#Sumpah Pemuda, Pancasila dan UU#

28 Oktober, 80 tahun lalu di Jl Kramat 106 Jakarta, sejumlah pemuda belia dari berbagai pelosok tanahair Indonesia berkumpul. Mereka melakukan pertemuan dan hasilnya antara lain menyampaikan ikrar yang berbunyi:
“PERTAMA. Kami Poetera dan Poeteri Indonesia, Mengakoe Bertoempah Darah Jang Satoe, Tanah Indonesia. KEDOEA. Kami Poetera dan Poeteri Indonesia, Mengakoe Berbangsa Jang Satoe, Bangsa Indonesia. KETIGA. Kami Poetera dan Poeteri Indonesia, Mendjoendjoeng Bahasa Persatoean, Bahasa Indonesia.” Ikrar para pemuda tersebut ternyata kian memuncakkan semangat keindonesiaan, setelah sebelumnya muncul gerakan kebangkitan nasional yang ditandai dengan pendirian beberapa organisasi, antara lain Boedi Oetomo pada 21 Mei 1908. Ikrar para pemuda yang disebut Sumpah Setia dan kemudian populer dengan Sumpah Pemuda telah menjadi api semangat bagi pergerakan kemerdekaan Indonesia.
Pertemuan para pemuda itu disebut Kongres Pemuda II. Para peserta Kongres Pemuda II ini berasal dari berbagai wakil organisasi pemuda yang ada pada waktu itu, seperti Jong Java, Jong Ambon, Jong Celebes, Jong Batak, Jong Sumatranen Bond, Jong Islamieten Bond, PPI, dan lain-lain. Mereka yang hadir terdapat pula beberapa orang pemuda Tionghoa sebagai pengamat, yaitu Oey Kay Siang, John Lauw Tjoan Hok dan Tjio Djien Kwie serta Kwee Thiam Hong sebagai seorang wakil dari Jong Sumatranen Bond.
Sebagaimana dapat dibaca dalam situs Museum Sumpah Pemuda, gagasan penyelenggaraan Kongres Pemuda II berasal dari Perhimpunan Pelajar Pelajar Indonesia (PPPI), sebuah organisasi pemuda yang beranggota pelajar dari seluruh indonesia. Atas inisiatif PPPI, kongres dilaksanakan selama dua hari. Rapat pertama, Sabtu, 27 Oktober 1928, Soegondo Djojopuspito berharap kongres ini dapat memperkuat semangat persatuan dalam sanubari para pemuda. Acara dilanjutkan dengan uraian Moehammad Yamin tentang arti dan hubungan persatuan dengan pemuda. Menurut Yamin, ada lima faktor yang bisa memperkuat persatuan Indonesia yaitu sejarah, bahasa, hukum adat, pendidikan, dan kemauan.
Rapat kedua, Minggu, 28 Oktober 1928, membahas masalah pendidikan. Kedua pembicara, Poernomowoelan dan Sarmidi Mangoensarkoro, sependapat bahwa anak harus mendapat pendidikan kebangsaan, harus pula ada keseimbangan antara pendidikan di sekolah dan di rumah. Anak juga harus dididik secara demokratis. Pada sesi berikutnya, Soenario menjelaskan pentingnya nasionalisme dan demokrasi selain gerakan kepanduan. Sedangkan Ramelan mengemukakan, gerakan kepanduan tidak bisa dipisahkan dari pergerakan nasional. Gerakan kepanduan sejak dini mendidik anak-anak disiplin dan mandiri, hal-hal yang dibutuhkan dalam perjuangan.
Akhirnya, sebelum kongres ditutup diperdengarkan lagu “Indonesia” karya Wage Rudolf Soepratman. Lagu tersebut disambut dengan sangat meriah oleh peserta kongres. Kongres kemudian ditutup dengan mengumumkan rumusan hasil kongres. Oleh para pemuda yang hadir, rumusan itu diucapkan sebagai Sumpah Setia yang kemudian kita kenal dengan Sumpah Pemuda.
Ikrar Sumpah Pemuda hanya terdiri dari 3 poin tetapi maknanya demikian mendalam. Bahkan dari ikrar ini membuat para  pemuda keturunan Arab di Indonesia mengadakan pula kongres di Semarang pada 4-5 Oktober 1934. Kongres yang diprakarsai AR Baswedan ini mengumandangkan Sumpah pemuda keturunan Arab yang berisi tekad untuk menjadi bagian dari bangsa Indonesia dan ikut berjuang dalam pergerakan kemerdekaan Indonesia. Dari sini dapat diketahui bahwa kemerdekaan Indonesia disemangati para pemuda dengan tanpa memandang latar belakang suku, etnis, agama, budaya, bahasa, dan lainnya.
Hal menarik yang patut kita amati dari para peserta Kongres para pemuda 80 tahun lalu itu, selain keanekaragaman asal usul mereka juga adalah menyangkut usianya yang masih sangat muda belia. Mereka rata-rata berusia di bawah 30 tahun, seperti Mohammad Yamin dan WR Soepratman ketika itu masih 25 tahun, Soegono (Ketua PPPI) 24 tahun, dan Soenario 26 tahun. Bahkan ketika Boedi Oetomo berdiri 1908, tokohnya banyak lebih muda lagi karena masih berstatus mahasiswa, seperti Soetomo 20 tahun dan Tjipto Mangunkusumo 22 tahun.
Melihat usia mereka yang sangat muda, sementara kondisinya dalam kungkungan penjajahan, kita dapat merasakan betapa para pemuda Indonesia memiliki semangat kejuangan tinggi dengan tingkat intelektualitas yang tinggi pula. Bahkan di antaranya juga sudah menyandang predikat sarjana, seperti Soenario, ahli hukum yang bergelar Mr (Meester in de Rechten) dalam usia 24 tahun. Artinya, masa belajar para tokoh pemuda tersebut tidak jauh banyak berbeda dengan anak-anak muda masa sekarang yang sudah berada dalam Indonesia merdeka.
Pelopor dan Pendobrak
Ketika kita mengenang kembali Sumpah Pemuda, kita tampaknya perlu banyak merenungkannya kembali. Para pemuda dalam era penjajahan mampu berbuat banyak, menorehkan tinta sejarah yang dikenang sepanjang masa, lantas apakah para pemuda saat ini dapat pula membuat catatan sejarah baru yang nantinya dapat pula lama dikenang? Memang, pada tiap episode sejarah, para pemudalah yang selalu tampil di depan. Merekalah yang menjadi pelopor penggerak dan pendobrak, mempercepat lahirnya babakan baru yang membawa perubahan sangat berarti dalam kehidupan berbangsa dan bernegara. Fakta sejarah telah menunjukkan demikian, termasuk saat kemerdekaan RI 17 Agustus 1945, lahirnya Orde Baru 1966 dan terakhir munculnya era reformasi 1998.
Gerakan para pemuda Indonesia dalam catatan sejarah Indonesia memang sangatlah penuh dinamika. Kita tidak dapat memungkiri bahwa ketika kita ingin ada perubahan yang signifikan maka para pemudalah yang menjadi ujung tombak pendobraknya. Sudah menjadi kodratnya, dalam usia belia, para pemuda memiliki semangat yang bergelora dan menyala-nyala, tidak mengenal kata takut dan menyerah. Semangat pantang mundur, rela berkorban, siap mati di medan perjuangan, harus diakui adalah saat ketika berusia muda.
Kita dapat berkata, para pemuda umumnya dapat lebih mengedepankan emosi ketimbang rasio. Namun, hal ini ternyata memang tidak selalu salah. Bahkan dalam hal-hal tertentu dalam pengambilan keputusan untuk bertindak, emosi yang melandasi munculnya semangat  lebih diperlukan ketimbang rasio yang terkadang dapat menimbulkan sikap keragu-raguan. Tentu saja yang lebih ideal adalah perpaduan emosi dan rasio. Kita dapat berkata, apa yang muncul pada 1908 dan 1928, para pemuda Indonesia mampu menampilkan sosoknya yang menunjukkan kematangan emosi dan rasio.
Mereka lewat pembentukan organisasi (Boedi Oetomo, 1908), PPPI  beserta jong-jongnya (1928) melakukan berbagai aktifitas pertemuan, termasuk Kongres Pemuda II yang melahirkan Sumpah Pemuda. Kita melihat di sini gerakan mereka benar-benar merupakan gerakan bersifat pemikiran, memiliki makna dan kadar intelektual yang tinggi. Ketika kemudian aktifitas gerakan fisik juga menampakkan  sosoknya tetapi hasilnya memiliki nilai monumental.
Apa yang terjadi pada masa perjuangan kemerdekaan Indonesia tahun 1945, kita dapat melihat gerakan perjuangan fisik yang dapat berpadu dengan gerakan pemikiran. Keberadaan BPUPKI (Badan Penyelidik Usaha Persiapan Kemerdekaan Indonesia) dan PPKI (Panitia Persiapan Kemerdekaan Indonesia) dapat kita sebut sebagai lembaga perjuangan yang bersifat gerakan pemikiran. Lembaga ini yang membahas segala sesuatu tentang perangkat untuk Indonesia merdeka, seperti kemudian melahirkan Pancasila dan Undang-undang Dasar 1945 sebagai ideologi dan konstitusi Negara Kesatuan Republik Indonesia. Para tokoh BPUPKI dan PPKI yang kemudian kita sebuat sebagai founding fathers, para Bapak bangsa, di antaranya adalah mereka yang ikut dalam membuat rumusan ikrar Sumpah Pemuda.
Sumpah Pemuda, Pancasila dan UUD 1945
Kita patut mengakui buah karya Bapak bangsa paling monumental yang patut dicatat dan jangan sampai hilang dalam sejarah adalah tentang dasar negara Pancasila dan konstitusi UUD 1945 yang resmi diberlakukan sehari setelah Indonesia merdeka, yaitu 18 Agustus 1945. Pancasila dan UUD 1945 disebut monumental karena di dalamnya terkandung nilai-nilai dan sejumlah pedoman dalam kita menjalani kehidupan bermasyarakat, berbangsa dan bernegara.
Para Bapak Bangsa dengan mewariskan Pancasila dan UUD 1945, telah meletakkan fondamen, landasan kuat bagi tegaknya Indonesia merdeka untuk mampu mewujudkan Indonesia sebagaimana tujuan dan cita-cita masa depan. Sayangnya warisan Bapak bangsa ini cenderung kita abaikan, kita ragukan dan tidak mempercayainya. Dalam perjalanan sejarah sampai kini, Pancasila dan UUD 1945 sudah terdengar sayup-sayup dan bahkan mungkin sudah menghilang, termasuk juga boleh jadi ikrar Sumpah Pemuda.
Pancasila sebagai dasar negara dan pandangan hidup bangsa  pada masa Orde Baru demikian gencar dilakukan upaya sosialisasi, pemasyarakatan dan pelestariannya. Lantas karena kondisi kehidupan bermasyarakat, berbangsa dan bernegara menghadapi tantangan berat, ditandai dengan krisis ekonomi 1997, Pancasila telah kita pinggirkan. Begitu pula dengan UUD 1945 diotak-atik, dilakukan perubahan atau amandemen beberapa kali. Namun setelah 10 tahun era reformasi, timbul kesadaran baru pada sementara kelompok masyarakat yang melihat bahwa kita telah melakukan kekeliruan besar dengan meminggirkan Pancasila dan mengotak-atik konstitusi UUD 1945.
Kini, meski masih dalam bentuk gerakan yang belum menonjol, ada upaya untuk mengajak kita “kembali” kepada Pancasila dan UUD 1945. Dasar pemikirannya adalah apa yang sudah dihasilkan oleh para Bapak Bangsa sudah dirumuskan sedemikian rupa sehingga benar-benar layak digunakan sebagai landasan untuk menuju Indonesia masa depan. Pancasila dan UUD 1945 dirumuskan melalui perdebatan pemikiran, dilandasi acuan sejarah Indonesia yang panjang. Dia tidak sekadar mengacu pada semangat gerakan kebangkitan nasional 1908, Sumpah Pemuda 1928 tetapi jauh sebelumnya.
Sebagaimana sering dikemukakan, Pancasila yang awalnya dicetuskan oleh Bung Karno lewat pidatonya pada 1 Juni 1945, merupakan hasil dari galian nilai-nilai luhur budaya bangsa Indonesia. Pancasila yang kemudian resmi tertuang dalam Pembukaan UUD 1945 merupakan hasil rumusan setelah adanya adu argumentasi atau perdebatan, dialog dan lobi-lobi untuk mendapatkan titik temu kesepakan bersama dari founding fathers. Begitu pula dengan UUD 1945, rumusannya juga lewat  “pergolakan pemikiran” yang panjang. Rumusannya lahir dan diputuskan setelah semua dengan kesadaran tinggi dapat menerimanya. Segenap Bapak Bangsa menyadari, itulah rumusan terbaik yang mampu mengakomodasi seluruh kepentingan segenap komponen bangsa Indonesia yang sangat majemuk untuk kehidupan Indonesia yang langgeng di masa depan.
Hal lain yang patut dicatat, Pancasila dan UUD 1945 dilahirkan dari niat tulus ikhlas untuk kemerdekaan Indonesia. Para founding father paling utama bertitik tolak dari pola pikir dan niat untuk mendirikan Indonesia yang merdeka, mewujudkan ikrar isi Sumpah Pemuda. Kepentingan kelompok atau golongan memang sudah dirasakan dan juga ingin dikedepankan pada masa itu tetapi karena ketulusan niat utama tetap lebih diutamakan maka mereka lebih memilih untuk mengedepankan kepentingan bersama. Butir-butir Pancasila benar-benar sudah diterapkan ketika mereka membahas dan merumuskan UUD 1945 tersebut.
Masa awal Indonesia merdeka hingga sampai 1966, Pancasila dan UUD 1945 sudah mengalami masa pengujian cukup panjang dan berat. Masa itu kita mencatat adanya UUD RIS (Republik Indonesia Serikat) 1949 dan UUD Sementara 1950, serta kemudian lewat Dekrit Presiden 5 Juli 1959 kembali ke UUD 1945. Masa itu pula terjadi perdebatan, pergolakan, pemberontakan dan konflik politik yang menggugat eksistensi Pancasila dan UUD 1945. Lantas pada masa Orde Baru, Pancasila dan UUD 1945 dijadikan komitmen untuk dilaksanakan secara murni dan konsekuen. Namun, praktik penyelenggaraan negara yang dinilai masih banyak jauh dari harapan, membuatnya seperti tidak populer dan menjadi kambing hitam dari segala masalah yang ada.
Hal itulah mengapa Pancasila pada masa Orde Reformasi kemudian dipinggirkan, bahkan UUD 1945 diamandemen sehingga kehilang ruhnya. UUD 1945 bukan diamandemen dalam bentuk addendum, penambahan tanpa mengotak-atik aslinya sebagaimana konstitusi Amerika Serikat, melainkan dengan merombak, menghilangkan dan menambah yang baru. Sungguh hal ini sangat ironi, menyedihkan, dan satu tindakan yang mengingkari perjuangan, buah pikiran dan ketulusan dari para Bapak Bangsa. Kita telah menjadi manusia arogan, merasa diri lebih pintar dari para pendahulu kita. Dengan dalih sudah tidak sesuai dengan tuntutan zaman, kita telah semena-mena memperlakukan karya Bapak Bangsa. Inilah “dosa-dosa” pejuang reformasi yang patut perlu ada pertobatan untuk kembali kepada hati nurani Bapak Bangsa.
Kita masih patut bersyukur, tidak ada upaya untuk mengubah isi ikrar Sumpah Pemuda 1928. Kita tidak menginginkan adanya arogansi baru untuk mau mencoba mengotak-atik, butir-butir Sumpah Pemuda 1928 dengan dalih tidak sesuai dengan tuntutan zaman. Biarkan ikrar pemuda 1928 sebagaimana apa adanya. Silakan kita dalami dan hayati maknanya untuk kita aktualkan dalam penerapannya saat ini. Kita bukan mengkramatkan atau mensakralkan peninggalan masa lalu tetapi tidak untuk memanipulasi atau menandingi, apalagi menghilangkannya.
Kini, saat kita mengenang kembali 80 tahun Sumpah Pemuda, setelah sebelumnya kita memperingati 100 tahun Kebangkitan Nasional dan 63 tahun kemerdekaan Indonesia, ada baiknya kita membangun kesadaran baru dalam menghargai sejarah kehidupan bangsa. Mumpung kita akan menghadapi kegiatan besar pada 2009 (pemilu legislatif dan pemilihan presiden baru) ada baiknya kita merenung dan berpikir untuk meluruskan kembali catatan sejarah perjalanan bangsa ini. Tampaknya, apa yang diperjuangkan oleh Partai Gerindra (Gerakan Indonesia Raya) untuk kembali kepada UUD 1945, patut menjadi catatan bagi agenda nasional ke depan.
Bagi saya pribadi, amandemen UUD 1945 tidaklah menjadi masalah dan boleh-boleh saja untuk dilaksanakan. Namun, amandemen yang dilakukan tetaplah dengan cara-cara yang santun dan tidak menghilangkan akar kesejarahannya. Dalam hal ini, perlu kita tampilkan kembali UUD 1945 sebagaimana ditetapkan pada 18 Agustus 1945. Sedangkan jika diamandemen, ada penambahan atau penekanan arti maka  lakukan dalam bentuk addendum.
Nah, jika ke depan mau diotak-atik lagi karena alasan tak sesuai tuntutan zaman atau apa pun maka terserah saja, sejauh itu yang dibongkar pasang adalah addendumnya bukan yang asli. Terpenting, kita jangan merusak karya Bapak Bangsa, pendiri Indonesia merdeka, kecuali kita memang ingin mengakhiri NKRI (Negara Kesatuan republik Indonesia) ini.
Patut disadari, jika kita tidak mengembalikan wujud UUD 1945 sebagaimana rumusan 18 Agustus 1945, untuk masa kini memang seolah tidak ada hal yang hilang, seolah tidak menjadi masalah. Namun, pada 10-20 tahun mendatang, apalagi 100-200 tahun ke depan, anak cucu  kita akan benar-benar kehilangan, tidak menemukan peninggalan sejarah yang menomental, yaitu konstitusi saat Indonesia merdeka. Mereka tidak lagi dapat mempelajari, apalagi menyelami sejarah kelahiran Indonesia merdeka, melainkan mereka mendapatkan produk konstitusi yang sudah compang-camping, tambal sulam. Mereka tidak lagi dapat menelusuri ruh sejarah Indonesia merdeka.
Apakah kita tidak pernah belajar dari pengalaman tentang kita meributkan teks asli Proklamasi, naskah asli Supersemar, dan lain-lain catatan sejarah karena kealpaan kita dalam bidang kearsipan? Hal ini masih dapat dimaafkan karena boleh jadi tidak dalam bentuk unsur kesengajaan. Namun, gaya amandemen konstitusi yang dilakukan dalam era reformasi saat ini, kita telah melakukan unsur kesengajaan untuk menghilangkan jejak sejarah yang paling fundamental dari sejarah kelahiran Indonesia merdeka. Kita sama saja telah memanipulasi dengan sengaja, terbuka dan bersama-sama, sebuah produk sejarah, karya Bapak Bangsa.
Mudah-mudahan dengan semangat Sumpah Pemuda akan lahir gerakan yang dipelopori oleh para pemuda untuk mengembalikan Pancasila dan UUD 1945 produk 18 Agustus 1945. Gerakan pemuda ini kita harapkan benar-benar sebagaimana gerakan Pemuda 28 Oktober 1928 yang mengedepankan bobot intelektualitas, bukan emosionalitas yang menampilkan aksi-aksi kekerasan di jalanan, tindak destruktif dan anarkis. Mengembalikan Pancasila dan UUD 1945 sebagaimana yang dibuat para Bapak Bangsa harus melalui gerakan pemikiran, perdebatan yang argumentatif, akademik, niat tulus ikhlas untuk kepentingan bersama masa depan, serta jauh dari kepentingan politik golongan yang bersifat sesaat. Selamat Hari Sumpah Pemuda!

