Walter (Wal) Hannington

Walter (Wal) Hannington

Walter Hannington was born on 17th June, 1896. He was founder member of the Communist Party of Great Britain (CPGB) in 1920. The following year he was appointed as National Organiser of the National Unemployed Workers' Movement.

On 4th August 1925, Hannington and 11 other activists, Jack Murphy, Robin Page Arnot, Ernie Cant, Tom Wintringham, Harry Pollitt, Albert Inkpin, Arthur McManus, Tom Bell, William Rust, William Gallacher and John Campbell were arrested for being members of the Communist Party of Great Britain and charged with violation of the Mutiny Act of 1797.

Tom Bell explained: "The indictment against the twelve read as follows: That between 1 January, 1924, and 21 October, 1925, the prisoners had: 1. Conspired to publish a seditious libel. 2. Conspired to incite to commit breaches of the Incitement to Mutiny Act, 1797. 3. Conspired to endeavour to seduce persons serving in His Majesty's forces to whom might come certain published books and pamphlets, to wit, the Workers' Weekly, and certain other publications mentioned in the indictment, and to incite them to mutiny." It was believed that the arrests was an attempt by the government to weaken the labour movement in preparation for the impending General Strike.

The Communist Party of Great Britain decided that William Gallacher, John R. Campbell and Harry Pollitt should defend themselves. Tom Bell added: "their speeches were prepared, and approved by the Political Bureau (of the CPGB). To challenge the legality of the proceedings Sir Henry Slesser was engaged to defend the others. During the trial Judge Swift declared that it was "no crime to be a Communist or hold communist opinions, but it was a crime to belong to this Communist Party."

John Campbell later wrote: "The Government was wise enough not to rest its case on the activity of the accused in organising resistance to wage cuts, but on their dissemination of “seditious” communist literature, (particularly the resolutions of the Communist International), their speeches, and occasional articles... Five of the prisoners who had previous convictions, Gallacher, Hannington, Inkpin, Pollitt and Rust, were sentenced to twelve months’ imprisonment and the others (after rejecting the Judge’s offer that they could go free if they renounced their political activity) were sentenced to six months."

In 1936 Hannington wrote about his experiences as leader of the National Unemployed Workers' Movement, entitled Unemployed Struggles 1919-1936. This was followed by The Problem of the Distressed Areas (1937), A Short History of the Unemployed (1938) and Fascist Danger and the Unemployed (1939). Just before the outbreak of the Second World War Hannington became National Organiser of the Amalgamated Engineering Union.

Walter Hannington died on 17th November 1966.


Walter (Wal) Hannington - History

1.1 years
1.2 political career
1.3 death , legacy

walter hannington, best known nickname of wal, born 17 june 1896 in camden town, london. father bricklayer large family. himself apprenticed toolmaker @ 14 , joined toolmakers society during first world war, , married wife, winnie, in 1917. joined british socialist party during period. became member of amalgamated toolmakers london committee. went on amalgamated engineering union in 1920 merger.

in 1920, hannington founding member of communist party of great britain.

from time of formation in 1921 until termination in 1939, hannington head of national unemployed workers movement, offshoot of cpgb.

hannington delegate founding conference of national minority movement (nmm) in august 1924. national minority movement, headed harry pollitt, radical pressure-group formed cpgb work within established trade union movement. 1 or 2 exceptions, members of executive committee of nmm members of communist party. wal hannington 1 of inner circle of executive controlled organization, working full-time leader of section dedicated metal workers.

in 1925 1 of 12 members of communist party convicted @ old bailey under incitement mutiny act 1797, , 1 of 5 defendants sentenced 12 months imprisonment.

in 1936, wrote book experiences leader of nuwm, called unemployed struggles 1919-1936: life , struggles amongst unemployed . in book talks numerous incarcerations political stance , activities, , how government had him , fellow members of nuwm under surveillance.

in 1937, book problem of distressed areas published victor gollancz (publisher of such works george orwell s road wigan pier) preface professor harold j. laski.

in 1939, hannington became national organiser of amalgamated engineering union.


SOVIET COMMITTEES (GREAT BRITAIN).

Wal Hannington was an infamous leader of unemployed struggles in Britain between the wars. He was born on 17th June 1896 in Randall Street, Camden Town, London into a large family, his father being a bricklayer. Relatives of one Herbert Hannington, suspect that Wal was his uncle, in which case Wal’s father would have been Louis Hannington, born in Chalk Farm. In his autobiography, he vividly describes the endless demands of local authorities, the deputations to the TUC, fights with the police, local and national Hunger Marches. He recounts dramatic episodes involving fake coffins and occupations of salubrious restaurants of the rich. He organised a series of activities, including a lie-down in Oxford Street, to illustrate the effects of unemployment. He was sent to prison for several months, after an unemployed march on Parliament in 1932, as "a disturber of the peace ". Hannington led the very last Hunger march, which took place in October/November 1936, and led the NUWM until its effective end in 1939.

David Brady Explores ‘The New Architecture and the Bauhaus’ by Walter Gropius

JULY IS A quiet time of year for the appearance of that fragile commodity, a new book. Titles launched in the summer may be liable to being appraised by second string reviewers the book-buying public is apt to be on holiday. Nevertheless, in July 1935 Faber issued The new architecture and the Bauhaus by Walter Gropius, who was then living in London as a refugee from Nazi Germany. This modestly priced small octavo summed up Gropius’s view of his architectural and educational work in Germany and revealed his vision of der neue architektur. What may be of interest now, in relation to the appearance of this book, is the rôle of the publisher–usually responsible for literature, especially poetry, then having a flirtation with architecture–and the reception given by critics and interested members of the public to Gropius’s ideas. Thanks to Erica Somers, former archivist at Faber, I was granted access to their archival material about the book. Unless otherwise indicated, quotations come from this source.

In 1919 Gropius was appointed director of the Grossherzogliche Sächsische Kunstgewerbeschule and the Grossherzogliche Sächsische Hochschule für Bildende Kunst. Shorn of their Grand Ducal titles, united, and renamed the Staatliche Bauhaus, the school gradually moved away from the arts and crafts æsthetic that had been fostered by the former head, Henry van de Velde, towards modernism. Bauhaus, a portmanteau word invented by Gropius when he took over, expressed the belief, ultimately traceable to John Ruskin, that all the arts should be directed towards building. It moved physically to new quarters at Dessau, in Saxony-Anhalt, designed by Gropius in 1925.[i] This was the short heyday of the institution, during which time the celebrated Bauhausbucher were published, several by Gropius himself.[ii]

After the Nazis came to power in 1933, Gropius left Germany for England, where Max Fry formed a short-lived partnership with him.[iii] They produced some buildings together, the most significant among them being the Village College at Impington, a little north of Cambridge. “One of the best buildings of its date in England, if not the best.”[iv] The genesis of The new architecture and the Bauhaus lies in a party in March 1934 at the London flat of the housing reformer Elizabeth Denby[v]. A director of Faber, Richard de la Mare,[vi] was introduced to Gropius during the party, contacting him again a few days later to pursue the idea of a book, which seems to have been instigated by Herbert Read.[vii] De la Mare, along with another director at Faber, the American Frank Vigor Morley, saw the project through.

