#Peter Milne

[luminouslumity]

Welcome to the Public Domain, Mickey! And he ain't the only one!

[replicant-jinx]

I got to give Peter Cullen and Alex Milne handmade rugs today 🥺

[batboyblog]

Copy Right and Public Domain in 2024

Happy 2024 all! its also Public Domain Day! a magical holiday here in America where things enter the public domain. Works published in the year 1928 (or 95 years ago!) have entered the public domain, which means they belong to us, all of us, the public!

Mickey's Back!

Yes! I'm sure you've heard, but Mickey Mouse (and Minnie Mouse too) is entering the Public Domain today. This has been news for a few years and indeed Disney's lobbying in the late 1990s is why our copy right term is SO long. So what exactly is now public domain?

Most people know about Mickey's first appearance Steamboat Willie, but a second short film, Plane Crazy was also released in 1928 so will also be public domain. So what's public? well these two films first of all, you're allowed to play them, upload them to YouTube or whatever without paying Disney. In theory you'll be allowed to cut and sample them, have them playing in the background of your movie etc. Likewise in theory the image of Mickey and Minnie as they appear (thats important) in these films will be free to use as well as Mickey's character as he appears in these works will be free to use. Now Mickey's later and more famous appearance

will still be protected. Famously the Conan Doyle Estate claimed that Sherlock Holmes couldn't be nice, smile, or not hate women in works because they still held the copyright on the short stories where he first did those things even though 90% of Sherlock Holmes stories were public domain. It's very likely Disney will assert similar claims over Mickey, claiming much of his personality first appeared in works still copyrighted.

Finally there's copyright vs trademark. Copyright is total ownership of a piece of media and all the ideas that appear in it, copyright has a limited set term and expires. Trademark is more limited and only applies to things used to market and sell a product. You can have a Coke branded vending machine in your movie if you want, but it couldn't appear anywhere in the trailer for your movie as thats you marketing your movie.

Where trademark ends and copyright begins and how trademarked something in the public domain is allowed to be are all unsettled areas of law and clearly Disney in the last few years as been aggressively pushing its trademark not just to Mickey in general but Steamboat Willie Mickey in particular

Ultimately the legal rights and wrongs of this might not matter so much since few people have the money and legal resources of the Walt Disney corporation so they might manage to maintain a de facto copyright on Mickey through legal intimidation, but maybe not?

And Tigger Too!

All the talk about Mickey Mouse and Steamboat Willie has sadly overshadowed other MAJOR things entering the public domain today. Most people are aware Winnie the Pooh entered the public domain in 2022, but they might not realize his beloved friend Tigger didn't. Thats because Tigger didn't appear till A. A. Milne's second (and last) book of Pooh short stories, The House at Pooh Corner in 1928.

Much like Mickey Mouse only what appears in The House at Pooh Corner is public domain so the orange bouncy boy from the 1960s Disney cartoon is still on lock down. But the A. A. Milne original as illustrated by E. H. Shepard is free for you to use in fiction or art. His friend Winnie the Pooh has made a number of appearances since being freed, most notably in a horror movie, but also a Mint Mobile commercial so maybe Tigger too will have a lot of luck in the public domain.

Other works:

Peter Pan; or the Boy Who Wouldn't Grow Up

Peter Pan is a strange case, even though the play was first mounted in 1904, and the novelization (Peter and Wendy) was published in 1911, The script for the play was not published till 1928 (confusing!) meaning while the novel as been public domain for years the play (which came first) hasn't been, but now it is and people are welcome to mount productions of it.

Millions of Cats

The oldest picture book still in print, did you own a copy growing up? (I did)

Lady Chatterley's Lover

The iconic porn novel that was at the center of a number of groundbreaking obscenity cases in the 1960s and helped establish your right to free speech.