#Narkoba#

Sebotol heroin yang merupakan salah satu narkoba yang paling dikenal.

Narkoba adalah singkatan dari narkotika dan obat/bahan berbahaya. Selain "narkoba", istilah lain yang diperkenalkan khususnya oleh Departemen Kesehatan Republik Indonesia adalah Napza yang merupakan singkatan dari Narkotika, Psikotropika dan Zat Adiktif.
Semua istilah ini, baik "narkoba" atau napza, mengacu pada sekelompok zat yang umumnya mempunyai risiko kecanduan bagi penggunanya. Menurut pakar kesehatan narkoba sebenarnya adalah psikotropika yang biasa dipakai untuk membius pasien saat hendak dioparasi atau obat-obatan untuk penyakit tertentu. Namun kini presepsi itu disalah gunakan akibat pemakaian yang telah di luar batas dosis.

Daftar isi 1 Penyebaran 2 Efek 3 Jenis 3.1 Kontroversi 4 Pemanfaatan 5 Pranala Luar

Penyebaran

Hingga kini penyebaran narkoba sudah hampir tak bisa dicegah. Mengingat hampir seluruh penduduk dunia dapat dengan mudah mendapat narkoba dari oknum-oknum yang tidak bertanggung jawab. Misalnya saja dari bandar narkoba yang senang mencari mangsa didaerah sekolah, diskotik, tempat pelacuran, dan tempat-tempat perkumpulan genk. Tentu saja hal ini bisa membuat para orang tua, ormas, pemerintah khawatir akan penyebaran narkoba yang begitu meraja rela. Upaya pemberantas narkoba pun sudah sering dilakukan, namun masih sedikit kemungkinan untuk menghindarkan narkoba dari kalangan remaja maupun dewasa, bahkan anak-anak usia SD dan SMP pun banyak yang terjerumus narkoba. Hingga saat ini upaya yang paling efektif untuk mencegah penyalahgunaan Narkoba pada anak-anak yaitu dari pendidikan keluarga. Orang tua diharapkan dapat mengawasi dan mendidik anaknya untuk selalu menjauhi Narkoba.