The new architecture and the bauhaus is an extended exercise in modernist solidarity. Morley openly mentions “a form suitable for propaganda” in one of his letters about the book. He attempted to “get Mr Prichard involved to help with the costs”.[viii] Translation of Gropius’s manuscript was effected by Philip Morton Shand, polyglot apple-fancier and œnologist, and frequent contributor to the Architectural Review. Frank Pick, director of London Transport, contributed a preface, at the instigation of Herbert Read.[ix] In his major book on Gropius Isaacs mentions the publication and Gropius’s sensitivity over Frank Pick’s introduction.[x] The pictorial dustwrapper, rarely found with first editions these days, was designed by the Hungarian Lazlo Moholy-Nagy, another refugee modernist teacher from the Bauhaus. Moholy, who apparently devised the wrapper “at the drop of a hat”, was also living in England then. Like Gropius, he also went on to live in America.

The book remains readable, as Shand was a considerable prose stylist and took care to clarify Gropius’s rather mystical German text. One particularly metaphysical passage defeated him entirely, so he simply omitted it. The narrative of Gropius’s career may be incomplete—his account of the founding and later vicissitudes of the Bauhaus has been much elaborated since—but the clarity and attack of his text is undiminished. He recognizes the flaws and traps threatening modern architecture, sometimes sounding Trotskyite: “The movement must be purged from within if its original alms are to be saved from the strait-jacket of materialism or mis-conception.” Gropius goes on to make a cogent plea for standardization and pre-fabrication. Perhaps we now forget the utterly abject housing conditions that then prevailed in the slums of many European cities. The state of affairs here was hardly better, at least in the places categorized as “distressed areas” by Wal Hannington in his book of that title.[xi]

Some sentiments expressed by Gropius in this book may have seemed rather dated to the more radical members of the modern movement in England, such as it was, by 1935. However, the wider British public was not in the least attuned to modernism almost no building of note had commenced between about 1931 and 1934, due to the after-effects of the Wall Street Crash commercial buildings were still overwhelmingly classical in design. The office block for Crawfords advertising agency in Holborn was lone example of modern design among London buildings. The new architecture ends with a short apologia invoking and yoking together those Anglo-Saxon neo-classical contemporaries K F Schinkel and Sir John Soane, chosen perhaps to demonstrate Gropius’s respect for tradition.[xii]

The reader may anticipate that critics in the architectural magazines gave the book a uniformly generous welcome. It was Myles Wright’s “book of the year” in the Architect’s Journal. Jim Richards liked it so much he reviewed it twice once in the Architectural Review and again in the Burlington magazine. Gropius’s book was reviewed in publications as diverse as John O’Londons’ Weekly and The Christian Science Monitor. Would it be made the “book of the week” in today’s Evening Standard as it was in 1935? The now defunct BBC magazine, The Listener, was then enthusiastically modernist the Irish architect Raymond McGrath reviewed Gropius’s book in reverent terms, treating him almost as a guru. Professor C H Reilly, head of the school of architecture in Liverpool, wrote a rave review in the Manchester Guardian. Anthony Blunt–remember him?–was earnestly enthusiastic in the Spectator.[xiii] Gropius himself used the book as a lever to further his career in America, which he talks about in Peter John’s book.[xiv]

The particular copy under consideration was a student prize from The Builder magazine, presented to Arthur Montague Foyle in January 1937. “Monty” Foyle was elected an associate of the RIBA in December 1939. A distant relative of the celebrated bookselling family, Monty was a staunch Methodist and a conscientious objector 1939-45. He studied, and later taught, at the Bartlett School of Architecture, writing a PhD on ‘The development of architecture in west Africa’ in 1959. As a student, Foyle worked for Albert Richardson and Patrick Abercrombie, then went into private practice after WW2 building flats in Willesden and restoring rural churches in Suffolk. Monty’s sister Marjory kindly supplied me with some information about her brother. We may wonder if Monty was inspired by the final sentence in his prize book. Gropius invokes a moral imperative with these stirring words:

The ethical necessity of the New Architecture can no longer be called in doubt.

And the proof of this is that in all countries Youth has been fired with its inspiration.

[i] Illustrated in Walter Müller-Wulckow, Deutsche baukunst der Gegenwart, Konigstein im Taunis & Leipzig, 1929

[ii] eg. Walter Gropius, & Laszlo Moholy-Nagy, Neue Arbeiten der Bauhauswerkstätten, Munich, 1925 Walter Gropius, Internationale architektur, Dessau, 1927


History

Hello! Walt Disney arrived in California in the summer of 1923 with a lot of hopes but little else. He had made a cartoon in Kansas City about a little girl in a cartoon world, called Alice&rsquos Wonderland, and he decided that he could use it as his &ldquopilot&rdquo film to sell a series of these &ldquoAlice Comedies&rdquo to a distributor. Soon after arriving in California, he was successful. A distributor in New York, M. J. Winkler, contracted to distribute the &ldquoAlice Comedies&rdquo on October 16, 1923, and this date became the start of the Disney company. Originally known as the Disney Brothers Cartoon Studio, with Walt Disney and his brother, Roy, as equal partners, the company soon changed its name, at Roy&rsquos suggestion, to the Walt Disney Studio.

Walt Disney made his Alice Comedies for four years, but in 1927, he decided to move instead to an all-cartoon series. To star in this new series, he created a character named Oswald the Lucky Rabbit. Within a year, Walt made 26 of these Oswald cartoons, but when he tried to get some additional money from his distributor for a second year of the cartoons, he found out that the distributor had gone behind his back and signed up almost all of his animators, hoping to make the Oswald cartoons in his own studio for less money without Walt Disney. On rereading his contract, Walt realized that he did not own the rights to Oswald-the distributor did. It was a painful lesson for the young cartoon producer to learn. From then on, he saw to it that he owned everything that he made.

The original Disney Studio had been in the back half of a real estate office on Kingswell Avenue in Hollywood, but soon Walt had enough money to move next door and rent a whole store for his studio. That small studio was sufficient for a couple of years, but the company eventually outgrew it and Walt had to look elsewhere. He found an ideal piece of property on Hyperion Avenue in Hollywood, built a studio, and in 1926 moved his staff to the new facility.

It was at the Hyperion Studio, after the loss of Oswald, that Walt had to come up with a new character, and that character was Mickey Mouse. With his chief animator, Ub Iwerks, Walt designed the famous mouse and gave him a personality that endeared him to all. Ub animated two Mickey Mouse cartoons, but Walt was unable to sell them because they were silent films, and sound was revolutionizing the movie industry. So, they made a third Mickey Mouse cartoon, this time with fully synchronized sound, and Steamboat Willie opened to rave reviews at the Colony Theater in New York November 18, 1928. A cartoon star, Mickey Mouse, was born. The new character was immediately popular, and a lengthy series of Mickey Mouse cartoons followed.