All Quiet on the Western Front and The Threepenny Opera in their original German (but you can translate them if you want), The Mystery of the Blue Train by Agatha Christie, and Orlando by Virginia Woolf will also be joining us in the public domain along with any and all plays, novels, and books published in 1928

for Films we have The Man Who Laughs who's iconic image inspired the Joker

Charlie Chaplin's The Circus, Buster Keaton's The Cameraman, Should Married Men Go Home? the first Laurel and Hardy movie, Lights of New York the first "all talking" movie, The Passion of Joan of Arc, The Wind, as well as The Last Command and Street Angel the first films to win Oscars for Best Actor and Best Actress respectively will all be entering public domain

For Musical Compositions (more on that in a moment) we've got

Mack the Knife by Bertolt Brecht, Let’s Do It (Let’s Fall in Love) by Cole Porter, Sonny Boy by George Gard DeSylva, Lew Brown & Ray Henderson, Empty Bed Blues by J. C. Johnson, and Makin’ Whoopee! by Gus Khan are some of the notables but any piece of music published in 1928 is covered

Any art work published in 1928, which might include works by Frida Kahlo, Georgia O'Keeffe, Alexej von Jawlensky, Edward Hopper, and André Kertész will enter the public domain, we are sure those that M. C. Escher's Tower of Babel will be in the public domain

Swan Song, Public Domain and recorded music

While most things are covered by the Copyright Act of 1976 as amended by the Digital Millennium Copyright Act, none of the copyright acts covered recordings you see when American copyright law was first written recordings did not exist and so through its many amendings no one fixed this problem, movies were treated like plays and artwork, but recorded sound wasn't covered by any federal law. So all sound recordings from before 1972 were governed by a confusing mess of state level laws making it basically impossible to say what was public and what was under copyright. In 2017 Congress managed to do something right and passed the Music Modernization Act. Under the act all recordings from 1922 and before would enter the public domain in 2022. After taking a break for 2023, all sound recordings made in 1923 have entered the public domain today on January 1st 2024, these include.

Charleston by James P. Johnson

Yes! We Have No Bananas (recorded by a lot artists that year)

Who’s Sorry Now by Lewis James

Down Hearted Blues by Bessie Smith

Lawdy, Lawdy Blues by Ida Cox

Southern Blues and Moonshine Blues by Ma Rainey

That American Boy of Mine and Parade of the Wooden Soldiers by Paul Whiteman and his Orchestra

Dipper Mouth Blues and Froggie More by King Oliver’s Creole Jazz Band, featuring Louis Armstrong

Bambalina by Ray Miller Orchestra

Swingin’ Down the Lane by Isham Jones Orchestra

Enjoy your public domain works!

[ultraozzie3000]

The Wild West

As in her other films, Mae West’s character in I’m No Angel was sexually independent and unapologetically so. (Kino Lorber) We first encountered Mae West back in 1926 when The New Yorker commented on her risqué Broadway play, Sex. Although the play was the biggest ticket in town, it eventually attracted a police raid that landed West in jail on morals charges. Sentenced to ten days for…

[nonsensology]

This was supposed to just be a rough sketch, but then I started getting really invested in it.

I hadn't initially intended to include so many picture book characters, but the nostalgia was overwhelming. Does anyone remember the animated short films produced by Weston Woods? My local library used to have a bunch of them on the Scholastic VHS tapes from the late 90s. (I know some shorts were released on the Children's Circle VHS tapes back in the 80s (🎶 Come on along! Come on along! Join the caravan!), and some were packaged in Sammy's Story Shop in 2008.)

Characters:

Max, from Where the Wild Things Are, written and illustrated by Maurice Sendak

Peter, from The Snowy Day, written and illustrated by Ezra Jack Keats

Brother Bear and Sister Bear, from The Berenstain Bears series, written and illustrated by Stan and Jan Berenstain

Pooh and Piglet, from the Winnie-the-Pooh books, by A. A. Milne, illustrated by E. H. Shepard

Owen, from Owen, written and illustrated by Kevin Henkes.