Efek

• Halusinogen, efek dari narkoba bisa mengakibatkan bila dikonsumsi dalam sekian dosis tertentu dapat mengakibatkan seseorang menjadi ber-halusinasi dengan melihat suatu hal/benda yang sebenarnya tidak ada / tidak nyata contohnya kokain & LSD
• Stimulan , efek dari narkoba yang bisa mengakibatkan kerja organ tubuh seperti jantung dan otak bekerja lebih cepat dari kerja biasanya sehingga mengakibatkan seseorang lebih bertenaga untuk sementara waktu , dan cenderung membuat seorang pengguna lebih senang dan gembira untuk sementara waktu
• Depresan, efek dari narkoba yang bisa menekan sistem syaraf pusat dan mengurangi aktivitas fungsional tubuh, sehingga pemakai merasa tenang bahkan bisa membuat pemakai tidur dan tidak sadarkan diri. Contohnya putaw
• Adiktif , Seseorang yang sudah mengkonsumsi narkoba biasanya akan ingin dan ingin lagi karena zat tertentu dalam narkoba mengakibatkan seseorang cenderung bersifat pasif , karena secara tidak langsung narkoba memutuskan syaraf-syaraf dalam otak,contohnya ganja , heroin , putaw
• Jika terlalu lama dan sudah ketergantungan narkoba maka lambat laun organ dalam tubuh akan rusak dan jika sudah melebihi takaran maka pengguna itu akan overdosis dan akhirnya kematian

Jenis

• Heroin atau diamorfin (INN) adalah sejenis opioid alkaloid.

Heroin adalah derivatif 3.6-diasetil dari morfin (karena itulah namanya adalah diasetilmorfin) dan disintesiskan darinya melalui asetilasi. Bentuk kristal putihnya umumnya adalah garam hidroklorida, diamorfin hidroklorida. Heroin dapat menyebabkan kecanduan.

• Ganja (Cannabis sativa syn. Cannabis indica) adalah tumbuhan budidaya penghasil serat, namun lebih dikenal karena kandungan zat narkotika pada bijinya, tetrahidrokanabinol (THC, tetra-hydro-cannabinol) yang dapat membuat pemakainya mengalami euforia (rasa senang yang berkepanjangan tanpa sebab).

Ganja menjadi simbol budaya hippies yang pernah populer di Amerika Serikat. Hal ini biasanya dilambangkan dengan daun ganja yang berbentuk khas. Selain itu ganja dan opium juga didengungkan sebagai simbol perlawanan terhadap arus globalisme yang dipaksakan negara kapitalis terhadap negara berkembang. Di India, sebagian Sadhu yang menyembah dewa Shiva menggunakan produk derivatif ganja untuk melakukan ritual penyembahan dengan cara menghisap Hashish melalui pipa Chilam/Chillum, dan dengan meminum Bhang.

Kontroversi

Di beberapa negara tumbuhan ini tergolong narkotika, walau tidak terbukti bahwa pemakainya menjadi kecanduan, berbeda dengan obat-obatan terlarang yang berdasarkan bahan kimiawi dan merusak sel-sel otak, yang sudah sangat jelas bahayanya bagi umat manusia. Di antara pengguna ganja, beragam efek yang dihasilkan, terutama euphoria (rasa gembira) yang berlebihan, serta hilangnya konsentrasi untuk berpikir di antara para pengguna tertentu.
Efek negatif secara umum adalah bila sudah menghisap maka pengguna akan menjadi malas dan otak akan lamban dalam berpikir. Namun, hal ini masih menjadi kontroversi, karena tidak sepenuhnya disepakati oleh beberapa kelompok tertentu yang mendukung medical marijuana dan marijuana pada umumnya. Selain diklaim sebagai pereda rasa sakit, dan pengobatan untuk penyakit tertentu (termasuk kanker), banyak juga pihak yang menyatakan adanya lonjakan kreatifitas dalam berfikir serta dalam berkarya (terutama pada para seniman dan musisi.
Berdasarkan penelitian terakhir, hal ini (lonjakan kreatifitas), juga di pengaruhi oleh jenis ganja yang digunakan. Salah satu jenis ganja yang dianggap membantu kreatifitas adalah hasil silangan modern "Cannabis indica" yang berasal dari India dengan "Cannabis sativa" dari Barat, dimana jenis Marijuana silangan inilah yang merupakan tipe yang tumbuh di Indonesia.
Efek yang dihasilkan juga beragam terhadap setiap individu, dimana dalam golongan tertentu ada yang merasakan efek yang membuat mereka menjadi malas, sementara ada kelompok yang menjadi aktif, terutama dalam berfikir kreatif (bukan aktif secara fisik seperti efek yang dihasilkan Methamphetamin). Marijuana, hingga detik ini, tidak pernah terbukti sebagai penyebab kematian maupun kecanduan. Bahkan, di masa lalu dianggap sebagai tanaman luar biasa, dimana hampir semua unsur yang ada padanya dapat dimanfaatkan untuk berbagai keperluan. Hal ini sangat bertolak belakang dan berbeda dengan efek yang dihasilkan oleh obat-obatan terlarang dan alkohol, yang menyebabkan penggunanya menjadi kecanduan hingga tersiksa secara fisik, dan bahkan berbuat kekerasan maupun penipuan (aksi kriminal) untuk mendapatkan obat-obatan kimia buatan manusia itu.

Pemanfaatan

Tumbuhan ganja telah dikenal manusia sejak lama dan digunakan sebagai bahan pembuat kantung karena serat yang dihasilkannya kuat. Biji ganja juga digunakan sebagai sumber minyak.
Namun demikian, karena ganja juga dikenal sebagai sumber narkotika dan kegunaan ini lebih bernilai ekonomi, orang lebih banyak menanam untuk hal ini dan di banyak tempat disalahgunakan.
Di sejumlah negara penanaman ganja sepenuhnya dilarang. Di beberapa negara lain, penanaman ganja diperbolehkan untuk kepentingan pemanfaatan seratnya. Syaratnya adalah varietas yang ditanam harus mengandung bahan narkotika yang sangat rendah atau tidak ada sama sekali.
Sebelum ada larangan ketat terhadap penanaman ganja, di Aceh daun ganja menjadi komponen sayur dan umum disajikan.
Bagi penggunanya, daun ganja kering dibakar dan dihisap seperti rokok, dan bisa juga dihisap dengan alat khusus bertabung yang disebut bong.

• Budidaya

Tanaman ini ditemukan hampir disetiap negara tropis. Bahkan beberapa negara beriklim dingin pun sudah mulai membudidayakannya dalam rumah kaca.

• Morfin adalah alkaloid analgesik yang sangat kuat dan merupakan agen aktif utama yang ditemukan pada opium. Morfin bekerja langsung pada sistem saraf pusat untuk menghilangkan sakit. Efek samping morfin antara lain adalah penurunan kesadaran, euforia, rasa kantuk, lesu, dan penglihatan kabur. Morfin juga mengurangi rasa lapar, merangsang batuk, dan meyebabkan konstipasi. Morfin menimbulkan ketergantungan tinggi dibandingkan zat-zat lainnya. Pasien morfin juga dilaporkan menderita insomnia dan mimpi buruk.

Kata "morfin" berasal dari Morpheus, dewa mimpi dalam mitologi Yunani.

• Kokain adalah senyawa sintetis yg memicu metabolisme sel menjadi sangat cepat.

Kokain merupakan alkaloid yang didapatkan dari tanaman Erythroxylon coca, yang berasal dari Amerika Selatan, dimana daun dari tanaman ini biasanya dikunyah oleh penduduk setempat untuk mendapatkan “efek stimulan”.
Saat ini Kokain masih digunakan sebagai anestetik lokal, khususnya untuk pembedahan mata, hidung dan tenggorokan, karena efek vasokonstriksif-nya juga membantu. Kokain diklasifikasikan sebagai suatu narkotika, bersama dengan morfin dan heroin karena efek adiktif.

MAKANYA KITA SEBAGAI ANAK INDONESIA JAGAN COBA-COBA BERMAIN ATAU MENGGUNAKAI NARKOBA.........

#Efek Rumah Kaca#

Efek rumah kaca, yang pertama kali diusulkan oleh Joseph Fourier pada 1824, merupakan proses pemanasan permukaan suatu benda langit (terutama planet atau satelit) yang disebabkan oleh komposisi dan keadaan atmosfernya.
Mars, Venus, dan benda langit beratmosfer lainnya (seperti satelit alami Saturnus, Titan) memiliki efek rumah kaca, tapi artikel ini hanya membahas pengaruh di Bumi. Efek rumah kaca untuk masing-masing benda langit tadi akan dibahas di masing-masing artikel.
Efek rumah kaca dapat digunakan untuk menunjuk dua hal berbeda: efek rumah kaca alami yang terjadi secara alami di bumi, dan efek rumah kaca ditingkatkan yang terjadi akibat aktivitas manusia (lihat juga pemanasan global). Yang belakang diterima oleh semua; yang pertama diterima kebanyakan oleh ilmuwan, meskipun ada beberapa perbedaan pendapat.

Daftar isi 1 Penyebab 2 Akibat 3 Lihat pula 4 Referensi

Penyebab

Efek rumah kaca disebabkan karena naiknya konsentrasi gas karbon dioksida (CO₂) dan gas-gas lainnya di atmosfer. Kenaikan konsentrasi gas CO₂ ini disebabkan oleh kenaikan pembakaran bahan bakar minyak, batu bara dan bahan bakar organik lainnya yang melampaui kemampuan tumbuhan-tumbuhan dan laut untuk menyerapnya.
Energi yang masuk ke Bumi:

• 25% dipantulkan oleh awan atau partikel lain di atmosfer
• 25% diserap awan
• 45% diserap permukaan bumi
• 5% dipantulkan kembali oleh permukaan bumi

Energi yang diserap dipantulkan kembali dalam bentuk radiasi inframerah oleh awan dan permukaan bumi. Namun sebagian besar inframerah yang dipancarkan bumi tertahan oleh awan dan gas CO₂ dan gas lainnya, untuk dikembalikan ke permukaan bumi. Dalam keadaan normal, efek rumah kaca diperlukan, dengan adanya efek rumah kaca perbedaan suhu antara siang dan malam di bumi tidak terlalu jauh berbeda.
Selain gas CO2, yang dapat menimbulkan efek rumah kaca adalah belerang dioksida, nitrogen monoksida (NO) dan nitrogen dioksida (NO₂) serta beberapa senyawa organik seperti gas metana dan klorofluorokarbon (CFC). Gas-gas tersebut memegang peranan penting dalam meningkatkan efek rumah kaca.

Akibat

Meningkatnya suhu permukaan bumi akan mengakibatkan adanya perubahan iklim yang sangat ekstrim di bumi. Hal ini dapat mengakibatkan terganggunya hutan dan ekosistem lainnya, sehingga mengurangi kemampuannya untuk menyerap karbon dioksida di atmosfer. Pemanasan global mengakibatkan mencairnya gunung-gunung es di daerah kutub yang dapat menimbulkan naiknya permukaan air laut. Efek rumah kaca juga akan mengakibatkan meningkatnya suhu air laut sehingga air laut mengembang dan terjadi kenaikan permukaan laut yang mengakibatkan negara kepulauan akan mendapatkan pengaruh yang sangat besar.
Menurut perhitungan simulasi, efek rumah kaca telah meningkatkan suhu rata-rata bumi 1-5 °C. Bila kecenderungan peningkatan gas rumah kaca tetap seperti sekarang akan menyebabkan peningkatan pemanasan global antara 1,5-4,5 °C sekitar tahun 2030. Dengan meningkatnya konsentrasi gas CO₂ di atmosfer, maka akan semakin banyak gelombang panas yang dipantulkan dari permukaan bumi diserap atmosfer. Hal ini akan mengakibatkan suhu permukaan bumi menjadi meningkat.