Not one to rest on his laurels, Walt Disney soon produced another series &mdash the Silly Symphonies &mdash to go with the Mickey series. It featured different casts of characters in each film and enabled the animators to experiment with stories that relied less on the gags and quick humor of the Mickey cartoons and more on mood, emotion, and musical themes. Eventually the Silly Symphonies turned into the training ground for all Disney artists as they prepared for the advent of animated feature films. Flowers and Trees, a Silly Symphony and the first full-color cartoon, won the Academy Award® for Best Cartoon for 1932, the first year that the Academy offered such a category. For the rest of that decade, a Disney cartoon won the Oscar® every year.

While the cartoons were gaining popularity in movie houses, the Disney staff found that merchandising the characters was an additional source of revenue. A man in New York offered Walt $300 for the license to put Mickey Mouse on some pencil tablets he was manufacturing. Walt Disney needed the $300, so he said okay. That was the start of Disney merchandising. Soon there were Mickey Mouse dolls, dishes, toothbrushes, radios, figurines-almost everything you could think of bore Mickey&rsquos likeness. The first Mickey Mouse book was published in 1930, as was the first Mickey Mouse newspaper comic strip.

In 1934, Walt Disney informed his animators one night that they were going to make an animated feature film, and then he told them the story of Snow White and the Seven Dwarfs. There were some skeptics in the group, but before long everyone had caught Walt&rsquos enthusiasm, and work began in earnest. It took three years, but at Christmas time, 1937, the film was finished, and it was a spectacular hit. Snow White soon became the highest grossing film of all time, a record it held until it was surpassed by Gone With the Wind. Now Walt Disney&rsquos studio was on a firmer footing. The short cartoons paid the bills, but Walt knew that future profits would come from feature films.

Work immediately began on other feature projects, but just as things were looking rosy, along came World War II. The next two features, Pinocchio and Fantasia, were released in 1940. They were technical masterpieces, but their costs were too high for a company losing most of its foreign markets because of the war. Dumbo was made in 1941 on a very limited budget, but Bambi, in 1942, was another expensive film, and caused the studio to retrench. It would be many years before animated features of the highest caliber could be put into production.

During the war, Walt Disney made two films in South America, Saludos Amigos and The Three Caballeros, at the request of the State Department. His studio concentrated on making propaganda and training films for the military. When the war ended, it was difficult for the Disney Studio to regain its pre-war footing. Several years went by with the release of &ldquopackage&rdquo features-films such as Make Mine Music and Melody Time, containing groups of short cartoons packaged together. Walt also moved into live action production with Song of the South and So Dear to My Heart, but because audiences expected animation from Walt Disney, these films included animated segments. Walt opened some new doors by beginning the award-winning True-Life Adventure series featuring nature photography of a style never seen before.

1950 saw big successes at Disney-the first completely live action film, Treasure Island, the return to classic animated features with Cinderella and the first Disney television show at Christmas time. The Company was moving forward again. After two Christmas specials, Walt Disney went onto television in a big way in 1954 with the beginning of the Disneyland anthology series. This series eventually would run on all three networks and go through six title changes, but it remained on the air for 29 years, making it the longest-running primetime television series ever. The Mickey Mouse Club, one of television&rsquos most popular children&rsquos series, debuted in 1955 and made stars of a group of talented Mouseketeers.

Walt Disney was never satisfied with what he had already accomplished. As his motion pictures and television programs became successful, he felt a desire to branch out. One area that intrigued him was amusement parks. As a father, he had taken his two young daughters to zoos, carnivals and other entertainment enterprises, but he always ended up sitting on the bench as they rode the merry-go-round and had all the fun. He felt that there should be a park where parents and children could go and have a good time together. This was the genesis of Disneyland. After several years of planning and construction, the new park opened July 17, 1955. Disneyland was a totally new kind of park. Observers coined the term &ldquotheme park,&rdquo but even that does not seem to do Disneyland justice. It has been used as a pattern for every amusement park built since its opening, becoming internationally famous, and attracting hundreds of millions of visitors. Walt said that Disneyland would never be completed as long as there was imagination left in the world, and that statement remains true today. New attractions are added regularly, and Disneyland still is as popular as it was in 1955.

The 1950s saw the release of the classic 20,000 Leagues Under the Sea, the first in a series of wacky comedies The Shaggy Dog and a popular TV series about the legendary hero Zorro. In the 1960s came Audio-Animatronics®, pioneered with the Enchanted Tiki Room at Disneyland and then four shows at the 1964 New York World&rsquos Fair, and Mary Poppins, perhaps the culmination of all Walt Disney had learned during his long movie-making career. But the &rsquo60s also brought the end of an era: Walt Disney died December 15, 1966.

Plans that Walt left behind carried the company for a number of years under the supervision of Roy Disney. The Jungle Book in 1967 and The Aristocats in 1970 showed that the Company could still make animated classics, and The Love Bug in 1969 was the highest grossing film of the year. Disney got into educational films and materials in a big way with the start of an educational subsidiary in 1969.

After the success of Disneyland, it was only natural for Walt to consider another park on the East Coast. Prior to his death the Company purchased land in Florida, and the Walt Disney World project, located on some 28,000 acres near Orlando, was announced. It opened October 1, 1971. In Florida, the Company had the space it lacked in California. Finally there was room to create a destination resort, unencumbered by the urban sprawl that had grown up around Disneyland. Walt Disney World would include not only a Magic Kingdom theme park like Disneyland but also hotels, campgrounds, golf courses, and shopping villages. It did not take long for Walt Disney World to become the premier vacation destination in the world.

Roy O. Disney, who after Walt&rsquos death oversaw the building and financing of Walt Disney World, died late in 1971, and for the next decade the Company was led by a team including Card Walker, Donn Tatum and Ron Miller &mdash all originally trained by the Disney brothers. One of Walt Disney&rsquos last plans had been for the Experimental Prototype Community of Tomorrow, or EPCOT, as he called it. While he died before the plans could be refined, they were brought out again in a few years, and in 1979 ground was broken for the new park in Florida. Epcot Center, a combination of Future World and World Showcase representing an investment of over a billion dollars, opened to great acclaim October 1, 1982.

WED Enterprises (later renamed Walt Disney Imagineering), the design and development division for the parks, had several projects in the works during the early 1980s. In addition to designing Epcot, it was hard at work on plans for Tokyo Disneyland, the first foreign Disney park. Tokyo Disneyland opened April 15, 1983, and was an immediate success in a country that had always loved anything Disney. Now that the Japanese had their own Disneyland, they flocked to it in increasing numbers. Moviemaking also was changing in America in the early 1980s. Audiences were diminishing for the family films that had been the mainstay of the Company for many years, and Disney was not meeting the competition for films that attracted the huge teenage and adult market. To reverse that trend, Disney established a new label, Touchstone Pictures, with the release of Splash in 1984. At the same time, because of the widespread perception that Disney stock was undervalued relative to the company&rsquos assets, two &ldquocorporate raiders&rdquo attempted to take over Disney. The efforts to keep the company from being broken up ended when Michael Eisner and Frank Wells became chairman and president, respectively.

