Street performance or busking is the act of performing in public places for gratuities. In many countries the rewards are in the form of money but other gratuities such as food, drink or gifts may be given. Street performance dates back to antiquity. People engaging in this practice are called street buskers. Performances are anything. Performers may do acrobatics, animal tricks, balloon twisting, clowning, contortions, dance, fire skills, flea circus, fortune-telling, magic, living statue, musical performance, snake charming, storytelling or reciting poetry or prose, street art such as sketching and painting, street theatre, sword swallowing, ventriloquism; the term busking was first noted in the English language around the middle 1860s in Great Britain. The verb to busk, from the word busker, comes from the Spanish root word buscar, with the meaning "to seek"; the Spanish word buscar in turn evolved from the Indo-European word *bhudh-skō. It was used for many street acts, title of a famous Spanish book about one of them, El Buscón.
Today, the word is still used in Spanish but relegated for female street sex workers, or women seeking to be set up as private mistress of married men. There have been performances in public places for gratuities in every major culture in the world, dating back to antiquity. For many musicians street performance was the most common means of employment before the advent of recording and personal electronics. Prior to that, a person had to produce any music or entertainment, save for a few mechanical devices such as the barrel organ, the music box, the piano roll. Organ grinders were found busking in the old days. Busking is common among some Romani people. Romantic mention of Romani music and fortune tellers are found in all forms of song poetry and lore; the Roma brought the word busking to England by way of their travels along the Mediterranean coast to Spain and the Atlantic Ocean and up north to England and the rest of Europe. In medieval France buskers were known by the terms troubadours and jongleurs.
In northern France they were known as trouveres. In old German buskers were known as Spielleute. In obsolete French it evolved to busquer for "seek, prowl" and was used to describe prostitutes. In Russia buskers are called skomorokh and their first recorded history appears around the 11th century. Mariachis, Mexican bands that play a style of music by the same name busk when they perform while traveling through streets and plazas, as well as in restaurants and bars. Around the mid-19th century Japanese Chindonya started to be seen using their skills for advertising, these street performers are still seen in Japan. Another Japanese street performance form dating from the Edo period is Nankin Tamasudare, in which the performer creates large figures using a bamboo mat. In 19th century, Italian street musicians began to roam worldwide in search of fortune. Musicians from Basilicata the so called Viggianesi, would become professional instrumentalists in symphonic orchestras in the United States; the street musicians from Basilicata are sometimes cited as an influence on Hector Malot's Sans Famille.
In the United States, medicine shows proliferated in the 19th century. They were traveling vendors selling potions to improve the health, they would employ entertainment acts as a way of making the clients feel better. The people would associate this feeling of well-being with the products sold. After these performances they would "pass the hat". One-man bands have performed as buskers playing a variety of instruments simultaneously. One-man bands proliferated in urban areas in the 19th and early 20th centuries and still perform to this day. A current one-man band plays all their instruments acoustically combining a guitar, a harmonica, a drum and a tambourine, they may include singing. Many still busk but some are booked to play at other events. Folk music has always been an important part of the busking scene. Cafe, restaurant and pub busking is a mainstay of this art form. Two of the more famous folk singers are Joan Baez; the delta bluesmen were itinerant musicians emanating from the Mississippi Delta region of the USA around the early 1940s and on.
B. B. King is one famous example; the counterculture of the hippies of the 1960s staged "be-ins", which resembled some present-day busker festivals. Bands and performers would gather at public places and perform for free, passing the hat to make money; the San Francisco Bay Area was at the epicenter of this movement – be-ins were staged at Golden Gate Park and San Jose's Bee Stadium and other venues. Some of the bands that performed in this manner were Janis Joplin with Big Brother and the Holding Company, the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, Country Joe and the Fish, Moby Grape and Jimi Hendrix. Christmas caroling can be a form of busking, as wassailing included singing for alms, wassail or some other form of refreshment such as figgy pudding. In Ireland the traditional Wren Boys and in England Morris Dancing can be considered part of the busking tradition. In India and Pakistan's Gujarati region Bhavai is a form of street art where there are plays enacted in the village, the barot or the village singer is part of the local entertainment scene.