[ Lihat pula

• Pendorong iklim
• Perdagangan emisi
• Protokol Kyoto
• Rumah kaca surya

Referensi

• Earth Radiation Budget, [1]
• Fleagle, RG and Businger, JA: An introduction to atmospheric physics, 2nd edition, 1980
• Fraser, Alistair B., Bad Greenhouse [2]
• Giacomelli, Gene A. and William J. Roberts1, Greenhouse Covering Systems, Rutgers University, [3].
• Henderson-Sellers, A and McGuffie, K: A climate modelling primer (quote: Greenhouse effect: the effect of the atmosphere in re-readiating longwave radiation back to the surface of the Earth. It has nothing to do with glasshouses, which trap warm air at the surface).
• Idso, S.B.: Carbon Dioxide: friend or foe, 1982 (quote: ...the phraseology is somewhat in appropriate, since CO2 does not warm the planet in a manner analogous to the way in which a greenhouse keeps its interior warm).
• Kiehl, J.T., and Trenberth, K. (1997). Earth's annual mean global energy budget, Bulletin of the American Meteorological Society 78 (2), 197–208.
• Piexoto, JP and Oort, AH: Physics of Climate, American Institute of Physics, 1992 (quote: ...the name water vapor-greenhouse effect is actually a misnomer since heating in the usual greenhouse is due to the reduction of convection)
• Wood, R.W. (1909). Note on the Theory of the Greenhouse, Philosophical Magazine 17, p319–320. [4]

#101 Dalmatians#

101 Dalmatians II: Patch's London Adventure
DVD Cover
Directed by	Jim Kammerud Brian Smith
Produced by	Carolyn Bates Leslie Hough
Screenplay by	Jim Kammerud Brian Smith
Story by	Jim Kammerud Dan Root Garrett K. Schiff Brian Smith
Starring	Barry Bostwick Jason Alexander Martin Short Susanne Blakeslee Kath Soucie Jeff Bennett Jim Cummings Bobby Lockwood
Music by	Richard Gibbs
Editing by	Robert S. Birchard Ron Price
Studio	DisneyToon Studios
Distributed by	Walt Disney Home Entertainment
Release date(s)	January 21, 2003 (2003-01-21)
Running time	70 minutes
Country	United States
Language	English
Preceded by	One Hundred and One Dalmatians (1961)

101 Dalmatians II: Patch's London Adventure is a 2003 American direct-to-video animated film released by Walt Disney Home Entertainment on January 21, 2003. The film is the sequel to the 1961 Disney animated film One Hundred and One Dalmatians. The film features the voices of Martin Short, Jason Alexander, Barry Bostwick, Susanne Blakeslee, Kath Soucie, Jeff Bennett, Jim Cummings, and Bobby Lockwood. It garnered DVDX awards for best animated feature, best director, best editing, and best musical score. Disney re-released the film on September 16, 2008.^[1]

Contents 1 Plot 2 Cast and characters 3 Soundtrack 4 References 5 External links

Plot

The Radcliffe family and their 101 Dalmatians are packing for the big move to their "Dalmatian Plantation", a farm on an island with plenty of room for them all, and located far from the clutches of Cruella De Vil. One of the puppies, Patch (Bobby Lockwood), feels "lost in a sea of spots" and longs to be a one-of-a-kind wonder dog like his TV hero, Thunderbolt (Barry Bostwick). While watching the "Thunderbolt Adventure Hour" TV Show, Patch hears about a chance to appear on the show while it is filming in London. Although the move interferes with Patch's opportunity, he gets his chance when he is accidentally left behind in the commotion. Patch heads for the audition to meet his hero and win a guest spot on the show, but his squeaky bark gets him laughed off stage.
Meanwhile, Thunderbolt's sidekick, Lil' Lightning (Jason Alexander), tells him that the producers want to kill off his character and replace him with a younger dog. In order to save his job, Thunderbolt decides to venture out into the world and perform an act of true heroism to prove himself. He soon meets Patch, and the two dogs bond over their mutual fear of being "just another dog". A veritable reference book to Thunderbolt's many adventures, Patch provides the perfect guide for the TV star in his attempts at real-life heroics. Thunderbolt, who has no idea how to act without a script, makes several attempts at "heroism", telling Patch he is giving him a "Junior Deputy Test" and will let him on the show if he can pass. This "test" involves Patch unwittingly giving instructions on how Thunderbolt should save the day. Back at Thunderbolt's trailer, Lightning's true nature is revealed. Tired of being second-best, he cons the producer, desperate and frantic over Thunderbolt going AWOL, into recasting him as the hero.
Elsewhere in London, Cruella De Vil (Susan Blakeslee) is back and more obsessed with the 101 Dalmatians than ever. She is first seen arguing with a furrier, who then locks her out. Afterward, her broken car breaks apart even more, starting with Cruella kicking the radio. As she drives, the rest of the car breaks up, and she is left with nothing to call a car. At first, she is able to calm her frenzy through an affiliation with a spot-fixated German artist named Lars (Martin Short). Cruella soon discovers that Lars, despite his best efforts, is unable to recreate the look she desires. In order to inspire him, she begins hunting for the Dalmatian puppies, only to find the Radcliff family's former house empty. However, using a newspaper picture of Patch at the audition, she discovers their new address off his collar.
At the farm, the Radcliffes finally discover Patch's absence, and, along with Patch's parents, Pongo and Perdita (Samuel West and Kath Soucie), they depart in search for him. At the same time, Cruella bails her old henchmen, Horace and Jasper (Maurice LaMarche and Jeff Bennett) Badun, out of jail and sends them to the Radcliffe's new home. Traveling in a stolen dog food truck, the Baduns steal the remaining 98 puppies. Cruella and the Baduns bring the puppies to Lars, who falls in love with them. He is inspired to paint, but Cruella declares that he is going to make a masterpiece out of puppy fur. However, Lars refuses. Enraged and disappointed, Cruella has him tied up and goes back to her original plan of making a puppy fur coat.
The imprisoned puppies use the "Twilight Bark" to send an SOS, which is picked up by Patch and Thunderbolt. As the two set out to save Patch's family, they run into Lightning, who is shocked when he discovers Thunderbolt might actually become a hero and hurries with the duo to the warehouse where the pups are being held. He convinces Thunderbolt not to use Patch's stealth plan but to openly attack. Doing so, Thunderbolt manages to scare the Baduns, but is knocked out by Cruella, who has him and Patch imprisoned as well. Lightning then sneaks in and reveals that Thunderbolt is a fraud before leaving.
Patch, devastated that Thunderbolt would lie, falls into despair, but while talking with his brother Lucky, he realizes that their current situation was covered in one of the Thunderbolt TV episodes. Patch breaks out releases his family, but Thunderbolt stays in his open cage. The Baduns discover that puppies have escaped, but Patch tricks them and Cruella into going downstairs while the puppies escape via a skylight and board a double-decker bus. They escape in the bus, with Cruella and the Baduns following in hot pursuit as they race through the streets of London, crashing through the filming of the new "Lil' Lightning" show. Cruella and the Baduns eventually corner the pups in an alley. Patch tries to hold off the trio as the others escape, but they are undaunted. Luckily, Thunderbolt arrives (having hitched a ride with Lars) and fakes a heart attack, distracting Cruella into knock out the Baduns and making Lightning act sympathetic towards him while the puppies escape. Patch puts the bus in reverse, sending the four villains scrambling into the Thames River.
As Pongo, Perdita, the Radcliffes, and their Nanny arrive on the scene, Lightning is taken away to the dog pound, the Baduns are arrested, and a mentally broken-down Cruella, is taken to a mental institute. Patch's parents express their pride, while Thunderbolt comments that Patch is "a real, one of a kind wonderdog".
A newspaper montage reveals the fates of the characters. Lightning is dubbed in the paper "the unkindest cut of all!"; Lars, using a painting Patch accidentally made by throwing paint at Horace and Jasper, finally receives credit for his "genius"; Horace and Jasper open up a ladies' boutique with the motto: "Fur Bad, Nylon Good"; and Roger's new song "Seeing Spots" becomes a smash hit. Cruella is featured in an issue of "The Institution", indicating that she has now been driven completely insane.
A post credits scene shows Thunderbolt in his TV show. Patch is his new sidekick, while his brothers and sisters are supporting characters.

Cast and characters

• Bobby Lockwood as Patch: The main protagonist, Patch is one of the 101 Dalmatian puppies. He has a large black spot over one of his eyes, hence his name. He feels lonely and left-out oftentimes with his family, thinking that he is just one of the famous 101 dalmatians, and longs for a chance to become separate and leave the shadow of his brothers and sisters. He is a good pup, very adventurous, bold, and strong-minded. He quickly befriends Thunderbolt, the famous TV wonder-dog whom he adores.
• Barry Bostwick as Thunderbolt: The star of the Thunderbolt Adventure Hour show and the film's deuteragonist. As the film opens, it is shown that Thunderbolt is not exactly bright, and very self-centered and rude to his side-kick, Lil' Lightning, which eventually provokes the Corgi to revolt. When Thunderbolt runs away, tricked by Lightning that the director of his famous show plans to kill him off, he runs into Patch, and the two quickly bond, trying to do heroic feats to prove that Thunderbolt is a real hero. As the film progresses, Thunderbolt becomes a father-like figure to Patch, and loses his starry-eyed, naive ways to become a strong, brave, and faithful dog. Thunderbolt is a German Shepherd and his sidekick, Lil' Lightning, is a Pembroke Welsh Corgi.
• Susan Blakeslee as Cruella de Vil: The villain of the original film, back again to kidnap the puppies. Naturally, Cruella serves as the main antagonist.
• Jason Alexander as Lil' Lightning: The Pembroke Welsh Corgi of Thunderbolt's famous show. He is initially portrayed as Thunderbolt's little sidekick. Eventually Lightning becomes angry at always crawling in Thunderbolt's shadow, and tricks the German Shepherd into running away, then plots to manipulate the director into re-writing the show slanted towards Lightning. When Thunderbolt and Patch return, endangering Lightning's chance at fame, he reveals himself to be the traitor he is and has the two dogs locked away. In the end, however, he taken away to the dog-pound. He starts off being a neutral character, but later becomes an antagonist in the film.
• Martin Short as Lars: A stylish but rather strange artist who loves nothing more than painting spots. It is suggested he had some romantic feelings towards Cruella De Vil, but when she captures the dalmatian puppies again and plans to break her rules of goodness and make coats out of them, he rebels (only to be bound and gagged by Cruella herself).
• Samuel West as Pongo: Father (and adopted father) of the 99 Dalmatian puppies, he is loving but distracted, something here that forces Patch to feel lonely and just one-hundred and one, instead of standing out.
• Kath Soucie as Perdita: Mother (and adopted mother) of the 99 Dalmatian puppies, Perdita is a gentle, loving soul who only wants the best for her children (and adopted children), and is horrified to find her children missing once again.
• Jeff Bennett and Maurice LaMarche as Jasper and Horace Badun: Cruella's bumbling henchmen from the first film.
• Tim Bentinck as Roger Radcliffe
• Jodi Benson as Anita Radcliffe
• Mary MacLeod as Nanny
• Ben Tibberas as Lucky
• Tara Strong as Two-Tone
• Kasha Kropinski as Penny
• Michael Lerner as the Producer

