In “The Lion King,” the ghost of Mufasa reminds Simba to “remember who you are.” Animation legend Floyd Norman thinks that Disney Feature Animation might be advised to do the same.
Floyd Norman
It was only a small change. No one even noticed that Disney’s premiere animation department had stopped using Disney pegs. It was the early eighties and Disney’s animation department had just been spared from an early death. Vice chairman, Roy Edward Disney had just given animation a new lease on life, and animation had to do whatever was necessary. It was understandable of course. When one’s head is on the chopping block, compromise is expected. Though only an animation geek would notice that the horizontal pegs were a bit wider and 5000 was no longer center, this ushered in a series of changes that would in time transform the animation unit from being uniquely Disney to becoming simply generic.
Then again, why not be generic? Why not follow the crowd? Wouldn’t Walt Disney have done that? For arguments sake, why not get rid of Disney pegs, paint and paper? After all, that put you in conflict with every other studio system that used the Acme standard. If Disney animation was going to be in sync with studios around the globe, it only made sense to adopt the standard. It’s efficient, it’s practical, and it’s the way business is done. The reinventing of Disney had slowly begun.
I loved Hollywood’s animation studios. Back in the old days, each studio had it’s own trademark look. It was a distinct in-house style that set it apart from all the others. Today, there might as well be one studio producing movies. It’s a generic, plastic world where the animation is so sterile, the stories so devoid of charm, wit and humor, it hardly matters which “factory” churned them out. Gone are the days when Clever writers and inspired artists worked together to painstakingly craft an animated motion picture that would entertain generations of adults and children. Still, many say this 3-D world is the wave of the future, and it very well may be. To be sure, the images on screen have depth, even though the stories may lack the same.
I suppose it’s no secret that the Disney organization in the nineties was a corporation that seemed uncomfortable in its own skin. That’s what prompted Feature Animation to remove Mickey Mouse from its official logo, and business units removing Disney art from their offices. Executives were happy to take the Disney paycheck but wanted nothing to do with “cartoons.” Ironically, for a company that was so obsessed with “branding,” I was amazed at the lengths executives would go to disassociate themselves from the company. Yet, like it or not, there was a Disney image. An image carefully constructed over time by the Old Maestro himself. In time, people began to recognize that image and what it represented. Family entertainment of course, but Disney also meant creativity, innovation and quality. Values not immediately embraced by the new marketers now in charge of the mouse house in the early eighties. They served the contemporary gods of relevance, edginess, and the latest trends in entertainment. If the Disney organization was going to survive in Hollywood’s brave new world, they had better get on board.
If you think perhaps I protest too much, let’s consider how the Old Maestro himself felt about these things. After laboring long and hard on “Sleeping Beauty,” Disney designers, Ken Anderson, Tom Oreb and Walt Peregoy decided to come up with a new, fresh look for the next feature, “101 Dalmatians.” Though the movie was a hit, I can tell you for a fact that Walt Disney hated the look of the film. Though the artists were going for a modified rendition of a style created by British cartoonist, Ronald Searle, Walt was not pleased and made his feelings known to all. A few years later, development was underway on “Mary Poppins.” Midway through the film an animated sequence takes place within the world of Bert’s fanciful chalk drawings. Once again, Walt’s designers decided to push the envelope and come up with an animation style that would emulate moving chalk drawings. And, again Walt Disney said no. Clever and inventive though the style may have been, it was not the Disney house style, and Walt was having no part of it. Some may have thought the Old Maestro was growing old and stodgy for once again giving thumbs down on an innovative new style. But, Disney stood his ground, and once again the house style prevailed.
However, Disney could occasionally be persuaded to step outside the box. Animation directors, Ward Kimball and C. August Nichols were allowed to produce two wonderful short films in the series, “Adventures in Music.” The first film was entitled, “Melody,” followed by the stunning, “Toot, Whistle, Plunk and Boom.” both films traded the standard Disney style in favor of a simplified stylized technique full of color, energy and verve. Yet, even the skeptical Walt managed a grin when “Toot, Whistle” won an Academy Award for best-animated short. Still, Walt Disney remained a tough man to convince when it came to moving too far a field from his standard style, and didn’t hesitate to let it be known. I was lucky enough to attend a screening of Kimball’s “Mars and Beyond” back in the fifties. At the time, I was dazzled by what I had just seen, but Walt Disney felt otherwise. Once again, he dressed Kimball down for his handling of the cartoon characters. Not Disney enough for Walt, it appeared. Lest you think this is hearsay, let me remind you again — I was there.
As the Disney Company embraces new film making techniques, one might consider what pit falls lie ahead. Outsourced animated fare such as “Valiant” drew only stunned silence from the audience as I watched the trailer in a local multiplex. And, I doubt “The Wild,” another bargain basement cartoon movie will do much better. Walt was continually concerned about his creations being clearly recognizable as “Disney.” Because of the look of digital filmmaking, Disney’s creations could become indistinguishable from the competition. I’m not about to enter into a debate over which film making medium is superior, but the marketers who depend on Disney’s trademark style to keep earning the company millions should be. As more and more digital films crowd the multiplexes, wouldn’t it have been something if the Disney Company had embraced its signature style and produced an incredible motion picture that looked nothing like the competition? In so doing, Disney wouldn’t have been like everybody else. They would have been the leader, not the follower. Besides, Disney had already led the CGI revolution some time ago. They financed, distributed and nurtured a production back in 1995. In case you’ve forgotten — it was called “Toy Story.”
Major corporations spend millions developing and maintaining an image. They nurture and protect that image because it reflects who and what they are. Walt Disney was no fool. He knew the Disney look, and the Disney style was recognized around the world. If that “recognition factor” becomes just a little bit blurred, the results may not be pleasant. As Disney moves forward in the next few years they would be wise to remember the things that made the company great. Wonderful, timeless stories well told. Delightful, memorable characters imbued with charm and appeal. And, of course, beautiful art that nourishes the soul. These things cannot be replaced by superficial flash and dazzle, and the audience will know the difference.
Did you enjoy Floyd’s cautionary tale today? well, if so, please be aware that there are three great collections of Norman’s writings & cartoons currently on the market: his original collection of cartoons and stories — “Faster! Cheaper! The Flip Side of the Art of Animation” (which is available for sale over at John Cawley’s excellent www.cataroo.com web site) as well as two follow-ups to that book, “Son of Faster, Cheaper” & “How the Grinch Stole Disney.” Which you can purchase by heading over to the Afrokids.com website.
Hollywood name-dropping, Disney style
Crash Landings
I need help from a Disney World employee. To be specific, someone who used to work at the Magic Kingdom back in the late 1980s / early 1990s.
The reason I’m asking for help is that there used to be this one-page newsletter that that theme park printed & distributed weekly to Cast Members who worked JUST at the Magic Kingdom.
Walt Disney World Cast Member Newsletter Request
I want to stress that this newsletter was different from the Eyes & Ears – which (back then, anyway) was a weekly newspaper (not a newsletter) that the Resort then printed & distributed to ALL Cast Members who worked on property.
This publication – which might have been called Kingdom Cast (Sorry. It’s been almost 30 years now. I’m old after all and I’m now blanking this newsletter’s name) – was typically printed on different colored paper stock every week.
I just need some help here when it comes to recalling the specific name of this newsletter which was primarily intended for Disney World employees who worked at the Magic Kingdom.
If you know of the newsletter we are looking for leave a comment below.
Magic Kingdom Newsletter – August 1994
Anyway … I was living down in Orlando at this time. Where I was trying to make a living writing about The Walt Disney Company. Which was challenging in those pre-Internet days. On the upside, I had lots of friends who worked at the Resort at the time. Who would then slip me copies of all sorts of in-house publications. Which then allowed me to stay on top of what was actually going on on-property.
Anywho … In late August of 1994, I got sent a copy of this particular Magic-Kingdom-only newsletter. Which included a brief item (That I’m recalling from memory now) that said …
… any & all Cast Members who had worked at “20,000 Leagues Under the Seas” over the past 23 years are invited to come by this Fantasyland attraction on the night of Monday, September 5th. We’d like to get together as many current & former 20K employees as possible for a group photo in front of that attraction’s marquee. This image will then be used to commemorate the closing of this Disney World favorite.
This item in that newsletter then went on to say that – after the Magic Kingdom had officially closed for the night – all WDW Cast Members were then welcome to come by the Subs and get in one last ride before “20,000 Leagues” closed for good.
So I immediately realized that this was huge, huge news.
Disney World is closing the Subs at the Magic Kingdom.
And since I was friendly with Leslie Doolittle, the reporter who was wrote the “On Tourism” column for the Orlando Sentinel, I give Leslie a call and read her this item straight out of this Magic Kingdom employee newsletter verbatim. Which Ms. Doolittle then reports in her very next “On Tourism” column. Which then prompts WDW officials to lose their minds.
Initially senior management at the Resort flat-out denies that this Opening Day attraction is actually closing and they demand that the Sentinel immediately print a full retraction. After I provide Ms. Doolittle with a physical copy of this Magic Kingdom employee newsletter and she then shares that with WDW’s PR team … Well, the Resort’s senior management then changes its tune.
They now say … Well, yes. “20,000 Leagues” WILL be closing on September 5, 1994. But what was published in that Magic Kingdom employee newsletter was incorrect. This Fantasyland favorite is NOT closing permanently. But – rather –- 20K will be going down for a lengthy rehab. A REALLY lengthy rehab. The longest ever in this ride’s history.
Maintenance Issues with WDW’s “20,000 Leagues Under the Sea”
To explain: Anyone who loved this WDW attraction back in the day will talk about how frustrating it would be back then to visit the Magic Kingdom and then find that “20,000 Leagues” was down for maintenance … again.
Between the harsh Florida sun bleaching the color out of the fake coral & all those plastic fish (which is why – every year – the lagoon had to be drained & dried so these items could then be repainted) not to mention all of the mechanical challenges associated with keeping that fleet of 14 diesel-powered Subs up & running … “20K” was an operational nightmare.
Not to mention being a huge money suck when it came to the Magic Kingdom’s annual operating budget.
So what Disney World senior management said – on the heels of that Orlando Sentinel story — was that “20K” was now closing for a top-to-bottom overhaul. This would be a two year-long project. But the good news was work would be completed in time for WDW’s 25th anniversary celebration. Which was supposed to begin in October of 1996.
Which – I have to tell you – wasn’t the truth at all.
That Magic Kingdom employee only newsletter had actually gotten everything right. Disney World’s “20,000 Leagues” ride WAS closing for good on September 4, 1994. But not for the reason you might think.
