Saturday, January 02, 2016

Design Ideas for the Tower of Terror Props

The props in the Tower of Terror are amazing! I’ve heard that the Mission Inn in Riverside, California, and the Biltmore in Los Angeles provided some of the inspiration for the design. Are there any other buildings that inspired this beautiful attraction?

The Imagineers looked at photographs of many elaborate buildings from the right era for their design ideas and then scoured Hollywood auction houses for the actual props. Some came from lavish estates of the biggest names in the entertainment industry. One set of chairs was 400 years old; other chairs came from the exclusive Jonathan Club, a well-known Los Angeles landmark built in the 1920s.

Vintage Disney Ticket Books

Vintage Walt Disney World: An ‘A’ Attraction or an ‘E’?

A few weeks ago, I shared my very first ticket to Walt Disney World Resort. This prompted blog reader Skip to ask if we had any photographs of the old A to E tickets used at Magic Kingdom Park. With the help of my friends at the Walt Disney Archives, I was able to track them down.
The Omnibus, an 'A' Ticket Attraction at Magic Kingdom ParkA Vintage 'A' Ticket for Attractions at Magic Kingdom Park

Want to take a ride on the Omnibus on Main Street, U.S.A.? Grab your A ticket and enjoy the double-decker view!
The Mike Fink Keel Boat, a 'B' Ticket Attraction at Magic Kingdom ParkA Vintage 'B' Ticket for Attractions at Magic Kingdom Park

Don’t know what to do with your B ticket? Climb aboard a Mike Fink Keel Boat and sail around the Rivers of America.
Mr. Toad’s Wild Ride, a 'C' Ticket Attraction at Magic Kingdom ParkA Vintage 'C' Ticket for Attractions at Magic Kingdom Park

That C ticket you’re holding would have been perfect to take a spin aboard Mr. Toad’s Wild Ride.
The Admiral Joe Fowler, a 'D' Ticket Attraction at Magic Kingdom ParkA Vintage 'D' Ticket for Attractions at Magic Kingdom Park

Already ridden on the Omnibus and a Mike Fink Keel Boat? Why not make it a trifecta with a voyage aboard the Admiral Joe Fowler with your D ticket?
20,000 Leagues Under the Sea, an 'E' Ticket Attraction at Magic Kingdom ParkA Vintage 'E' Ticket for Attractions at Magic Kingdom Park

Use that E ticket wisely. Take a dive underwater on 20,000 Leagues Under the Sea.
Although all-inclusive passport tickets were introduced at Walt Disney World Resort and Disneyland park in June of 1981 in advance of ticket books being phased, we still often lovingly refer to attractions by their ticket letter.

Check out these posts for more “Vintage Walt Disney World”:

Sunday, August 31, 2014

[Summertime] 1962 Disneyland's brand new Jungle River Cruise Expansion

05.10.11 - The password is "Safari," and Summertime visitors to Disneyland will be validating their passports, stepping aboard tropical steamers and sailing off on a brand new tropical adventure that may set jungle exploration back to the days of "Dr. Livingston, I presume."

The Summer 1962 edition of Vacationland took a through-the-binoculars look at the 1962 expansion of Adventureland.
For Disneyland's brand new Jungle River Cruise — part of another $7 million expansion at Walt Disney's Anaheim wonderland — has been designed as a combination "you are there" exploration and fun-filled laugh provoking adventure whose "actors" are elephants, tigers and many more beasts of the jungle.

Starting with a proven success — the true-life jungle cruise has been one of Disneyland's most popular attractions since opening — Walt Disney is adding a jungle-full of animated animals — startlingly life-like — and making the explorer's voyage longer and full of humor.

Top highlight is sure to be the Indian elephants — big ones and "little squirts" — who will frolic, splash and swim in a unique "elephant bathing pool." Their trunks loaded with watery surprises (for unwary animals and explorers), nearly two dozen of the full-size elephants will eventually call Disneyland "home," all brought to life through the marvels of Disneyland animation.