#Walt Disney#

Walt Disney
Born	Walter Elias Disney December 5, 1901(1901-12-05)[1] Hermosa, Chicago, Illinois, United States
Died	December 15, 1966(1966-12-15) (aged 65) Burbank, California, U.S.
Occupation	Film producer, Co-founder of The Walt Disney Company, formerly known as Walt Disney Productions
Years active	1920–1966
Religion	Christian
Spouse	Lillian Bounds (1925–1966)
Children	Diane Marie Disney Sharon Mae Disney
Parents	Elias Disney Flora Call Disney
Relatives	Herbert Arthur Disney (brother) Raymond Arnold Disney (brother) Roy Oliver Disney (brother) Ruth Flora Disney (sister) Ronald William Miller (son-in-law) Robert Borgfeldt Brown (son-in-law) Roy Edward Disney (nephew)
Signature

Walter Elias "Walt" Disney (December 5, 1901 – December 15, 1966) was an American film producer, director, screenwriter, voice actor, animator, entrepreneur, entertainer, international icon,^[2] and philanthropist. Disney is famous for his influence in the field of entertainment during the 20th century. As the co-founder (with his brother Roy O. Disney) of Walt Disney Productions, Disney became one of the best-known motion picture producers in the world. The corporation he co-founded, now known as The Walt Disney Company, today has annual revenues of approximately U.S. $35 billion.
Disney is particularly noted for being a film producer and a popular showman, as well as an innovator in animation and theme park design. He and his staff created some of the world's most famous fictional characters including Mickey Mouse, a character for which Disney himself was the original voice. He has been awarded four honorary Academy Awards and has won twenty-two competitive Academy Awards out of fifty-nine nominations, including a record four in one year,^[3] giving him more awards and nominations than any other individual. He also won seven Emmy Awards. He is the namesake for Disneyland and Walt Disney World Resort theme parks in the United States, as well as the international resorts Tokyo Disney, Disneyland Paris, and Disneyland Hong Kong.
Disney died of lung cancer in Burbank, California, on December 15, 1966. The following year, construction began on Walt Disney World Resort in Florida. His brother Roy Disney inaugurated the Magic Kingdom on October 1, 1971.

Contents [hide] 1 1901–1937: The beginnings 1.1 Childhood 1.2 Teenage years 1.3 Laugh-O-Gram Studio 1.4 Hollywood 1.4.1 Alice Comedies 1.4.2 Oswald the Lucky Rabbit 1.4.3 Mickey Mouse 1.4.4 Silly Symphonies 1.5 First Academy Award 1.6 Children 2 1937–1941: The Golden Age of Animation 2.1 "Disney's Folly": Snow White and the Seven Dwarfs 2.2 The Golden Age of Animation 3 1941–1945: During World War II 4 1945–1955: Disney in the post-war period 4.1 Testimony before Congress 5 1955–1966: Theme parks and beyond 5.1 Planning Disneyland 5.2 Disneyland grand opening 5.3 Carolwood Pacific Railroad 5.4 Expanding into new areas 5.5 Early 1960s successes 5.6 Plans for Disney World and EPCOT 5.7 Mineral King Ski Resort 5.8 Death 6 Legacy: 1967 to the present 6.1 Continuing Disney Productions 6.2 The Disney entertainment empire 6.3 Disney Animation today 6.4 CalArts 6.5 The Walt Disney Family Museum 6.6 Christian ethics questions raised 6.7 Antisemitism 7 Academy Awards 8 Other honors 9 See also 10 Notes 11 References 12 Further reading 13 External links

1901–1937: The beginnings

Childhood

10-year old Walt Disney (center right) at a gathering of Kansas City newsboys in 1912.

Walter Elias Disney was born on December 5, 1901, to Elias Disney, of Irish-Canadian descent, and Flora Call Disney, of German-American descent, in Chicago's Hermosa community area at 2156 N. Tripp Ave.^[4][5] Walt Disney's ancestors had emigrated from Gowran, County Kilkenny in Ireland. Arundel Elias Disney, great-grandfather of Walt Disney, was born in Kilkenny, Ireland in 1801 and was a descendant of Robert d'Isigny, originally of France but who travelled to England with William the Conqueror in 1066.^[6] The d'Isigny name became anglicised as Disney and the family settled in the village now known as Norton Disney, south of the city of Lincoln, in the county of Lincolnshire.
His father, Elias Disney, moved from Huron County, Ontario, to the United States in 1878, seeking first for gold in California but finally farming with his parents near Ellis, Kansas, until 1884. He worked for Union Pacific Railroad and married Flora Call on January 1, 1888, in Acron, Florida. The family moved to Chicago, Illinois, in 1890,^[7] where his brother Robert lived.^[7] For most of his early life, Robert helped Elias financially.^[7] In 1906, when Walt was four, Elias and his family moved to a farm in Marceline, Missouri,^[8] where his brother Roy had recently purchased farmland.^[8] While in Marceline, Disney developed his love for drawing.^[9] One of their neighbors, a retired doctor named "Doc" Sherwood, paid him to draw pictures of Sherwood's horse, Rupert.^[9] He also developed his love for trains in Marceline, which owed its existence to the Atchison, Topeka and Santa Fe Railway which ran through town. Walt would put his ear to the tracks in anticipation of the coming train.^[5] Then he would look for his uncle, engineer Michael Martin, running the train.
The Disneys remained in Marceline for four years,^[10] before moving to Kansas City in 1911.^[11] There, Walt and his younger sister Ruth attended the Benton Grammar School where he met Walter Pfeiffer. The Pfeiffers were theatre aficionados, and introduced Walt to the world of vaudeville and motion pictures. Soon, Walt was spending more time at the Pfeiffers' than at home.^[12] During this time he attended Saturday courses as a child at the Kansas City Art Institute.^[13] While they were living in Kansas City, Walt and Ruth Disney were also regular visitors of Electric Park, 15 blocks from their home (Disney would later acknowledge the amusement park as a major influence of his design of Disneyland).

Teenage years

Disney as an ambulance driver during World War I.

In 1917, Elias acquired shares in the O-Zell jelly factory in Chicago and moved his family back there.^[14] In the fall, Disney began his freshman year at McKinley High School and began taking night courses at the Chicago Art Institute.^[15] Disney became the cartoonist for the school newspaper. His cartoons were very patriotic, focusing on World War I. Disney dropped out of high school at the age of sixteen to join the Army, but the army rejected him because he was underage.^[16]
After his rejection from the army, Walt and one of his friends decided to join the Red Cross.^[17] Soon after he joined The Red Cross, Walt was sent to France for a year, where he drove an ambulance, but not before the armistice was signed on November 11, 1918.^[18]
In 1919, Walt, hoping to find work outside the Chicago O-Zell factory,^[19] left home and moved back to Kansas City to begin his artistic career.^[20] After considering becoming an actor or a newspaper artist, he decided he wanted to create a career in the newspaper, drawing political caricatures or comic strips. But when nobody wanted to hire him as either an artist or even as an ambulance driver, his brother Roy, who worked at a bank in the area, got a temporary job for him at the Pesmen-Rubin Art Studio through a bank colleague.^[20] At Pesmen-Rubin, Disney created ads for newspapers, magazines, and movie theaters.^[21] It was here that he met a cartoonist named Ubbe Iwerks.^[22] When their time at the Pesmen-Rubin Art Studio expired, they were both without a job, and they decided to start their own commercial company.^[23]
In January 1920, Disney and Iwerks formed a short-lived company called, "Iwerks-Disney Commercial Artists". However, following a rough start, Disney left temporarily to earn money at Kansas City Film Ad Company, and was soon joined by Iwerks who was not able to run the business alone.^[24] While working for the Kansas City Film Ad Company, where he made commercials based on cutout animation, Disney took up an interest in the field of animation, and decided to become an animator.^[25] He was allowed by the owner of the Ad Company, A.V. Cauger, to borrow a camera from work, which he could use to experiment with at home. After reading a book by Edwin G. Lutz, called Animated Cartoons: How They Are Made, Their Origin and Development, he found cel animation to be much more promising than the cutout animation he was doing for Cauger. Walt eventually decided to open his own animation business,^[26] and recruited a fellow co-worker at the Kansas City Film Ad Company, Fred Harman, as his first employee.^[26] Walt and Harman then secured a deal with local theater owner Frank L. Newman — arguably the most popular "showman" in the Kansas City area at the time^[27] — to screen their cartoons — which they titled "Laugh-O-Grams" — at his local theater.^[27]

Laugh-O-Gram Studio

Presented as "Newman Laugh-O-Grams",^[27] Disney's cartoons became widely popular in the Kansas City area.^[28] Through their success, Disney was able to acquire his own studio, also called Laugh-O-Gram,^[29] and hire a vast number of additional animators, including Fred Harman's brother Hugh Harman, Rudolf Ising, and his close friend Ubbe Iwerks.^[30] Unfortunately, with all his high employee salaries unable to make up for studio profits, Walt was unable to successfully manage money.^[31] As a result, the studio became loaded with debt^[31] and wound up bankrupt.^[32] Disney then set his sights on establishing a studio in the movie industry's capital city, Hollywood, California.^[33]

Hollywood

Disney and his brother pooled their money to set up a cartoon studio in Hollywood.^[34] Needing to find a distributor for his new Alice Comedies — which he started making while in Kansas City,^[32] but never got to distribute — Disney sent an unfinished print to New York distributor Margaret Winkler, who promptly wrote back to him. She was keen on a distribution deal with Disney for more live-action/animated shorts based upon Alice's Wonderland.^[35]

Alice Comedies

Virginia Davis (the live-action star of Alice’s Wonderland) and her family were relocated at Disney's request from Kansas City to Hollywood, as were Iwerks and his family. This was the beginning of the Disney Brothers' Studio. It was located on Hyperion Avenue in the Silver Lake district, where the studio remained until 1939. In 1925, Disney hired a young woman named Lillian Bounds to ink and paint celluloid. After a brief period of dating her, the two got married the same year.
The new series, Alice Comedies, was reasonably successful, and featured both Dawn O'Day and Margie Gay as Alice. Lois Hardwick also briefly assumed the role of Alice. By the time the series ended in 1927, the focus was more on the animated characters, in particular a cat named Julius who resembled Felix the Cat, rather than the live-action Alice.