The new management team immediately saw ways for Disney to maximize its assets. The Company had left network television in 1983 to prepare for the launch of a cable network, The Disney Channel. While the pay-TV service was successful, Eisner and Wells felt Disney should have a strong network presence as well, so in 1985 Disney&rsquos Touchstone division began the immensely successful Golden Girls, followed in 1986 by a return to Sunday night television with the Disney Sunday Movie (later The Magical World of Disney and The Wonderful World of Disney). Films from the Disney library were selected for the syndication market, and some of the classic animated films were released on video cassette. Using the sell-through technique, Disney classics soon reached the top of the all-time best seller lists.

At Disneyland, new collaborations with filmmakers George Lucas and Francis Coppola brought Captain EO and Star Tours to the park, and Splash Mountain opened in 1989. Disney&rsquos Grand Floridian Beach and Caribbean Beach Resorts opened at Walt Disney World in 1988, and three new gated attractions opened in 1989: the Disney/MGM Studios Theme Park, Pleasure Island, and Typhoon Lagoon. More resort hotels opened in 1990 and 1991.

Filmmaking hit new heights in 1988 as Disney for the first time led Hollywood studios in box-office gross. Who Framed Roger Rabbit, Good Morning, Vietnam, Three Men and a Baby, and later, Honey, I Shrunk the Kids, Dick Tracy, Pretty Woman and Sister Act, passed the $100 million milestone. Disney moved into new areas by starting Hollywood Pictures and acquiring the Wrather Corp. (owner of the Disneyland Hotel) and television station KHJ (Los Angeles), which was renamed KCAL. In merchandising, Disney purchased Childcraft and opened numerous highly successful and profitable Disney Stores.

Disney animation began reaching even greater audiences, with The Little Mermaid being topped by Beauty and the Beast which was in turn topped by Aladdin (1992). Hollywood Records was formed to offer a wide selection of recordings ranging from rap to movie soundtracks. New television shows, such as Live With Regis and Kathy Lee, Empty Nest, Dinosaurs and Home Improvement, expanded Disney&rsquos television base. For the first time, Disney moved into publishing, forming Hyperion Books, Hyperion Books for Childre and Disney Press, which released books on Disney and non-Disney subjects. In 1991, Disney purchased Discover magazine, the leading consumer science monthly. As a totally new venture, Disney was awarded in 1993 the franchise for a National Hockey League team, the Mighty Ducks of Anaheim.

Over in France, the park now known as Disneyland Paris opened on April 12, 1992. Eagerly anticipated, the beautifully designed park attracted almost 11 million visitors during its first year. Disneyland Paris is complemented by six uniquely designed resort hotels and a campground. Dixie Landings and Port Orleans, and a well-received Disney Vacation Club enlarged lodging possibilities at the Walt Disney World Resort, while Mickey&rsquos Toontown and the Indiana Jones Adventure helped increase attendance at Disneyland. Walt Disney World opened the All-Star Resorts, Wilderness Lodge, the Twilight Zone Tower of Terror, Blizzard Beach, the BoardWalk Resort, the Coronado Springs Resort, the Disney Institute, Downtown Disney West Side and redesigned Tomorrowland in the Magic Kingdom.

The Disney success with animated films continued in 1994 with The Lion King, which soon became one of the highest-grossing films of all-time. It was followed by Pocahontas in 1995, The Hunchback of Notre Dame in 1996, Hercules in 1997, Mulan in 1998, Tarzan in 1999 and Fantasia/2000 at the turn of the century. Toy Story pioneered computer-animation techniques, and was followed by a successful sequel. Disney also continued its strong presence in children&rsquos animated programs for television, and found success with sequels to animated features released directly to the video market.

In 1994, Disney ventured onto Broadway with a very successful stage production of Beauty and the Beast, followed in 1997 by a unique staging of a show based on The Lion King and in 2000 by Aida. By restoring the historic New Amsterdam Theatre on 42nd Street, Disney became the catalyst for a successful makeover of the famous Times Square area. A musical version of The Hunchback of Notre Dame opened in Berlin, Germany.

By 1996, there were more than 450 Disney Stores worldwide, and by 1999 that number was up to 725. In Florida, the first home sites were sold in the new city of Celebration, located next to Walt Disney World. Eventually, 20,000 people will call Celebration their home. After the death of the owner Gene Autry, Disney acquired the California Angels baseball team to add to its hockey team, and in 1997 opened Disney&rsquos Wide World of Sports at Walt Disney World.

Early in 1996, Disney completed its acquisition of Capital Cities/ABC. The $19 billion transaction, second-largest in U.S. history, brought the country&rsquos top television network to Disney, in addition to 10 TV stations, 21 radio stations, seven daily newspapers and ownership positions in four cable networks.

Recent years have seen the release of a group of very popular live action films, such as Mr. Holland&rsquos Opus, The Rock, Ransom, Flubber, Con Air, Armageddon, and culminating in the hugely successful The Sixth Sense, which soon reached the 10th spot among the all-time highest grossing releases. Computer animation was showcased in A Bug&rsquos Life and Dinosaur.

A whole new park, Disney&rsquos Animal Kingdom opened at Walt Disney World in 1998. With a gigantic Tree of Life as its centerpiece, the park was Disney&rsquos largest, spanning 500 acres. A major attraction was the Kilimanjaro Safaris, where Guests could experience live African animals in an amazingly accurate reproduction of the African savannah. An Asian area opened at Animal Kingdom in 1999. In California, Tomorrowland at Disneyland was redesigned.

As the world moved toward a new century, Epcot became the host of Millennium Celebration, Test Track (the longest and fastest Disney park attraction) opened, and other attractions were revised and updated. The Walt Disney Company welcomed a new president &mdash Robert A. Iger &mdash and the Company reached the $25 billion revenue threshold for the first time.

Disney regional entertainment expanded with DisneyQuest and the ESPN Zone in 1998, and that same year, the Disney Magic, the first of two luxury cruise ships made its maiden voyage to the Caribbean, stopping at Disney&rsquos own island paradise, Castaway Cay.

2000 opened with the release in IMAX theaters of an almost totally new version of Fantasia entitled Fantasia/2000. Other classically animated features were The Emperor&rsquos New Groove, Atlantis: The Lost Empire, Lilo & Stitch, Treasure Planet and Brother Bear. Continuing collaborations with Pixar brought the computer-animated blockbuster, Monsters, Inc. Popular live action productions continued with Remember the Titans, Mission to Mars, Pearl Harbor, The Princess Diaries, and The Rookie. The new cable network, SoapNet, was launched, and award-winning productions on ABC included The Miracle Worker, Anne Frank, and Child Star: The Shirley Temple Story.

