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Wednesdays with Wade: The bored animator who helped create “Corpse Bride”

With Tim Burton’s latest film now in theaters, Wade Sampson takes a look back at Tim’s tenure at Disney Feature Animation. Back when Burton seemed far too depressed to do all that much animating.

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As “Corpse Bride” continues to delight moviegoers around the country, I really find it kind of amusing that Tim Burton is being hailed as the new modern master of stop motion animation. I mean, if you actually do any research about Burton’s career, you’ll discover fairly quickly that Tim originally wasn’t all that enthusiastic about animation. At least back in the late 1970s, when he worked at Walt Disney Studios.

Timothy William Burton grew up virtually right next door to the Mouse House. Born in Burbank on August 25, 1958, Tim has a brother and two parents from whom he’s always felt distant. His father, a former ballplayer and park-league coach, urged him to go outside and play baseball. When his mother, who owned a boutique specializing in items decorated with cat motifs, suggested he go out and play, Burton would go to a nearby cemetery. However, Burton did feel an affinity for Edgar Allan Poe and Vincent Price and the classic monsters from many horror movies. His earliest ambition was to grow up and be the actor who played Godzilla.

For him, drawing was a sanctuary and in the ninth grade his artwork adorned the garbage trucks of Burbank since he had won first prize for designing an anti-littering poster. Encouraged by his high school art teacher and wanting a career for which he wouldn’t need too much schooling, he got a scholarship to attend California Institute of the Arts. He studied animation and left in 1979 whereupon he went to work immediately at the Disney Studios when they reviewed his last bit of animation, “Stalk of the Celery Monster.”

“What I feel really good about, really happy about, is that I did not go to film school. I went to CalArts and went through animation, where I got a very solid education. You learn design; you draw your own characters, your own backgrounds, your own scenes. You cut it; you shoot it. You learn the storyboarding process. It’s everything, without the bullshit of film school: the competition, the feeling like you’re already in the industry – you don’t get a chance to create,” said Burton.

However, what he was not happy about was working on a typical Disney animated feature, “The Fox and the Hound“. He was teamed with veteran animator Glen Keane whom Burton described as “nice. He was good to me; he’s a really strong animator and he helped me.” But all the help in the world wasn’t enough and Burton found himself assigned to drawing the distance shots where his lack of “Disney style” drawing would be less noticeable.

“I couldn’t draw those four-legged Disney foxes. I just couldn’t do it. I couldn’t even fake the Disney style. Mine looked like roadkills,” he claimed.

I was employed on ‘The Fox and the Hound’ for about a year, but I just couldn’t do it. I’d gone to Cal Arts, which had sort of a program, training people for Disney, but I couldn’t get the style. It was too soft for me. I tried very hard, but–It was so weird, I had an office at Disney, and I could look out the window, and see the hospital where I was born, St. Joseph’s, and the cemetery where my grandfather is buried, Forest Lawn. It was like the Bermuda Triangle. I was working on “The Fox and the Hound”, and it was pretty quickly obvious that I was not cut out for it. It was, like, oh man, I couldn’t do it. I couldn’t handle it. At Disney, I almost went insane. I really did. I don’t ever want to get that close to that certain kind of feeling that I had. Who knows what a nervous breakdown is? Or who knows what going off the edge is? I don’t want to get that close again. Number one is, I was just not Disney material. I could just not draw cute foxes for the life of me. I couldn’t do it. I tried. I tried, tried. The unholy alliance of animation is you are called upon to be an artist, but on the other hand, you are called upon to be a zombie factory worker. And for me, I could not integrate the two. Also, at the time they were making kind of shitty movies. And it took them five or six years to make a movie. There’s that cold, hard fact: Do you want to spend six years of your life working on ‘The Fox and the Hound’? There’s a soul-searching moment when the answer is pretty clear.”

