resnum=1&#38;ved=0CAgQ6AEwAA#v=onepage&#38;q=Bob%20Smith%3A%20Idol%20of%20the%20Peanut%20Gallery%20Set&#38;f=false" target="_blank">Adams 1954-05-30</a>).&#8221;</p>
<p><strong>1964</strong> In his influential book entitled <em>One-Dimensional Man</em> (1964) Marcuse expresses his concerns that industrialization had decreased opposition towards capitalism, restricted the possibility of opposition and was creating a one-dimensional way of thought and behaviour.</p>
<p><strong>1969</strong> In his book entitled Negation (1969), Marcuse  argued that “sociology that is only interested in the dependent and limited nature of consciousness has nothing to do with truth. While useful in many ways it has falsified the interest and goal of any critical theory” (Marcuse 1969 152). As opposed to merely debunking criticism, “a critical theory is concerned with preventing the loss of truth that past knowledge has labored to attain.”</p>
<p>&#8220;According to this conception of materialism, Critical Theory could operate with a theoretical division of labor in which philosophy&#8217;s normative stance could criticize the embodiments of reason and morality according to their internal criteria. At least for modern societies, such an enterprise of “immanent critique” was possible (see, for example, Horkheimer 1993, 39). However, Horkheimer and Marcuse saw the skeptical and relativist stance of the emerging sociology of knowledge, particularly that of Karl Mannheim, as precisely opposed to that of Critical Theory. As Marcuse puts it, “sociology that is only interested in the dependent and limited nature of consciousness has nothing to do with truth. While useful in many ways it has falsified the interest and goal of any critical theory” (Marcuse 1969 152). As opposed to merely debunking criticism, “a critical theory is concerned with preventing the loss of truth that past knowledge has labored to attain.” Given Critical Theory&#8217;s orientation to human emancipation, it seeks to contextualize philosophical claims to truth and moral universality without reducing them to social and historical conditions. Horkheimer formulates this skeptical fallacy that informed much of the sociologically informed relativism of his time in this way: “That all our thoughts, true or false, depend on conditions that can change in no way affects the validity of science. It is not clear why the conditioned character of thought should affect the truth of a judgment—why shouldn&#8217;t insight be just as conditioned as error?” (Horkheimer 1993, 141). The core claim here is that fallibilism is different from relativism, suggesting that it is possible to distinguish between truth and the context of justification of claims to truth.&#8221; [edit]</p>
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<p><strong>1983-2007</strong> Christopher Awdry continued to write stories for <em>The Railway Series</em>. Audio adaptations of the <em>The Railway Series</em> were made and the children&#8217;s television series <em>Thomas and Friends </em>is also based on  <em>The Railway Series. </em></p>
<p><em> </em><em><span style="font-style:normal;"><strong>1984</strong> First episode of the British children&#8217;s TV show Thomas and Friends was aired. It was based on Awdry&#8217;s The Railway Series was aired. The target audience was three- to x -year-old. Thomas the train and his friends live on a fictional island.</span></em></p>
<p><em><span style="font-style:normal;"><em><span style="font-style:normal;"><strong>2006-12-04</strong> A review in </span>Business Week. </em>described the other side of Sunday evening family television icon, Walt Disney in an article entitled &#8220;<a href="http://www.businessweek.com/magazine/content/06_49/b4012117.htm" target="_blank">Walt&#8217;s Not-So-Wonderful World</a>: Review of Gabler&#8217;s <em>Walt Disney: The Triumph of the American Imagination</em>.&#8221; <span style="font-family:arial, helvetica, univers;line-height:14px;font-size:12px;color:#333333;"> </span></span></em>Biographer Neal Gabler&#8217;s book entitled <em>Walt Disney: The Triumph of the American Imagination</em>.&#8221; was described as an  &#8221;impeccably researched if somewhat plodding&#8221; presented &#8220;a different picture of Disney also emerges&#8211;a distant and often despotic leader who became something of a figurehead, often dependent on others to turn out the later animated films that bore his name.