Mouse, from If You Give a Mouse a Cookie, by Laura Joffe Numeroff, illustrated by Felicia Bond

Louis, from The Trumpet of the Swan, by E. B. White

Mr. Toad, from The Wind in the Willows, by Kenneth Grahame, based on the illustrations by E. H. Shepard

Mr. Tumnus, from The Chronicles of Narnia series, by C. S. Lewis

Pippi and Mr. Nilsson, from the Pippi Longstocking books, by Astrid Lindgren

Willy Wonka, from Charlie and the Chocolate Factory, by Roald Dahl, based on the illustrations by Quentin Blake

Matilda, from Matilda, by Roald Dahl, based on the illustrations by Quentin Blake (with an homage to the Mara Wilson movie)

Peter Pan and Tinker Bell, from Peter Pan, by J. M. Barrie

Merlin and Archimedes, from The Sword in the Stone, by T. H. White, based on the illustrations by Dennis Nolan

Pinocchio, from Pinocchio, by Carlo Collodi, based on the illustrations by Enrico Mazzanti

Alice, White Rabbit, and Cheshire Cat, from Alice's Adventures in Wonderland, by Lewis Carroll, illustrated by John Tenniel

Rupert Bear, from the Rupert stories, created by Mary Tourtel and continued by Alfred Bestall, John Harrold, Stuart Trotter, and others.

Arthur Read, from the Arthur series, written and illustrated by Marc Brown

Tin Woodman and Scarecrow, from the Land of Oz series, by L. Frank Baum, based on the illustrations by W. W. Denslow and John R. Neill

The Cat in the Hat, from The Cat in the Hat, written and illustrated by Dr. Seuss

a frog on a flying lily pad, from Tuesday, written and illustrated by David Wiesner

Charlotte, from Charlotte's Web, by E. B. White

[nightmareveil]

nick cave & rowland s howard photographed by peter milne, 1978

[calamitoustide]

Anyway, Don't Be A Stranger, Right?

Treehouse - Alex G, Emily Yacina/Little Women (2019)/Halloween - Pheobe Bridgers/unknown/unknown/Nightclothes - Radical Face/Little Women (2019)/unknown/unknown/The Fall of the House of Usher-Steven Berkoff/aroar - #6/Black Widow (2021)/Two bird - Regina Spektor/Peter - Taylor Swift/Winnie-the-Pooh, A.A Milne/Ryne's Song - Ashe/The Bear/My Sister’s Keeper, Jodi Picoult/The Hunger Games: Catching Fire/Night Clothes - Radical Face/Little Women (2019)/Killing Flies - Michael Dickman

[letrune]

The best writer?

Dedicated to @bitterkarella and taken a bit of... okay, a LOT of tone from their works. Check them out!

A dark room, with robed figures standing around, uneasily shifting their weight as their leader rises.

JKR: Hello children… I am the bessst author all around, they sssay, and it isss true. ?: Ehem, excuse me, sorry, coming thru. Hello, everyone. Allow me to introduce myself. I am The Bard. JKR: William Shakespeare: You may know my tales. I know you do, you happily cribbed from some.

JKR: I ssaid I am the bessst children'sss author… ?: Oh, sorry, pardon for intruding. Hi. Erich Kästner. You may know me as the man who wrote Emil and the Detectives. JKR: Britisssh author, asss I sssaid… ?: Pardon me for interrupting, I am A. A. Milne. I, well, can't help to notice what you said, and how it was, well, not so truthful.

JKR: Asss I sssaid, I am the bessst adult human female author all- ?: Oh, excuse me. Beatrix Potter, greetings everyone. So, I have heard that you got my name in your little story? JKR: …I never even heard of you. Beatrix Potter: Now that would be quite a feat, when almost every British child, especially from your background, grew up with Peter Rabbit… And I made research on fungi. JKR: Mosssst prolific writer of all timesss!

The darkness near them falls asunder and the sound of a typewriter can be heard. As she turns, she sees a man, sitting on a throne made of books, typing with no real pause. ?: Hello all. Isaac Asimov. I don't think I got to say more. JKR: I don't know you. Asimov: Then you never opened a sci-fi book from the past 80 years. Nor any chemistry book worth its salt. Speaking of, did you finally checked some of the biology books referencing me, or are you still making up things?