The emphasis in new attractions is on Adventureland, with (1) the "world's largest" Tree House, (2) a "Big Game Safari" shooting gallery, (3) a colorful African motif for portions of the bazaar shops and stores in Adventureland, and (4) the fabulous "Stouffer's in Disneyland" dinner-show restaurants.

The Swiss Family Tree House will tower 70 feet above the jungle. Spreading its branches 80 feet in width, it will include three separate "homes" at different levels — the living room, parents' room and boy's room, all inspired by Walt Disney's motion picture "Swiss Family Robinson."

For the youngsters, "the climb's the thing," but adults are sure to enjoy the "never before" panoramic view over much of Disneyland offered by this "species Disneydendron giganteum" of 150,000 leaves and 50,000 blooms.

Walt Disney's "Enchanted Tiki Room," one of three new restaurants at "Stouffer's in Disneyland" and Disney's first "by reservation only" dining spa, may steal the spotlight from the other new attractions. For Walt Disney is bringing together all the talents of his "imagineers" to create a complete dinner show performed by an exotic collection of birds, flowers and Polynesian Tikis that actually sing, talk and act!

Many new animation techniques, developed exclusively for Disneyland, will "bring to life" the birds, idols and flowers. And, lest you should think it's not possible for inanimate objects to sing and act, just remember that this dinner-show is based upon legends and myths treasured for centuries by the natives of the South Pacific.

Stouffer's, one of America's foremost restaurateurs, will also open European and American Kitchens in its Plaza Pavilion (facing Main Street) and a Tahitian Terrace overlooking Adventureland. The latter will feature nightly dancing and South Seas entertainment.

If you're a marksman, the new "Big Game Safari" is for you. While it's based on a time-tested shooting gallery tradition, this jungle hunt is an authentic Disney creation — a one-of-a-kind rapid-fire adventure where you'll shoot at all kinds of jungle animals and birds, each handcrafted for Disneyland.

So it all adds up to another big "bonus" in entertainment this Summer at Disneyland where the new adventures Walt Disney adds each year are the frosting on a $40 million entertainment "cake!"

From the Summer 1962 edition of Vacationland magazine, published by Disneyland.

40th anniversary of Disneyland - Collector Cards

To commemorate the 40th anniversary of Disneyland, Disney created a series of 41 collector cards, one for each year the park had been open. A card for each year represented an event or an attraction. The cards were handed out to visitors to the park starting with the "1955" card on January 21,1995 and ending March 2, 1995 with the "1995" card.

Wednesday, August 27, 2014

Walt Disney and the Villains

"Whether we like them or not," said Disney's Director of Studio Publicity Tom Jones in a 1972 interview, "villains are a necessary evil." "For example, most of Walt Disney's animated cartoons are morality plays -- that is, good triumphs over evil. To draw a definite contrast between the two extremes, the hero/heroine is the epitome of all that is good and brave in comparison to the villain/villainess, who personifies all that is unscrupulous, dastardly, and evil. Before the fadeout, the villain gets his/her comeuppance while the hero emerges triumphant."

In the 1956 "Disneyland" television episode "Our Unsung Villains," the Slave in the Magic Mirror boasts, "Take away the villain and what have you got? Everybody's happy. No problems. Nothing to worry about. All in all, a pretty dull story."

From the earliest Mickey Mouse shorts, villains were as prominent as the sympathetic leading characters. Because of Walt's deep roots as a storyteller, he understood the fundamental truth that great triumph can only result from great struggle -- and great heroism from great menace. 

In the Mickey Mouse shorts and Silly Symphonies, there were various broad menaces such as skeletons ("The Haunted House," 1929), a nameless gorilla ("The Gorilla Mystery," 1929), an unnamed spider ("The Spider and the Fly," 1931), and a nonspecific woodland witch ("Babes in the Woods," 1932). Nuanced and fleshed-out villains such as Pete (the burly cat who forever tormented Mickey and Minnie Mouse) and the pig-taunting Big Bad Wolf were far more threatening, although typically buffoonish and played for laughs.