Euro Disney Financial Troubles
Euro Disney had opened back in April of 1992. The park itself did well, attendance-wise. Not so much when it came to those 6 on-site hotels. Weighed down by enormous debt, Eisner actually talked about closing the place down in December of 1993 unless a new financial arrangement could be worked out with the 30+ banks that had originally funded construction of this $4.4 billion resort. A deal was reached in the late Winter / early Spring of 1994. But one of the conditions of this deal is that The Walt Disney Company would suspend the collection of any royalty payments that the Company was due from the Euro Disney Project from 1994 through 1998.
This new agreement / financial restructuring may have saved Euro Disney (which then got rebranded / relaunched as the Disneyland Paris Resort). But it also choked off a huge revenue stream at The Walt Disney Company. Which is why word then came down from on high that ALL divisions at the Mouse House now needed to tighten their belts. Economize.
And down at Walt Disney World … Well, managers then saw this edict as an opportunity to finally pull the plug on the Magic Kingdom’s expensive-to-maintain / difficult-to-operate “20,000 Leagues” ride. And the beauty part was … This wasn’t their fault. They were just following Corporate’s orders.
Fan Backlash for “20,000 Leagues” Closing Announcement
What Walt Disney World senior management hadn’t anticipated was – on the heels of Leslie Doolittle’s story about how “20K” would be closing – that the Resort would then be flooded with letters begging Magic Kingdom managers to change their minds. Save this opening day attraction.
Which – again – brings us back to that “The-Subs-will-be-back-up-and-running-by-1996-just-in-time-for-WDW’s-25th-anniversary” story. Which – I’ll again remind you – just wasn’t true. This was a lie that the Company quickly put out there to deflect & divert from what quickly had become a PR nightmare for the Magic Kingdom.
Michael Ovitz – Save or Close “20k Leagues”
So okay. We now jump ahead to August of 1995. Which is when Michael Ovitz – previously the head of CAA and once rumored to be the most powerful man in Hollywood – becomes the President of The Walt Disney Company. Michael Eisner hires Ovitz to be his new second-in-command (Following the tragic death of Frank Wells back in April of 1994).
And Ovitz … He wants to hit the ground running. Prove to Eisner that he’s now going to be an extremely valuable member of the Disney team.
Credit: Deadline
So picture this. It’s now September of 1995. And Michael Ovitz – because he wants to learn about every aspect of The Walt Disney Company – is now on a familiarization tour of the entire corporation. And one of his very first stops is The Walt Disney World Resort.
And Michael (Ovitz, not Eisner) is a very data-driven guy. And he knows about the now-thousands of letters & phone calls that the Walt Disney World Resort has received about “20,000 Leagues Under the Sea.” Which – again (remember) – WDW managers have been saying publicly is only temporarily closed. At this point, they’re still insisting that that this Opening Day Attraction will be back up & running in time for WDW’s 25th anniversary. Which is supposed to start on October 1, 1996.
So Ovitz – once he arrives on WDW property says – “Hey, I’ve heard about the Magic Kingdom’s 20K problem. And I’d like to personally check out that ride while I’m down here in Florida. Maybe once I see it, I can then make some recommendations. Perhaps help speed along the funding you need to get that ride up & running again.”
And seeing as Michael Ovitz is the newly installed second-in-command at the Mouse House, WDW senior management – after they hear this request – says “Sure. Absolutely. We’d love to do that, Mr. Ovitz. We’ll come by your hotel first thing tomorrow morning and take you straight over to the Magic Kingdom before that park opens to the public. That way, you can see for yourself the challenges that we’re now facing with bringing this Fantasyland ride back up online in time for Disney World’s 25th anniversary celebration. We’d LOVE to hear your recommendations.”
Which is why — the following morning at 7 a.m. — Mike Ovitz found himself standing in the queue at “20,000 Leagues Under the Sea” as a sub that was loudly belching smoke came rumbling up to the dock. The Disney Company’s brand-new President then climbed down the stairs and found a quarter inch of water sloshing around in the bottom of the boat. When Mike pointed this out, a WDW ops staffer said “Well, you have to understand that a lot of our subs are over 20 years old, Mr. Ovitz. So many of them have developed small pinhole leaks over time.”
The sub then lurched away from the dock and took Ovitz & the ops crew on a somewhat jerky trip around the “20K” ride track, with the attraction’s soundtrack barely audible through the ship’s crackling loudspeakers.
As you might imagine, once the boat pulled up to the dock, Michael quickly climbed out of the mildewed interior. He then turned to WDW’s ops staff and then asked what it would cost to bring “20K” back online. Ovitz was then quoted a number that was reportedly more than the Resort was planning on spending on its entire year-long 25th anniversary celebration.
Ovitz knew that a redo of the Subs that was going to be that expensive would be a non-started with Eisner. Especially at that time in the Company’s history, where – on the heels of the Euro Disney debt reorg and Disney deferring any royalty payments they were supposed to take out of that Resort ‘til 1998 – word was coming down from on high to every division at Disney to economize & cut back.
Ovitz wanted to show Eisner that – as The Walt Disney Company’s new president – that he could make the tough calls. So after hearing how much it would supposedly now cost the WDW Resort to bring the Subs back online, Ovitz then supposedy said “Well, maybe we’d just better cancel this rehab project and close 20K for good.” And those WDW managers standing with Ovitz in the Subs Load / Unload area then said “Oh, no. Really? Are you sure?”
Not Reopening by Summer – 20,000 Leagues “Delayed”
Which is why – in the early part of 1996. Just a few months after Michael Ovitz visited the Walt Disney World Resort on that fam trip — Bruce Laval, who was (at that time, anyway) the Resort’s Vice President for Operations – did an interview with the Sentinel. Where Bruce told Leslie Doolittle that …
“We were originally pursuing a short-term strategy with 20K. Something would have then allowed us to reopen the Subs with minor enhancements. But we found that there was no way we could accomplish that by this Summer.”
Now please note that what Bruce is saying in early 1996 is very different from what the Resort had been putting out back in the Fall of 1994. Back then, the Magic Kingdom was going to shut down “20K” for a nearly two-year-long, top-to-bottom redo so that this Fantasyland attraction could then be part of WDW’s 25th anniversary celebration looking bigger & better from ever. But come April of 1996, that story has significantly changed. The Park was now looking to re-open the Subs with “minor enhancements.” But even that would be impossible for the Resort to now pull off by the Summer of 1996.
Which bring us to what Laval next told the Sentinel:
“We are abandoning those plans for the Subs and are now exploring other long term options.”
Credit: Orlando Sentinel
So would it surprise you to learn that – in the middle of all the hoopla associated with the officially launch of WDW’s 25th anniversary celebration in October of 1996 – Disney World’s PR very quietly realizes the news that 20K is now closed permanently. That – on the recommendation of Michael Ovitz, the president of The Walt Disney Company — the Magic Kingdom is now abandoning any plans to rehab / revitalize that attraction.
Poor Guest Experience for Michael Ovitz
You wanna know the kicker to this story. Those WDW managers – when they brought Michael Ovitz into the Magic Kingdom early that September morning back in 1995 – had totally sandbagged the new president of The Walt Disney Company.
To make sure that Ovitz had the worst possible ride experience that morning …
Well, out of the fleet of 14 subs that had been built for this Fantasyland attraction, those managers deliberately picked the one that was in the worst possible shape.
They then recruited a veteran ride operator and quietly gave this Cast Member the expressed instructions to “Give Ovitz the roughest ride possible.”
Then – to seal the deal — they threw a couple of buckets of water down into the bottom of that Sub to simulate a pinhole leak.
And all of this was done to give Ovitz the impression that WDW’s subs were now beyond salvaging.
The real irony here is that Michael Ovitz, the man who made the permanent closure of the Subs at WDW’s Magic Kingdom possible because he fell for the elaborate ruse that those Disney World managers staged back in September of 1995 … wasn’t all that long-lived at the Mouse House.
Eisner fired Ovitz in December of 1996 (just 15 months after he’d taken the job) largely because Eisner felt that Ovitz just wasn’t a good fit at Disney.
Credit: WDWMagic
I have to tell you that WDW managers were thrilled that Ovitz was on the job at Disney for as long as he was. For – in September of 1995 — he made it possible to do what they couldn’t. Which was close the Subs for good. Which then left that huge chunk of Fantasyland open for redevelopment.
Mind you, it would take nearly another 13 years (from when the WDW Resort finally officially announced that the Subs at the Magic Kingdom were closed in October of 1996 ‘til the first D23 Expo back in September of 2009. Which was when the WDW Resort officially confirmed that the long-rumored expansion of the Magic Kingdom’s Fantasyland section was in the works) before that redevelopment effort would then move forward. But as anyone who’s been watching the construction of “TRON Lightcycle Run” limp along at the Magic Kingdom these past five years, things move slowly these days at the Magic Kingdom.
And – speaking of the Magic Kingdom – if anyone who worked at that theme park back in the late 1980s / early 1990s could please get back to me about that newsletter-for-Cast-Members-who-worked-specifically-at-that-Park (I’m 90% certain this weekly newsletter was called Kingdom Cast. But – again – I could be wrong), I’d really appreciate it.
This article is based on research for The Disney Dish Podcast “Episode 390”, published on September 5, 2022. The Disney Dish Podcast is part of the Jim Hill Media Podcast Network.
Since we’ve gotten such strong reaction to previous “Disney Dishes” where Len & I talked about original Disneyland lessees like Swift Meats (who sponsored the Red Wagon Inn at the Park, which was the precursor to Disneyland’s Plaza Inn Restaurants) and Monsanto (who sponsor the Hall of Chemistry AND the House of the Future), I thought that we’d take a moment to shine a spotlight on another company that helped make up the original 48 lessees at Disneyland.
Original Disneyland Lessees
When Disneyland first opened in July of 1955 – the Park had 48 lessees. A number of those were short-lived outfits like Hollywood Maxwell’s Intimate Apparel Shop and the BlueBird Shoes for Children Shop that came & went within the first few years that Disneyland was operational. By 1966 / 1967, the number of lessees that the Park had had shrunk down by nearly a third. To 33, to be exact.
That’s an interesting number – 33.
Seems significant for some reason. Can’t place why, though.
Van Camp Seafood Company
Some 67 years ago (August 29, 1955, to be exact), the Chicken of the Sea Pirate Ship Restaurant (the quick service restaurant that Van Camp Seafood sponsored at the Park) first opened for business.