Jkr: …mossst versssatile- ?: Oh, pardon me, Enid Blyton. You may know me as the one who gave the world Noddy, the Famous Five and the Naughty Girl series. JKR: You write about naughty girlsss? Like a male would? ?: Oh, sorry. I have to say, you misunderstand what she meant by that word. Oh, where are my manners? Just call me Mr. Rogers, please.

JKR woke up, drenched in sweat. She brushed off a few hundred pounds off of herself, still sticky from the sweat, and grabbed her phone to go on eksh dot com. However, the parental lock was still on.

[wingdingsandbrokenstrings]

Peter Venkman Headcanons I've had over the years:

His name is actually pronounced 'Vinkman' (if you listen closely that's actually how he pronounces it)

His ego is a sham. He's incredible self-conscious and covers it up with bad humour

He's autistic but presents differently than Egon and Ray. His struggle with social interactions and forming bonds drove him to study psychology.

He's bipolar.

I do love the circus background presented by Mueller in the novelization and the Real Ghostbusters (We do NOT look at the Larry Milne version). I think it offers a unique style of social scripting that accounts for his peculiar persona.

[kollaps7]

Blixa Bargeld & Beate Bartel

Photo by Peter Milne

[princesssarisa]

Opera on YouTube, Part 2

Le Nozze di Figaro (The Marriage of Figaro)

Glyndebourne Festival Opera, 1973 (Knut Skram, Ileana Cotrubas, Kiri Te Kanawa, Benjamin Luxon; conducted by John Pritchard; English subtitles)

Jean-Pierre Ponnelle studio film, 1976 (Hermann Prey, Mirella Freni, Kiri Te Kanawa, Dietrich Fischer-Dieskau; conducted by Karl Böhm; English subtitles) – Acts I and II, Acts III and IV

Tokyo National Theatre, 1980 (Hermann Prey, Lucia Popp, Gundula Janowitz, Bernd Weikl; conducted by Karl Böhm; Japanese subtitles)

Théâtre du Châtelet, 1993 (Bryn Terfel, Alison Hagley, Hillevi Martinpelto, Rodney Gilfry; conducted by John Eliot Gardiner; Italian subtitles)

Glyndebourne Festival Opera, 1994 (Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt; conducted by Bernard Haitink; English subtitles)

Zürich Opera House, 1996 (Carlos Chaussón, Isabel Rey, Eva Mei, Rodney Gilfry; conducted by Nikolaus Harnoncourt; English subtitles)

Berlin State Opera, 2005 (Lauri Vasar, Anna Prohaska, Dorothea Röschmann, Ildebrando d'Arcangelo; conducted by Gustavo Dudamel; French subtitles)

Salzburg Festival, 2006 (Ildebrando d'Arcangelo, Anna Netrebko, Dorothea Röschmann, Bo Skovhus; conducted by Nikolas Harnoncourt; English subtitles) – Acts I and II, Acts III and IV

Teatro all Scala, 2006 (Ildebrando d'Arcangelo, Diana Damrau, Marcella Orasatti Talamanca, Pietro Spagnoli; conducted by Gérard Korsten; English and Italian subtitles)

Salzburg Festival, 2015 (Adam Plachetka, Martina Janková, Anett Fritsch, Luca Pisaroni; conducted by Dan Ettinger; no subtitles)

Tosca

Carmine Gallone studio film, 1956 (Franca Duval dubbed by Maria Caniglia, Franco Corelli, Afro Poli dubbed by Giangiacomo Guelfi; conducted by Oliviero de Fabritiis; no subtitles)

Gianfranco de Bosio film, 1976 (Raina Kabaivanska, Plácido Domingo, Sherrill Milnes; conducted by Bruno Bartoletti; English subtitles)

Metropolitan Opera, 1978 (Shirley Verrett, Luciano Pavarotti, Cornell MacNeil; conducted by James Conlon; no subtitles)

Arena di Verona, 1984 (Eva Marton, Jaume Aragall, Ingvar Wixell; conducted by Daniel Oren; no subtitles)