DVD releases became increasingly popular, especially when the company began adding generous amounts of bonus material for viewers. Snow White and the Seven Dwarfs&rsquo DVD in 2001 sold more than one million units on the first day of release.

For the first time, in 2001, Walt Disney Attractions opened two new theme parks in the same year. In February, Disney&rsquos California Adventure opened after several years of major construction which transformed the entire Anaheim area. The new park celebrates the history, culture and spirit of California, with areas ranging from a Hollywood Pictures Backlot to the amusements of Paradise Pier. Joining it was an upscale shopping area, Downtown Disney and the Grand Californian Hotel, celebrating the Craftsman style of architecture. Across the Pacific in Japan, Tokyo DisneySea opened in September, looking to the myths, legends and lore of the ocean as the inspiration for its attractions and shows. March, 2002, saw the opening of another foreign park, Walt Disney Studios, featuring the history and lore and excitement of the movies, adjacent to Disneyland Paris. Ground was broken in January, 2003, for Hong Kong Disneyland.

In 2001, the entire Walt Disney Company honored the 100th Anniversary of the birth of its founder, Walt Disney. The celebration, called &ldquo100 Years of Magic,&rdquo was centered at the Disney-MGM Studios theme park in Florida, and included several parades, an exhibit of archival memorabilia and the installation of a gigantic Mickey&rsquos sorcerer cap in the Chinese Theater plaza.

2003 saw two Disney films grossing over $300 million at the box office &mdash Pirates of the Caribbean: The Curse of the Black Pearl and Disney-Pixar&rsquos Finding Nemo. In fact, Disney became the first studio in history to surpass $3 billion in global box office. In October, Mission: Space opened at Epcot to great acclaim, and the following month the Company celebrated the 75th anniversary of Mickey Mouse. As the year drew to a close the Pop Century Resort opened at Walt Disney World.

After years of partnering, Disney acquired The Muppets and Bear in the Big Blue House in April 2004. Senator George Mitchell became chairman of the board, and movie theaters welcomed The Incredibles. ABC had a rebirth with such popular series as Desperate Housewives, Lost and Grey&rsquos Anatomy. A major anniversary came in 2005 as Disneyland celebrated its 50th, and all of the Disney theme parks joined in a Happiest Celebration on Earth. A brand new theme park, Hong Kong Disneyland, opened in September and the fall saw the successful releases of Chicken Little and The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe. Robert Iger took over as CEO on October 1 with the retirement of Michael Eisner.

2006 saw High School Musical air on Disney Channel and become an overnight sensation. In May, Disney made a major purchase of Pixar Animation Studios, at the same time gaining the services of Ed Catmull and John Lasseter to be creative heads of Disney Feature Animation. Disney-Pixar&rsquos Cars was released in June. Pirates of the Caribbean: Dead Man&rsquos Chest beat Company records to become the company&rsquos highest grossing feature after its July release. Disney parks celebrated the Year of a Million Dreams with special promotions.

With 2007 came another popular release from Pixar, Ratatouille, and Disney had its first co-production in China&mdash The Secret of the Magic Gourd. The year ended with the hits Enchanted and National Treasure: Book of Secrets. The third Pirates of the Caribbean feature, subtitled At World&rsquos End, became the top-grossing film of the year internationally. Disney Channel reached new heights with High School Musical 2, and Hannah Montana shot Miley Cyrus to stardom. In the summer, Disney acquired Club Penguin. At the parks, Disney built on the Pixar brand with the Finding Nemo Submarine Voyage at Disneyland, The Seas with Nemo and Friends at Epcot and Finding Nemo &mdash The Musical at Disney&rsquos Animal Kingdom.

At the Disney parks in 2008, Disney-MGM Studios was renamed Disney&rsquos Hollywood Studios, Toy Story Midway Mania! opened there and at Disney&rsquos California Adventure, and It&rsquos a Small World opened at Hong Kong Disneyland. The company reacquired ownership of the Disney Stores&rsquo retail locations from The Children&rsquos Place, and the first Disney-operated language training center, Disney English, opened in China. In theaters, audiences flocked to WALL&bullE and Bolt. Tinker Bell, the first of a series of Disney Fairies films, was released, and Camp Rock and Phineas and Ferb debuted on Disney Channel. The Little Mermaid opened on Broadway.

The big news in 2009 was the acquisition of Marvel Entertainment. Theaters presented Up (which would win two Oscars), the first Disneynature film, Earth, and a return to hand-drawn animation with The Princess and the Frog. The first Disney film locally produced in Russia, The Book of Masters, was released. D23: The Official Disney Fan Club launched, Disney twenty-three magazine began publication, and the first biennial D23 Expo was held in Anaheim. Bay Lake Tower opened at Walt Disney World, and a Disney Vacation Club section was added to the Grand Californian Hotel. Disney XD replaced Toon Disney, and at the end of the year the company mourned the passing of Roy E. Disney.

In business news in 2010, the company sold Miramax. Alice in Wonderland and Toy Story 3 were released, and they would go on to win two Oscars each. The latter picture would become the highest grossing animated film of all time. Also on movie screens were Tangled and Tron: Legacy. Video gamers entered the world of Epic Mickey, and World of Color debuted at the renamed Disney California Adventure.

The year 2011 saw the launch of the Disney Dream and the repositioning of the Disney Wonder to the West Coast. The company purchased the rights to the Avatar franchise for theme parks, the Aulani Resort opened in Hawaii, The Little Mermaid: Ariel&rsquos Undersea Adventure debuted at Disney California Adventure, and groundbreaking ceremonies were held for Shanghai Disneyland. In theaters, Disney began distributing DreamWorks films, with The Help winning wide acclaim and a Supporting Actress Oscar for Octavia Spencer. Disney films included Pirates of the Caribbean: On Stranger Tides, Winnie the Pooh, The Muppets (Oscar for Best Song), and Cars 2. In New York, Sister Act opened on Broadway and Peter and the Starcatcher off-Broadway.

In theaters in 2012 were John Carter, Marvel&rsquos The Avengers, Brave, Wreck-It Ralph, Frankenweenie, and Lincoln (DreamWorks). Bob Iger took on the additional title of chairman of the board, and Alan Horn became chairman of Walt Disney Studios. The Disney Junior cable channel replaced SOAPnet. On Broadway, Newsies opened and won two Tony Awards. Cars Land opened at Disney California Adventure, and the Disney Fantasy set sail. At the Walt Disney World Resort, Disney&rsquos Art of Animation Resort, an enlarged and enhanced Fantasyland, and a new Test Track opened. D23 sponsored a Treasures of the Walt Disney Archives exhibit at the Ronald Reagan Presidential Library and Museum. The big corporate news was the acquisition of Lucasfilm, Ltd.