Kind of appropriate that Van Camp Seafood came to sponsor a restaurant at Disneyland. After all, this fish canning company actually got its start some 95 miles to the south of Anaheim in San Diego, California back in May of 1914 – founded by Frank Van Camp & his son Gilbert.
Chicken of the Sea Fancy Tuna and Frank Van Camp. Credit: MyCompanies & Flickr/Shushmuckle
And as for that “Chicken of the Sea” thing … That was a bit of branding Van Camp embraced back in 1930. You see, the type of tuna that they initially specialized in canning (i.e., white albacore) was acclaimed for its mild flavor & color.
“Tastes like chicken” = “Chicken of the Sea.”
By 1952, Van Camp Seafood further refined their brand by introducing the Company’s icon: Catalina the Mermaid.
Interesting side note: If Catalina the Mermaid looks kind of familiar to all you Trekkies out there … Well, there’s a good reason for that. Grace Lee Whitney – who played Yeoman Rand on the original “Star Trek” television series – was actually the inspiration for Van Camp Seafood’s corporate icon.
Peter Pan & Mermaid Lagoon
We jump ahead now to February of 1953, which is when Walt Disney Studios releases its feature-length animated version of “Peter Pan” (which is based on J.M. Barrie’s 1904 play about “The Boy Who Wouldn’t Grow Up”). This animated feature includes a scene where Peter takes Wendy Darling to Mermaid Lagoon. Where those mermaids then try to drown Wendy. I guess Catalina hangs out with a rough crowd.
Jump ahead to 1954. Walt is looking to lock in sponsors for his new family fun park. And Disney’s animated version of “Peter Pan” is still very front of mind. Which is why – when Disney representatives reach out to Van Camp Seafoods to ask if this fish canning company would be willing to sponsor some sort of attraction at Disneyland – Frank & his son Gilbert are interested.
The Van Camps do have some conditions, though. As part of whatever their Company sponsors at Disneyland, this shop, restaurant or attraction has to prominently feature Catalina the Mermaid, the Chicken of the Sea icon.
The folks at Disney go away for a bit to ponder this proposition … and then eventually come back with a proposal for the Van Camp family. What about a restaurant that’s also an attraction? As in: The Chicken of the Sea Pirate Ship Restaurant.
The Chicken of the Sea Pirate Ship Restaurant
This massive structure – we’re talking 79 feet long and 80 feet tall (That includes the ship’s three masts. Which were each 60 feet tall) – was to be a recreation of the Jolly Roger, Captain Hook’s ship from Disney’s animated version of “Peter Pan.” Guests would have the opportunity to board this vessel and explore the upper deck. Below decks, there’d be a quick service restaurant that only served food items that could be made with Van Camp Seafood products. We’re talking:
A Tuna Sandwich
A Tuna Burger
A Tuna Pie served in a Pastry Shell
A Tuna Boat Salad
A Tuna Clipper Salad (a clipper is a slightly bigger boat)
Shrimp Cocktail (Van Camp Seafood also sold canned shrimp)
and Fruit Tart with Whipped Cream (which must have had a little tuna in it)
Reminds me of that Monty Python bit. “It’s only got some spam in it. Spam, spam, spam, span, baked beans & spam.”)
Credit: iCollector.com
Frank & Gilbert Van Camp loved this idea. Even so, it took a while to Van Cap Seafood & Walt Disney Productions to negotiate the final contract. Not to mention draw up the construction blueprints for this Fantasyland restaurant / attraction. I’ve seen a set of these blueprints that Fred Stoos (he was one of the original construction coordinators on the Disneyland project) drew up that are dated May 7, 1955.
Building the Jolly Roger
That’s basically 10 weeks before Disneyland first opens to the public. So as soon as those blueprints were signed off on, they immediately began building the Jolly Roger out behind the park’s lumber mill. Which – after the Park was completed – this building would then become the Main Street Opera House.
The ship itself was built out of Douglas Fir. And as for this pirate ship’s trim, that was genuine mahogany which had been shipped in from Honduras.
Now remember that condition that Frank & Gilbert Van Camp insisted upon? That Disneyland’s Chicken of the Sea Pirate Ship Restaurant had to feature their company’s icon – Catalina the Mermaid – in some way?
Chicken of the Sea Pirate Ship Restaurant Hand-Colored Brownline Print (Walt Disney, 1955)
Credit: Comics.ha
Catalina the Mermaid – Figurehead
Disney honored this sponsorship condition by making Catalina the Jolly Roger’s figurehead. Chris Mueller (who sculpted all of the animals that Guests saw on Disneyland’s “Jungle Cruise.” Not to mention the giant squid in Disney Studio’s “20,000 Leagues Under the Sea” film. In addition to creating “The Creature from the Black Lagoon” for Universal Pictures’ 1954 film of the same name) not only created that beautiful 6-foot-tall piece, Mueller also sculpted an enormous piece for this ship’s stern. Which replicated the way Catalina the Mermaid was depicted on each can of “Chicken of the Sea” tuna. With Catalina seated atop her shell throne which is then borne on the back of a giant sea turtle. Beautiful piece.
Credit: Pinterest/Chicken of the Sea
The Flying Jolly Roger
Remember how this pirate ship restaurant was quickly being built backstage at Disneyland out behind that park’s lumber mill? When it came time for this building to finally be moved into place over in Fantasyland … Well, remember how the Jolly Roger flew in Disneyland’s animated version of “Peter Pan” ? This structure flew as well. It was lifted by a construction crane over all of those still-under-construction Tomorrowland buildings and then dropped into place behind the Park’s Mad Tea Party flat ride.
Painting and Camera Tricks
The only problem was … The night before that “Dateline: Disneyland” special aired live on ABC, Walt realized that he was running out of time & money. And the Chicken of the Sea Pirate Ship Restaurant (while it was now in its proper place in the Park) was still unpainted. And if the Van Camp family saw the restaurant / attraction that they’d paid for show up on live television looking like that, Frank & Gilbert would be furious.
Walt’s solution to this not-enough-time / not-enough-money problem was kind of ingenious. He only had his painters paint the side of the Chicken of the Sea Pirate Ship Restaurant that faced into the Park (i.e. the side that would appear on camera). Walt then had a bunch of Disney Studios employees placed on deck. When the cameras came on, these folks rushed to the rail and then wave frantically towards the camera. That way, no one would notice that the props or rigging on this ship weren’t in place either.
This trick worked. The Jolly Roger looked great on camera. And just so you know: It would take another six weeks of hard work after the “Dateline: Disneyland” TV special aired before the Chicken of the Sea Pirate Ship Restaurant was finally ready to serve food / begin entertaining Disneyland Guests.
Credit: Disney Parks
Popularity and Expansion of The Chicken of the Sea Pirate Ship
This eatery became so popular with Disneyland Guests that … Well, after Walt finally wrestled ABC’s partial ownership of the Park away from that broadcast company in June of 1960 (He had to pay that company $7.5 million for its one third ownership of the Park) … One of the very first thing Disney did was to create a secondary seating area for this Fantasyland eatery.
Credit: MickeyMousePark.com
Here’s how that expansion project was described in the October – November 1960 issue of the “Disneylander” (i.e., the park’s employee newsletter back then):
This article’s headline read: “Pirate Ship To Have New And Exotic Setting”
And here’s a quote from this piece:
“By the time you read this, you’ll be aware that the Chicken of the Sea Pirate Ship is closed for extensive rehab. It is scheduled to reopen about December 15th. Isolated by craggy cliffs covered with lush tropical foliage will be ‘Pirate’s Cove,’ where the Park’s well known Pirate Ship resides at anchor. WED designers have included in their plans the familiar landmark of Skull Rock from the Peter Pan story with three waterfalls cascading from rocky heights.”
Construction of Pirate’s Cove & Skull Rock actually took a little longer than expected. This Fantasyland addition wouldn’t open ‘til just before Christmas. December 23, 1960, to be exact.
Credit: Yesterland / Fred M. Nelson, Sr., 1973
Van Camp Seafood Partnership
The folks at Van Camp Seafood initially seemed very pleased with their association with Disneyland Park. They renewed their original sponsorship agreement with the Park in 1962 for another seven year-long lease. Unfortunately, in 1963, Frank & Gilbert sold their fish canning company to Ralston Purina. And when the sponsorship contract for the Chicken of the Sea Pirate Ship Restaurant came up for renewal in 1969, Ralston Purina opted out.
Captain Hook’s Galley
Disneyland management responded to this loss of sponsor by changing the name of this Fantasyland restaurant from The Chicken of the Sea Pirate Ship Restaurant to Captain Hook’s Galley. They also made minor tweaks to the ship’s figurehead and the giant stern piece so that the mermaids there no longer looked just like Catalina, Chicken of the Sea’s corporate icon.
A triumphant Peter Pan poses in front of Captain Hook’s Galley (formerly Chicken of the Sea Pirate Ship and Restaurant) in Fantasyland at Disneyland, 1976. pic.twitter.com/IUQG4OW4Y1
— Walt Disney Archives (@TWDCArchives) March 30, 2019
Moving to New Fantasyland
We now jump ahead to the Fall of 1981. Work has just begun on Disneyland’s New Fantasyland. Which – when this side of the Park re-opens in the Summer of 1983 – will feature all-new versions of Disneyland’s classic dark rides like “Snow White’s Scary Adventures” & “Mr. Toad’s Wild Ride” featuring then-state-of-the-art effects like fiber optics & digital sound.
Among the changes that are in the works for this side of the Park is that the ship that houses Captain Hook’s Galley is once again going to be lifted by a crane. Only this time, it’s going to lifted over a 100 feet or so that this full-sized pirate ship could then became the finale of Disneyland’s Storybook Land Canal Boats ride. The canal boats – after floating by all of those miniaturized recreations of settings from famous Disney films – would now find themselves, in the final moments of this ride, right alongside of the Jolly Roger.
Credit: Walt Disney Family Museum
The Imagineers thinking here was … Well, Disneyland’s Storybook Land Canal Boats ride starts off with a big moment (the canal boat you’re riding in gets swallowed up by Monstro the whale from “Pinocchio”). It should then have a similarly big moment at the moment at the end. Besides – by moving the structure that previously housed Captain Hook’s Galley from the centerbackmost portion of Fantasyland over to the eastern edge of this land at Disneyland – this then opened some very valuable real estate right in the middle of one of the more popular / most crowded corners of the Park.