Teatro Real de Madrid, 2004 (Daniela Dessí, Fabio Armiliato, Ruggero Raimondi; conducted by Maurizio Benini; English subtitles)

Royal Opera House, Covent Garden, 2011 (Angela Gheorghiu, Jonas Kaufmann, Bryn Terfel; conducted by Antonio Pappano; English subtitles)

Finnish National Opera, 2018 (Ausrinė Stundytė, Andrea Carè, Tuomas Pursio; conducted by Patrick Fournillier; English subtitles)

Teatro alla Scala 2019 (Anna Netrebko, Francesco Meli, Luca Salsi; conducted by Riccardo Chailly; Hungarian subtitles)

Vienna State Opera, 2019 (Sondra Radvanovsky, Piotr Beczala, Thomas Hampson; conducted by Marco Armiliato; English subtitles)

Ópera de las Palmas, 2024 (Erika Grimaldi, Piotr Beczala, George Gagnidze; conducted by Ramón Tebar; no subtitles)

Don Giovanni

Salzburg Festival, 1954 (Cesare Siepi, Otto Edelmann, Elisabeth Grümmer, Lisa della Casa; conducted by Wilhelm Furtwängler; English subtitles)

Giacomo Vaccari studio film, 1960 (Mario Petri, Sesto Bruscantini, Teresa Stich-Randall, Leyla Gencer; conducted by Francesco Molinari-Pradelli; no subtitles)

Salzburg Festival, 1987 (Samuel Ramey, Ferruccio Furlanetto, Anna Tomowa-Sintow, Julia Varady; conducted by Herbert von Karajan; no subtitles)

Teatro alla Scala, 1987 (Thomas Allen, Claudio Desderi, Edita Gruberova, Ann Murray; conducted by Riccardo Muti; English subtitles)

Peter Sellars studio film, 1990 (Eugene Perry, Herbert Perry, Dominique Labelle, Lorraine Hunt Lieberson; conducted by Craig Smith; English subtitles)

Teatro Comunale di Ferrara, 1997 (Simon Keenlyside, Bryn Terfel, Carmela Remigio, Anna Caterina Antonacci; conducted by Claudio Abbado; no subtitles) – Act I, Act II

Zürich Opera, 2000 (Rodney Gilfry, László Polgár, Isabel Rey, Cecilia Bartoli; conducted by Nikolaus Harnoncourt; English subtitles)

Festival Aix-en-Provence, 2002 (Peter Mattei, Gilles Cachemaille, Alexandra Deshorties, Mirielle Delunsch; conducted by Daniel Harding; no subtitles)

Teatro Real de Madrid, 2006 (Carlos Álvarez, Lorenzo Regazzo, Maria Bayo, Sonia Ganassi; conducted by Victor Pablo Pérez; English subtitles)

Festival Aix-en-Provence, 2017 (Philippe Sly, Nahuel de Pierro, Eleonora Burratto, Isabel Leonard; conducted by Jérémie Rohrer; English subtitles)

Madama Butterfly

Mario Lanfranchi studio film, 1956 (Anna Moffo, Renato Cioni; conducted by Oliviero de Fabritiis; no subtitles)

Jean-Pierre Ponnelle studio film, 1974 (Mirella Freni, Plácido Domingo; conducted by Herbert von Karajan; English subtitles)

New York City Opera, 1982 (Judith Haddon, Jerry Hadley; conducted by Christopher Keene; English subtitles)

Frédéric Mitterand film, 1995 (Ying Huang, Richard Troxell; conducted by James Conlon; English subtitles)

Arena di Verona, 2004 (Fiorenza Cedolins, Marcello Giordani; conducted by Daniel Oren; Spanish subtitles)

Sferisterio Opera Festival, 2009 (Raffaela Angeletti, Massimiliano Pisapia; conducted by Daniele Callegari; no subtitles)

Vienna State Opera, 2017 (Maria José Siri, Murat Karahan; conducted by Jonathan Darlington; no subtitles)