Oswald the Lucky Rabbit

Main article: Oswald the Lucky Rabbit

By 1927, Charles Mintz had married Margaret Winkler and assumed control of her business, and ordered a new all-animated series to be put into production for distribution through Universal Pictures. The new series, Oswald the Lucky Rabbit, was an almost instant success, and the character, Oswald — drawn and created by Iwerks — became a popular figure. The Disney studio expanded, and Walt hired back Harman, Rudolph Ising, Carman Maxwell, and Friz Freleng from Kansas City.
In February 1928, Disney went to New York to negotiate a higher fee per short from Mintz. Disney was shocked when Mintz announced not only that he wanted to reduce the fee he paid Disney per short but also that he had most of his main animators—including Harman, Ising, Maxwell, and Freleng (notably, except Iwerks, who refused to leave Disney)—under contract and would start his own studio if Disney did not accept the reduced production budgets. Universal, not Disney, owned the Oswald trademark, and could make the films without Disney. Disney declined Mintz's offer and lost most of his animation staff.
With most of his staff gone Disney now found himself on his own again.^[36] It took Disney's company 78 years to get back the rights to the Oswald character. The Walt Disney Company reacquired the rights to Oswald the Lucky Rabbit from NBC Universal in 2006, through a trade for longtime ABC sports commentator Al Michaels.^[37]

Mickey Mouse

Main article: Mickey Mouse

After losing the rights to Oswald, Disney felt the need to develop a new character to replace him. He based the character on a mouse he had adopted as a pet while working in his Laugh-O-Gram studio in Kansas City.^[38] Ub Iwerks reworked the sketches made by Disney so the character was easier to animate. However, Mickey's voice and personality was provided by Disney until 1947. In the words of a Disney employee, "Ub designed Mickey's physical appearance, but Walt gave him his soul."^[38] Besides Oswald and Mickey, a similar mouse-character is seen in Alice Comedies which featured a mouse named Ike the Mouse, and the first Flip the Frog cartoon called Fiddlesticks, which showed a Mickey Mouse look-alike playing fiddle. The initial films were animated by Iwerks, his name was prominently featured on the title cards. The mouse was originally named "Mortimer", but later christened "Mickey Mouse" by Lillian Disney who thought that the name Mortimer did not fit. Mortimer later became the name of Mickey's rival for Minnie, who was taller than his renowned adversary and had a Brooklyn accent.
The first animated short with Mickey in it was titled, Plane Crazy, which was, like all of Disney's previous works, a silent film. After failing to find a distributor for Plane Crazy or its follow-up, The Gallopin' Gaucho, Disney created a Mickey cartoon with sound called Steamboat Willie. A businessman named Pat Powers provided Disney with both distribution and Cinephone, a sound-synchronization process. Steamboat Willie became an instant success,^[39] and Plane Crazy, The Galloping Gaucho, and all future Mickey cartoons were released with soundtracks. Disney himself provided the vocal effects for the earliest cartoons and performed as the voice of Mickey Mouse until 1946. After the release of Steamboat Willie, Walt Disney would continue to successfully use sound in all of his future cartoons, and Cinephone became the new distributor for Disney's early sound cartoons as well.^[40] Mickey soon eclipsed Felix the Cat as the world's most popular cartoon character.^[38] By 1930, Felix, now in sound, had faded from the screen, as his sound cartoons failed to gain attention.^[41] Mickey's popularity would now skyrocket in the early 1930s.^[38]

Silly Symphonies

Following the footsteps of Mickey Mouse series, a series of musical shorts titled, Silly Symphonies was released in 1929. The first of these was titled The Skeleton Dance and was entirely drawn and animated by Iwerks, who was also responsible for drawing the majority of cartoons released by Disney in 1928 and 1929. Although both series were successful, the Disney studio was not seeing its rightful share of profits from Pat Powers,^[42] and in 1930, Disney signed a new distribution deal with Columbia Pictures. The original basis of the cartoons were musical novelty, and Carl Stalling wrote the score for the first Silly Symphony cartoons as well.^[43]
Iwerks was soon lured by Powers into opening his own studio with an exclusive contract. Later, Carl Stalling would also leave Disney to join Iwerks' new studio.^[44] Iwerks launched his Flip the Frog series with the first voice cartoon in color, "Fiddlesticks," filmed in two-strip Technicolor. Iwerks also created two other series of cartoons, the Willie Whopper and the Comicolor. In 1936, Iwerks shut his studio to work on various projects dealing with animation technology. He would return to Disney in 1940 and, would go on to pioneer a number of film processes and specialized animation technologies in the studio's research and development department.
By 1932, Mickey Mouse had become quite a popular cinema character, but Silly Symphonies was not as successful. The same year also saw competition increase as Max Fleischer's flapper cartoon character, Betty Boop, would gain more popularity among theater audiences.^[45] Fleischer was considered to be Disney's main rival in the 1930s,^[46] and was also the father of Richard Fleischer, whom Disney would later hire to direct his 1954 film 20,000 Leagues Under the Sea. Meanwhile, Columbia Pictures dropped the distribution of Disney cartoons and was replaced by United Artists.^[47] In late 1932, Herbert Kalmus, who had just completed work on the first three-strip technicolor camera,^[48] approached Walt and convinced him to redo Flowers and Trees, which was originally done in black and white, with three-strip Technicolor.^[49] Flowers and Trees would go on to be a phenomenal success and would also win the first Academy Award for Best Short Subject: Cartoons for 1932. After Flowers and Trees was released, all future Silly Symphony cartoons were done in color as well. Disney was also able to negotiate a two-year deal with Technicolor, giving him the sole right to use three-strip Technicolor,^[50][51] which would also eventually be extended to five years as well.^[43] Through Silly Symphonies, Disney would also create his most successful cartoon short of all time, The Three Little Pigs, in 1933.^[52] The cartoon ran in theaters for many months, and also featured the hit song that became the anthem of the Great Depression, "Who's Afraid of the Big Bad Wolf".^[53]

Walt Disney's star on the Hollywood Walk of Fame.

First Academy Award

In 1932, Disney received a special Academy Award for the creation of "Mickey Mouse", whose series was made into color in 1935 and soon launched spin-off series for supporting characters such as Donald Duck, Goofy, and Pluto; Pluto and Donald would immediately get their individual cartoons in 1937,^[54] and Goofy would get solo cartoons in 1939 as well.^[55] Of all of Mickey's partners, Donald Duck—who first teamed with Mickey in the 1934 cartoon, Orphan's Benefit—was arguably the most popular, and went on to become Disney's second most successful cartoon character of all time.^[56]

Children

The Disneys' first attempt at pregnancy ended up in Lillian having a miscarriage. When Lillian Disney became pregnant again, she gave birth to a daughter, Diane Marie Disney, on December 18, 1933. The Disneys adopted Sharon Mae Disney (December 31, 1936 – February 16, 1993).^[57]

1937–1941: The Golden Age of Animation

"Disney's Folly": Snow White and the Seven Dwarfs

Walt Disney introduces each of the Seven Dwarfs in a scene from the original 1937 Snow White theatrical trailer.

After the creation of two cartoon series, Disney soon began plans for a full-length feature in 1934. In 1935, opinion polls showed that another cartoon series, Popeye the Sailor, produced by Max Fleischer, was more popular than Mickey Mouse.^[58] Disney was, however, able to put Mickey back on top, and also increase Mickey's popularity further by colorizing him and partially redesigning him into what was considered to be his most appealing design up to that point in time.^[38] When the film industry came to know about Disney's plans to produce an animated feature-length version of Snow White, they dubbed the project "Disney's Folly" and were certain that the project would destroy the Disney Studio. Both Lillian and Roy tried to talk Disney out of the project, but he continued plans for the feature. He employed Chouinard Art Institute professor Don Graham to start a training operation for the studio staff, and used the Silly Symphonies as a platform for experiments in realistic human animation, distinctive character animation, special effects, and the use of specialized processes and apparatus such as the multiplane camera; Disney would first use this new technique in the 1937 Silly Symphonies short The Old Mill.^[59]
All of this development and training was used to elevate the quality of the studio so that it would be able to give the feature film the quality Disney desired. Snow White and the Seven Dwarfs, as the feature was named, was in full production from 1934 until mid-1937, when the studio ran out of money. To acquire the funding to complete Snow White, Disney had to show a rough cut of the motion picture to loan officers at the Bank of America, who gave the studio the money to finish the picture. The finished film premiered at the Carthay Circle Theater on December 21, 1937; at the conclusion of the film, the audience gave Snow White and the Seven Dwarfs a standing ovation. Snow White, the first animated feature in America and Technicolor, was released in February 1938 under a new distribution deal with RKO Radio Pictures; RKO had previously been the distributor for Disney cartoons in 1936, after it closed down the Van Beuren Studios in exchange for distribution.^[60] The film became the most successful motion picture of 1938 and earned over $8 million in its original theatrical release.

The Golden Age of Animation

The success of Snow White, (for which Disney received one full-size, and seven miniature Oscar statuettes) allowed Disney to build a new campus for the Walt Disney Studios in Burbank, which opened for business on December 24, 1939; Snow White was not only the peak of Disney's success, but it also ushered in a period that would later be known as the Golden Age of Animation for Disney.^[61][62] The feature animation staff, having just completed Pinocchio, continued work on Fantasia and Bambi and the early production stages of Alice in Wonderland and Peter Pan while the shorts staff continued work on the Mickey Mouse, Donald Duck, Goofy, and Pluto cartoon series, ending the Silly Symphonies at this time. Animator Fred Moore had redesigned Mickey Mouse in the late 1930s, when Donald Duck began to gain more popularity among theater audiences than Mickey Mouse.^[63]
Pinocchio and Fantasia followed Snow White and the Seven Dwarfs into the movie theaters in 1940, but both were financial disappointments. The inexpensive Dumbo was planned as an income generator, but during production of the new film, most of the animation staff went on strike, permanently straining the relationship between Disney and his artists.

1941–1945: During World War II

Disney and a group of animators were sent to South America in 1941 by the U.S. State Department as part of its Good Neighbor policy, and guaranteed financing for the resulting movie, Saludos Amigos.^[64]
Shortly after the release of Dumbo in October 1941, the United States entered World War II. The U.S. Army contracted most of the Disney studio's facilities and had the staff create training and instructional films for the military, home-front morale-boosting shorts such as Der Fuehrer's Face and the feature film Victory Through Air Power in 1943. However, the military films did not generate income, and the feature film Bambi underperformed when it was released in April 1942. Disney successfully re-issued Snow White in 1944, establishing a seven-year re-release tradition for Disney features. In 1945, The Three Caballeros was the last animated feature by Disney during the war period.
In 1944, William Benton, publisher of the Encyclopædia Britannica, had entered into unsuccessful negotiations with Disney to make six to twelve educational films annually. Disney was asked by the US Coordinator of Inter-American Affairs, Office of Inter-American Affairs (OIAA), to make an educational film about the Amazon Basin and it resulted in the 1944 animated short, The Amazon Awakens.^{[65][66][67][68][69]}

1945–1955: Disney in the post-war period

The Disney studios also created inexpensive package films, containing collections of cartoon shorts, and issued them to theaters during this period. This includes Make Mine Music (1946), Melody Time (1948), Fun and Fancy Free (1947) and The Adventures of Ichabod and Mr. Toad (1949). The latter had only two sections: the first based on The Wind in the Willows by Kenneth Grahame, and the second based on The Legend of Sleepy Hollow by Washington Irving. During this period, Disney also ventured into full-length dramatic films that mixed live action and animated scenes, including Song of the South and So Dear to My Heart. After the war ended, Mickey's popularity would also fade as well.^[70]
By the late 1940s, the studio had recovered enough to continue production on the full-length features Alice in Wonderland and Peter Pan, both of which had been shelved during the war years, and began work on Cinderella, which became Disney's most successful film since Snow White and the Seven Dwarfs. The studio also began a series of live-action nature films, titled True-Life Adventures, in 1948 with On Seal Island. Despite rebounding success through feature films, Disney's animation shorts were no longer as popular as they used to be, and people began to instead draw attention to Warner Bros and their animation star Bugs Bunny. By 1942, Leon Schlesinger Productions, which produced the Warner Bros. cartoons, had become the country's most popular animation studio.^[71] However, while Bugs Bunny's popularity rose in the 1940s, so did Donald Duck's;^[72] Donald would also replace Mickey Mouse as Disney's star character by 1949.^[73]
During the mid-1950s, Disney produced a number of educational films on the space program in collaboration with NASA rocket designer Wernher von Braun: Man in Space and Man and the Moon in 1955, and Mars and Beyond in 1957.