So okay. So once this part of the Imagineers’ plans for a new Fantasyland at Disneyland was signed off on by Park Management … Phase One of Operation “The Jolly Roger Flies Again” was to first gently pry Chris Mueller’s now 26-year-old mermaid sculptures off of the bow & the stern of the Chicken of the Sea Pirate Ship Restaurant and then take them backstage to be restored. Then the pirate ship would be hoisted into its new location at the edge of Small World Plaza. Whereupon the load / unload area for the Storybook Land Canal Boats ride would be expanded to create a brand-new lagoon space that this pirate ship could be anchored in.
Just so you know: I’ve never been able to confirm that Skull Rock was to have then be recreated in this new location. The insinuation here was that – once both phases of the New Fantasyland project were complete (Phase One was to be ready for the Late Spring of 1983. While Phase Two – which involved the revamped version of the “Alice in Wonderland” dark ride, the relocation of Disneyland’s “Mad Tea Party” dark ride and the Mad Hatter’s Hat Shop – would open in the Spring of 1984) — the Imagineers would then attempt to ram through the creation of a second version of Skull Rock. Which would then help hide where the maintenance dock for the Storybook Land Canal Boats would be taken every night.
I have also been told that the below-decks area (which was initially supposed to be closed off to Guests once the Jolly Roger was flown into its new location of the Eastern edge of Small World Plaza) was to have then been completely renovated. And that – for the Summer of 1985 (Just in time for Disneyland’s 30th birthday celebration) what had previously been a quick service restaurant would then be turned into a pirate-themed juice bar. Which was kind of a cool idea.
Problems with the Move & Demolition of the Jolly Roger
This was the plan anyway. Unfortunately, after those two mermaid pieces were carefully pried off of the bow & the stern of Captain Hook’s Galley, the forklift that was taking both of these pieces backstage made a sudden stop. The mermaid pieces then fell off and shattered to smithereens.
Worse that that: When the New Fantasyland construction crew went to go arrange the harnesses that were necessary to hoist this 26-year-old pirate ship high in the air over to its new location, they then discovered that the old Chicken of the Sea Pirate Ship Restaurant (which — remember – had originally built out of Douglas Fir outside of Disneyland’s old lumber mill and then been trimmed with genuine Honduran mahogany) was now riddled with termites. Long story short: This structure would have immediately crumbled into pieces as soon as that construction crane starts to pull on those harnesses.
As a direct result, the Chicken of the Sea Pirate Ship Restaurant was left at anchor right where it was until a demolition team could come along and pull this ship-shaped structure down. While they were at it, this demolition team also destroyed one of Disneyland’s favorite photo spots (Skull Island Cove). In its place today, you’ll now find Disneyland’s relocated Dumbo the Flying Elephant ride.
Which – of course – makes us OG Disneyland fans sad. I mean, that’s something that Walt put in place and then plussed. But it’s worth noting that the Jolly Roger — as well as Pirate Cove & Skull Rock — do live on. Only at a different Disney theme park.
Adventure Isle at Disneyland Paris
When the Imagineers opted to build Adventure Isle at Disneyland Paris in the early 1990s, they included a full-sized pirate ship that was then placed at anchor in front of a large-ish version of Skull Rock. And inside of this pirate ship, you’ll find yet another Captain Hook’s Galley. This one’s a counter-service restaurant, though. Not a pirate-themed juice bar.
Disneyland Tuna Burger and Fruit Tart with Whipped Cream
Just so you know: If you’re a Disneyland completist and wonder what it was like to actually dine at the Chicken of the Sea Pirate Ship Restaurant, if you Google “Disneyland Tuna Burger,” you can find a number of recipes online that will then allow you to replicate this signature item from the menu of this now-gone-for-nearly-40-years restaurant.
Me personally, given that whole everything-served-here-must-make-use-of-items-that-Van-Camp-Seafood-makes-or-sells condition, I still have to wonder just how much tuna there was in that one dessert item the Chicken of the Sea Pirate Ship Restaurant sold. Which was the fruit tart with whipped cream.
This article is based on research for The Disney Dish Podcast “Episode 389”, published on August 29, 2022. The Disney Dish Podcast is part of the Jim Hill Media Podcast Network.
Did you ever hear about … “Khrushchev at Disneyland”?
It was back in October of last year that Disney+ revealed that they were now working on a film about the creation of Disneyland.
Given that Evan Spiliotopoulos – who crafted the screenplay for the Company’s live-action reimagining of “Beauty & the Beast” (which then went on to earn $1.26 billion at the worldwide box office back in 2017) – is reportedly writing the script for this yet-to-be-titled film, I have high hopes for this movie about the making of The Happiest Place on Earth.
After all, if we go by “Saving Mr. Banks” (i.e., That 2013 Walt Disney Pictures release about the making of “Mary Poppins,” where Emma Thompson played “Poppins” author P.L. Travers and Tom Hanks turned in a masterful performance as Walt Disney), this company-of-storytellers has already proven that it can turn its own history into entertaining motion pictures.
But that said, if The Walt Disney Company is now actively looking for moments from its past that it can possibly turn into motion pictures … Well, might I suggest a moment that Walt himself might make one hell of a movie. And that’s Soviet Premier Nikita Khrushchev’s non-visit to Disneyland.
Khrushchev’s US Visit (1959)
I don’t know how many of you are familiar with the details surrounding this incident. Which occurred during Khrushchev’s 11-day trip to the US in September 1959. The Soviet Premier and his entourage arrived in Washington D.C. and — after making a brief stop at the UN in New York City — flew out to LA … And that’s when all the trouble started.
The Los Angeles leg of Nikita’s nationwide tour really did get off to an awful start. By that I mean: As the Premier’s motorcade sped away from LAX, the limousines were actually pelted with tomatoes.
Then Khrushchev was taken to 20th Century Fox, where he and his family were supposed to be feted at a luncheon that featured hundreds of Hollywood’s top stars. Bob Hope, Frank Sinatra, Marilyn Monroe, Shirley MacLaine, David Niven and Maurice Chevalier were there.
Credit: PBS
Which (you’d think) would have been enough to entertain the Soviet Premier.
Not Nikita. He stood up at this luncheon and — in front of the entire Hollywood press corps — had a hissy fit. Here’s an excerpt from the remarks that Khrushchev made that afternoon:
We have come to this town where lives the cream of American art. And just imagine (that) I, a Premier, a Soviet representative, when I came here to this city, I was given a plan. A program of what I was to be shown and whom I was to meet here.
But just now I was told that I could not go to Disneyland. I asked ‘Why not? What is it? Do you have rocket-launching pads there?’ I do not know.
And just listen – just listen to what I was told – to what reason I was told. We, which means the American authorities, can not guarantee your security if you go there.
What is it? Is there an epidemic of cholera there or something? Or have gangsters taken over the place that can destroy me? Then what must I do? Commit suicide?
This is the situation I am in. Your guest. For me, this situation is inconceivable. I can not find words to explain this to my people.
Visiting the “Happiest Place on Earth”
Truth be told, the Soviet Premier was somewhat mistaken. The original itinerary for the Los Angeles leg of his U.S. tour called for just Khrushchev’s wife and children to tour the “Happiest Place on Earth,” while Nikita was scheduled to tour a housing development out in Granada Hills. But when the Russian leader learned where his family was headed, he reportedly told his State Department handlers “Well, I wanna go to Disneyland too.”
This — unfortunately — was just impossible to pull off on such short notice. Los Angeles Police Chief William Parker immediately put the kibosh on Khrushchev’s request. Citing the difficulty of providing adequate security for the Soviet Premier and his motorcade all the way out to Anaheim.
Walt Disney Interested in Khrushchev Visiting Disneyland
Now where this gets interesting is that — somewhere along the way, as US officials were preparing for Khrushchev’s arrival in America — Walt Disney was told that the Russian Premier and his family were interested in visiting Disneyland. And Walt (of course) immediately saw this official state visit as a huge opportunity to generate some publicity for his then-four-year-old theme park.
Disneyland’s PR staff envisioned creating a photo opportunity by having Walt and Khrushchev stand on the “Submarine Voyage” ‘s loading dock as all eight of the ride’s faux subs floated by. Disney’s gag writers even provided a quip for Walt to casually toss off at this photo op. As Nikita looked out at all of those subs, Disney was supposed to say: “Well, now, Mr. Khrushchev, here’s my Disneyland submarine fleet. It’s the eighth largest submarine fleet in the world.”
Walt was — of course — disappointed when he learned that, due to security concerns, only Mrs. Khrushchev and the kids would be coming out to the Park that afternoon. So imagine Disney’s delight when this firestorm of publicity suddenly rose up when the Soviet Premier was told that he wouldn’t be allowed to go to “The Happiest Place on Earth” too.
Disneyland Trip Cancelled for Nikita Khrushchev
Because — once Nitika learned that his own trip out to Anaheim had been axed — he fell into a truly foul mood. In a fit of pique, the Soviet Premier declared that — since it wasn’t safe for him to go to Disneyland — then it wasn’t safe for his wife and children to go out to Anaheim either. So their long planned Disneyland excursion got canceled ASAP.
Immediately after the luncheon broke up, Khrushchev was taken to a nearby soundstage where the Russian Premier observed the filming of a scene from a forthcoming 20th Century Fox musical, “Can Can.” But — rather than being titillated by the sight of Juliet Prowse flashing her 19th century bloomers as she performed the film’s title number — Nikita reportedly declared the whole episode “horribly decadent.” Which embarrassed State Department officials as well as offending the Soviet Premier’s Hollywood hosts.
From there, Khrushchev’s motorcade was taken to Granada Hills, where the Russian Premier was supposed to tour model homes along Sophia Avenue. But — since Nikita was still sulking about not being allowed to go to Disneyland — he refused to even get out of his limousine.
As he pouted inside the car, Khrushchev reportedly told his State Department handlers that “… putting me in a closed car and stewing me in the sun is not the right way to guarantee my safety. This (not being allowed to go to Disneyland) development causes me bitter regret. I thought I could come here as a free man.”
To add insult to injury, four Soviet newsmen (who had been assigned to cover Khrushchev’s US trip) slipped away to Anaheim for the afternoon. They spent four happy hours touring Disneyland, then told US reporters that they believed that the Russian Premier and his family would have really enjoyed the theme park.
Credit: Politico/AP
Later that evening, Khrushchev gave a speech at a Los Angeles area hotel. But there was, understandably, very little written about whatever remarks the Soviet Premier made at that long-forgotten dinner. Given that the next day’s newspapers devoted page after page to coverage of Nikita’s very public tantrum once he learned that he was not going to be allowed to visit Disneyland.