Wichita Grand Opera, 2017 (Yunnie Park, Kirk Dougherty; conducted by Martin Mazik; English subtitles)

Teatro San Carlo, 2019 (Evgenia Muraveva, Saimir Pirgu; conducted by Gabriele Ferro; no subtitles)

Rennes Opera House, 2022 (Karah Son, Angelo Villari; conducted by Rudolf Piehlmayer; French subtitles)

[jesuis-melodrama]

My Favourite Reasons For Why the Great War Started

1. Revolutionary Justice in an Unequal Caste-System Society.

I adore the IDW comics, it's the second Transformers media I consumed after the franchised Michael Bay films, and let me tell you – I was not expecting all these heavy explorations into bot psyche, romance, societal injustice, and redemption. Really, it seriously surprised me, I never expected to see actual canonical romance in the Transformers universe, it always struck me as the type of medium to focus on action first.

So – thank you, James Roberts and Alex Milne.

There's so many characters and arcs I could talk about – Cyclonus and Tailgate and Whirl; Chromedome and Rewind; poor poor Shockwave; whatever's going on with Prowl; Starscream, Bumblebee, and Windblade attempting to scrape Cybertron back together; that one time Rodimus and Megatron's charisma was so awe-inspiring, it made personality parasites explode – but I want to focus on how the Great War began in IDW.

It's the first media to suggest Megatron not as a power-hungry tyrant, but formerly as a member of Cybertron's suppressed working class forced to labour due to the alt-mode he was born with. Sick of and unwilling to accept the subjugation imposed upon him and fellow mechs like him, Megatron rises from miner to gladiator who eventually becomes powerful enough to seize power as a revolutionary and then ascends to the image of the all-mighty Lord Megatron that is synonymous with his name.

Optimus, on the other hand, had somewhat humble beginnings as a strict but fair and righteous police captain named Orion Pax struggling to provide justice in a society deeply embedded with corruption.

Although both Megatron and Optimus sought to revolutionise Cybertron into a world where all bots are equal and uninhibited from potential and free will by their alt-modes, they had very different ideologies and motivations on how and why to reach this goal. Megatron, especially, loses his way and path eventually, and continued his slaughter not for the means to an end, but because he began to crave the "pleasure" from the act.

Optimus didn't escape unscathed from tragic ramifications either: the mantle of leadership as the war dragged on for thousands of millennia weighed heavily upon him, so much that his later psyche in the comics could be described as suicidal.

But whatever that infects these two old bots in the future, young Megatron and Optimus were, in some strange way, allies, out of mutual respect and acknowledgement of the other if nothing else.

The war was initiated and continued by them, because they both believed in a better Cybertron, and millions of years later, thousands of atrocities after, unspeakable acts of war crimes, the Great War ended with both of them remembering what they were fighting for in the first place.

IDW's concept that Megatron was a gladiator turned revolutionary and Orion Pax became Optimus Prime who was inspired by Megatron's words made its way to the Transformers: Prime animated series, allowing this universe's rendition of the two titans to be voiced by Peter Cullen and Frank Welker, the legends themselves.

2. Lord Prime and Lord High Protector

Whatever contentions (of the many) that may be had with Michael Bay's re-imagining of this iconic franchise; you've gotta admit: the designs were cool.

Bay gave us Megatron's ram-head helmet, the astonishing CGI transformations, and the adorable Bumblebee design that has since become a classic of the character.

And according to Chris McFeely's video on the Great War, apparently, Bay's Transformers is the first Transformers media to introduce the idea that Megatron and Optimus had personal pre-war relations, some intimate form of brotherhood and camaraderie, while other adaptations at this point only alluded to their connection as rival leaders who rose to power at roughly the same time.

Bay took it a step further; Megatron isn't simply an opportunistic warlord making a grab for power, he was once a legitimate ruler holding an equal throne besides Optimus.

That's right, Bay crafted the title of Lord High Protector, a Cybertronian ruler of high status with authority over military affairs, ruling in tandem with the Lord Prime, Optimus, who was in charge of more civilian and spiritual duties.