For nine decades, The Walt Disney Company has succeeded in making its name preeminent in the field of family entertainment. From humble beginnings as a cartoon studio in the 1920s to today&rsquos major corporation, it continues its mandate of providing quality entertainment for the entire family.


Who filed amicus curiae briefs on behalf of Walter Irvin?

Who filed amicus Curiae briefs on behalf of Walter Irvin (Groveland Four), if any? I have been reading the history regarding the Groveland Four and I am particularly interested in what amicus curiae briefs were filed, if any, during his parole hearing. The churches in Florida were very participatory in the court hearings for Irvin’s parole. It would be interesting to me if their interest extended into filing amicus curiae briefs on Irvin‘s behalf.

Re: Who filed amicus curiae briefs on behalf of Walter Irvin?
Cara Jensen 23.03.2021 10:53 (в ответ на Nancy Harris)

Thank you for posting your request on History Hub!

We suggest that you contact the State Library and Archives of Florida to request a search of the Inactive case files, 1941-1960 of the Florida Parole Commission for any amicus curiae briefs filed under Walter Irvin. 

Please review NARA’s Supreme Court Records web page and the FamilySearch Research wiki for Florida Court Records for more background information.


Walter (Wal) Hannington - History

A few steps from chalk lines that had circled shell casings and other evidence from a Monday afternoon police shooting in West Philadelphia, family, friends, and neighbors recalled 27-year-old Walter Wallace Jr.:

A father of eight who struggled with mental illness. A quiet neighbor. An Uber Eats driver and aspiring rapper.

A cousin opened the doors of her red Toyota Camry, plugged her phone into its speakers, and played one of Wallace’s songs, “Black Hearted," then doubled over in the middle of the 6100 block of Locust Street and wept.

Neighbors and family members sat on their steps and leaned over porch railings, swaying back and forth, their eyes closed, as the song’s lyrics described police violence and the Black Lives Matter movement.

The words played out in real life the day before, when two police officers responded to a call for help at the Wallace rowhouse and then ended up firing 14 bullets at a distraught young man who they said approached them armed with a knife.

“He was a family man,” said Tasha White, who lives a few doors down. “He walked with his kids and he walked with his mom.”

“He was a quiet kid," White said. “Whatever happened yesterday, that was different. That wasn’t normal.”

Adults with untreated severe mental illness account for one in every four fatal police shootings, according to experts. Wallace fits the pattern. He was also in and out of court throughout his young adulthood, with judges regularly ordering he receive mental health treatment as he faced charges of trespassing, resisting arrest, robbery and simple assault.

Shaka Johnson, a criminal defense lawyer now representing the family, said Wallace was prescribed lithium, which is primarily used to treat bipolar disorder and major depressive disorder.

He said Wallace’s family called 911 Monday afternoon for an ambulance to help a young man in crisis. Police arrived first, he said, and Wallace’s wife told officers that her husband was bipolar. It was reportedly the family’s third call for help that day.

“Officers who are properly trained should notice certain things when they arrive at a scene,” Johnson told reporters Tuesday on the steps of the family’s home. “Especially when his wife tells you, ‘Stand down officers, he’s manic bipolar.’ ”

Wallace’s wife, who is pregnant, is scheduled to have labor induced Wednesday, Johnson said.

A journey through the criminal justice system

Walter W. Wallace Jr., named after his father, also went by the artist name “Whohe” on YouTube, often recording rap songs about issues like gun violence and the time he spent in jail.

Since at least 2013, when he was 19, Philadelphia judges have sought to get him mental health treatment. Wallace was arrested four times that year, court records show, including a guilty plea for resisting arrest that started his adult contact with probation officers that spanned much of the next seven years.

During sentencing for an assault in 2016, Municipal Court judge Marsha Neifield was insistent that Wallace “continue medication management at JFK.” The note is likely a reference to John F. Kennedy Behavioral Health Center on North Broad Street. Neifield “strongly recommended that Supervision be by the Mental Health Unit of Probation.”

A robbery conviction the following year led Common Pleas Court judge Glynnis Hill to require more mental health supervision, a drug treatment assessment, and “Anger Management [is] ordered, if determined by probation.”

Wallace was charged again in March for allegedly making threats, but his trial was delayed repeatedly, along with many city court cases backlogged by the coronavirus pandemic.

Wallace Jr. was killed Monday around 4 p.m. after police responded to his family’s home on the report of a person with a weapon. When police arrived, Wallace Jr. was outside the home and holding a knife.

The two officers told Wallace Jr. to drop the knife, but he didn’t. His mother tried to grab her son and shield him from police as they had their guns drawn, witnesses said. She pleaded for police to put the guns down, and asked her son to drop the knife, but Wallace Jr. brushed her off, bystander video shows. He then walked around a car and as he slowly stepped toward officers, they both backed away and then fired a total of 14 times, police said Tuesday.

Anthony Fitzhugh, a cousin at the family home Tuesday morning, questioned the police response.

“They were advised that he had mental health issues. I understand he had a knife, and their job is to protect and serve. By all means do so, but do not let lethal force be the means by which you de-escalate the situation," said Fitzhugh, 49.

Family members believe the officers should have used Tasers to subdue Wallace, but the officers at the scene did not have such weapons with them. About a third of the city’s police force carries a Taser, according to the department.

“It didn’t have to happen that way. They didn’t have to shoot him that amount of times he was shot,” Fitzhugh said. "At what point do you draw a line and say, ‘OK, I’m going over a limit. This no longer falls under my job description, this is murder?’ ”

He said the family was upset to see looting break out throughout the night after Wallace’s death.

“That’s not being done in his name, that’s not being done in his honor, and the family does not agree with that," Fitzhugh said.

White, one of the family’s neighbors on Locust, said: “Mental illness is in the ‘hood. He could have been helped.”

It’s a statement many in the community have made, as a fatal police shooting renews questions about police tactics when responding to people in mental health crisis.

Adults with untreated severe mental illness account for one in every four fatal police shootings, according to a 2015 report by the Treatment Advocacy Center, a national nonprofit focused on making treatment for severe mental illness possible. They also are 16 times more likely to be stopped by the police than other people. And while Black adults are more likely to report persistent symptoms of emotional distress, only one in three Black or African American adults who need mental health care receive it.

John Snook, the CEO of the Treatment Advocacy Center, said that about 20% of officer time is spent responding to crises of someone with mental health issues, according to a May 2019 report by the nonprofit.

“It stands to reason that because they have so many interactions with people who are in crisis, all the training in the world can’t solve that problem,” Snook said. “What you’re talking about is a medical concern, and law enforcement officers are not the right people to deal with that.”

Because in Pennsylvania, patients must be a clear and present danger to themselves or someone else to qualify for inpatient commitment, many people can’t get their loved ones the help they need in time, Snook said.