Credit: NY Times
Khrushchev and his party tried to put some distance between themselves and the Disneyland debacle by quickly boarding a train and heading up to San Francisco. From there, the Russian Premier flew off to Des Moines and eventually returned to Washington D.C. Where Nikita spent a few days at Camp David with President Eisenhower talking about Cold War-related issues.
Which (you’d think) would be how history would remember the Soviet Premier’s 1959 trip to the United States. That Khrushchev & Eisenhower actually sat down and then tried to find a solution to their Germany & Berlin problem. But (picture John Belushi saying this) N-O-O-O-o-o-o. All the US press corps could talk about is how upset Nikita seemed when he had been told that he wouldn’t be allowed to visit Disneyland.
Media Covers Khrushchev’s Disneyland Denial
Within a day or so, there were political cartoons in newspapers nationwide that made fun of the Premier’s very public tantrum. Even Bob Hope eventually got into the act. As part of his annual Christmas television special, Hope stood in front of hundreds of military personnel at a U.S. Air Force base in Nome and quipped: “Here we are in America’s 49th state, Alaska. That’s halfway between Khrushchev and Disneyland.”
And of course, all this talk about how upset the Russian Premier was about not being allowed to visit “The Happiest Place on Earth” generated tons of positive publicity for Walt’s theme park. Newspapers around the world printed article after article about this amusing international incident. Even Herman Wouk (best known as the author of “The Caine Mutiny” and “The Winds of War”) chimed in: “I really don’t blame Khrushchev for jumping up and down in a rage over missing Disneyland. There are fewer things more worth seeing in the United States or indeed anywhere in the world.”
And Walt just didn’t want this fun to end. He kept looking for ways to perpetuate the story. Which is why Disney insisted that clippings highlighting the whole Khrushchev affair be included in the official Disneyland press kit for a number of years after this incident.
Movie About Khrushchev’s “Disneyland Trip”
But as the 1950s slipped into the 1960s and Khrushchev was forced from power by Leonid Brezhnev in October 1964, this story lost some of its charm. But still Walt loved to tell the tale of Nikita’s tantrum. And Disney began to wonder: might there be a way that his company could continue to capitalize on this incident? Like perhaps by maybe making a movie that would put a comic spin on the whole “Khrushchev denied access to Disneyland” incident?
So Walt turned to his very best producer, Bill Walsh (best known these days as the guy who wrote and produced “Mary Poppins,” “The Love Bug” and “Bedknobs & Broomsticks”) and told him to create a screenplay for a live-action comedy that would then be based on this infamous incident. So Walsh got together with his long-time collaborator, Don DaGradi. And eventually the two of then crafted a script or a film they wanted to call “Khrushchev at Disneyland.”
This screenplay (at least for the first 30 pages or so) pretty much follows how the real-life events played out. It recounts — in a light, breezy manner — how the Soviet leader had supposedly flown over to America to meet with President Eisenhower. But — in reality — Nikita had actually traveled all this way because what he really wanted to do was go to Disneyland.
Credit: Past Daily
So Khrushchev flew into Southern California, all excited that he was finally going to get his chance to visit “The Happiest Place on Earth.” Only to discover that — due to safety concerns — the State Department had canceled his trip out to Anaheim. Moviegoers were then supposed to see a slightly comic take on the Soviet Premier’s infamous tantrum at 20th Century Fox. And then …
Well, then the film morphs into your typical Walt Disney Productions live-action comedy of the 1960s. First Khrushchev is seen moping around his hotel suite in downtown Los Angeles later that evening. Then the Premier realizes that Disneyland is only 30 miles away. More importantly, that the theme park is open ’til midnight that night.
So Nikita decides that he’s going to sneak out of his hotel and somehow make his way out to Anaheim. Using a goofy disguise, he gives both his Soviet security detail as well as all of his State Department handlers the slip. Then Khrushchev somehow makes his way out to Disneyland, with all of these US & Soviet officials in hot pursuit … and hilarity ensues.
Okay. Admittedly, we’re not talking about “Lawrence of Arabia” here. Walt wasn’t really looking to make a historically accurate film based on this amusing, relatively minor international incident. Disney, Walsh, and DaGradi envisioned “Khrushchev at Disneyland” as being a film that would be very similar in tone to “That Darn Cat!” A comedy caper picture that was aimed straight at the family audience.
So — once this script was completed — how close did “Khrushchev at Disneyland” actually come to getting made? So close that Walt had already lined up an A-List actor to play the Soviet Premier. And that was Academy Award winner Peter Ustinov.
If all had gone according to plan, “Khrushchev at Disneyland” would have been Peter’s follow-up project for Disney Studios once work was completed on “Blackbeard’s Ghost.” Bill Walsh was slated to produce the picture, while the prolific Robert Stevenson would be directing.
By the fall of 1966, all of the necessary pieces were already in place. Disney Studio had a script in hand that was ready to shoot. They also had an A-List actor that was positively eager to get in front of the cameras and then do his impression of the Soviet Premier. Not only that, but Disney’s top producer was slated to ride herd on this project and the studio’s very best director would be helming this picture.
“Khrushchev at Disneyland” Movie Halts Production
So why didn’t “Khrushchev at Disneyland” get made? Well, because Walt Disney died before production could officially get underway. And given that all the studio execs that Walt had left behind were … Well … The polite term for them is “cautious corporate citizens.” The not-so-polite term is “gutless wimps.”
Anyway, these guys shied away from this project. Largely because they were concerned that there would were film fans out there who wouldn’t see the humor in “Khrushchev at Disneyland.” Their genuine fear was – because of Peter Ustinov’s sure-to-be-charming performance as Nikita Khrushchev – there were certain segments of the US population that would then accuse Walt Disney Company of corrupting America’s youth / of going soft on Communism by suggesting that – GASP ! — the Russian people were actually a lot like us. That they too like to do fun things like – say – go to Disneyland.
Of course, the real irony here is that one of the main reason that Walt really wanted his Studio to make “Kruschchev at Disneyland” was because he’d already seen that a Russians-are-people-too family comedy could succeed at the box office without controversy.
“The Russians Are Coming, The Russians Are Coming”
I’m talking – of course – about “The Russians Are Coming, The Russians Are Coming.” Which MGM had released to theaters in May of 1966 and had then gone on become the seventh highest grossing film of the year at the North American box office.
And I know for a fact that Walt was well aware of “The Russians Are Coming, The Russians Are Coming” for a couple of reasons.
This Norman Jewison movie starred Brian Keith, who – just 5 years previous – had co-starred in Disney’s “The Parent Trap” along with Hayley Mills & Maureen O’Hara
The year after Disney’s “Parent Trap” had been released to theaters, Jewison had directed “40 Pounds of Trouble.” Which was the first live-action film that Walt had ever allowed to be shot on location at Disneyland Park.
For the entire Summer of 1966, “The Russians Are Coming, The Russians Are Coming” and Disney’s own “Lt. Robin Crusoe, U.S.N.” were duking it out at the North American box office. Seeing which family comedy would then go on to sell more tickets domestically. In the end, Disney came out on top. With that Dick Van Dyke movie selling $22 million worth of tickets in North America, while MGM’s Russians-are-people-too picture sold $21 million worth of tickets domestically.
This is why – when Walt made his very last trip to the Disney lot in November of 1966 – “Khrushchev at Disneyland” was very much on his mind. As far as Disney was concerned, this project was a go. Something that his Studio would start shooting in 1967 and then release to theaters the following year.
This is why Walt made a point of dropping by the set of “Blackbeard’s Ghost” that November morning. He wanted to let Peter Ustinov & Bill Walsh know how much he was looking forward to “Khrushchev at Disneyland.” And Ustinov … Well, Peter was supposedly even more excited about this back-then-soon-to-begin-shooting-movie than Walt was. Ustinov reportedly told Disney that – to insure that he look as much like the Soviet Premier as possible – this acclaimed actor was actually planning on shaving his head.
Ustinov then cracked up Walt by saying that he was thinking of basing his portrayal of Khrushchev on Peter’s mother back in England. As Disney laughed, Ustinov insisted that his Mom was a dead ringer for Nikita. “I didn’t know that your Ma was bald,” Walt replied.
Having really enjoyed his visit to the “Blackbeard’s Ghost” set, Disney then quietly excused himself and left the soundstage. Once Walt had left, Walsh and Ustinov quietly talked amongst themselves about how pale and gaunt the studio head had looked.
Of course, neither Peter or Bill knew that Walt had – just days earlier – been diagnosed with lung cancer. Or that – at this point – Disney had just weeks left to live.
And when Walt Disney died in December of 1966, “Khrushchev at Disneyland” pretty much died with him. In spite of all the preparation that had already been done on this project up until that point, Walsh and DaGradi’s script got shelved. And I’d imagine that this screenplay is now stashed away in some filing cabinet, where “Khrushchev at Disneyland” has been gathering dust for over five decades now.
Potential for “Khrushchev/Disneyland” Film
I bring up this project today … Well, for a couple of reasons.
Disney+ has this unending appetite for new content. And wouldn’t it be cool if the Studio were to revive a project that Walt himself once wanted to make and then make that movie available to customers of the Company’s subscription streaming service.
Given what’s going on in the Ukraine right now and how the Cold War keeps threatening to become a hot one … Well, while I am no fan of Vladimir Putin, I think that a movie which reminds us that the Russian people (NOT the Russian government, mind you. But the Russian PEOPLE) are people too … That might be a smart, hopeful message to put out in the world these days.
Making-of-Disneyland Movie on Disney+
Anyway … If the Company is looking for a follow-up for that making-of-Disneyland movie they’re prepping for Disney+ …
By the way … Interesting side note: The gentleman that Disney has tapped to direct this movie is David Gordon Green. He directed last year’s smash hit horror film, “Halloween Kills.” Which might make David seem like an odd choice to helm a film about The Happiest Place on Earth.
But then again, Gordon also executive-produces “The Righteous Gemstones.” Which is this wonderfully funny TV series about a family of televangelists who also own & operate a theme park. Which perhaps makes Mr. Green the perfect person to direct a movie about the creation of Disneyland.
Anyway … If Disney+ is looking for the perfect follow-up for their making-of-Disneyland movie, might I suggest that someone dig out a copy of “Khrushchev at Disneyland.”
More to the point, someone go ask Josh Gad if he’d be willing to shave off all those curly locks so that he could then play a certain Soviet Premier.