Walt Disney meets Wernher von Braun in 1954.

Testimony before Congress

Disney was a founding member of the anti-communist Motion Picture Alliance for the Preservation of American Ideals.  In 1947, during the early years of the Cold War,^[74] Disney testified before the House Un-American Activities Committee, where he branded Herbert Sorrell, David Hilberman and William Pomerance, former animators and labor union organizers, as Communist agitators. All three men denied the allegations. Sorrell testified before the HUAC in 1946 and there was insufficient evidence to link him to the Communist Party.^[75][76] However, Archives of the Soviet Union, released by the Russian government, implicate Sorrell as indeed having been a Communist spy.^[77]
Additionally, Disney accused the Screen Actors Guild of being a Communist front, and charged that the 1941 strike was part of an organized Communist effort to gain influence in Hollywood.^[74]

1955–1966: Theme parks and beyond

Planning Disneyland

Disneyland: aerial view, August 1963, looking SE. New Melodyland Theater at top. Santa Ana Freeway (US 101 at the time, now I-5) upper left corner.

On a business trip to Chicago in the late-1940s, Disney drew sketches of his ideas for an amusement park where he envisioned his employees spending time with their children. He got his idea for a children's theme park after visiting Children's Fairyland in Oakland, California. This plan was originally meant for a plot located south of the Studio, across the street. The original ideas developed into a concept for a larger enterprise that was to become Disneyland. Disney spent five years of his life developing Disneyland and created a new subsidiary of his company, called WED Enterprises, to carry out the planning and production of the park. A small group of Disney studio employees joined the Disneyland development project as engineers and planners, and were dubbed Imagineers.
When describing one of his earliest plans to Herb Ryman (who created the first aerial drawing of Disneyland which was presented to the Bank of America while requesting for funds), Disney said, "Herbie, I just want it to look like nothing else in the world. And it should be surrounded by a train."^[78] Entertaining his daughters and their friends in his backyard and taking them for rides on his Carolwood Pacific Railroad had inspired Disney to include a railroad in the plans for Disneyland.

Disneyland grand opening

Walt Disney giving the dedication day speech July 17, 1955.

Disneyland officially opened on July 18, 1955. On Sunday, July 17, 1955, Disneyland hosted a live TV preview, among the thousands of people who came out for the preview were Ronald Reagan, Bob Cummings and Art Linkletter, who shared cohosting duties, as well as the mayor of Anaheim. Walt gave the following dedication day speech:

“

To all who come to this happy place; welcome. Disneyland is your land. Here age relives fond memories of the past .... and here youth may savor the challenge and promise of the future. Disneyland is dedicated to the ideals, the dreams and the hard facts that have created America ... with the hope that it will be a source of joy and inspiration to all the world.

”

Carolwood Pacific Railroad

The Lilly Belle on display at Disneyland Main Station in 1993. The caboose's woodwork was done entirely by Walt himself.

Main article: Carolwood Pacific Railroad

During 1949, Disney and his family moved to a new home on a large piece of property in the Holmby Hills district of Los Angeles, California. With the help of his friends Ward and Betty Kimball, owners of their own backyard railroad, Disney developed blueprints and immediately set to work on creating a miniature live steam railroad for his backyard. The name of the railroad, Carolwood Pacific Railroad, originated from the address of his home that was located on Carolwood Drive. The railroad's half-mile long layout included a 46-foot (14 m)-long trestle, loops, overpasses, gradients, an elevated berm, and a 90-foot (27 m) tunnel underneath Mrs. Disney's flowerbed. He named the miniature working steam locomotive built by Disney Studios engineer Roger E. Broggie Lilly Belle in his wife's honor. He had his attorney draw up right-of-way papers giving the railroad a permanent, legal easement through the garden areas, which his wife dutifully signed; however, there is no evidence of the documents ever recorded as a restriction on the property's title.

Expanding into new areas

As Walt Disney Productions began work on Disneyland, it also began expanding its other entertainment operations. In 1950, Treasure Island became the studio's first all-live-action feature, and was soon followed by 20,000 Leagues Under the Sea (in CinemaScope, 1954), Old Yeller (1957), The Shaggy Dog (1959), Pollyanna (1960), Swiss Family Robinson (1960), The Absent-Minded Professor (1961), and The Parent Trap (1961). The Walt Disney Studio produced its first TV special, One Hour in Wonderland, in 1950. Disney began hosting a weekly anthology series on ABC named Disneyland after the park, where he showed clips of past Disney productions, gave tours of his studio, and familiarized the public with Disneyland as it was being constructed in Anaheim, California. The show also featured a Davy Crockett miniseries, which started a craze among the American youth known as the Davy Crockett craze, in which millions of coonskin caps and other Crockett memorabilia were sold across the country.^[79] In 1955, the studio's first daily television show, Mickey Mouse Club debuted, which would continue in many various incarnations into the 1990s.
As the studio expanded and diversified into other media, Disney devoted less of his attention to the animation department, entrusting most of its operations to his key animators, whom he dubbed the Nine Old Men. During Disney's lifetime, the animation department created the successful Lady and the Tramp (in CinemaScope, 1955), Sleeping Beauty (in Super Technirama 70mm, 1959), One Hundred and One Dalmatians (1961), and The Sword in the Stone (1963).
Production on the short cartoons had kept pace until 1956, when Disney shut down the shorts division. Special shorts projects would continue to be made for the rest of the studio's duration on an irregular basis. These productions were all distributed by Disney's new subsidiary, Buena Vista Distribution, which had assumed all distribution duties for Disney films from RKO by 1955. Disneyland, one of the world's first theme parks, finally opened on July 17, 1955, and was immediately successful. Visitors from around the world came to visit Disneyland, which contained attractions based upon a number of successful Disney properties and films.
After 1955, the show, Disneyland came to be known as Walt Disney Presents. The show transformed from black-and-white to color in 1961 and changed its name to Walt Disney's Wonderful World of Color, moving from ABC to NBC,^[80] and eventually evolving into its current form as The Wonderful World of Disney. It continued to air on NBC until 1981, when CBS picked it up.^[81] Since then, it has aired on ABC, NBC, Hallmark Channel and Cartoon Network via separate broadcast rights deals. During its run, the Disney series offered some recurring characters, such as Roger Mobley appearing as the newspaper reporter and sleuth "Gallegher", based on the writing of Richard Harding Davis.
Disney had already formed his own music publishing division back in 1949. In 1956, partly inspired by the huge success of the television theme song The Ballad of Davy Crockett, he created a company-owned record production and distribution entity called Disneyland Records.

Early 1960s successes

(Left to right) Robert B. Sherman, Richard M. Sherman and Walt Disney sing "There's a Great Big Beautiful Tomorrow" (1964)

By the early 1960s, the Disney empire was a major success, and Walt Disney Productions had established itself as the world's leading producer of family entertainment. Walt Disney was the Head of Pageantry for the 1960 Winter Olympics.
After decades of pursuing, Disney finally procured the rights to P.L. Travers' books about a magical nanny. Mary Poppins, released in 1964, was the most successful Disney film of the 1960s and featured a memorable song score written by Disney favorites, the Sherman Brothers. The same year, Disney debuted a number of exhibits at the 1964 New York World's Fair, including Audio-Animatronic figures, all of which were later integrated into attractions at Disneyland and a new theme park project which was to be established on the East Coast.
Though the studio probably would have made great competition with Hanna-Barbera, Disney had decided not to enter the race for producing Saturday morning cartoon series on television (which Hanna-Barbera had done at the time), because with the expansion of Disney's empire and constant production of feature films, there would be too much for the budget to handle.

Plans for Disney World and EPCOT

In early 1964, Disney announced plans to develop another theme park located a few miles west of Orlando, Florida which was to be called Walt Disney World. Disney World was to include a larger, more elaborate version of Disneyland which was to be called the Magic Kingdom. It would also feature a number of golf courses and resort hotels. The heart of Disney World, however, was to be the Experimental Prototype City (or Community) of Tomorrow, or EPCOT for short.

Mineral King Ski Resort

During the early to mid 1960s, Walt Disney developed plans for a ski resort in Mineral King, a glacial valley in California's Sierra Nevada mountain range. Disney brought in experts like the renowned Olympic ski coach and ski-area designer Willy Schaeffler, who helped plan a visitor village, ski runs and ski lifts among the several bowls surrounding the valley. Plans finally moved into action in the mid 1960s, but Walt died before the actual work had started. Disney's death and the actions from preservationists made sure the resort was never built.

Death

In October 1966, Disney was scheduled to undergo neck surgery for an old polo injury;^[82] he had played frequently at the Riveria Club in Hollywood for many years.^[83] On November 2, 1966, during pre-surgery X-rays, doctors at Providence St. Joseph Medical Center across the street from the Disney Studio discovered that Disney had an enormous tumor on his left lung.^[84] Five days later, Disney went back to the hospital for surgery for both his neck injury, as well as to have the tumor removed, but within the short time, the tumor had spread to such great extent that the surgical doctors had to remove his entire left lung.^[84] The doctors then told Disney that he only had six months to a year to live.^[84] After several chemotherapy sessions, Disney and his wife spent a short amount of time in Palm Springs, California on vacation, before returning home.^[82] On November 30, 1966, Disney collapsed in his home from a heart attack, but was revived by fire department personnel, and was taken back to the hospital, where he died^[82] on December 15, 1966, at 9:30 a.m., ten days after his 65th birthday. The last thing he reportedly wrote before his death was the name of actor Kurt Russell, but even Russell himself does not know what Disney meant.^[85]
Disney was cremated on December 17, 1966, and his ashes reside at the Forest Lawn Memorial Park in Glendale, California.^[86] Roy O. Disney continued to carry out the Florida project, insisting that the name be changed to Walt Disney World in honor of his brother.
The final productions in which Disney had an active role were the animated features The Jungle Book and Winnie the Pooh and the Blustery Day, and the live-action musical comedy The Happiest Millionaire, both released in 1967. Songwriter Robert B. Sherman said about the last time he saw Disney:

“

He was up in the third floor of the animation building after a run-through of The Happiest Millionaire. He usually held court in the hallway afterward for the people involved with the picture. And he started talking to them, telling them what he liked and what they should change, and then, when they were through, he turned to us and with a big smile, he said, 'Keep up the good work, boys.' And he walked to his office. It was the last we ever saw of him.[87]

”

A long-standing urban legend maintains that Disney was cryogenically frozen, and his frozen corpse was stored underneath the Pirates of the Caribbean ride at Disneyland.^[88] The first known instance of cryogenic freezing of a corpse occurred a month later, in January 1967.^[88]

Legacy: 1967 to the present

Continuing Disney Productions

Plaque at the entrance that embodies the intended spirit of Disneyland by Walt Disney: to leave reality and enter fantasy

After Walt Disney's death, Roy Disney returned from retirement to take full control of Walt Disney Productions and WED Enterprises. In October 1971, the families of Walt and Roy met in front of Cinderella Castle at the Magic Kingdom to officially open the Walt Disney World Resort.
After giving his dedication for Walt Disney World, Roy asked Lillian Disney to join him. As the orchestra played "When You Wish Upon a Star", she stepped up to the podium accompanied by Mickey Mouse. He then said, "Lilly, you knew all of Walt's ideas and hopes as well as anybody; what would Walt think of it [Walt Disney World]?". "I think Walt would have approved," she replied.^[89] Roy died from a cerebral hemorrhage on December 20, 1971, the day he was due to open the Disneyland Christmas parade.