&#8221; In 1941 &#8221;Walt Disney was a hated figure at his own Burbank studio. When the Screen Cartoonists Guild gathered petitions to organize a union, the man who gave America Mickey Mouse and Snow White brought in armed guards to intimidate employees. He fired organizers, slashed pay, and even instituted austerity measures that included cutting hours at the coffee shop. On one occasion, when pickets gathered outside the studio gates, every parent&#8217;s best friend charged from his Packard and had to be restrained from attacking the ringleader [ . . .] Gabler&#8217;s Disney, the son of an emotionally distant father, tries desperately to create a fantasy version of his boyhood in the small town of Marceline, Mo. Yet he has difficulty connecting with his true-life family, even his brother Roy&#8217;s newborn son. When Walt&#8217;s father dies, he decides not to cut short a business trip to attend the funeral.&#8221; In reality Walt Disney&#8217;s world was &#8220;a universe marked by profligate gambles and by the brilliant management of Walt&#8217;s older brother Roy, who worked in the shadows to build and maintain a company that often operated on the edges of bankruptcy. When Walt went over-budget making <em>Snow White and the Seven Dwarfs</em>, Roy prevented Bank of America from shutting things down by shipping them a copy of what would soon win accolades as the first full-length animated film in color. But even Roy wasn&#8217;t spared the wrath of Walt, as the two brothers frequently warred.&#8221; [. . .] In 1931 twenty-nine-year-old Walt Disney suffered a breakdown that left him emotionally fragile. Often despondent, he would retreat to his home to play with toy trains. At the office, he terrorized workers with harsh criticisms as he impatiently drummed his fingers. Gabler doesn&#8217;t dwell on well-known allegations, such as the idea that Disney was a racist (he thought hiring African Americans would &#8220;have spoiled the illusion at Disneyland&#8221;) and anti-Semitic (a reputation due largely to his membership in an executive organization that was famously hostile to Jews). More attention is paid to his anger toward union activists, including an account of how he contacted the FBI and the red-hunting House Committee on Un-American Activities to finger several as Communists<span style="font-family:arial, helvetica, univers;line-height:14px;font-size:12px;color:#333333;"><span style="color:#000000;font-family:Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif;line-height:19px;font-size:13px;"><span style="font-family:arial, helvetica, univers;line-height:14px;font-size:12px;color:#333333;"><span style="color:#000000;font-family:Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif;line-height:19px;font-size:13px;"> <span style="font-family:arial, helvetica, univers;line-height:14px;font-size:12px;color:#333333;"><span style="color:#000000;font-family:Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif;line-height:19px;font-size:13px;"><a href="http://www.businessweek.com/magazine/content/06_49/b4012117.htm" target="_blank">(Business Week 2006)</a>.&#8221;</span></span></span></span></span></span></p>
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<h3>Notes</h3>
<p><strong>Anthropomorphism</strong> is the give animals, objects, phenomena, etc human characteristics such as the ability to reason, think, imagine, feel, make ethical decisions and unethical decisions, inherit and develop character and personality, form relationships, and talk like humans. In stories, myths and legends anthropomorphised entities represent commonly recognised types of human characters and behaviour. Because they are endowed with human qualities of reason, imagination, memory, creativity they are also responsible for their actions and can be judged by the human standards. Anthropomorphised entities have an ancient long-standing tradition in most cultures handed down through oral traditions. Multiple and varied versions of these later appeared in print.</p>
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<h3>Who&#8217;s Who</h3>
<div><strong>The American Society of Composers, Authors and Publishers (ASCAP)</strong> is a membership association of more than 370,000 U.S. composers, songwriters, lyricists, and music publishers of every kind of music. Through agreements with affiliated international societies, ASCAP also represents hundreds of thousands of music creators worldwide. ASCAP is the only U.S. performing rights organization created and controlled by composers, songwriters and music publishers, with a Board of Directors elected by and from the membership. ASCAP protects the rights of its members by licensing and distributing royalties for the non-dramatic public performances of their copyrighted works. ASCAP&#8217;s licensees encompass all who want to perform copyrighted music publicly. ASCAP makes giving and obtaining permission to perform music simple for both creators and users of music (<a id="fc7:" title="ASCAP" href="http://www.ascap.com/about/">ASCAP</a>).</div>