It wasn't until 1934, when development was underway for "Snow White and the Seven Dwarfs," that Disney's animation team turned their focus on characters without a whiff of laughter or the slightest hint of irony -- serious cinematic villains with a threatening presence of true malice. 

The film's initial designs and story took time to evolve beyond the coy cuteness and comical simplicity common within the brief structure of an animated short. As the creative team began seeing the real potential of their animated feature, they realized that the longer format gave them time to unfold a story, pace situations and events, and increase the sophistication of the script and music. This, in turn, enhanced their efforts to animate lifelike humans, credible movement, and personality performance from their cast of characters. 

The stately and elegant Queen was a departure from "cartoon" villains of the era

The core of the story became a more balanced mix of story attitudes and timbre that brought out true "heart" rather than simple situations punctuated by visual and audio "gags." Walt later recalled, "Without that heart, you see, I don't think anything will laugh. In other words, with any laugh, there must be a tear somewhere. I believe in that. The thing with Chaplin is his pathos, you know? That's it. That is humor, I think. I had it in 'Snow White.' I mean, you felt sorry for her. You felt sorry for the dwarfs when she died."

In order to gain that "heart," the little princess' tormentor underwent a significant evolution. A heavy-set, daffy, oblivious, and egotistical comedy queen gave way to a cold and heartless, but elegant, stately, and beautiful monarch modeled after the ageless ice goddess ("She who must be obeyed"), from the 1935 film adaptation of H. Rider Haggard's tale "She."

The Peddler Hag was a terrifying result of an unforgettable transformation

The result was a legendary screen villain -- and one that still ranks high in the pantheon of cinematic evil. An urban legend (that may or may not be true) is that either the Carthay Circle Theater in Los Angeles or New York City's Radio City Music Hall had to replace all of their seat upholstery during their runs of "Snow White." It seems that young children were so frightened by Snow White's nightmarish chase through the forest and the transformation of the wicked Queen that a certain visceral reaction was commonplace.

"I showed 'Snow White' to my own two daughters when they were small," Walt recalled. "And when they came to me later and said they wanted to play witch, I figured it was all right to let other kids see the film." Walt's daughter Diane confessed that she hid her face in her hands when the Queen's scenes played out.

W a l t   p e r f o r m s   t h e   " p o i s o n   a p p l e "   s c e n e   d u r i n g   a   s t o r y   s e s s i o n

In following films, Walt's villains were typically terrifying -- the droll or antic villain was a rarity. In "Pinocchio," the comic business of J. Worthington Foulfellow and Gideon the Cat barely offset the terror of Monstro the Whale, the shock of the sinister, leering Coachman, or the blazing temper of Stromboli.

The sheer, overwhelming, profane power of Chernabog in "Fantasia" remains an example of villainous excellence in design, staging, and movement. In "Bambi," the constant and underlying threat of Man in the forest is a forceful, sinister presence.

Lady Tremaine's quiet hostility and jealous antagonism in "Cinderella" was a masterpiece of ominous understatement, while the theatrical flair and phenomenal graphic design of Maleficent (in both human and dragon form) has made the "Sleeping Beauty" evil fairy a legendary scoundrel.

Walt was fearless about fear.

In their classic 1993 book "The Disney Villain," Frank Thomas and Ollie Johnston wrote, "Our own personal impressions of Walt are that his great ability to observe and his fantastic memory helped furnish a reservoir of ideas for his miraculous imagination. When we would see his face screwed up, eyes half closed, trying to figure out what villainous act would do the most harm, we felt he had experienced much of that from bullies in his own childhood. He certainly met much villainy throughout his life. The greater his success, the more conflict he encountered as others tried to take it away from him." There was a deep understanding of the dark side of life that Walt used to create heroes in his films.