Credit: Wikipedia Commons


H.B. 404 Enacted by the General Assembly
Last week, the Ohio General Assembly enacted H.B. 404. The bill extends and expands several temporary laws enacted in response to the COVID-19 pandemic. Many of the new law’s provisions impact schools and their operations. The bill contains an emergency clause and will become effective immediately when signed by the Governor.
Extension of Authority for Remote Board Meetings
The new law extends the temporary law permitting political subdivisions, including boards of education, to continue to conduct meetings and hearings by teleconference, video conference, or other similar electronic technology through July 1, 2021. The previous law was set to expire December 1, 2020.
Relief from Penalties for Failure to Administer Assessments to Certain Individual Students
The new law provides school districts may not be penalized for failing to administer in the fall of 2020 an otherwise required Kindergarten Readiness Assessment, diagnostic assessment, or third-grade English Language Arts achievement assessment to a particular student, if:
The student is being quarantined;
The student, or a member of the student’s family, is medically compromised, and the student cannot attend school, or another physical location outside of the home, for the testing;
The student resides in a geographic area subject to an order issued by the Governor, the Department of Health, or the board of health of a city or general health district requiring all persons in that area to remain in their residences; or
The student is receiving instruction primarily through a remote learning model up through the deadline for the prescribed assessments, and the assessment cannot be administered remotely.
Kindergarten and First Grade Health Screenings
The new law provides school districts may not be penalized for failing to conduct an otherwise required health screening for a particular student in kindergarten or first grade prior to November 1, 2020, if:
The student was being quarantined;
The student, or a member of the student’s family, was medically compromised, and the student could not attend school, or another physical location outside of the home, for the screening;
The student resided in an area subject to a stay-at-home order from the Governor, Department of Health, or local board of health; or
The student was receiving instruction primarily through a remote learning model, and the screening could not be administered remotely.
The law requires boards to conduct these screenings for the 2020-2021 school year; however, the district may forego screenings until they can be conducted safely.
Optional Transportation and Funding for Community Schools
The new law permits a community school to accept responsibility to provide or arrange for transportation of its students for the 2020-2021 school year by December 31, 2020 (rather than January 1 of the preceding school year as otherwise required under continuing law). If a community school accepts responsibility to provide or arrange for transportation, it must receive state transportation funding for the entire school year.
The new law extends and expands several changes to educator evaluations. H.B. 404:
Specifies for the 2020-2021 school year a board of education may elect not to complete a performance evaluation of a district employee, including a teacher, school counselor, administrator, or superintendent if the board determines it is impossible or impracticable to do so.
Extends to the 2021-2022 school year a prohibition against using value-added data, other high-quality student data, any other metric used to evaluate positive student outcomes, or any other academic growth data to measure student learning attributable to a teacher, principal, or school counselor while conducting performance evaluations.
Extends to the 2020-2021 school year a separate authorization for a board to complete a principal’s performance evaluation without a student growth measure.
Extends the authority for a school district that did not participate in the OTES 2.0 pilot program to continue evaluating teachers on two-year or three-year evaluation cycles, even if the district completes an evaluation for those teachers in the 2020-2021 school year without using a student growth measure.
Specifies a teacher who did not have a student growth measure as part of an evaluation for the 2019-2020 or 2020-2021 school year must remain at the same point in the teacher’s evaluation cycle, and retain the same evaluation rating, for the 2020-2021 and 2021-2022 school year as for the 2019-2020 school year.
College Credit Plus Extension, Waiver & Modification Authority
The new law extends the authority for the Chancellor of Higher Education to extend, waive, or modify requirements of the College Credit Plus Program for the 2020-2021 and 2021-2022 school years. Under H.B. 197, this authority was granted for the 2019-2020 school year only.
Extension of Food Processing Exemption for Certain Summer Food Programs
The new law extends from December 1, 2020, to July 1, 2021, the termination date of provisions authorizing the Director of Agriculture to exempt certain schools or entities from regulation as food processing establishments.
Additional Extension of HB 197 Deadlines
The Act extends from December 1, 2020, until July 1, 2021, certain deadlines initially extended by H.B. 197, enacted this past spring. The new law:
Extends, from December 1, 2020, until July 1, 2021, the temporary extension of deadlines under H.B. 197 of the 133rd General Assembly, which a state agency must meet if the deadlines occur on or before April 1, 2021.
Extends, from December 1, 2020, until July 1, 2021, the deadline for any action needed to maintain a valid license, if that deadline originally was set to expire between March 9, 2020 and April 1, 2021.
Extends, from December 1, 2020, until July 1, 2021, the deadline for renewing a license, if that license originally was set to expire between March 9, 2020 and April 1, 2021.
As a reminder, issues related to COVID-19 are fluid and subject to rapid change. Please note this new law supplements and supersedes prior updates. Additional information about Coronavirus and the State’s response can be found here.
This communication is intended as general information and should not be relied upon as legal advice. If legal advice is required, please contact any of our attorneys.


Home Business Finance - Management [Get Solution] Risk/Return Relationship
[Get Solution] Risk/Return Relationship
RETURN AND RISK RELATIONSHIP: CAPITAL ASSET PRICING MODELThe CFO of Baldwin Corporation, Gregg Williams has decided to invest some money in the financial market to diversify the risks of business operations and increase the rate of return. He has been reading corporate finance books and journal articles to enhance his knowledge of risk/return relationships, capital asset pricing model (CAPM), cost of capital, and valuation.On the risk/return relationship, Gregg has learned that there is a positive relationship between risk and return. This implies that the higher the risk, the greater the expected return on investment. This relationship is clearly explained by the capital asset pricing model in this equation:RE = RF + ? x (RM  RF)where RE = expected return of the security, RF = the risk-free rate, ? = Beta of the security, RM = the expected return on the market, and (RM  RF) represents the difference between the expected return on the market and the risk-free rate.According to the CAPM, the expected return of any security depends on its risk measured by its beta. Gregg found out that the beta is a measure of the risk of security arising from exposure to general economic and market movements i.e. systematic risk as opposed to business-specific risks or factors (i.e. unsystematic risk). The higher the beta, the greater the systematic risk and vice versa. The market portfolio of all investable assets has a beta of 1. Gregg learned that If ? = 0, then the asset has no risk of financial loss. Therefore, the expected return of the security should be equal to the risk-free rate. If ? = 1, that asset has the same risk as the market and the expected return should equal the expected return on the market such as the S&P 500 market index. To Gregg, this makes sense because the beta of the market portfolio is exactly 1. However, if a securitys ? = 2, then that security is twice riskier than the market and the expected return should be higher than the return of the market portfolio.Gregg understands that the risk-free rate used in the CAPM is the government-issued treasury bill rate. Since the treasury bill has no risk, any other investment having some risk will have to have a higher rate of return than the risk-free rate in order to induce an investor to invest in that security. Gregg is considering the stock of Adobe Inc. and Exxon Mobil. Adobe Inc. has a beta of 1.5 and Exxon Mobil has a beta of 0.8. The risk-free rate is 3%, and the difference between the expected return on the market and the risk-free is 8.0%.Baldwin Inc. is retaining you as the financial consultant to work with Gregg to analyze these investment options.1. Using the capital asset pricing model, calculate the expected return for Adobe Inc. and Exxon Mobil stocks.2. You want to calculate the average return of Adobe Inc. to see how the stock has performed over the past five years:Exhibit 1: Historical Returns of Adobe Inc.(((Please Check Attachment))a. Using the historical returns above, what is the average return for Adobe Inc. stock?3. You notice that stock returns fluctuate daily in the financial market making it risky to invest in. You want to use standard deviation, ? to assess the volatility of Adobe Inc. stock if mean return is 15.20% and standard deviation is 12%. What is the possible return of this stock one standard deviation from the mean if the return is normally distributed? (Note: expected return = mean return ± 1?).4. You want to use the total market return approach to estimate the rate of return on another stock which Gregg wants to consider for the investment portfolio. The stock is selling for $25 and pays a dividend of $2 per share during the year. You think that because of the profitable capital investment that the company is undertaken, its stock price will appreciate to $28 by the end of next year.a. Calculate the dividend yield and the percentage capital gain of this stock.b. What is the expected total return of this stock?5. You are looking at sources of risk for the investment portfolio and came across systematic risk and unsystematic risk in a financial journal. The systematic risk is defined as any risk that affects the whole economy or a large number of assets to a greater or lesser degree. And the unsystematic risk is a risk that affects specific assets or small groups of assets.a. List two examples each of systematic risk and unsystematic risk.6. Gregg wants you to estimate the weighted average cost of capital (WACC) for Verizon LLC. The IRR computed on a capital project for Verizon is 12%. Gregg wants to see if it will be a good investment. He thinks that if IRR > WACC then it will be a good investment to consider. The market values for Verizons debt and equity are $40 million and $60 million respectively. The total value of the firm is $100 million, implying that the weight of debt is 40% ($40 million /$100 million) whereas the weight of equity is 60% ($60 million /$100 million). Assume a tax rate of 35% for Verizon.a. Estimate WACC for Verizon if the cost of equity is 13.32% and cost of debt is 5%. (note: WACC = cost of debt (1  tax rate) (weight Debt) + cost of equity (weight Equity).
The writer went above and beyond for this assignment. I am so grateful for the help.
The paper is impressive. Very professional and per the instructions
Always perfect!!! Don is the best!


NDC to Celebrate Grand Opening of Senior Housing Community in Indianapolis, IN
Florence Fay School Senior Apartments is the renovation of an iconic school building to meet a need for senior housing in an aging neighborhood. Located in the Twin Aire neighborhood in Indianapolis, the development will serve area seniors through the creation of 73 units of quality affordable housing in a centralized location. The rehabilitation will convert the vacant IPS Florence Fay School No. 21 into housing through the creative reuse of the 65,203 square foot school along with 24,557 square feet of new construction. One hundred percent of the 73 units will be low income, handicapped accessible or adaptable, and serve seniors aged 55 and better.
Built in 1913, School No. 21 was named after Florence Fay, who lived from 1853 – 1912. Florence was a beloved teacher and principal, but her biggest impact was made in her pioneering efforts that brought civic improvements such as sidewalks, street lights, and running water to the previous school building and “suburban” neighborhood.


Peter Vose, Falmouth: A family’s history and a child’s future
On a late July day a few summers ago, my wife and I were wandering around the stunning campus of the Getty Museum in Los Angeles when my wife’s phone rang. After listening for a minute, she burst into tears.
“Our newest grandchild,” Peter Vose says. Courtesy photo
Peter Vose lives in Falmouth.