<div>Researchers XXX explore how kids interpret and understand what they see on television.</div>
<p><strong>Carl W. Stalling</strong> (1891– 1972) &#8220;was an American composer and arranger for animated films. He is most closely associated with the Looney Tunes shorts produced by Warner Bros., where he worked, averaging one complete score each week, for 22 years.&#8221; (wiki) His &#8220;origins as a silent movie accompanist reveal a great deal about his character as a musician. Accompanists, more often than not, had to create spontaneous scores for films, assisted only by thematic musical catalogs. These books would have well-known material arranged for piano and indexed according to the mood or ideas with which they were most often associated. Stalling&#8217;s job was more of a pastiche artist than a composer, as he had to create a musical narrative with a wide array of genres, including folk, classical, Tin Pan Alley, and big band, among others. When he went to Warner Bros., this skill came in very handy. (Let&#8217;s not forget the fact that Stalling started his cartoon career with Disney, scoring two of the first three Mickey cartoons, Plane Crazy and The Gallopin&#8217; Gaucho, as well as writing Mickey&#8217;s first theme song (with Disney), &#8220;Minnie&#8217;s Yoo-Hoo.&#8221; He then worked at Iwerks&#8217; studio for a while before going to Warner Bros.) One of the original stipulations made by the Warner Brothers to Leon Schlesinger was that each cartoon had to have some portion (the usual consensus is at least one verse and the chorus) of a Warner Bros.-owned song. The studio&#8217;s catalog at this time was enormous; yet, it was still rather restricting for the writers to have to construct a story around the idea of a song. By the time Stalling got to the studio, the demand for song-based cartoons seemed to be slowing, yet Stalling immediately saw the advantage of having such an extensive catalog of music at his disposal. Thus, his musical vocabulary extended immensely, and he had a song for literally every occasion <span style="font-size:x-small;"><a id="u6be" style="color:#551a8b;" title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html">(Goldmark 1997)</a>.&#8221;</span> Carl Stalling introduced a new form of music that did not exist before 1928. From 1936 to 1958 Carl Stalling composed cartoon music in Hollywood creating scores to hundreds of Warner Bros. cartoons <a id="wdr4" style="color:#551a8b;" title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html">(Goldmark 1997)</a>.</p>
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<p><strong>Daniel Goldmark</strong> is a musicologist who investigates the role of music in animated cartoons.</p>
<p><strong>Frank Churchill</strong> (1901-1942) was a pianist, composer and song-writer who began working for Disney&#8217;s Hollywood studios in 1930 eventually becoming Disney&#8217;s star composer. He composed and wrote &#8220;The World Owes Me a Living&#8221;, &#8220;Whistle While You Work&#8221;, &#8220;Some Day My Prince Will Come&#8221;,  &#8221;I Bring You a Song&#8221;, &#8220;Love Is a Song&#8221;, &#8220;Who&#8217;s Afraid of the Big Bad Wolf? (1933)&#8221;, &#8220;Spring Is in the Air&#8221;, &#8220;Ain&#8217;t Nature Grand?&#8221;, &#8220;The Golden Youth&#8221;, &#8220;Slow but Sure&#8221;, &#8220;With a Smile and a Song&#8221;, &#8220;I&#8217;m Wishing&#8221;, &#8220;Heigh-Ho&#8221;, &#8220;Happy as a Lark&#8221;, &#8220;The Sunny Side of Things&#8221;, &#8220;One Song&#8221;, &#8220;Baby Mine.&#8221; Churchill won the Academy Award as composer and songwriter (&#8220;Whistle While You Work&#8221;, &#8220;Some Day My Prince Will Come&#8221;), Churchill Rumford, Maine then studied at the University of California then became a pianist in silent movie theatres in Ventura, California. He joined ASCAP in 1938, his chief musical collaborators included Ann Ronell and Larry Morey. He died at his ranch near Newhall, 40 miles north of Los Angeles of fatal gunshot wounds, an alleged suicide.</p>
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<p><strong>Leigh Harline</strong> was a staff composer for Walt Disney studios.</p>
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<div><strong>Larry Morey</strong> was a staff composer for Walt Disney studios.</div>