It's interesting, this idea, because it implies far more depth to Optimus and Megatron's history, they must have been ruling together for quite some time before Megatron fastened his greedy claws on the All Spark.

I, for one, am curious in a series that explores how they ruled Cybertron together and how exactly this fracture came to be.

3. Megatron Dunks on a Dock Worker for the Fun of It

The classics of the classics, the first Transformers show to place the universe on the map: the archetypal G1 cartoon series that featured wacky shenanigans such as battling dinosaurs on a remote island or Soundwave and his Cassettes dancing with teenagers at a local gymnasium party.

G1 followed a very traditional hero-vs-villain formula, inspired by the Cold War tension at the time of airing and writing; there was no personal connections or noble aspirations for an equal society – Megatron was simply a campy, formidable scoundrel who yearned for power and Optimus Prime was the honourable, paternal everyday hero who rose to be the leader of the force resisting him and his army (at this point, Prime wasn't even a title, it was just Optimus' last name!).

Optimus Prime still had a previous form of Orion Pax, a dock worker rather than a police officer or an archivist, and Megatron was once an admired figure of Orion's, whose parasocial adoration was disintegrated when Megatron blew up Orion's workplace, critically injuring him and girlfriend, Ariel (soon to be Elita-1), and de-activating best friend, Dion. From the ashes of destruction, reconstructed by Alpha Trion, Orion became the battle-masked, audial-finned, red and blue paragon of justice that shouldered the burden of command in the war against Megatron and his evil Deceptions.

[scotianostra]

James Scott Skinner, widely regarded as one of the most influential fiddlers in Scottish traditional music, was born on August 5th 1843.

Born at Arbeadie Village in the Parish of Banchory his father was a Dance Master and James and his brothers were all very musical. He composed many tunes which are still being played today. Skinner was also a close friend of yesterday's subject Harry Lauder, who was chief mourner at Scott Skinner's funeral in 1927.

James was taught cello and fiddle by his older brother Sandy, and later by his mentor Peter Milne, himself considered one of the greatest musicians on the era. In 1855 he joined Dr Mark's 'Little Men' - a children's orchestra - and travelled the theatres with them for six years.

By 1870 Skinner was married and conducting business as a dancing master and solo fiddler, his reputation as the latter growing year by year until 1890s when he was touring the United States. Skinner was a prolific composer, some 600 tunes being known.

Some of his recorded output is available on CD, but it doesn't fall easily on our modern ears; Skinner's style was of its time and is difficult to penetrate today., however there is one of his tunes that is often played, not only played on the Fiddle but on Bagpipes quite often, Hector the Hero., performed below by Jenna Reid, and the great Aly Bain.

You can also read more about Skinner here http://www.visitbanchory.com/heritage/james-scott-skinner/

[backstagecurtain]

nick cave with the boys next door c.1977 by peter milne (source)

[kwebtv]

The Lost Room - SyFy Channel - December `11 - 13, 2006

Supernatural / Mystery (3 episodes)

Running Time: 262 minutes Total

Stars:

Peter Krause as Detective Joe Miller

Elle Fanning as Anna Miller

Chris Bauer as Detective Lou Destefano

April Grace as Detective Lee Bridgewater

Dennis Christopher as Dr. Martin Ruber 

Julianna Margulies as Jennifer Bloom

Kevin Pollak as Karl Kreutzfeld

Peter Jacobson as Wally Jabrowski 

Ewen Bremner as Harold Stritzke

Roger Bart as Howard "The Weasel" Montague

Chris McCarty as Milton Vrang

Margaret Cho as Suzie Kang 

Jason Antoon as The Sood

Jason Douglas as Anthony

Hugo Perez as Pumeet 

Tim Guinee as The Occupant, formerly Eddie McCleister

Jorge Pallo as Ignacio "Iggy" Loca  

Ann Cusack as Helen Ruber

Harriet Sansom Harris as Margaret Milne

Benjamin Petrie as Isaac Kreutzfeld

Chris Monberg as Little Jim

Nicholas Guilak as Arjun Mehta