Clueless, as is often the case with me, I immediately jumped to the worst possible conclusions until my wife managed to convey to me that nothing was wrong. Why, then, the tears? When the call concluded she explained that our younger daughter’s husband had just received the results of a test that verified that he was not a carrier for cystic fibrosis, and that now the baby-making could begin.
We were thrilled, but it reminded us of our own fraught history with this decision.
Shortly after the birth of our first daughter, my sister gave birth to her second daughter, Emily. Within hours of her birth, the doctors knew something was wrong, and they quickly suspected cystic fibrosis. My family knew nothing of this disease, but we all soon learned that it affected lung function and that it nearly always (at that time) resulted in an early death.
Emily herself complained little as she endured frequent hospitalizations and various therapies intended to help clear her lungs. She was an exceptionally articulate little girl who knew the words to the movie “Grease” by heart because it was one of the first VHS tapes her parents possessed.
Sarah ‘Sally’ Mackenzie: Life after death, and a sister’s journey
My wife and I had assumed we would have another child in a couple of years, but Emily’s birth made us more cautious. Would we want to have a child who faced such obstacles and whose life would be cruelly shortened? We discussed and debated. Then we consulted a doctor at the Center for Blood Research in Scarborough.
At that time, no tests like the ones my daughter and son-in-law could take to determine their risks of having a child with CF existed. We had learned that CF is especially common among people with English and Irish ancestries – something my wife and I share to some degree. The doctor explored our genetic history and reviewed what the science at the time revealed, and, although there was a chance of having a child with CF, we felt encouraged to proceed.
Perhaps because her parents were teachers, Emily desperately wanted to go to school. She did attend kindergarten, for one day. The next day she went to the hospital and died there a few days later. By that time, our daughter Julia – a healthy baby – had arrived. And the baby who seemed possible that July day when we spoke to Julia at the Getty was born last March and is a happy and healthy child.
Decisions, Meetinghouse
Past Meetinghouse Topics
Instructions - December 2022
Games - November 2022
Decisions - October 2022
Borrowed - September 2022
Up all night - August 2022
First Impressions - July 2022
Broke - June 2022
Guests - May 2022
Grit - April 2022
Mischief - March 2022
Quitting - February 2022
New Kid - January 2022
Overheard - December 2021
Ghosts - November 2021
Old Friends - October 2021
Hometown - September 2021
Moving Day - August 2021
Keepsakes - July 2021
Mistakes - June 2021
Siblings - May 2021
Gardens - April 2021
Haircut - March 2021
Rural Life - February 2021
Silver Linings - January 2021
Surprise - December 2020
Reunion - November 2020
The Attic - October 2020
Locked Out - September 2020
After The Storm - August 2020
Inheritance - July 2020
In The Driver's Seat - June 2020
The Last Time - May 2020
Forgive Me - April 2020
A Fish Out of Water - March 2020
Let's Go - February 2020
Ask Your Mother - January 2020
How to submit to:
On the first Sunday of each month and every Thursday for the rest of that month, we will publish stories by readers on the following topics:
“Maps” – deadline for submissions Dec. 30.
“Style” – deadline for submissions Jan. 27.
“Bikes” – deadline for submissions Feb. 24.
Submissions should be roughly 200 to 500 words in length. Please include your name, hometown and a daytime phone number for verification. Also, give us a one-sentence description of who you are, and a digital photo of yourself or something that speaks to the theme of your piece.
Stories can be emailed to [email protected]; or mailed to Meetinghouse, Portland Press Herald, P.O. Box 1460, Portland, ME 04104-5009 (mailed photos should include a return envelope).


Overlord Season 4 – Release Date, Cast, and Plot in 2022
By Mindy Graves April 15, 2022 No Comments4 Mins Read
Despite the fact that the genre has been present for decades, with great series such as “Visions of Escaflowne” and “Inuyasha,” isekai anime has grown in popularity in recent years. Some of the most successful anime of the past ten years can be categorized under the isekai umbrella, from “That Time I Got Reincarnated Into a Slime” to “Re: Zero — Starting Life in Another World.”
In simple terms, isekai is a fictional story in which a character from one realm, which is often similar to our own, is transported to a completely different, fantastical universe. The word is written in Japanese, with the first character suggesting weird or unusual, and the second and third characters,, denoting globe.
“Overlord,” which debuted in 2015, is one of the many popular isekai anime series that have been out in the last ten years.
In 2018, the third (and final) season of the show aired. Despite the passage of time since the last episode of “Overlord,” the chance of a fourth season exists. Season 4 of “Overlord”: Here’s what we know so far.
When is Season 4 of Overlord coming out?
Madhouse, the company behind “Overlord,” has yet to confirm a fourth season of the show. However, there are other grounds to believe that a Season 4 is on the way, whether it comes out soon or years from now.
Related – Jojo Part 1 Anime – Updates on Release Date, Cast, and Plot in 2022
In 2019, an anime event in Germany provided the first encouraging indicator that “Overlord” would return for a fourth season. Yukie Sugawara, the show’s scriptwriter, acknowledged the possibility of a fourth season as “very likely” during the event (in so many words, given that her statement was in Japanese and translated into German for the attendant audience). After the message went viral online, several people misinterpreted it as confirmation of a new season before retracting their statements, according to a Reddit member who described the story. For example, an earlier Reddit post referencing Sugawara’s statement has subsequently been removed. Nonetheless, while this isn’t an official confirmation, Sugawara has stated that “Overlord” Season 4 will be released at some time in the future.
In addition, in Japan, the light novel series on which “Overlord” is based is still quite popular. For example, in the first half of 2020, volume 14 of the series placed third in light novel sales, trailing only novelizations of the enormously successful Demon Slayer series. Given how well-received “Overlord” is like a light novel, a new season of the anime could do well. Season 4 is unlikely to be released until at least 2022, considering the recent radio silence.
What is the plot for Season 4 of Overlord?
Momonga, a human child, is transported into the world of a massively multiplayer online role-playing game in the opening episode of “Overlord” (think “RuneScape”). Momonga takes on the role of Ainz Ooal Gown, rather than simply commanding him. However, Momonga was an accomplished player, and Ainz is a formidable character in the YGGDRASIL universe. He then embarks on his first journey through YGGDRASIL’s realm as a fanciful necromancer rather than a human playing a video game.
Ainz has decided to rule his own kingdom, the Sorcerer Kingdom, towards the end of Season 3 of “Overlord.” Ainz’s hardships and tribulations as the ruler of his own kingdom become more or less the emphasis of the plot as it progresses in the “Overlord” light book series in succeeding storylines. Given Ainz’s plunge into fantasy politics, Volume 10 of the light novel series, which should serve as the primary material for the start of Season 4, also introduces the rulers of opposing nations with whom he must now fight or make peace.
Related – My Hero Academia Season 6 – Updates on Release Date, Cast, and Plot in 2022
What will the Overlord Season 4 cast look like?
It’s hard to confirm the voice acting talent that will be featured in the series’ forthcoming season without official word from “Overlord” Season 4, assuming it ever happens. If the show does come back, it will almost certainly feature the same cast of characters that have defined it thus far.
Satoshi Hino is the sole actor who has appeared in every episode of the series thus far. The role of Sai from “Naruto” is arguably Hino’s most well-known. He also plays the fiery samurai Kyojuro in “Demon Slayer” and team leader Daichi in the volleyball anime “Haikyuu!!.”
Previous ArticleSummer Time Rendering – Release Date, Cast, and Plot in 2022
Next Article Love All Play – Release Date, Cast, and Plot in 2022
Demon Slayer Season 3 Release Date Sets for April 2023! Stunning Visuals from Trailer Teases Fans!
Jobless Reincarnation Season 2 Release Date Scheduled For 2023! Check Further Details!
Haikyuu Season 5 Release Date Announced? Latest Updates in December 2022!
Is Mato Seihei No Slave Anime Coming in 2023? Latest Updates on Release Date!
Ron Kamonohashi Anime Release Date Announced? Latest Updates in 2022!
Oshi No Ko Anime Release Date Sets For April 2023! Check Trailer & Other Details!


Teacher Application
About Musical Associates
In-Home Lessons
FOG Cuartet Concerts
Musical Associates was founded in 1986 and provided quality music instruction in homes throughout Westchester County, New York. Over the years the company expanded into New York City, Boston, and the Washington, DC metropolitan area.
In the mid-nineties we added an after-school division to provide group instruction in recreation centers and after-care centers in all three areas. In 2005 we founded the early-childhood division offering an innovative approach to teaching pre-k children guitar and piano. A general music class was began in 2008 at the request of the director of Bright Horizons IMF children’s center.
The instructional side of Musical Associates was turned over to The Village Music School in 2019 with a 501(c)(3) public charity being formed slightly thereafter. The Village Music School Foundation has been helping Title 1 famlies participate in music classes since 2020 and continues its work in a variety of areas.
With a roster of international performers, it was merely a logical step to begin representing musical acts for concerts and clubs around the country and the world. A recording and publishing division under the name Cornwall Records was begun in 2018.
© 2023 Musical Associates | Template design by andreasviklund.com


by Catherine Frakas 01 Jul 2001
gestures QUESTION from marie October 25, 2000 During the Lord's Prayer, is the priest the only one to put his arms up? I thought the deacons usually stand with their hands folded. The faithful have been gesturing as the priest with their arms outstretched. I thought this gesture was for the ministerial priesthood only. Is there any reference in any Church documents either way?
ANSWER by Mr. John Miskell on October 25, 2000 Dear Marie,
Praying while holding the hands up is called the orans position. It's an ancient posture dating back to pre-Christian times. Customarily only the priest prays in the orans position while the deacon and assembly pray with their hands folded. When concelebrating the Mass notice that all the priests use the orans position during the Lord's Prayer but only the principal celebrant continues this position during the doxology; for the kingdom, the power, and the glory… Lately many people seem to be using the orans. I think it's a spillover from the charismatic movement.
The liturgical documents call for the celebrant and in some cases, the concelebrant(s) to use the orans posture as they pray ON THE BEHALF of the community. Note that it is never done by the Deacon, who does not represent the People before God but assists him who does. Nowhere do the rubrics call for the laity to assume this posture.
While no official position is prescribed in the Sacramentary for the congregation during the Lord's Prayer, the Holy See has pointed out that confusion has entered the Church about the hierarchical nature of her worship and in my opinion this gesture does nothing but to contribute to that confusion.