In the 2000s, some performers have begun "Cyber Busking". Artists post work or performances on the Internet for people to download or "stream" a
Ronald William Howard is an American filmmaker and actor. Howard is best known for playing two high-profile roles in television sitcoms in his youth and directing a number of successful feature films in his career. Howard first came to prominence playing young Opie Taylor, the son of Sheriff Andy Taylor, in the sitcom The Andy Griffith Show from 1960 through 1968. During this time, he appeared in the musical film The Music Man and the comedy film The Courtship of Eddie's Father, he appeared in an episode of Land of the Giants 1968. In 1973, he played Steve Bolander in the classic coming of age film American Graffiti. In 1974, Howard became a household name playing teenager Richie Cunningham in the sitcom Happy Days, continuing in the role for seven years. Howard continued making films during this time, appearing in the western film The Shootist and the comedy film Grand Theft Auto, which he directed. In 1980, Howard left Happy Days to focus on directing, his films include the science-fiction/fantasy film Cocoon, the historical docudrama Apollo 13, the biographical drama A Beautiful Mind, the thriller The Da Vinci Code, the historical drama Frost/Nixon and Solo: A Star Wars Story.
Since 2003, Howard has narrated the Fox comedy series Arrested Development, on which he served as an executive producer and played a semi-fictionalized version of himself. In 2003, Howard was awarded the National Medal of Arts. Asteroid 12561 Howard is named after him, he was inducted into the Television Hall of Fame in 2013. Howard has two stars on the Hollywood Walk of Fame for his contributions in the television and motion pictures industries. Howard was born in Duncan, Oklahoma, in 1954, the elder son of Jean Speegle Howard, an actress, Rance Howard, a director and actor, he has German, Scottish and Dutch ancestry. His father was born with the surname "Beckenholdt" and had taken the stage name "Howard" by 1948, for his acting career. Rance Howard was serving three years in the United States Air Force at the time of Ron's birth; the family moved to Hollywood in 1958, the year before the birth of his younger brother, Clint Howard. They rented a house on the block south of the Desilu Studios, where The Andy Griffith Show was filmed.
They lived in Hollywood before moving to Burbank. Howard was tutored at Desilu Studios in his younger years but continued his schooling at Robert Louis Stevenson Elementary and David Star Jordan Junior High when not working in television graduating from John Burroughs High School, he attended the University of Southern California's School of Cinematic Arts but did not graduate. Howard has said he knew from a young age he might want to go into directing, thanks to his early experience as an actor. In 1959, Howard had his first credited film role, in The Journey, he appeared in June Allyson's CBS anthology series The DuPont Show with June Allyson in the episode "Child Lost". Howard played "Timmy" in "Counterfeit Gun", Season 4, Episode 2 of the TV series, "The Cheyenne Show." In 1960, Howard was cast as Opie Taylor in The Andy Griffith Show. Credited as "Ronny Howard", he portrayed the son of the title character for all eight seasons of the show. Recalling his experiences as a child actor on set, he commented.
And I was preoccupied with the prop, in my hand, because it was a toy turtle. But I had to pretend it was a real turtle that the audience just wasn't seeing, it was dead, so I was supposed to be crying and emotional, I remember him looking at that little turtle and talking to me about how it was kind of funny to have to pretend, dead. So I recall just a relaxed first impression. In the 1962 film version of The Music Man, Howard played the child with the lisp, he starred in the 1963 film The Courtship of Eddie's Father, with Glenn Ford. He appeared as Barry Stewart on The Eleventh Hour, in the episode "Is Mr. Martian Coming Back?" in 1965. In the 1970s, he appeared in at least one episode of The Bold Ones, as a teenage tennis player with an illness. Howard appeared on Song from the Haunted Mansion, it featured the story of two teenagers and Karen, who get trapped inside the Haunted Mansion. Thurl Ravenscroft plays the Narrator, Pete Reneday plays the Ghost Host, Eleanor Audley plays Madame Leota.
Some of the effects and ideas that were planned but never permanently made it to the attraction are mentioned here: the Raven speaks in the Stretching Room, the Hatbox Ghost is mentioned during the Attic scene. It was reissued in 1998 as a cassette tape titled A Spooky Night in Disney's Haunted Mansion and on CD in 2009. In 1974, Howard guest starred as Set
Amahl and the Night Visitors
Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed by the NBC Opera Theatre on December 24, 1951, in New York City at NBC studio 8H in Rockefeller Center, where it was broadcast live on television from that venue as the debut production of the Hallmark Hall of Fame, it was the first opera composed for television in America. Menotti was commissioned by Peter Herman Adler, director of NBC's new opera programming, to write the first opera for television; the composer had trouble settling on a subject for the opera, but took his inspiration from Hieronymus Bosch's The Adoration of the Magi hanging in The Metropolitan Museum of Art in New York City. As the airdate neared, Menotti had yet to finish the score; the singers had little time to rehearse, received the final passages of the score just days before the broadcast. The composer's partner Samuel Barber was brought in to complete the orchestrations.
