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A JHM Exclusive: In-depth coverage of David Stainton’s meeting yesterday with the WDFA-F crew

Only can actually put you inside the room as artists and technicians confront the President of Disney Feature Animation as he tries to defend the corporation’s decision to close the Central Florida studio.



“Do not go gentle into that good night … rage, rage, against the dying of the light.”
— Dylan Thomas

Okay, so this meeting wasn’t actually held at night. But — even so — the crew from Disney Feature Animation-Florida did NOT “go gentle.” From everything that I’ve heard about yesterday’s meeting with David Stainton — when it was finally revealed that the Walt Disney Company would in fact be closing down its Central Florida animation operation sometime later this year — there was a lot of anger in the room. Particularly when people began openly booing Stainton as he feebly tried to defend Disney’s decision to shutter the studio.

The final meeting of the Disney Feature Animation-Florida staff was held upstairs in the multi-purpose room at the Disney-MGM production facility. In the exact same room where — back on November 17th — the team learned that production of “A Few Good Ghosts” was abruptly being halted and that WDFA management was seriously considering closing the Central Florida facility. So — as you might expect — none of the 250 artists and technicians in attendance had particularly fond memories of that room.

At approximately 10 a.m., veteran WDFA producer Pam Coats, WDFA-F studio head Andrew Millstein and President of Disney Feature Animation David Stainton took the stage. What they said surprised no one:
That the Walt Disney Company HAD decided to close down Feature Animation-Florida later that year. That certain “core people” would be offered contracts to come on out to Burbank to work on other WDFA projects there. But as for the rest of the WDFA-F crew … They’d be paid through March 19th, then let go.

In hindsight, several of those in attendance believe that it was the unfortunate use of the phrase “core people” that eventually set the audience off. After all, fewer that 50 WDFA-F staffers had been offered jobs back in Burbank. Which seemed to mean that the rest — some of whom had worked for Feature Animation-Florida since the studio first opened back in May of 1989 — were expendable. Suddenly obsolete. That image apparently didn’t sit well with the assembled artists and technicians. But — for now — they held their tongues.

Still, those in attendance couldn’t help but be touched by Pam Coats’ heartfelt speech. After all, Pam had been with Feature Animation-Florida right from the beginning. Having produced both “Trail Mix-Up” as well as “Mulan,” there was no one in the room who doubted that Coats was really upset at the idea that the Central Florida facilty had to close.

Then Stainton stood up to speak. I’ll say this much for David. He supposedly did the best he could. Laboring mightily to put the best possible face on this whole awkward and awful situation. Stainton reportedly started his remarks by praising to the hilt all the wonderful work that the WDFA-F team had done over the past 15 years on various Disney animated features.

Stainton then allegedly went on to say that it was really nothing personal. It was just that Disney corporate had decided to go another way with WDFA. Rather than run several separate animation studios in far-flung corners of the globe, Disney would now go back to its old 1980s model. Where all of the unit’s talent was located under one roof, working together on the very same film.

So far, so good, don’t you think? No huge gaffes on David’s part, right? Okay, so some of the WDFA-F staffers in attendance doubted Stainton’s sincerity. But at least the guy had shown up. Stainton hadn’t fobbed the job off onto one of his flunkies.

But then David apparently made a crucial error. He threw the meeting open for questions. And this is where things really started to get away from him.

The crowd — already angered by that “core people” comment — peppered him with pointed questions. Which supposedly started with: “Why is the Walt Disney Company flooding the feature animation market with all these low quality direct-to-video sequels?’

Now Stainton (who — it should be pointed out — up until very recently was actually in charge of Disney Television Animation, the division of the Walt Disney Company that makes those direct-to-video films) supposedly tried to defend his old division, saying “Now they’re not low quality films …”

… Only to be shouted down by all those assembled.

David reportedly tried to continue, insisting that “the public couldn’t really tell the difference between the direct-to-video stuff and the films that Feature Animation actually produces.” This comment was also met with boos.

Sensing that he wasn’t exactly going to be able win this crowd over by answering that question, Stainton quickly moved on to another query. Which allegedly was: “For the footage that I’ve seen so far of ‘Chicken Little,’ it’s clear that we’re just trying to copy Pixar now. Why isn’t Disney trying to make its own kind of CG films?”