1968 US postage stamp

During the second phase of the "Walt Disney World" theme park, EPCOT was translated by Disney's successors into EPCOT Center, which opened in 1982. As it currently exists, EPCOT is essentially a living world's fair, different from the actual functional city that Disney had envisioned. In 1992, Walt Disney Imagineering took the step closer to Disney's original ideas and dedicated Celebration, Florida, a town built by the Walt Disney Company adjacent to Walt Disney World, that hearkens back to the spirit of EPCOT. EPCOT was also originally intended to be devoid of Disney characters which initially limited the appeal of the park to young children. However, the company later changed this policy and Disney characters can now be found throughout the park, often dressed in costumes reflecting the different pavilions.

The Disney entertainment empire

Today, Walt Disney's animation/motion picture studios and theme parks have developed into a multi-billion dollar television, motion picture, vacation destination and media corporation that carry his name. The Walt Disney Company today owns, among other assets, five vacation resorts, eleven theme parks, two water parks, thirty-nine hotels, eight motion picture studios, six record labels, eleven cable television networks, and one terrestrial television network. As of 2007, the company has an annual revenue of over U.S. $35 billion.^[90]

Disney Animation today

Traditional hand-drawn animation, with which Walt Disney started his company, was, for a time, no longer produced at the Walt Disney Animation Studios. After a stream of financially unsuccessful traditionally animated features in the early 2000s, the two satellite studios in Paris and Orlando were closed, and the main studio in Burbank was converted to a computer animation production facility. In 2004, Disney released what was announced as their final "traditionally animated" feature film, Home on the Range. However, since the 2006 acquisition of Pixar, and the resulting rise of John Lasseter to Chief Creative Officer, that position has changed, and the largely successful 2009 film The Princess and the Frog has marked Disney's return to traditional hand-drawn animation.

CalArts

In his later years, Disney devoted substantial time towards funding The California Institute of the Arts (CalArts). It was formed in 1961 through a merger of the Los Angeles Conservatory of Music and the Chouinard Art Institute, which had helped in the training of the animation staff during the 1930s. When Disney died, one-fourth of his estate went towards CalArts, which helped in building its campus. In his will, Disney paved the way for creation of several charitable trusts which included one for the California Institute of the Arts and other for the Disney Foundation.^[91] He also donated 38 acres (0.154 km²) of the Golden Oaks ranch in Valencia for the school to be built on. CalArts moved onto the Valencia campus in 1972.
In an early admissions bulletin, Disney explained:

“

A hundred years ago, Wagner conceived of a perfect and all-embracing art, combining music, drama, painting, and the dance, but in his wildest imagination he had no hint what infinite possibilities were to become commonplace through the invention of recording, radio, cinema and television. There already have been geniuses combining the arts in the mass-communications media, and they have already given us powerful new art forms. The future holds bright promise for those who imaginations are trained to play on the vast orchestra of the art-in-combination. Such supermen will appear most certainly in those environments which provide contact with all the arts, but even those who devote themselves to a single phase of art will benefit from broadened horizons.[92]

”

The Walt Disney Family Museum

In 2009, the Walt Disney Family Museum opened in the Presidio of San Francisco. Thousands of artifacts of Disney's life and career are on display, including 248 awards he received.^[93]

Christian ethics questions raised

On October 20, 2007, hundreds of Christian filmmakers gathered in Texas to study and give praise to Disney, who was raised in a devout Christian home and how they believe his corporate heirs within the Walt Disney Company "went astray" from his "family-friendly" legacy of filmmaking after his death. ^[94] Many questions have been raised, particularly over the years after his death in 1966 as to whether or not Disney was a Christian, but many other sources claim that he was an ultra-conservative Christian, and that it relfected in the values that he set in his films. ^[95]

Antisemitism

Whether Disney was antisemitic, and to which extent, remains contentious. In an interview with CBS News, biographer Neal Gabler said "That's one of the questions everybody asks me, 'Was he an anti-Semite?' That's out there. My answer to that is, not in the conventional sense that we think of someone as being an anti-Semite. But he got the reputation because, in the 1940s, he got himself allied with a group called the Motion Picture Alliance for the Preservation of American Ideals, which was an anti-Communist and anti-Semitic organization. And though Walt himself, in my estimation, was not anti-Semitic, nevertheless, he willingly allied himself with people who were anti-Semitic, and that reputation stuck. He was never really able to expunge it throughout his life."^[96][97] The biographical essay "Walt's Inside Story," hosted by The Walt Disney Family Museum website, refers to Disney's antisemitism as a "myth," while acknowledging that he did have difficult relationships with some Jewish men and that ethnic stereotypes common to films of the 1930s were included in some early cartoons like Three Little Pigs, noting that not only did he have Jewish employees but that he was honored as "Man Of The Year" in 1955 by the B'nai B'rith chapter in Beverly Hills.^[98]

Academy Awards

This display case in the lobby of the Walt Disney Family Museum in San Francisco shows many of the Academy Awards he won, including the distinctive special award at the bottom for Snow White and the Seven Dwarfs.

Walt Disney holds the records for the most number of Academy Award nominations (with fifty-nine) and number of awarded Oscars (twenty-two). He has also earned four honorary Oscars. Both his last competitive and honorary Academy Awards were posthumous.^[99]

• 1932: Best Short Subject, Cartoons for: Flowers and Trees (1932)
• 1932: Honorary Award for: creation of Mickey Mouse.
• 1934: Best Short Subject, Cartoons for: Three Little Pigs (1933)
• 1935: Best Short Subject, Cartoons for: The Tortoise and the Hare (1934)
• 1936: Best Short Subject, Cartoons for: Three Orphan Kittens (1935)
• 1937: Best Short Subject, Cartoons for: The Country Cousin (1936)
• 1938: Best Short Subject, Cartoons for: The Old Mill (1937)
• 1939: Best Short Subject, Cartoons for: Ferdinand the Bull (1938)
• 1939: Honorary Award for Snow White and the Seven Dwarfs (1937) The citation read: "For Snow White and the Seven Dwarfs, recognized as a significant screen innovation which has charmed millions and pioneered a great new entertainment field" (the award was one statuette and seven miniature statuettes)^[3]
• 1940: Best Short Subject, Cartoons for: Ugly Duckling (1939)
• 1941: Honorary Award for: Fantasia (1940), shared with: William E. Garity and J.N.A. Hawkins. The citation for the certificate of merit read: "For their outstanding contribution to the advancement of the use of sound in motion pictures through the production of Fantasia"^[3]
• 1942: Best Short Subject, Cartoons for: Lend a Paw (1941)
• 1943: Best Short Subject, Cartoons for: Der Fuehrer's Face (1942)
• 1949: Best Short Subject, Two-reel for: Seal Island (1948)
• 1949: Irving G. Thalberg Memorial Award
• 1951: Best Short Subject, Two-reel for: Beaver Valley (1950)
• 1952: Best Short Subject, Two-reel for: Nature's Half Acre (1951)
• 1953: Best Short Subject, Two-reel for: Water Birds (1952)
• 1954: Best Documentary, Features for: The Living Desert (1953)
• 1954: Best Documentary, Short Subjects for: The Alaskan Eskimo (1953)
• 1954: Best Short Subject, Cartoons for: Toot Whistle Plunk and Boom (1953)
• 1954: Best Short Subject, Two-reel for: Bear Country (1953)
• 1955: Best Documentary, Features for: The Vanishing Prairie (1954)
• 1956: Best Documentary, Short Subjects for: Men Against the Arctic
• 1959: Best Short Subject, Live Action Subjects for: Grand Canyon
• 1969: Best Short Subject, Cartoons for: Winnie the Pooh and the Blustery Day

Other honors

Walt Disney was the inaugural recipient of a star on the Anaheim walk of stars. The star was awarded in honor of Disney's significant contributions to the city of Anaheim, California, specifically, Disneyland, which is now the Disneyland Resort. The star is located at the pedestrian entrance to the Disneyland Resort on Harbor Boulevard. Disney has two stars on the Hollywood Walk of Fame, one for motion pictures and the other for television.
Walt Disney received the Congressional Gold Medal on May 24, 1968 (P.L. 90-316, 82 Stat. 130–131) and the Légion d'Honneur in France in 1935.^[100] In 1935, Walt received a special medal from the League of Nations for creation of Mickey Mouse, held to be Mickey Mouse award.^[101] He also received the Presidential Medal of Freedom on September 14, 1964.^[102] On December 6, 2006, California Governor Arnold Schwarzenegger and First Lady Maria Shriver inducted Walt Disney into the California Hall of Fame located at The California Museum for History, Women, and the Arts.
A minor planet, 4017 Disneya, discovered in 1980 by Soviet astronomer Lyudmila Georgievna Karachkina, is named after him.^[103]
The Walt Disney Concert Hall in Los Angeles, California, opened in 2003, was named in his honor.
Beginning in 1993, HBO began to develop a Walt Disney biopic under the direction of Frank Pierson with Lawrence Turman. The project never materialized and was soon abandoned.^[104]

Preceded by None

Voice of Mickey Mouse 1928–1947

Succeeded by Jimmy MacDonald

See also

• Disney family
• The Mickey Mouse Club
• The Walt Disney Family Museum
• Walt Disney anthology television series

Notes

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2. ^ Dave Bryan (2002-08-13). "Walt Disney Helped Wernher von Braun Sell Americans on Space". Associated Press. http://www.space.com/news/spacehistory/vonbraun_disney_020813.html. Retrieved 2010-09-27. 
3. ^ ^{a b c} "Walt Disney Academy awards". Academy of Motion Picture Arts and Sciences. http://awardsdatabase.oscars.org/index.jsp. Retrieved 2008-05-21. 
4. ^ "Walt Disney, the man behind the mouse". Chicago Sun-Times. 2009-09-27. http://www.suntimes.com/lifestyles/1790811,disney-walt-museum-san-francisco-092709.article. Retrieved 2010-10-21. 
5. ^ ^{a b} "Walt Disney biography". Just Disney. Archived from the original on 2008-06-05. http://web.archive.org/web/20080605151444/http://www.justdisney.com/WaltDisney100/biography01.html. Retrieved 2008-05-21. 
6. ^ Disneyland Paris. Michelin. 2002-08-07. p. 38. ISBN 2060480027. 
7. ^ ^{a b c} Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 7.
8. ^ ^{a b} Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 9-10.
9. ^ ^{a b} Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 15.
10. ^ "Walt Disney Hometown Museum". Walt Disney Museum. http://www.waltdisneymuseum.org/. Retrieved 2008-05-21. 
11. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 18.
12. ^ Thomas 1994, pp. 33–41
13. ^ Biography of Walt Disney, Film Producer – kchistory.org – Retrieved September 14, 2009
14. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 30.
15. ^ Thomas 1994, pp. 42–43
16. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 36.
17. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 37.
18. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 38.
19. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 42.
20. ^ ^{a b} Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 44.
21. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 45.
22. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 46.
23. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 48.
24. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 51.
25. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 52.
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27. ^ ^{a b c} Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 57.
28. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 58.
29. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 64.
30. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 64-71.
31. ^ ^{a b} Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 68.
32. ^ ^{a b} Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 72.
33. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 75.
34. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 78.
35. ^ Neal Gabler, "Walt Disney:The Triumph of the American Imagination" (2006), p. 80.
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