<p><strong>Shauna Wilton</strong> is a Political Studies professor at the University of Alberta, undertook a content analysis of the message behind the children&#8217;s TV show Thomas and Friends. Wilton found that all the &#8220;show&#8217;s characters submit to authority without criticism and with fear, and are discouraged from leaving their designated roles in the community&#8217;s social hierarchy.&#8221; Also only &#8220;eight of the show&#8217;s 49 characters are female and all of the female characters are relegated to supportive roles. Kids &#8220;get the impression that women are somehow sidelined in this world, they are on the benches watching the action, as opposed to the main movers.&#8221; Her upcoming book is on pop culture and politics.</p>
<p><strong>J.B. Kaufman</strong> is an independent film historian who has written extensively on early Disney animation. He is co-author, with Russell Merritt, of <em>Walt in Wonderland</em>, and the two are currently completing a second book on the Silly Symphonies, to be published by La Cineteca del Friuli in 1998.</p>
<h3>Webliography and Bibliography</h3>
<div>1913-02-18. &#8220;<a href="http://books.google.com/books?id=PZ6lgRl6VAwC&#38;pg=PA126&#38;vq=%22words+fitted+to+gestures+and+movements,+could+be+done+from+the+wings+or+behind+the+curtain.+And+so+we+could%22&#38;source=gbs_quotes_r&#38;cad=6#v=onepage&#38;q=&#38;f=false" target="_blank">New York Applauds the Talking Picture: Only Drawback is when the talk falls behind the picture: much depends on operator</a>.&#8221; p.26. in White, David Manning. 1975.  <em>Popular Culture</em>.</div>
<p>Adams, Val. 1954-05-30. &#8220;<a href="http://books.google.com/books?id=PZ6lgRl6VAwC&#38;pg=PA288&#38;lpg=PA288&#38;dq=Bob+Smith:+Idol+of+the+Peanut+Gallery+Set&#38;source=bl&#38;ots=gHqRRxECNm&#38;sig=lqRaYjQywWAEB1qkYuhUHa2EWrs&#38;hl=en&#38;ei=fH4iS--GIYqSNuCR3dwJ&#38;sa=X&#38;oi=book_result&#38;ct=result&#38;resnum=1&#38;ved=0CAgQ6AEwAA#v=onepage&#38;q=Bob%20Smith%3A%20Idol%20of%20the%20Peanut%20Gallery%20Set&#38;f=false" target="_blank">Bob Smith: Idol of the Peanut Gallery Set</a>.&#8221;</p>
<p>Awdry,Rev. Wilbert and Awdry, Christopher. 1945-2006. <em>The Railway Series.</em></p>
<div><em>Bohman, James. 2005-03-08. &#8220;Critical Theory.&#8221; Stanford Encyclopedia of Philosophy. http://plato.stanford.edu/entries/critical-theory/</em></div>
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</em></div>
<div><em>Business Week. </em>2006-12-04. &#8220;<a href="http://www.businessweek.com/magazine/content/06_49/b4012117.htm" target="_blank">Walt&#8217;s Not-So-Wonderful World</a>: Review of Gabler&#8217;s <em>Walt Disney: The Triumph of the American Imagination</em>.&#8221;</div>
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<p><em>The Railway Series</em>. Audio adaptations on radio<span style="font-style:normal;">Thomas and Friends.</span></p>
<p><span style="font-style:normal;">Gabler, Neal. 2006. </span><span style="font-style:normal;"><em>Walt Disney: The Triumph of the American Imagination</em></span><span style="font-style:normal;">. Knopf. </span></p>
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<p><span style="font-style:normal;">Goldmark, Daniel. 1997. &#8220;<a id="oan1" title="Carl Stalling and Humor in Cartoons" href="http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html">Carl Stalling and Humor in Cartoons</a>.&#8221; Animation World Magazine. 2:1:April.<span style="font-style:normal;">Iltan, Cigdem. 2009-12-09. &#8220;<a id="r8_x" title="Iltan, Cigdem. 2009-12-09. &#34;TV show railroads young minds: prof.&#34; Edmonton Journal." href="http://www.edmontonjournal.com/entertainment/show+railroads+young+minds+prof/2319282/story.html" target="_blank">&#8220;TV show railroads young minds: prof&#8221;</a>.&#8221; </span><em>Edmonton Journal.</em></span></p>
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<div><span style="font-style:normal;">Jackson, Wilfed. Director. 1934-02-10.</span> &#8220;<a id="e99l" style="color:#551a8b;" title="Jackson, Wilfed. Director. 1934-02-10. &#34;The Grasshopper and the Ants.&#34; Disney Animated Shorts also Silly Symphonies 8:25 minutes" href="http://www.disneyshorts.org/years/1934/grasshopperandtheants.html" target="_blank">Jackson, Wilfed. Director. 1934-02-10. &#8220;The Grasshopper and the Ants.&#8221; Disney Animated Shorts also Silly Symphonies 8:25 minutes</a>.&#8221; <em>Disney Animated Shorts</em> also <em>Silly Symphonies</em> 8:25 minutes.</div>
<p>Kaufman,  J. B. 1997. &#8220;<a id="bh.q" title="Kaufman,  J. B. 1997. &#34;Who's Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#34; Animation World Network." href="http://www.awn.com/mag/issue2.1/articles/kaufman2.1.html">Kaufman,  J. B. 1997. &#8220;Who&#8217;s Afraid of ASCAP? Popular Songs in the Silly Symphonies.&#8221; Animation World Network.</a>.&#8221; <em>Animation World Network</em>.</p>