“You run into situations when someone has an illness that is impacting their brain, and you can’t do anything unless they get sicker and act out in some way,” Snook said. “When that happens, police are called, so those situations are really being set up for violence. We’re not responding in the way that we should, so it’s hard to expect any other results.”

Later Tuesday night, outside the family home, two of Wallace’s young sons stood in front of dozens of cameras and reporters, tall but clearly shaken. They praised their dad. “And Black lives still matter,” one Wallace boy said, tears in his eyes

Walter Wallace Sr., who worked as a trash collector for the city for 33 years, in a strong voice laced with anguish, said when he closes his eyes, he can still see his son being “butchered” in front of him. “We got good cops, we got bad cops in the system. Everybody’s got to be held accountable for what they do.”


NFL Picks Against the Spread: Week 1, 2021

NFL Picks (2020): 138-124-7 (+$9,350)
NFL Picks (2019): 148-128-9 (+$1,200)
NFL Picks (2018): 140-134-12 (+$845)
NFL Picks (2017): 137-147-10 (-$4,300)
NFL Picks (2016): 148-127-10 (+$780)
NFL Picks (2015): 133-138-10 (-$3,215)
NFL Picks (2014): 143-133-7 (-$1,885)
NFL Picks (2013): 144-131-8 (+$7,825)
NFL Picks (2012): 130-145-8 (-$7,445)
NFL Picks (2011): 137-133-12 (-$1,335)
NFL Picks (2010): 144-131-8 (+$5,880)
NFL Picks (2009): 151-124-9 (+$4,235)
NFL Picks (2008): 136-125-6 (+$6,105)
NFL Picks (2007): 162-135-10 (+$3,585)
If you don't quite understand the line, total or anything else, go to my Sports Betting FAQ.
Vegas betting action updated . Follow @walterfootball for updates.

NFL Picks Week 1 - Early Games
Cowboys at Bucs, Eagles at Falcons, Steelers at Bills, Vikings at Bengals, 49ers at Lions, Cardinals at Titans, Seahawks at Colts, Chargers at Redskins, Jets at Panthers, Jaguars at Texans

NFL Picks Week 1 - Late Games
Browns at Chiefs, Dolphins at Patriots, Packers at Saints, Broncos at Giants, Bears at Rams, Ravens at Raiders

Get more free NFL picks for every game Doc's Sports

Sports bettors can get the statistics they need to break down the games or compare against the spread analysis with picks from professional handicappers. All for free at SportsBettingStats.com

Last Week's NFL Picks Against The Spread (Week 21, 2020): 1-0 (+$560)
Last Week's 2-3 Unit NFL Picks (Week 21, 2020): 0-0 ()
Last Week's 4-5 Unit NFL Picks (Week 21, 2020): 0-0 ()
Last Week Over-Under (Week 21, 2020): 1-0 ()
Last Week's Prop/ML/Teaser/Parlay Picks (Week 21, 2020 plus 2020 props): +$4,735

2020 NFL Picks of the Month: 3-2, 60.0% (+$665)

2020 Season NFL Picks Against The Spread: 138-124-7, 52.7% (+$9,350)
2020 Season 2-3 Unit NFL Picks: 47-43-3, 52.2% (-$1,965)
2020 Season 4-5 Unit NFL Picks: 37-22-1, 62.7% (+$5,515)
2020 Season Over-Under: 141-122-6, 53.6% ()
2020 Season Prop/ML/Teaser/Parlay Picks: +$4,975

1999 Season NFL Picks Against The Spread: 27-41-3 (39.7%)
2000 Season NFL Picks Against The Spread: 128-123-8 (51.0%)
2001 Season NFL Picks Against The Spread: 127-122-7 (51.0%)
2002 Season NFL Picks Against The Spread: 123-136-7 (47.5%)
2003 Season NFL Picks Against The Spread: 146-126-8 (53.7%)
2004 Season NFL Picks Against The Spread: 157-123-8 (56.1%)
2005 Season NFL Picks Against The Spread: 156-126-11 (55.3%)
2006 Season NFL Picks Against The Spread: 151-135-9 (52.8%)
2007 Season NFL Picks Against The Spread: 162-135-10, 54.5% (+$3,585)
2008 Season NFL Picks Against The Spread: 148-140-7, 51.4% (+$6,105)
2009 Season NFL Picks Against The Spread: 151-124-9, 54.9% (+$4,235)
2010 Season NFL Picks Against The Spread: 144-131-8, 52.4% (+$5,880)
2011 Season NFL Picks Against The Spread: 137-133-12, 50.7% (-$1,335)
2012 Season NFL Picks Against The Spread: 130-145-8, 47.3% (-$7,445)
2013 Season NFL Picks Against The Spread: 144-131-8, 52.4% (+$7,825)
2014 Season NFL Picks Against The Spread: 143-133-7, 51.8% (-$1,885)
2015 Season NFL Picks Against The Spread: 134-138-12, 49.3% (-$3,215)
2016 Season NFL Picks Against The Spread: 148-127-10, 53.8% (+$780)
2017 Season NFL Picks Against The Spread: 137-140-8, 49.5% (-$4,300)
2018 Season NFL Picks Against The Spread: 140-134-14, 51.3% (+$845)
2019 Season NFL Picks Against The Spread: 149-128-9, 53.6% (+$1,200)

2002 Season 2-3 Unit NFL Picks: 41-49-2 (45.6%)
2003 Season 2-3 Unit NFL Picks: 52-51-2 (50.5%)
2004 Season 2-3 Unit NFL Picks: 65-44-3 (59.6%)
2005 Season 2-3 Unit NFL Picks: 77-61-1 (55.8%)
2006 Season 2-3 Unit NFL Picks: 65-61-4 (51.6%)
2007 Season 2-3 Unit NFL Picks: 83-59-5, 58.5% (+$4,110)
2008 Season 2-3 Unit NFL Picks: 44-57-3, 43.6% (-$3,510)
2009 Season 2-3 Unit NFL Picks: 49-35-3, 58.3% (+$2,260)
2010 Season 2-3 Unit NFL Picks: 51-38-4, 57.3% (+$3,180)
2011 Season 2-3 Unit NFL Picks: 44-51-3, 46.3% (-$2,715)
2012 Season 2-3 Unit NFL Picks: 45-50-2, 47.4% (-$2,130)
2013 Season 2-3 Unit NFL Picks: 38-42, 47.5% (-$2,890)
2015 Season 2-3 Unit NFL Picks: 47-44-1, 51.6% (-$820)
2016 Season 2-3 Unit NFL Picks: 42-35-3, 54.5% (+$475)
2017 Season 2-3 Unit NFL Picks: 32-40-3, 43.8% (-$2,395)
2018 Season 2-3 Unit NFL Picks: 52-41-2, 55.9% (+$2,670)
2019 Season 2-3 Unit NFL Picks: 44-36-2, 55.0% (+$655)