After the dress rehearsal, NBC Symphony conductor Arturo Toscanini told Menotti, "This is the best you've done."Menotti distinctly wanted Amahl to be performed by a boy. In the "Production Notes" contained in the Piano-Vocal score he wrote: "It is the express wish of the composer that the role of Amahl should always be performed by a boy. Neither the musical nor the dramatic concept of the opera permits the substitution of a woman costumed as a child." The booklet with the original cast recording contains the following anecdote: This is an opera for children because it tries to recapture my own childhood. You see, when I was a child I lived in Italy, in Italy we have no Santa Claus. I suppose that Santa Claus is much too busy with American children to be able to handle Italian children as well. Our gifts were brought to us by the Three Kings, instead. I never met the Three Kings—it didn't matter how hard my little brother and I tried to keep awake at night to catch a glimpse of the Three Royal Visitors, we would always fall asleep just before they arrived.
But I do remember hearing them. I remember the weird cadence of their song in the dark distance. My favorite king was King Melchior, because he had a long white beard. My brother's favorite was King Kaspar, he insisted that this king was quite deaf. I don't know. I suspect, he was rather puzzled by the fact that King Kaspar carried the myrrh, which appeared to him as a rather eccentric gift, for he never quite understood what the word meant. To these Three Kings I owe the happy Christmas seasons of my childhood and I should have remained grateful to them. Instead, I came to America and soon forgot all about them, for here at Christmas time one sees so many Santa Clauses scattered all over town. There is the big Christmas tree in Rockefeller Plaza, the elaborate toy windows on Fifth Avenue, the one-hundred-voice choir in Grand Central Station, the innumerable Christmas carols on radio and television—and all these things made me forget the three dear old Kings of my old childhood, but in 1951 I found myself in serious difficulty.
I had been commissioned by the National Broadcasting Company to write an opera for television, with Christmas as deadline, I didn't have one idea in my head. One November afternoon as I was walking rather gloomily through the rooms of the Metropolitan Museum, I chanced to stop in front of the Adoration of the Kings by Hieronymus Bosch, as I was looking at it I heard again, coming from the distant blue hills, the weird song of the Three Kings. I realized they had come back to me and had brought me a gift. I am asked how I went about writing an opera for television, what are the specific problems that I had to face in planning a work for such a medium. I must confess that in writing "Amahl and the Night Visitors," I hardly thought of television at all; as a matter of fact, all my operas are conceived for an ideal stage which has no equivalent in reality, I believe that such is the case with most dramatic authors. —Gian-Carlo Menotti Menotti wrote Amahl with the stage in mind though it was intended for broadcast.
"On television you're lucky if they repeat anything. Writing an opera is a big effort and to give it away for one performance is stupid." The composer appeared on-screen in the premiere to introduce the opera and give the background of the events leading up to its composition. He brought out director Kirk Browning and conductor Thomas Schippers to thank them on-screen. Amahl was seen on 35 NBC affiliates coast to coast, the largest network hookup for an opera broadcast to that date. An estimated five million people saw the live broadcast, the largest audience to see a televised opera. For its first three telecasts, the program had been presented in black-and-white, but beginning in 1953, it was telecast in color; because it was an opera, commercial network television executives had little confidence in presenting opera on television, it began to be scheduled, with rare exceptions, as an afternoon television program, rather than shown in prime time as had been done in its first few telecasts. According to The New Kobbe's Complete Opera Book, the first stage performance was presented at Indiana University, Bloomington, IN, on February 21, 1952, with conductor Ernest Hoffman.
The opera's second performance was in Boston on December 18 and 19, 1952. It was
Jewel Kilcher, known mononymously as Jewel, is an American singer-songwriter, producer, actress and poet. She has received four Grammy Award nominations and, as of 2015, has sold over 30 million albums worldwide. Kilcher was raised in Homer, where she grew up singing and yodeling as a duo with her father, a local musician. At age fifteen, she received a partial scholarship at the Interlochen Arts Academy in Michigan, where she studied operatic voice. After graduating, she began writing and performing at clubs and coffeehouses in San Diego, California. Based on local media attention, she was offered a recording contract with Atlantic Records, who released her debut album, Pieces of You, in 1995; the debut single from the album, "Who Will Save Your Soul", peaked at number 11 on the Billboard Hot 100. Her subsequent album, was released in 1998, followed by This Way. In 2003, she released 0304, which marked a departure from her previous folk-oriented records, featuring electronic arrangements and elements of dance-pop.