When the U.S. Bishop's Committee on the Liturgy submitted their recommendations for the updated Sacramentary they included much inclusive language in the prayers and made specific mention of using the orans position for the faithful. The final edition approved by Rome cut out most of the inclusive language and dropped any mention of the orans position being used by the faithful. This might suggest that they prefer the people to pray with their hands folded instead of using the orans. I personally think people look silly praying in this position. But what the heck, who am I to judge?
John Miskell


Court Upholds Privilege for Discussion of Insurance Coverage Between Insured‘s Associate General Counsel and Its Board of Directors
Insurance Coverage Alert
By: David A. Grossbaum
State vs. Lead Industries Association, Inc., Rhode Island Supreme Court, No. 2010-288-Appeal (May 10, 2013)
The state of Rhode Island sued several lead paint companies for property damage and other damages caused by the presence of lead paint in state-owned buildings. State of Rhode Island vs. Lead Industries Association, Inc., et al., 951 A 2d 428 (R.I. 2008). After defendants prevailed on appeal, they moved for an award of costs under the Rhode Island Rules of Civil Procedure. The state opposed the motion, in part, on the basis that one of the defendants, a paint manufacturer, had not actually incurred the defense costs because those were paid by insurance. In support of its opposition, the state attached three PowerPoint slides from a larger PowerPoint presentation made by the manufacturer’s Associate General Counsel to its board of directors. The slides were entitled “Insurance and Lead Litigation,” “Reimbursement of Lead Defense Costs,” and “Potential Insurance Coverage for Lead Liabilities.” The manufacturer had not disclosed the PowerPoint in the litigation or in any other public forum and immediately demanded to know how the state had received a copy of it. The state refused to provide an explanation. Unfortunately, the manufacturer had provided copies of the state’s memorandum containing the PowerPoint slides to a blogger and to the Mealey’s Litigation Report: Lead and immediately demanded that these sources not use the disputed slides.
The manufacturer moved for a protective order trying to seal the PowerPoint slides from further disclosure and to permit discovery into the question of how the state obtained them. The manufacturer submitted an affidavit from its in-house counsel stating that part of his responsibilities were advising the manufacturer’s board of directors as to the available insurance coverage. He further stated that he intended the documents to be protected under the attorney-client privilege and the work product doctrine. The blogger had not disclosed any of the materials that were provided to her, and Mealey’s agreed not to publish them.
The trial court denied the motion for protective order, but found that there was an attorney-client relationship between the Associate General Counsel and the manufacturer’s board. The court found that the material did not qualify as legal advice as it was “merely a collection of numbers and statistics, lacking any legal opinions or conclusions” and there was a fact question requiring discovery as to whether the associate general counsel was actually acting in his capacity as a lawyer at the time of the PowerPoint presentation. After discovery, the court concluded that the Associate General Counsel was transmitting “factual and business information rather than serving as a lawyer when he prepared or caused to be prepared” the presentation. Although the Associate General Counsel may have provided legal advice based on the slides, the slides themselves did not contain this legal advice.
On appeal, the Supreme Court of Rhode Island began by stating that the trial court had not made a determination as to whether the lack of protection was pursuant to the work product doctrine or the attorney client privilege.
As to the work product doctrine, the Rhode Island Rule of Civil Procedure 26(b)(3) follows the federal and most state formulations of it. In other words, it is framed in the form of a rule permitting disclosure, unless a party seeking discovery can show that the material is incapable of being obtained from other sources without undue hardship and that all “mental impressions, conclusions, opinions, or legal theories of an attorney or other representative of a party” are to be protected.
The Supreme Court declined to find that the documents at issue here were “opinion work product,” worthy of absolute immunity from discovery. The Court found that the material here was “factual work product“ (not including the thoughts or mental impressions of counsel), but that the state failed to show that it had substantial need for the materials in preparation of its case and was unable to obtain to the information by other means. The state was forced to admit that the manufacturer had already produced the policies in discovery. Moreover, the state did not have a “substantial need“ for the data because the trial court’s decision allocating the costs did not give a substantial weight to the PowerPoint slides, but rather held that the financial need of the prevailing party for reimbursement was to be balanced against the harm that would be inflicted on a “non-affluent, non-prevailing party,” as well as the good faith of the state in filing the action.
The Supreme Court also rejected the waiver argument made by the state based on the fact that the slides had been disclosed to a blogger and to Mealey’s and the PowerPoint slides had never been listed on a privilege log anywhere and that third parties were actually at the board of directors meeting when the slides were shown.
First, it found that the third parties in the meeting were all high-ranking officers or employees of the manufacturer and that this disclosure did not increase the likelihood the protected content would be revealed to an adverse party.
As to disclosing the material to the blogger and to Mealey’s, the manufacturer did not voluntarily disclose the slides to the state by means of the blogger or Mealey’s, but that the state had already disclosed these in its own pleadings. While the manufacturer’s counsel who provided the materials to the blogger and to Mealey’s should have done a better job of reviewing the material first, the Court found that this did not constitute much carelessness as to waive the privilege. Last, the Court stated that the manufacturer was not obligated to list the slides in a privilege log because the state had never requested documents that fell within that category and courts are, and should be, reluctant to find a waiver simply because a document was not included in a privilege log.
Practice Note
Internal discussions by a client, without outside counsel present, are often the subject of discovery requests by opposing parties. The best way to secure such information from disclosure is to make sure that outside counsel is involved in the discussion. Furthermore, taking appropriate steps to secure documents provided at meetings by collecting them at the end of meetings and making sure that they are only retained by those people who are required to review them will limit the risk of disclosure to an adverse party and claims of waiver. Additionally, before providing documents to media sources it is important to make sure that nothing contained in those documents is something that is arguably privileged. Finally, counsel should be careful that privilege logs are complete and that any document that is covered, or arguably so, by an opponent‘s document requests is listed in the privilege log. Courts do find waivers when counsel fails to designate a document on a log.
David A. Grossbaum


BREAKING: George Soros Caught In SICK Plot…
(BLP) – During an interview he gave at Kossuth Radio, Hungarian Prime Minister Orban said that the Russo-Ukrainian war could go on for a while, which will make 2023 and the ensuing years increasingly unstable.
Orban is particularly concerned with inflation, which is greatly impacting his country and the rest of the Collective West.
“This is an inflation caused by war… it is different from inflation in the time of peace. Energy prices are rising partly because of the war, and partly due to the Western sanctions.”
Orban added that “the government adopted a budget which can handle the inflation caused by the war.” In addition, the Hungarian leader said that the government moved to create a fund for utility cuts and a separate one for national defense.
The Hungarian Prime Minister stressed that “We should be financing peace, not war” and pointed out that the Hungarian government is the only government in the EU that’s pushing for peace.
Orban declared that “if the politics of sanctions is to continue, this will ruin the entire European economy because of the inflation caused by war.” He is of the view that European leaders should reconsider their approach to this war.
Orban emphasized that “Those agitating for war must be reined in.” The Hungarian leader claimed that there are business interests who want this war to continue.
“They are symbolized by George Soros. He has spoken openly about the need to prolong the war. These are agitators who want to make money from the war,” Orban stated.
Orban cited experts, claiming that the cuts on food prices, gas prices, and on utility costs have kept inflation at 10% as opposed to the 15-16% which experts claim would be in effect if these cuts were never implemented.
Though Orban admitted that it’s impossible to contain the inflation through Hungary’s policy tweaks alone.
He believes that as long as the European Union continues financing and prolonging the West’s proxy war against Russia, inflation will continue increasing. Orban believes that the best way to stop inflation is through bringing the Russo-Ukrainian War to a close.
“Ukraine has the right to defend itself. If a government decides to fight, one must not question their decision, even if their chances are not the best” Orban said.
In his opinion, the question is how Europe will react, what kind of proposals it will have for a solution. He added that “the trouble is, that other than us, Hungarians, nobody is speaking the language of peace. We should be speaking the language of peace.”
Under Orban’s stewardship, Hungary has been one of the most rational nationalist governments on the world stage. Orban has made it a point to protect traditional values and defend the country’s national character from the wave of mass migration that has swept across Europe over the past decade.
Moreover, Orban is a hard-nosed realist on foreign policy. Instead of joining the West’s two-minutes hate against Russia, he has taken a balanced approach to Russia, recognizing that his country is reliant on Russia for energy needs. On top of that, Hungary acknowledges that it shares common interests with the Eurasian behemoth with regards to their opposition to the globalist consortium of organizations Soros uses to subvert national sovereignty.
Right-wing populists in the US should look at the Hungarian example and use it as a template, albeit with modifications to adjust to the realities of American politics, to build a viable nationalist movement with staying power.
bigleaguepolitics.com/viktor-orban-claims-george-soros-is-profiting-off-the-russo-ukrainian-war/
JUST IN: Democrats Get TERRIBLE News… Biden Panics
SHOCK REPORT: Republican RINOs CAVE… 2nd Amendment Under ATTACK


Photo by drmm.co.uk
Photo by dRMM
Co-Founder & Architect
What makes Sadie Morgan a Global Shaker?
In 1995, Sadie Morgan and her former classmates at London’s Kingston Polytechnic, Alex de Rijke and Philip Marsh, established dRMM Architects to take part in—and ultimately win—a competition to design a public education building for the London Docklands Development Corporation (LDDC). In 2003, after a series of small-scale projects, their new firm completed its first building – No. One Centaur Street, a £1 million apartment block in London. The building won seven awards, and over the following two years, dRMM won the Best New Architectural Firm award and the MIPIM Next Generation Award.
Since then, dRMM projects have included many civic and educational buildings. In 2017, the London-based firm won the RIBA Stirling Prize for its renovation of Hastings Pier on the south coast.
Sadie sits on numerous official bodies. She is a member of the board for the National Infrastructure Commission UK and the Thames Estuary 2050 Growth Commission. She is also the chair of the Independent Design Panel for High Speed Two and a Mayor’s Design Advocate for the Greater London Authority. She is also a fellow of the UK Royal Society for the Encouragement of Arts, Manufactures and Commerce, a professor at London’s University of Westminster, and a director at the Major Projects Association.
Among her many accolades, she was awarded an honorary doctorate from the London South Bank University in 2016. Sadie was named one of Debrett’s 500 most influential people in Britain and became the first woman to receive the Building Magazine Personality of the Year award. In 2017, she received the New London Architecture (NLA) New Londoner of the Year Award for her work in championing architectural design.
Tags: architecture
Vedad Ibišević, Football Star in Germany, Donates Entire Salary To Charity
Why Has Bruce French Spent His Life Cataloguing Edible Plants?