<p><em><span style="font-style:normal;">Wilton, Shauna. 2009. </span><em>Thomas and Friends</em>. In print.</em></p>
<p>Barrier, Mike; Gray, Milt. 1971. <em>Funnyworld</em>. 13:Spring:22.</p>
<h3>Musicology</h3>
<div>
<p>Churchill, Frank.1931. &#8220;Egyptian Melodies&#8221; Walt Disney Studio.  Uncredited.</p>
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<p>Churchill, Frank. 1933. &#8220;Ye Olden Days.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank.1933. &#8220;Who&#8217;s Afraid of the Big Bad Wolf?&#8221; in Three Little Pigs. Walt Disney Studio&#8217;s Silly Symphonies. Uncredited.</p>
<p>Churchill, Frank. 1933. &#8220;Mickey&#8217;s Gala Premier.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1933. &#8220;Old King Cole.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1933. &#8220;Lullaby Land.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1933. &#8220;Puppy Love.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1933. &#8220;The Steeplechase.&#8221; Walt Disney Studio. Uncredited.</p>
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<p>Churchill, Frank. 1933. &#8220;The World Owes Me a Living.&#8221; in Grasshopper and the Ants (1933). Kauffman mistakenly attributed this composition to Leigh Harline and Larry Morey.</p>
<p>Churchill, Frank. 1934. &#8220;Shanghaied.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1934. &#8220;Playful Pluto.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1934. &#8220;Funny Little Bunnies.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1934. &#8220;The Big Bad Wolf .&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1934. &#8220;Gulliver Mickey.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1934. &#8220;The Flying Mouse.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1934. &#8220;Orphan&#8217;s Benefit.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1934. &#8220;The Dognapper.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;The Tortoise and the Hare.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;Mickey&#8217;s Man Friday.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;The Golden Touch.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;The Robber Kitten.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;Pluto&#8217;s Judgement Day.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;On Ice.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;Three Orphan Kittens.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1935. &#8220;Cock o&#8217; the Walk.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1936. &#8220;Thru the Mirror.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1936. &#8220;Toby Tortoise Returns.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1936. &#8220;Donald and Pluto.&#8221; Walt Disney Studio. Uncredited.</p>
<p>Churchill, Frank. 1936. &#8220;More Kittens.&#8221; Walt Disney Studio. Uncredited.</p>
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<p>Churchill, Frank. 1937. &#8220;Snow White and the Seven Dwarfs.&#8221; Walt Disney Studio.</p>
<div>
<p>Churchill, Frank. 1938. &#8220;The Lamplighter.&#8221; Walt Disney Studio.</p>
<p>Churchill, Frank. 1938. &#8220;Yokel Boy Makes Good.&#8221; Walt Disney Studio.</p>
<p>Churchill, Frank. 1938. &#8220;Boy Meets Dog.&#8221; Walt Disney Studio.</p>
<p>Churchill, Frank. 1938. &#8220;Feed the Kitty.&#8221; Walt Disney Studio.</p>
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<p>Churchill, Frank. 1938. &#8220;Nellie the Sewing Machine Girl or Honest Hearts &#38; Willing Hands .&#8221; Walt Disney Studio.</p>
<p>Churchill, Frank. 1938. &#8220;Tail End.&#8221; Walt Disney Studio.</p>
<p>Churchill, Frank. 1938. &#8220;Problem Child.&#8221; Walt Disney Studio.</p>
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<div id="_mcePaste">
<div id="_mcePaste">Sky Trooper (1942)</div>
<div id="_mcePaste">Dumbo (1941)</div>
<div id="_mcePaste">&#8230; aka Walt Disney&#8217;s Dumbo (USA: poster title)</div>
<div id="_mcePaste">The Reluctant Dragon (1941)</div>
<div id="_mcePaste">&#8230; aka A Day at Disneys (USA: TV title)</div>
<div id="_mcePaste">&#8230; aka Behind the Scenes at Walt Disney Studio</div>
<div id="_mcePaste">Mouse Trappers (1941) (uncredited)</div>
<div id="_mcePaste">Bone Trouble (1940)</div>
<div id="_mcePaste">Kittens&#8217; Mittens (1940)</div>
<div id="_mcePaste">Snuffy&#8217;s Party (1939)</div>
<div id="_mcePaste">The One-Armed Bandit (1939) (uncredited)</div>
<div id="_mcePaste">The Practical Pig (1939) (uncredited)</div>
<div id="_mcePaste">Hollywood Bowl (1938)</div>
<div id="_mcePaste">Silly Seals (1938)</div>
<div id="_mcePaste">Voodoo in Harlem (1938)</div>
<div id="_mcePaste">Happy Scouts (1938)</div>