In 2008, she released her first country album. Jewel released her first independent album, Lullaby, in 2009. Jewel has had endeavors in writing and acting. Jewel was born May 23, 1974 in Payson, the second child of Attila Kuno "Atz" Kilcher and Lenedra Jewel Kilcher. At the time of her birth, her parents had been living in Utah with Shane, she is a first cousin once removed of actress Q'orianka Kilcher. Her father from Alaska, was a Mormon, though the family stopped attending The Church of Jesus Christ of Latter-day Saints after her parents' divorce when she was eight years old, her paternal grandfather, Yule Kilcher, was a delegate to the Alaska Constitutional convention and a state senator of German descent who settled in Alaska after emigrating from Switzerland. He was the first recorded person to cross the Harding Icefield. Shortly after her birth, the family relocated to Anchorage, settling on the Kilcher family's 770-acre homestead. There, her younger brother, Atz Jr. was born. She has a half-brother, raised in Oregon by his mother, with whom her father had a brief relationship.
After her parents' divorce in 1981, Kilcher lived with her father in Alaska. The house she grew up in had only a simple outhouse; the Kilcher family is featured on the Discovery Channel show Alaska: The Last Frontier, which chronicles their day-to-day struggles living in the Alaskan wilderness. Recalling her upbringing, she said: We lived far from town. We had to walk 2 miles just to get to the saddle barn I was raised in... No running water, no heat—we had a coal stove and an outhouse and we lived off of what we could kill or can. We made jam. We had gardens and cattle to live on. I rode horses every day in the summer beneath the Alaskan midnight sun. I loved it there. According to Kilcher, the first song she learned to sing was "Saint Louis Blues". In her youth and her father sometimes earned a living by performing music in roadhouses and taverns as a father-daughter duo, it was during this time. She would credit the time she spent in bars as integral to her formative years: "I saw women who would compromise themselves for compliments, for flattery.
Local businesses in her hometown of Homer donated items for auction to help allocate additional funds, raised a total of $11,000 to pay the remainder of her first year's tuition. She subsequently relocated to Michigan to attend Interlochen, where she received classical training, learned to play guitar, she began writing songs on guitar at age sixteen. While in school, she would perform live in coffeehouses. After graduating, she relocated to San Diego, where she worked in a coffee shop and as a phone operator at a computer warehouse. For a time, Kilcher lived in her car while traveling around the country doing street performances and small gigs in Southern California, she gained recognition by singing at The Inner Change Cafe and Java Joe's in San Diego. Her friend Steve Poltz's band, The Rugburns, played the same venues, she collaborated with Poltz on some of her songs, including "You Were Meant for Me". The Rugburns opened for Jewel on her Tiny Lights tour in 1997. Poltz appeared in Jewel's band on the Spirit World Tour 1999 playing guitar.
Kilcher was discove
Hula is a Polynesian dance form accompanied by chant or song. It was developed in the Hawaiian Islands by the Polynesians who settled there; the hula portrays the words of the oli or mele in a visual dance form. There are many sub-styles of hula, with the main two categories being Hula Kahiko. Ancient hula, as performed before Western encounters with Hawaiʻi, is called kahiko, it is accompanied by traditional instruments. Hula, as it evolved under Western influence in the 19th and 20th centuries, is called ʻauana, it is accompanied by song and Western-influenced musical instruments such as the guitar, the ʻukulele, the double bass. Terminology for two main additional categories is beginning to enter the hula lexicon: "Monarchy" includes any hula which were composed and choreographed during the 19th century. During that time the influx of Western culture created significant changes in the formal Hawaiian arts, including hula. "Ai Kahiko", meaning "in the ancient style" are those hula written in the 20th and 21st centuries that follow the stylistic protocols of the ancient hula kahiko.