Burton’s behavior was odd. He slept ten hours at home and another four at work, sitting up straight in his chair with his pencil ready to move if anyone came in while he was sitting there. It was a sign of depression. Co-workers might find him hiding in a closet or under his desk. Disney was going through a period of transition and this type of “artistic” behavior apparently wasn’t bothersome. In an attempt to find an outlet for the obviously talented Burton, Disney decided to make him a concept artist and team him with another animator, Andreas Deja.

“They were very nice to me. They said, ‘We’re doing this movie, ‘The Black Cauldron‘, so I just sat in a room for a year and came up with ideas and stuff, just drew any idea I wanted to, and it was great. It was like weird characters, weird props, weird furniture, just sitting in a room doing whatever I wanted. But at some point I realized they had no intention of using any of it. It was like that show, ‘The Prisoner.’ It was all very pleasant, all very nice, everyone’s smiling and being very supportive. But it’s like you realize early on that it’s like a vacuum, a black hole. When I was at Disney, animation was in a terrible state. I just wanted to get out. The talent was there, but they didn’t have the foresight to see that people have a sense of quality and would respond to it. But I think the success of the recent Disney films has been good for animation.”

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It was really not a collaboration between Burton and Deja. Their styles and personalities were very different. While some of Deja’s designs made it into the final film, none of Burton’s work did. All of that work is owned by the Disney Studio and if they were clever they could release a book of Burton’s imaginative sketches for the film including a creature that is created by four distinctive animals when it is frightened. Burton’s work for the project was typical Burton: very dark and scratchy and angular. However, Burton’s work caught the attention of producer Julie Hickson and the head of creative development at Disney at the time, Tom Wilhite.

It was Wilhite who came up with sixty thousand dollars so that Burton could develop a children’s book he had been working on about a boy who wanted to grow up and be Vincent Price. It seemed more than a little autobiographical. After three years working at Disney, Burton would finally get to work on a project that was truly his vision, a stop motion short entitled “Vincent.”

Burton was able to secure the services of Price himself as the film’s narrator. Price loved the poem and understood what Burton wanted to accomplish. For Burton, it was a joy meeting his idol who lived up to all his expectations and more.

Burton’s next project was a short film for the Disney Channel, “Hansel and Gretel” done with an all Japanese cast. Burton made the children’s father a toymaker so he and Rick Heinrichs who he had worked with on “Vincent” had fun creating unusual toys that were showcased on a Disney Channel special hosted by animation historian John Culhane. “Hansel and Gretel” was shown only once and has never been re-issued.

Burton also did some concept work for the live action film, “Toys”, and for another project entitled “Trick or Treat” that would have dealt with kids on Halloween and a haunted house. Before he left Disney in 1984, Burton also directed a black and white live action short entitled “Frankenweenie“, a twist on the classic “Frankenstein” horror film where a young boy brings his dog, Sparky, back to life.

Burton also worked on another poem story about a Halloweenland. HenrySelick first encountered Tim Burton and “The Nightmare Before Christmas” at Disney in the early 1980s, when Burton proposed it as a 30-minute television special perhaps narrated by Vincent Price. Selick was also having difficulty adapting to the Disney Way.

After leaving Disney, Selick worked for several weeks in Seattle on Carroll Ballard’s 1986 film of Pacific Northwest Ballet’s “Nutcracker,” creating storyboards and miniatures. He also worked in collaboration with Portland animator Will Vinton on “Return to Oz.” “Storyboarding was how I learned to direct, and I worked on ‘Oz’ for about a year,” said Selick.

Burton was more than content to write and produce “The Nightmare Before Christmas” and to leave his old friend, Selick, to direct it.

“I’m very happy with the way it worked out. It was very comfortable for every one of us. When I was in animation, I had to get out because I didn’t have the patience for it. To me, the artistic spirit is very spontaneous – when you get a thought that’s very creative or exhilarating, and then you apply it to this long drawn out process, it’s very difficult. And this type of animation (stop motion) is even more difficult because it takes so long. What keeps you going through making a movie like Nightmare is the energizing feeling you get when each of those shots come through.”

I guess it’s just too bad that Tim Burton didn’t feel all that energized when he first worked for Disney Feature Animation.

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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  ExpertGriller.com 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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