David reportedly tried to reply by saying that it was Pixar that was copying Disney, not the other way. That Pixar had borrowed Disney Animation’s old production model (I.E. Keeping all of its artists under one roof, concentrating all of its resources on one film at a time). How Pixar had established this “braintrust” of directors and story people who helped each other, who worked together so that that studio could always get the most out of every single project.

“Disney needs to get back to that sort of production system in order to stay competitive,” Stainton supposedly continued. “But — in order to do that — we have to shut down all of our satellite studios like Paris, Tokyo and Orlando.”

Following up on the Pixar question, one of the WDFA-F staffers there reportedly asked: “How is Disney Feature Animation going to distinguish its computer animated films movies from all the other CG features out there?” Stainton allegedly said that he wanted WDFA to start producing CG movies that ” … that have songs. Movies that have heart. Movies that definitely have humor. Movies that push the art of the film-making forward.” David then supposedly went on to say that — once Disney got started making CG films that featured human characters — that “.. that’s something that’s going to set us apart” from what Pixar, Dreamworks and Sony are doing.

Given the way that Stainton had answered the above question, it was clear that the Mouse was now going whole hog for CG. Which was when one brave WDFA-F staffer reportedly stood up and asked the $64,000 question: “So it’s true, then. Disney’s actually getting out of the traditional animation business?”

Stainton allegedly said: “Yes. For a while, anyway.” This response supposedly immediately brought boos from the audience. Which is why David reportedly began to back pedal, saying things like: “We do have two new traditional animated projects in development. And — if it were the right time and the right project came along — I’m sure that we’d do 2D again. But — for right now — Disney’s going to concentrate on doing just CG.”

The traditionally trained WDFA-F staffers began booing Stainton’s presentation in earnest at that point. To hear that the Walt Disney Company had officially decided to turn its back on traditional animation just made the group furious.

Sensing that the meeting had somehow taken a really bad turn, Stainton quickly handed the mike over to WDFA-F studio head Andrew Millstein and refused to answer any more questions.

Andrew tried to get the meeting back on course. But Millstein got choked up as he tried to get the final pieces of the agenda, mentioning the various operational things that still had to be done in order for the studio to be properly shut down. Someone started singing that old Irving Berlin standard, “There’s No Business like Show Business.” Which — for some odd reason — got a laugh out of the crowd.

And with that, the meeting was over. 15 years of hard work dismissed in less than an hour. As everyone shuffled out, someone commented on the danish and the rhubarb cake that WDFA-F management had provided, saying “This is the first time that I’ve been to a firing that was catered.”

Stainton, absolutely humiliated at the way the meeting had ended (Said one wag: “He couldn’t have handed that microphone to Millstein any faster. You could see that he just wanted to flee that room”), disappeared almost immediately.

Grumbling angrily, the WDFA-F staff filed out of the building. Some of them for the very last time.

(Well, maybe not. There’s talk that there may actually be a WDFA-F going away party. One last shindig for all the staff who ever worked at the Central Florida studio. Either in the fish bowl, the trailers or the fancy schmancy new building. So that this crew can all get together one last time and say “Goodbye” … before they all head their separate ways.)

Mind you, some WDFA-F staffers were quietly approached as they exited yesterday’s meeting. They were then quickly pulled into nearby offices by members of WDFA-F management. Where they were reportedly offered contracts that would allow them to continue to work for Disney Feature Animation. IF they agreed to relocate to Burbank. But given how badly these staffers had treated over the past eight weeks by the Walt Disney Company, many of those artists and technicians who were approached yesterday just laughed and said “Hell, no.”

So — all in all — it was a pretty terrible day for Disney Feature Animation. With 200 WDFA-F staffers being laid off or fired by March 19th, the president of the division jeered, and a dozen or more artists and technicians actually turning down work rather than returning to the Disney fold. Mickey got himself a black eye today that — I’m afraid — won’t fade for years yet to come.

Your thoughts?


My thanks to the many members of the Walt Disney Feature Animation-Florida family who quickly came forward yesterday to share their impressions of what sounds like a pretty emotional meeting.