There are two main positions of a hula dance: either sitting or standing. Some dances utilize both forms. Hula dancing is a complex art form, there are many hand motions used to represent the words in a song or chant. For example, hand movements can signify aspects of nature, such as the swaying of a tree in the breeze or a wave in the ocean, or a feeling or emotion, such as fondness or yearning. Foot and hip movements pull from a basic library of steps including the kaholo, kaʻo, hela, ʻuwehe, ʻami. There are other related dances that come from other Polynesian islands such as Tahiti, The Cook Islands, Samoa and New Zealand. Hula kahiko defined as those hula composed prior to 1894 which do not include modern instrumentation, encompasses an enormous variety of styles and moods, from the solemn and sacred to the frivolous. Many hula were created to praise the chiefs and performed in their honor, or for their entertainment. Types of hula kahiko include ʻālaʻapapa, haʻa, ʻolapa, many others. Today hula kahiko is stated as "Traditional" Hula.
Many hula dances are considered to be a religious performance, as they are dedicated to, or honoring, a Hawaiian goddess or god. As was true of ceremonies at the heiau, the platform temple a minor error was considered to invalidate the performance, it might be a presage of bad luck or have dire consequences. Dancers who were learning to do such hula made many mistakes. Hence they were ritually secluded and put under the protection of the goddess Laka during the learning period. Ceremonies marked the successful learning of the emergence from seclusion. Hula kahiko is performed today by dancing to the historical chants. Many hula kahiko are characterized by traditional costuming, by an austere look, a reverence for their spiritual root. Hawaiian history was oral history, it was codified in chants, which were memorized and passed down. In the absence of a written language, this was the only available method of ensuring accuracy. Chants told the stories of creation, mythology and other significant events and people.
The‘Ōlelo No’eau, “‘O ‘oe ka lua’ahi o kāu mele,” translates loosely as “You bear both the good and the bad consequences of the poetry you compose” The idea behind this saying originates from the ancient Hawaiian belief that language possessed mana, or “power derived from a spiritual source” when delivered through oli. Therefore, skillful manipulation of language by haku mele and chanters was of utmost reverence and importance. Oli was an integral component of ancient Hawaiian society, arose in nearly every social and economic aspect of life. Traditional chant types are varied in context and technical components, cover a broad range of specific functions. Among them exist mele pule, hula kuahu, kū’auhau, ko’ihonua, hānau, inoa, ma’i, hei, ho’oipoipo, kāhea. An important distinction between oli and mele is as follows: mele can hold many different meanings, is translated to mean song. However, in a more broad sense, mele can be taken to mean linguistic composition. Hula and oli are two general styles.
“all mele may be performed as oli, but only certain types such as name chants, sex chants, love chants, chants dedicated to the gods of hula, may be performed as hula.”'Olelo Hawai'i contains 43 different words to describe voice quality. The combination of general style and the context of the performance determines what vocal style a chant will use. Kepakepa, kāwele, olioli, ho’āeae, ho’ouēuē, ‘aiha’a are examples of styles differentiated by vocal technique. Kepakepa sounds like rapid speech and is spoken in long phrases. Olioli is a style many would liken to song, as it is melodic in nature and includes sustained pitches with ‘i’i, or vibrato of the voic
The Harakmbut are indigenous people in Peru that include two major groups, the Amarakaeri and Huachipaeri. They speak Harakmbut languages. An estimated 5,000 Harakmbut people live in the Madre de Dios Region near the Brazilian border in the Peruvian Amazon. Amarakaeri are called Amaracaire or Amarakaire people. Subgroups of their tribe include the Kochimberi, Küpondirideri, Wíntaperi and Kareneri peoples; as of 1987, 500 Amarakaeri people lived near the Madre de Dios and Colorado Rivers. Some pan for gold as a means of subsistence. Huachipaeri are known as Huachipaire or Wacipaire people; as of 2000, there were 310 Huachipaeri living near Keros Rivers. Subgroups of the Huachipaeri including the following, with population figures from 2000: All the subgroups speak dialects of the Huachipaeri language; when the Harakmbut were first contacted by members of the Dominican Order in 1940, they numbered 30,000. Q'orianka Kilcher, actress of Huachipaeri and Quechua descent Amarakaeri Communal Reserve
How the Grinch Stole Christmas (2000 film)
How the Grinch Stole Christmas! is a 2000 American Christmas fantasy comedy film directed by Ron Howard and written by Jeffrey Price and Peter S. Seaman. Based on Dr. Seuss's 1957 book of the same name, the film was the first Dr. Seuss book to be adapted into a full-length feature film; the film stars Jim Carrey in the title role, Jeffrey Tambor, Christine Baranski, Bill Irwin, Molly Shannon and Taylor Momsen. Because the film is based on a children's picture book, many additions were made to the storyline to bring it up to feature-length, including some information about the backstory of the title character and reworking the story's minor character Cindy Lou Who as a main character. Most of the rhymes that were used in the book were used in the film, though some of the lines were to some degree changed and several new rhymes were put in; the film borrowed some music and character elements that originated in the 1966 animated television special. Produced by Howard and Brian Grazer's Imagine Entertainment, Dr. Seuss' How the Grinch Stole Christmas! was released by Universal Pictures on November 17, 2000 to mixed reviews from critics, with Carrey's performance being favorably praised.