<div id="_mcePaste">The Cheese Nappers (1938)</div>
<div id="_mcePaste">Nellie, the Indian Chief&#8217;s Daughter (1938)</div>
<div id="_mcePaste">Movie Phony News (1938)</div>
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<h3>Trackbacks</h3>
<div>http://www.disneyshorts.org/years/1934/grasshopperandtheants.html</div>
<div><a href="http://www.disneyshorts.org/years/1928/steamboatwillie.html">http://www.disneyshorts.org/years/1928/steamboatwillie.html</a></div>
<div><a href="http://www.edmontonjournal.com/entertainment/show+railroads+young+minds+prof/2319282/story.html">http://www.edmontonjournal.com/entertainment/show+railroads+young+minds+prof/2319282/story.html</a></div>
<div><a href="http://www.ascap.com/about/">http://www.ascap.com/about/</a></div>
<div>http://www.awn.com/mag/issue2.1/articles/goldmark2.1.html</div>
<div><a href="http://legends.disney.go.com/legends/detail?key=Frank+Churchill">http://legends.disney.go.com/legends/detail?key=Frank+Churchill</a></div>
<div><a href="http://books.google.com/books?id=PZ6lgRl6VAwC&#38;pg=PA126&#38;vq=%22words+fitted+to+gestures+and+movements,+could+be+done+from+the+wings+or+behind+the+curtain.+And+so+we+could%22&#38;source=gbs_quotes_r&#38;cad=6#v=onepage&#38;q=&#38;f=false">http://books.google.com/books?id=PZ6lgRl6VAwC&#38;pg=PA126&#38;vq=&#8221;words+fitted+to+gestures+and+movements,+could+be+done+from+the+wings+or+behind+the+curtain.+And+so+we+could&#8221;&#38;source=gbs_quotes_r&#38;cad=6#v=onepage&#38;q=&#38;f=false</a></div>
<div><a href="http://plato.stanford.edu/entries/critical-theory/">http://plato.stanford.edu/entries/critical-theory/</a></div>
<div>
<p><a href="http://www.edmontonjournal.com/entertainment/show+railroads+young+minds+prof/2319282/story.html"></a></p>
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<title><![CDATA[Dublin's Ghost Signs]]></title>
<link>http://comeheretome.wordpress.com/2009/12/10/dublins-ghost-signs/</link>
<pubDate>Thu, 10 Dec 2009 21:43:09 +0000</pubDate>
<dc:creator>jaycarax</dc:creator>
<guid>http://comeheretome.wordpress.com/2009/12/10/dublins-ghost-signs/</guid>
<description><![CDATA[A ghost sign is a term for old hand painted advertising or signage that has been preserved on a buil]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><blockquote><p><em>A ghost sign is a term for old hand painted advertising or signage that has been preserved on a building for an extended period of time, whether by actively keeping it or choosing not to destroy it.</em></p></blockquote>
<p>Here are a few of my favourites from a recent Boards.ie <a href="http://www.boards.ie/vbulletin/showthread.php?t=2055749635">thread</a>.</p>
<p>The old <em>Lennox Chemicals</em> HQ on Leinster Street South.</p>
<p>&#8220;Lennox Chemicals was founded in 1923. The company came to bear the name of Robert Lennox who served as Managing Director from 1923 until this death in 1936. Originally located at Great Strand Street, Lennox moved to South Leinster Street in 1937 and on to John F. Kennedy Estate just off the Naas Road in 1983&#8243;</p>
<div id="attachment_273" class="wp-caption aligncenter" style="width: 510px"><a href="http://comeheretome.wordpress.com/files/2009/12/leinsterstreetsouth.jpg"><img class="size-full wp-image-271" title="Leinsterstreetsouth" src="http://comeheretome.wordpress.com/files/2009/12/leinsterstreetsouth.jpg" alt="" width="400" height="600" /></a><p class="wp-caption-text">Photo Credit - &#39;Wishbone Ash&#39;</p></div>
<p>An old sign for <em>Switzers</em> Department Store  (1834 &#8211; 1993) above the Brown Thomas Wicklow Street entrance.</p>
<div id="attachment_273" class="wp-caption aligncenter" style="width: 510px"><a href="http://comeheretome.wordpress.com/files/2009/12/wicklowstreetswitzerwide.jpg"><img class="size-full wp-image-272" title="WicklowStreetSwitzerWide" src="http://comeheretome.wordpress.com/files/2009/12/wicklowstreetswitzerwide.jpg" alt="" width="400" height="600" /></a><p class="wp-caption-text">Photo Credit - &#34;Wishbone Ash&#34;</p></div>
<p>The old <em> Sick and Indigent Roomkeepers Society</em> building on Palace Street, around the corner from Dublin Castle. Apparently it is Dublin&#8217;s shortest street with only two addresses.</p>
<div id="attachment_273" class="wp-caption aligncenter" style="width: 510px"><a href="http://comeheretome.wordpress.com/files/2009/12/palacestreet.jpg"><img class="size-full wp-image-273" title="palacestreet" src="http://comeheretome.wordpress.com/files/2009/12/palacestreet.jpg" alt="" width="400" height="600" /></a><p class="wp-caption-text">Photo Credit - &#34;Wishbone Ash&#34;</p></div>