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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Jens Dahlmann of LongHorn Steakhouse has lots of great tips when it comes to grilling



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Sure, for some folks, the Fourth of July is all about fireworks. But for the 75% of all Americans who own a grill or a smoker, the Fourth is our Nation’s No. 1 holiday when it comes to grilling. Which is why 3 out of 4 of those folks will spend some time outside today working over a fire.

But here’s the thing: Though 14 million Americans can cook a steak with confidence because they actually grill something every week, the rest of us – because we use our grill or smoker so infrequently … Well, let’s just say that we have no chops when it comes to dealing with chops (pork, veal or otherwise).

So what’s a backyard chef supposed to in a situation like this when there’s so much at steak … er … stake? Turn to someone who really knows their way around a grill for advice. People like Jens Dahlmann, the Vice President and Corporate Executive Chef for Darden Restaurant’s LongHorn Steakhouse brand.

Given that Jens’ father & grandfather were chefs, this is a guy who literally grew up in a kitchen. In his teens & twenties, Dahlmann worked in hotels & restaurants all over Switzerland & Germany. Once he was classically trained in the culinary arts, Jens then  jumped ship. Well, started working on cruise ships, I mean.

Anyway … While working on Cunard’s Sea Goddess, Dahlmann met Sirio Maccioni, the founder of Le Cirque 2000. Sirio was so impressed with Jens’ skills in the kitchen that he offered him the opportunity to become sous-chef at this New York landmark. After four years of working in Manhattan, Dahlmann then headed south to become executive chef at Palm Beach’s prestigious Café L’Europe.

Jens Dahlmann back during his Disney World days

And once Jens began wowing foodies in Florida, it wasn’t all that long ’til the Mouse came a-calling. Mickey wanted Dahlmann to shake things up in the kitchen over at WDW’s Flying Fish Café. And he did such a good job with that Disney’s Boardwalk eatery the next thing Jens knew, he was then being asked to work his magic with the menu at the Contemporary Resort’s California Grill.

From there, Dahlmann had a relatively meteoric rise at the Mouse House. Once he became Epcot’s Food & Beverage general manager, it was only a matter of time before he wound up as the executive chef in charge of this theme park’s annual International Food & Wine Festival. Which – under Jens’ guidance – experienced some truly explosive growth.

“When I took on Food & Wine, that festival was only 35 days long and had gross revenues of just $5.5 million. When I left Disney in 2016, Food & Wine was now over 50 days long and that festival had gross revenues of $22 million,” Dahlmann admitted during a recent sit-down. “I honestly loved those 13 years I spent at Disney. When I was working there, I learned so much because I was really cooking for America.”

And it was exactly that sort of experience & expertise that Darden wanted to tap into when they lured Jens away from Mickey last year to become LongHorn Steakhouse’s new Vice President and Corporate Executive Chef. But today … Well, Dahlmann is offering tips to those of us who are thinking about cooking steak tips for the Fourth.

Photo by Jim Hill

“When you’re planning on grilling this holiday, if you’re looking for a successful result, the obvious place to start is with the quality of the meat you plan on cooking for your friends & family. If you want the best results here, don’t be cheap when you go shopping. Spend the money necessary for a fresh filet or a New York strip. Better yet a Ribeye, a nice thick one with good marbling. Because when you look at the marbling on a steak, that’s where all the flavor happens,” Jens explained. “That said, you always have to remember that — the higher you go with the quality of your meat — the less time you’re going to want that piece of meat to spend on the grill.”

And speaking of cooking … Before you even get started here, Jens suggests that you first take the time to check over all of your grilling equipment. Making sure that the grill itself is first scraped clean & then properly oiled before you then turn up the heat.

“If you’re working with a dirty grill, when you go to turn your meat, it may wind up sticking to the grill. Or maybe those spices that you’ve just so carefully coated your steak with will wind up sticking to the grill, rather than your meat,” Dahlmann continued. “Which is why it’s always worth it to spend a few minutes prior to firing up your grill properly cleaning & oiling it.”

Photo by Jim Hill

And speaking of heat … Again, before you officially get started grilling here, Jens says that it’s crucial to check your temperature gauges. Make sure that your char grill is set at 550 (so that it can then properly handle the thicker cuts of meat) and your flattop is set at 425 (so it can properly sear thinner pieces of meat).