The film grossed over $345 million worldwide, becoming the sixth-highest grossing film of 2000 and was the second highest-grossing holiday film of all-time behind Home Alone, until both movies were surpassed in 2018 by the second film adaptation of the story. It won the Academy Award for Best Makeup as well as getting nominations for Best Art Direction and Best Costume Design. All the residents of Whoville enjoy celebrating Christmas, except for the Grinch, a misanthropic and egotistical creature who hates it and the Whos. No one likes the Grinch, due to the vengeful and harmful stunts he pulls on them. Six-year-old Cindy Lou Who believes everyone is missing the point about Christmas by focusing on the gifts and festivities, instead of personal relationships, she has a face-to-face encounter with the Grinch at the post office, in which he reluctantly saves her life, she becomes interested in his history. She asks everyone what they discovers his tragic past; the Grinch arrived in Whoville as a baby, was adopted by two spinster sisters.
He showed some sadistic tendencies as a child, but was timid and not as cruel as he would become. In school, the Grinch had a crush on Martha May Whovier, was Augustus Maywho’s rival for Martha May's affections. One year, the Grinch made a Christmas gift for Martha, cut his face attempting to shave after Maywho pointed out he had a beard; when his classmates laughed at his cut face, he lost his temper, destroyed the Christmas gift, trashed the classroom, exiled himself to the top of Mount Crumpit, north of Whoville. Touched by this story, Cindy Lou decides to nominate the Grinch to be the Christmas Whobilation "Holiday Cheermeister", much to the displeasure of Maywho, now the mayor of Whoville, she climbs Mount Crumpit to invite the Grinch to the Whobilation. As Cheermeister, he endures being made to wear an ugly sweater and judge all the Whos' Christmas food concoctions, but he enjoys showing unsportsmanlike conduct by beating all the children in the competitions. Maywho reminds him of his childhood humiliation by giving him an electric shaver as a present publicly proposes marriage to Martha May, giving her a large ring and promising her a new car paid for by the local taxpayers.
In response, the Grinch berates the Whos, telling them that Christmas is only about gifts that they will end up throwing in the garbage, dumped on Mount Crumpit near his home. He proceeds to ruin the party by burning down the town's Christmas tree and causing chaos throughout Whoville, his actions prove fruitless, as the Whos have a spare tree, which they are able to erect before he leaves. The mayor shames Cindy Lou for inviting the Grinch. Since the Grinch's attack has failed to crush the Whos' Christmas spirit, he concocts a plan to steal all of their presents and food while they are sleeping. Creating a Santa suit and powered sleigh, dressing his dog Max as a reindeer, the Grinch descends to Whoville and steals all of the Christmas gifts; when Cindy Lou catches him stealing the tree, he tells her he is taking it to Santa's workshop to repair a defective light. On Christmas morning, the Whos discover the theft, Maywho reproaches Cindy Lou for letting this happen to Whoville, her father, Lou Lou Who, the most happiest Who in Whoville, the town's postmaster, defends her honor for reminding the Whos that Christmas is about love of family and friends, not just gifts.
The people start singing Seuss's Welcome Christmas. Before the Grinch can push the stolen gifts off the top of Mount Crumpit, he hears the Whos' singing and sees he has failed to prevent Christmas, has an epiphany that Christmas "doesn't come from a store", but "perhaps... means a little bit more". His heart grows three sizes, as the sleigh full of gifts begins to slide over the edge of the cliff, he strains to save them, but cannot, he sees Cindy Lou on top of the sleigh because she has come to spend Christmas with him. Motivated to save not just gifts but Cindy's life, the Grinch finds the strength to lift the loaded sleigh and Cindy Lou to safety, they ride the sleigh down the mountain to return the gifts. The Grinch confesses to the burglary and surrenders himself to the police chief; the chief accepts the Grinch's apology, refuses to follow t