<p>Along the bottom of this building on the corner of Upper Camden Street and Harrington Street you can see the old sign for Kelly&#8217;s <em>Cigar Bounder &#8211; Tobacco Blender</em>. Though the shop has well since closed, the area is still commonly known as Kelly&#8217;s Corner. The building was raided and destroyed (using hand grenades) by Captain J.C. Bowen-Colthurst of the British Army during the Easter Rising in 1916.</p>
<div id="attachment_274" class="wp-caption aligncenter" style="width: 510px"><a href="http://comeheretome.wordpress.com/files/2009/12/camdenstreetupperharcourtroad.jpg"><img class="size-full wp-image-274" title="CamdenStreetUpperHarcourtRoad" src="http://comeheretome.wordpress.com/files/2009/12/camdenstreetupperharcourtroad.jpg" alt="" width="500" height="400" /></a><p class="wp-caption-text">Photo Credit - &#34;Wishbone Ash&#34;</p></div>
<p>The old sign for <em>The Shakespeare</em> above the Korean restaurant and pub The Hop House where the CHTM team frequent most weekends. My dad used to drink here when he went to Colaiste Mhuire in Parnell Square around the corner.</p>
<div id="attachment_275" class="wp-caption aligncenter" style="width: 510px"><a href="http://comeheretome.wordpress.com/files/2009/12/pc070284.jpg"><img class="size-full wp-image-275" title="PC070284" src="http://comeheretome.wordpress.com/files/2009/12/pc070284.jpg" alt="" width="500" height="400" /></a><p class="wp-caption-text">Photo Credit - &#34;Jay Carax&#34;</p></div>
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<title><![CDATA[Village Coffee Lounge]]></title>
<link>http://caffeculture.wordpress.com/2009/12/09/village-coffee-lounge/</link>
<pubDate>Wed, 09 Dec 2009 18:16:20 +0000</pubDate>
<dc:creator>coffeeshopoffice</dc:creator>
<guid>http://caffeculture.wordpress.com/2009/12/09/village-coffee-lounge/</guid>
<description><![CDATA[Written by Lori Thiessen A friend and I met for coffee the other week at a coffee shop neither one o]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p><em>Written by Lori Thiessen</em></p>
<p>A friend and I met for coffee the other week at a coffee shop neither one of us had been to before.</p>
<p>On Twelfth Street in New Westminster (a suburb of Vancouver), is the Village Coffee Lounge.</p>
<p>It is quite a small place but with a real homey atmosphere. There is an old upright piano resting comfortably in the back. Brass instruments adorn the walls. Live music concerts take place here from time to time. Phone to find out when the next event will be happening:  (604) 522-8567‎.</p>
<p>There is a table inlaid with a checkerboard for those who want to play checkers or chess. Most of the other furniture is a mish-mash of styles, ages and rickety-ness. Very charming.</p>
<p>My friend tried the hot chocolate and I tried the maple spice latte. Though my friend didn&#8217;t comment on her hot chocolate, I must say that the maple spice latte was wonderful.</p>
<p>It is a regular cappucino but made with maple syrup, nutmeg and other spices and topped with a dusting of brown sugar.</p>
<p>I also had a zucchini muffin which was moist and flavourful.  I&#8217;ve never seen a zucchini muffin anywhere else so it must be freshly made by either the owner or a local baker.</p>
<p>We spent about an hour there and I was heartened to notice that people kept popping in and out; a city workman, a senior gentleman, a young mother, a courier, among others chose this small, unassuming place to get their mid-morning pick-me-up.</p>
<p>You can find the Village Coffee Lounge at:</p>
<p>705 12th Street, New Westminster, BC V3M 4J7</p>
<div>(604) 522-8567‎</div>
<div></div>
<div>I&#8217;m planning on going back again soon. Perhaps I&#8217;ll see you there!</div>
<div></div>
<div>Until Next Time,</div>
<div>May your coffee always be freshly brewed!</div>
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<title><![CDATA[Saving and Spending: A Review]]></title>
<link>http://asrblog.com/2009/12/06/saving-and-spending-a-review/</link>
<pubDate>Mon, 07 Dec 2009 03:19:03 +0000</pubDate>
<dc:creator>carbonpenguin</dc:creator>
<guid>http://asrblog.com/2009/12/06/saving-and-spending-a-review/</guid>
<description><![CDATA[As it&#8217;s the vehicle through which the largest heist in U.S. history was carried out, I&#8217;m]]></description>
<content:encoded><![CDATA[As it&#8217;s the vehicle through which the largest heist in U.S. history was carried out, I&#8217;m]]></content:encoded>
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<title><![CDATA["Like icebergs it was. Icebergs floating down the Grand Canal"]]></title>
<link>http://comeheretome.wordpress.com/2009/12/04/like-icebergs-it-was-icebergs-floating-down-the-grand-canal/</link>