2002 Season 4-5 Unit NFL Picks: 11-12 (47.8%)
2003 Season 4-5 Unit NFL Picks: 16-13-1 (55.2%)
2004 Season 4-5 Unit NFL Picks: 18-11 (62.1%)
2005 Season 4-5 Unit NFL Picks: 25-22-1 (53.2%)
2006 Season 4-5 Unit NFL Picks: 21-29-1 (42.0%)
2007 Season 4-5 Unit NFL Picks: 35-30-2, 53.8% (+$420)
2008 Season 4-5 Unit NFL Picks: 39-26-2, 60.0% (+$4,055)
2009 Season 4-5 Unit NFL Picks: 29-26, 52.7% (+$330)
2010 Season 4-5 Unit NFL Picks: 32-22, 59.3% (+$4,790)
2011 Season 4-5 Unit NFL Picks: 14-14, 50.0% (-$1,260)
2012 Season 4-5 Unit NFL Picks: 14-21, 40.0% (-$3,650)
2013 Season 4-5 Unit NFL Picks: 17-9-3, 65.4% (+$2,970)
2015 Season 4-5 Unit NFL Picks: 17-16-2, 51.5% (-$1,120)
2016 Season 4-5 Unit NFL Picks: 21-22-5, 48.8% (-$1,465)
2017 Season 4-5 Unit NFL Picks: 20-22-1, 47.6% (-$1,595)
2018 Season 4-5 Unit NFL Picks: 27-32-1, 45.8% (-$4,735)
2019 Season 4-5 Unit NFL Picks: 37-27-2, 57.8% (+$2,185)

2001 Season Over-Under: 3-2 (60.0%)
2002 Season Over-Under: 121-91-3 (57.1%)
2003 Season Over-Under: 126-132-2 (48.8%)
2004 Season Over-Under: 139-124-4 (52.9%)
2005 Season Over-Under: 117-145-4 (44.7%)
2006 Season Over-Under: 129-132-5 (49.4%)
2007 Season Over-Under: 136-145-3, 48.4% (-$1,900)
2008 Season Over-Under: 137-125-6, 52.3% (+$860)
2009 Season Over-Under: 128-135-4, 48.7% (-$3,195)
2010 Season Over-Under: 128-135-5, 48.7% (-$5)
2011 Season Over-Under: 131-131-5, 50.0% (+$135)
2012 Season Over-Under: 125-121-5, 50.8% (+$30)
2013 Season Over-Under: 132-130-5, 50.4% (-$340)
2015 Season Over-Under: 143-119-5, 54.6% ()
2016 Season Over-Under: 123-141-1, 46.6% (+$95)
2017 Season Over-Under: 136-139-2, 49.5% (+$640)
2018 Season Over-Under: 118-128-3, 48.0% (-$225)
2019 Season Over-Under: 126-133-4, 48.6% (-$50)

2007 Season Prop/ML/Teaser/Parlay Picks: +$1,035
2008 Season Prop/ML/Teaser/Parlay Picks: +$1,775
2009 Season Prop/ML/Teaser/Parlay Picks: +$865
2010 Season Prop/ML/Teaser/Parlay Picks: -$200
2011 Season Prop/ML/Teaser/Parlay Picks: +$590
2012 Season Prop/ML/Teaser/Parlay Picks: -$1,685
2013 Season Prop/ML/Teaser/Parlay Picks: +$2,245
2015 Season Prop/ML/Teaser/Parlay Picks: -$855
2016 Season Prop/ML/Teaser/Parlay Picks: -$275
2017 Season Prop/ML/Teaser/Parlay Picks: -$510
2018 Season Prop/ML/Teaser/Parlay Picks: +$1,495
2019 Season Prop/ML/Teaser/Parlay Picks: -$1,715

2006 NFL Picks of the Month: 3-3 (50%)
2007 NFL Picks of the Month: 3-3, 50.0% (-$400)
2008 NFL Picks of the Month: 6-1, 85.7% (+$3,720)
2009 NFL Picks of the Month: 3-2, 60.0% (+$640)
2010 NFL Picks of the Month: 2-4, 33.3% (-$1,810)
2011 NFL Picks of the Month: 5-2, 71.4% (+$1,870)
2012 NFL Picks of the Month: 3-2, 60.0% (+$560)
2013 NFL Picks of the Month: 6-0, 100% (+$3,900)
2014 NFL Picks of the Month: 2-4, 33.3% (-$1,350)
2015 NFL Picks of the Month: 3-3, 50.0% (-$100)
2016 NFL Picks of the Month: 5-1, 83.3% (+$2,780)
2017 NFL Picks of the Month: 4-2, 66.7% (+$1,040)
2018 NFL Picks of the Month: 4-3, 57.1% (-$640)
2019 NFL Picks of the Month: 3-3-1, 50.0% (-$625)

Career NFL Picks Against The Spread: 2,995-2,761-179, 52.0% (+$19,655)
Career 2-3 Unit NFL Picks: 957-859-49 (52.7%)
Career 4-5 Unit NFL Picks: 452-396-23 (53.3%)
Career Over-Under: 2,463-2,416-66 (50.5%)
Career Second-Half NFL Picks: 22-15-1 (61.1%)
Career NFL Picks of the Month: 45-29-1 (60.8%)

My Team-by-Team ATS Record
This section shows how well I do when picking each team this year. The purpose is to see how well I read each team. Pushes are not displayed. Winning/losing streak in parentheses.


Deaths for Jun 30, 2021

Copyright © 2021 Martin J Mosley | Mosley Families

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Little Walter

Our editors will review what you’ve submitted and determine whether to revise the article.

Little Walter, byname of Marion Walter Jacobs, (born May 1, 1930, Marksville, Louisiana, U.S.—died February 15, 1968, Chicago, Illinois), American blues singer and harmonica virtuoso who was one of the most influential harmonica improvisers of the late 20th century.

Raised on a Louisiana farm, Little Walter began playing harmonica in childhood, and by the time he was 12 he was playing for a living on New Orleans street corners and in clubs. In his teens he gradually worked northward, settling in Chicago about 1946 there he began recording in 1947 and played in Muddy Waters’s blues band (1948–52).

After Little Walter’s 1952 harmonica solo “Juke” became a popular song, he successfully led his own bands in Chicago and on tours. In the 1960s alcoholism curtailed his career, and he died following a street fight.

Little Walter was one of the major figures in postwar Chicago blues. Influenced by guitarists as well as by senior harmonica players, he brought a singular variety of phrasing to the blues harmonica. His solos were cunningly crafted, alternating riffs and flowing lines. He was a pioneer of playing a harmonica directly into a handheld microphone and developed expressive techniques to enhance his playing. Though his vocal range was small, his singing often emulated Waters’s style. His most popular song was “My Babe,” and his finest work included “Sad Hours,” “Off the Wall,” and “Can’t Hold Out Much Longer.” Little Walter was chosen for the inaugural class (1980) of the Blues Hall of Fame, and in 2008 he was inducted into the Rock and Roll Hall of Fame.


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