Okay. Once you’ve bought the right cuts of quality meat, properly cleaned & oiled your grill, and then made sure that everything’s set at the right temperature (“If you can only stand to hold your hand directly over the grill for two or three seconds, that’s the right amount of heat,” Dahlmann said), it’s now time to season your steaks.

“Don’t be afraid to be bold here. You can’t be shy when it comes to seasoning your meat. You want to give it a nice coating. Largely because — if you’re using a char grill — a lot of that seasoning is just going to fall off anyway,” Jens stated. “It’s up to you to decide what sort of seasoning you want to use here. Even just some salt & pepper will enhance a steak’s flavor.”

Then – according to Dahlmann – comes the really tough part. Which is placing your meat on the grill and then fighting the urge to flip it too early or too often.

“The biggest mistake that a lot of amateur cooks make is that they flip the steak too many times. The real key to a well-cooked piece of meat is just let it be, “Jens insisted. “Of course, if you’re serving different cuts of meat at your Fourth of July feast, you always want to put your biggest thickest steak on the grill first. If you’re also cooking a New York Strip, you want to put that one on a few minutes later. But after that, just let the grill do its job and flip your meat a total of three or four times, once every three minutes or so.”

Of course, the last thing you want to do is overcook a quality piece of meat. Which is why Dahlmann suggests that – when it comes to grilling steaks – if you’re going to err, err on the side of undercooking.

“You can always put a piece of meat back on the grill if it’s slightly undercooked. When you over-cook something, all you can do then is start over with a brand-new piece of meat,” Jens said. “Just be sure that you’re using the correct cut of meat for the cooking result you’re aiming for. If someone wants a rare or medium rare steak, you should go with a thicker cut of steak. If one of your guests wants their steak cooked medium or well, it’s best to start with a thinner cut of meat.”

Photo by Jim Hill

As you can see, the folks at Longhorn take grilling steaks seriously. How seriously? Just last week at Darden Corporate Headquarters in Orlando, seven of these brand’s top grill masters (who – after weeks of regional competitions – had been culled from the 491 restaurants that make up this chain) competed for a $10,000 prize in the Company’s second annual Steak Master Series. And Dahlmann was one of the people who stood in Darden’s test kitchens, watching like a hawk as each of the contestants struggled to prepare six different dishes in just 20 minutes according to Longhorn Steakhouse’s exacting standards.

“I love that Darden does this. Recognizing the best of the best who work this restaurant,” Jens concluded. “We have a lot of people here who are incredibly knowledgeable & passionate when it comes to grilling.”

Speaking of which … If today’s story doesn’t include the exact piece of info that you need to properly grill that T-bone, just whip out your iPhone & text GRILL to 55702. Or – better yet – visit prior to firing up your grill or smoker later today. 

This article was originally published by the Huffington Post on Tuesday, July 4, 2017

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Brattleboro’s Strolling of the Heifers is a sincere if somewhat surreal way to spend a summer’s day in Vermont



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Some people travel halfway ‘around the planet so that they can then experience the excitement of the Running of the Bulls in Pamplona. If you’re more of a Slow Living enthusiast (as I am), then perhaps you should amble to Brattleboro, VT. Where – over the first weekend in June – you can then join a herd of cow enthusiasts at the annual Strolling of the Heifers.

Now in its 16th year, this three-day long event typically gets underway on Friday night in June with a combination block party / gallery walk. But then – come Saturday morning – Main Street in Brattleboro is lined with thousands of bovine fans.

Photo by Jim Hill

They’ve staked out primo viewing spots and set up camp chairs hours ahead of time. Just so these folks can then have a front row seat as this year’s crop of calves (which all come from local farms & 4-H clubs) are paraded through the streets.

Photo by Jim Hill

Viewed from curbside, Strolling of the Heifers is kind of this weird melding of a sincere small town celebration and Pasadena’s Doo Dah Parade. Meaning that – for every entry that actually acknowledged this year’s theme (i.e. “Dance to the Moosic”) — …

Photo by Jim Hill

… there was something completely random, like this parade’s synchronized shopping cart unit.

Photo by Jim Hill

And for every piece of authentic Americana (EX: That collection of antique John Deere tractors that came chugging through the city) …

Photo by Jim Hill

… there was something silly. Like – say – a woman dressed as a Holstein pushing a baby stroller through the streets. And riding in that stroller was a pig dressed in a tutu.