<pubDate>Fri, 04 Dec 2009 14:08:13 +0000</pubDate>
<dc:creator>jaycarax</dc:creator>
<guid>http://comeheretome.wordpress.com/2009/12/04/like-icebergs-it-was-icebergs-floating-down-the-grand-canal/</guid>
<description><![CDATA[Walking down the Grand Canal from Portobello Bridge (La Touche Bridge) to Leeson Street Bridge on Th]]></description>
<content:encoded><![CDATA[<div class='snap_preview'><p>Walking down the Grand Canal from Portobello Bridge (La Touche Bridge) to Leeson Street Bridge on Thursday got me thinking about an amusing prank from October 1968 that I heard some years ago. Here&#8217;s the original Irish Times article published in full.</p>
<p><strong>AN &#8216;ICEBERG&#8217; FLOATED DOWN THE CANAL</strong><br />
The Irish Times. October 4 1968.</p>
<p>Unknown pranksters turned over a mile of the Grand Canal in Dublin into a bubble bath yesterday. The sequence of events was described Dragnet style by Jimmy Parsons, lock  keeper of Lock Cottage, Portobello Bridge.<em> &#8220;At 2:30am, a night nurse in Portobello nursing home looked out the window and saw white foam rising 30 feet out of the lock and overflowing on to the bridge and roadways. At 5am the police arrived. All they could do was watch. At 7:30am the fire brigade came. They said it looked lovely but that they couldn&#8217;t help&#8221;.<br />
</em></p>
<p>By then, Dubliners were on their way to work. The wall of foam hampered traffic at the bridges at Porotobello, Charlemont street and Leeson Street. Hundreds of curious people jammed the canal-side.</p>
<div id="attachment_164" class="wp-caption aligncenter" style="width: 310px"><a href="http://comeheretome.wordpress.com/files/2009/12/portobello1.jpg"><img class="size-medium wp-image-164" title="portobello1" src="http://comeheretome.wordpress.com/files/2009/12/portobello1.jpg?w=300" alt="" width="300" height="199" /></a><p class="wp-caption-text">Portobello Today. Flickr user  Miroslav Čuljat.</p></div>
<p><em>&#8220;It&#8217;s really like a fairyland&#8221; </em>a schoolbound youngster breathed. <em>&#8220;I&#8217;m going to be late for work&#8221;</em> said a typist who had jumped off her bus <em>&#8220;But it&#8217;s worth it &#8211; I&#8217;ll never see a sight like this again&#8221;.</em></p>
<p>Hours later some of the original watchers were still there, still spellbound, gazing at the foam writhing upwards in a Disneyland ballet.</p>
<p>The high wind scooped great gobbets of froth from the lock gates and flung them into the sky. Other pieces, too big to fly, rolled over the roadway like huge snowballs. <em>&#8220;Lookit &#8211; it&#8217;s snowing&#8221;</em> two messenger boys bellowed in chorus, beside themselves with excitement.</p>
<div id="attachment_165" class="wp-caption aligncenter" style="width: 310px"><a href="http://comeheretome.wordpress.com/files/2009/12/portobello2.jpg"><img class="size-medium wp-image-165" title="portobello2" src="http://comeheretome.wordpress.com/files/2009/12/portobello2.jpg?w=300" alt="" width="300" height="225" /></a><p class="wp-caption-text">Portobello Bridge today</p></div>
<p><em>&#8220;All we want now is Brigit Bardot in that bubble bath&#8221;,</em> observed a man with a ballroom sheikh hair-do.</p>
<p>Jimmy Parsons arrived, with a weed-rake on the end of a 10-foot pole. Poling about on the bottom of Portobello lock, he said over his shoulder, <em>&#8220;This must have been caused by jokers dumping detergent or soap &#8211; powder into the locks. The way the foam keeps coming up, the stuff is still down there. It&#8217;s an expensive joke. They must have thrown hundredweights of it to whip up this froth&#8221;</em></p>
<p>Giving up on the search, he sat on a lock-gate and said &#8220;<em>You should have seen it at dawn. Like icebergs it was. Icebergs floating down the Grand Canal&#8221;.</em></p>
<p>Angrily aloof on the canal &#8211; bank nearby, two swans looked on. After a while, they took like seaplanes in search of pure water. But the foam stayed and so did the crowds&#8230;</p>
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<title><![CDATA[Matt Frei's 'Berlin']]></title>
<link>http://dalyhistory.wordpress.com/2009/11/30/matt-freis-berlin/</link>
<pubDate>Mon, 30 Nov 2009 11:43:02 +0000</pubDate>
<dc:creator>James Daly</dc:creator>
<guid>http://dalyhistory.wordpress.com/2009/11/30/matt-freis-berlin/</guid>
<description><![CDATA[Matt Frei Regular readers will know that I have a bit of a soft spot for Berlin, where historical ci]]></description>
<content:encoded><![CDATA[Matt Frei Regular readers will know that I have a bit of a soft spot for Berlin, where historical ci]]></content:encoded>
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