Photo by Jim Hill

And given that this event was being staged in the Green Mountain State & all … Well, does it really surprise you to learn that — among the groups that marched in this year’s Strolling of the Heifers – was a group of eco-friendly folks who, with their  chants of “We’re Number One !,” tried to persuade people along the parade route not to flush the toilet after they pee. Because – as it turns out – urine can be turned into fertilizer.

Photo by Jim Hill

And speaking of fertilizer … At the tail end of the parade, there was a group of dedicated volunteers who were dealing with what came out of the tail end of all those cows.

Photo by Jim Hill

This year’s Strolling of the Heifers concluded at the Brattleboro town common. Where event attendees could then get a closer look at some of the featured units in this year’s parade…

Photo by Jim Hill

… or perhaps even pet a few of the participants.

Photo by Jim Hill

But as for the 90+ calves who took part in the 2017 edition of Strolling of the Heifers, once they reached the town common, it was now time for a nosh or a nap.

Photo by Jim Hill

Elsewhere on the common, keeping with this year’s “Dance to the Moosic” theme, various musical groups performed in & around the gazebo throughout the afternoon.

Photo by Jim Hill

While just across the way – keeping with Brattleboro’s tradition of showcasing the various artisans who live & work in the local community – some pretty funky pieces were on display at the Slow Living Exposition.

Photo by Jim Hill

All in all, attending Strolling of the Heifers is a somewhat surreal but still very pleasant way to spend a summer’s day in Vermont. And that’s no bull.

Photo by Jim Hill

Well, that could be a bull. To be honest, what with the wig & all, it’s kind of hard to tell. 

This article was originally published by the Huffington Post on Sunday, June 4, 2017

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Looking to make an authentic Irish meal for Saint Patrick’s Day? If so, then chef Kevin Dundon says not to cook corned beef & cabbage



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Let’s at least start on a positive note: Celebrated chef, author & TV personality Kevin Dundon – the man that Tourism Ireland has repeatedly chosen as the Face of Irish Food – loves a lot of what happens in the United States on March 17th.

“I mean, look at what they do in Chicago on Saint Patrick’s Day. They toss all of this vegetable-based dye into the Chicago River and then paint it green for a day. That’s terrific,” Kevin said.

But then when it comes to what many Americans eat & drink on St. Paddy’s Day (i.e., a big plate of corned beef and cabbage. Which is then washed down with a mug of green beer) … Well, that’s where Dundon has to draw the line.

Irish celebrity chef Kevin Dundon displays a traditional Irish loin of bacon with Colcannon potatoes and a Dunbrody Kiss chocolate dessert. Photo by Tom Burton. Copyright Disney Enterprises, Inc. All rights reserved

“Green beer? No real Irishman would be caught dead drinking that stuff,” Kevin insists. “And as for eating corned beef & cabbage … That’s not actually authentic Irish fare either. Bacon and cabbage? Sure. But corned beef & cabbage was something that the Irish only began eating after they’d come to the States to escape the Famine. And even then these Irish-Americans only began serving corned beef & cabbage to their friends & family because they had to make do with the ingredients that were available to them at that time.”

And thus begins the strange tale of how corned beef & cabbage came to be associated with the North American celebration of Saint Patrick’s Day celebration. Because – according to Dundon – beef just wasn’t all that big a part of the Irish diet back in the 19th century.

To explain: Back in the Old Country, cattle – while they were obviously highly prized for the milk & cheese that they produced – were also beasts of burden. Meaning that they were often used for ploughing the fields or for hauling heavy loads. Which is why – back then — these animals were rarely slaughtered when they were still young & healthy. If anything, land owners liked to put a herd of cattle on display out in one of their pastures because that was then a sign to their neighbors that this farm was prosperous.

“Whereas pork … Well, everybody raised pigs back then. Which is why pork was a staple of the Irish diet rather than beef,” Dundon continued.

So if that’s what people actually ate back in the Old Country, how then did corned beef & cabbage come to be so strongly associated with Saint Patrick’s Day in the States.? That largely had to do with where the Irish wound up living after they arrived in the New World.

“When the Irish first arrived in America following the Great Famine, a lot of them wound up living in the inner city right alongside the Germans & the Jews, who were also recent immigrants to the States. And while that farm-fresh pork that the Irish loved wasn’t readily available, there was brisket. Which the Irish could then cure by first covering this piece of meat with corn kernel-sized pieces of rock salt – that’s how it came to be called corned beef. Because of the sizes of the pieces of rock salt that were used in the curing process – and then placing all that in a pot of water with other spices to soak for a few days.”

And as for the cabbage portion of corned beef & cabbage … Well, according to Kevin, in addition to buying their meat from the kosher delis in their neighborhood, the Irish would also frequent the stores that the German community shopped in. Where – thanks to their love of sauerkraut (i.e., pickled cabbage) – there was always a ready supply of cabbage to be had.

“So when you get right down to it, it was the American melting pot that led to corned beef & cabbage being found in the Irish-American cooking pot,” Dundon continued. “Since they couldn’t find or didn’t have easy access to the exact same ingredients that they had back in Ireland, Irish-Americans made do with what they could find in the immediate vicinity. And what they made was admittedly tasty. But it’s not actually authentic Irish fare.”

Mind you, what Kevin serves at Raglan Road Irish Pub and Restaurant at Disney Springs (which – FYI – Orlando Magazine voted as the area’s best restaurant back in 2014) is nothing if not authentic. Dundon and his team at this acclaimed gastropub pride themselves on making traditional Irish fare and then contemporized it.

Copyright Disney Enterprises, Inc. All rights reserved

“Take – for example – what we serve here instead of corned beef & cabbage. Again, because it was pork – rather than beef – that was the true staple of the Irish diet back then, what we offer instead is a loin of bacon that has been glazed with Irish Mist. That then comes with colcannon potatoes. Which is this traditional Irish dish that’s made up of mashed potato that have had some cabbage & bacon mixed through it,” Kevin enthused. “This heavenly ham – that’s what we actually call this traditional Irish dish at Raglan Road, Kevin’s Heavenly Ham – also includes some savory cabbage with a parsley cream sauce as well as a raisin cider jus. It’s simple food. But because of the basic ingredients – and that’s the real secret of Irish cuisine. That our ingredients are so strong – the flavors just pop off the plate.”

Which brings us to the real challenge that Dundon and the Raglan Road team face every day. Making sure that they actually have all of the ingredients necessary to make this traditional-yet-contemporized Irish fare to those folks who frequent this Walt Disney World favorite.

“Take – for example – the fish we serve here. We only used cold water fish. Salmon, mussels and haddock that have been hauled out of the Atlantic, the ocean that America and Ireland share,” Kevin stated. “Not that there’s anything wrong with warm water fish. It’s just that … Well, it doesn’t have the same structure. It’s a softer fish, which doesn’t really fit the parameters of Irish cuisine. And if you’re going to serve authentic food, you have to be this dedicated when it comes to sourcing your ingredients.

Copyright Mitchell Beazley. All rights reserved

And if you’re thinking of perhaps trying to serve an authentic Irish meal this year, rather than once again serving corned beef & cabbage at your Saint Patrick’s Day Feast … Well, back in September of last year, Mitchell Beazley published “The Raglan Road Cookbook: Inside America’s Favorite Irish Pub.” This 296-page hardcover not only includes the recipe for Kevin’s Heavenly Ham but also it tells the tale of how this now-world-renown restaurant wound up being built in Orlando.

On the other hand, if you happen to have to the luck of the Irish and are actually down at The Walt Disney World Resort right now, it’s worth noting that Raglan Road is right in the middle of its Mighty St. Patrick’s Day Festival. This four day-long event – which includes Irish bands and professional dancers – stretches through Sunday night. And in addition to all that authentic Irish fare that Dundon and his team are cooking up, you also sample the fine selection of beers & cocktails that this establishment’s four distinct antique bars (each of which are more than 130 years old and were imported directly from Ireland) will be serving. Just – As ucht Dé (That’s “For God’s Sake” in Gaelic) – don’t make the mistake of asking the bartender there for a mug of green beer.

“Why would anyone willingly drink something like that?,” Dundon laughed. “I mean, just imagine what their washroom will look like the morning after.”

This article was originally published by the Huffington Post on Friday, March 17, 2017

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