Even in a film as seemingly benign as "Mary Poppins," the villain was omnipresent, but not a person. Although Walt was never a fan of banks or bankers in general, the bank isn't the villain in this story. It's the absence of parents (the father in particular, due to Mr. Banks's work at the bank), that creates an overarching threat to the stability of the Banks' household -- and to the security of the Banks children. 

Walt's friend and "Mary Poppins" star Dick Van Dyke recalled, "Walt once said, 'What I understand about kids [that nobody else understands] is that they think it's delicious to be frightened. Kids love to be scared. They love ghost stories.' And he always put the witch or something in there, to give them that delicious goose bump. He knew." 

By Jeff Kurtti

10 years as a Disney employee, and has written more than twenty books, dozens of magazine articles, and scores of blog columns about Walt Disney, his life, and his work. 

Now, Jeff brings his passion and expertise to Disney Insider through a unique online presence called "The Wonderful World of WALT."

Saturday, February 02, 2013

The Pirates of the Caribbean Arrive at Walt Disney World

Swaggering, singing, brawling, and bawling “it’s a pirate’s life for me!!’ the rowdiest crew of swashbucklers ever to cheat Davy Jones’s locker finally have made a spectacle of themselves at Walt Disney World.

Pirates of the Caribbean, long one of the most popular attractions at Disneyland, opened its doors in Florida for the first time last December. Located in the brand-new Caribbean Plaza in Adventureland, the new show literally plunges adventurers into the 17th-century world of a Spanish seaport besieged by marauding buccaneers.

Setting the mood for the adventure to come, the Caribbean Plaza marketplace invites guests to wander in and out of tiny shops settled under red-tile roofs reminiscent of old Spanish architecture.

Once through the portals of the new attraction, guests find themselves in the musty dungeons of “El Castillo” — an old Spanish fortress. As they wander past arsenals en route to the landing dock where their flat-bottomed boats await them, the clank of steel and the occasional cry of a pirate echoes through the passageways.

Flickering lights on the walls of shadowy coves and an ancient ship riding at anchor on a moonlit bay greet seafarers as they prepare to cast off from the dock. The gentle sound of the surf and the lilting cries of seabirds are punctuated by the raucous laughter of unseen pirate crews, undoubtedly burying their ill-gotten loot.

Once underway, guests immediately find themselves in a misty grotto where a ghostly voice warns: “Dead men tell no tales!” And so it seems to be, for everywhere the eye can see rest skeletons in various stages of repose, some skewered through bony ribs with rusty knives of battles past, others collapsed alongside emptied treasure chests. A seagull, nesting on the cranium of his eyeless host, squawks angrily at the passing spectators.

As the boats pass into Hurricane Lagoon, howling winds, rain, and flashes of lightning startle even the most intrepid seafarers. And, as the eye adjusts to the spasmodically illuminated scene, a figure emerges at the wheel of a ship — steering no doubt into eternity, for his bones have lost all earthly thrust.

Suddenly, without warning, passengers plummet into a subterranean grotto and, as they disappear through a narrow cave-like passage, sinister voices warn them to “proceed at your own risk” for “ye may not survive to pass this way again!”

Once done cannot be undone, however. And for better or for worse, visitors who have ventured thus far soon will experience eye-to-eye confrontations with the rowdiest assembly of plundering blackguards since Blackbeard twirled his whiskers in ports of the Spanish Main.

Brought to life through the genius of the Disney-invented Audio-Animatronics® (an electronic system for animating three-dimensional figures), pirates of every description, Spanish grandees and winsome damsels, and a bevy of barnyard and domesticated beasts join together in an incredible re-creation of the sack of a portside town.

Guns thunder and pirates roar as a pirate galleon attacks a Spanish fort. With shells whistling around their heads and fizzles of steam escaping where hot shots hit the water near boats, guests drift through the initial battle for the taking of the town.

“Strike yer colors, ya bloomin’ cockroaches!” yells the pirate captain from the afterdeck of his ship.
“Aye! Take that you greengo peegs, you!” answers the Spanish defender of the fort.

The battle still rages as guests pass on to the next scene, where the magistrate of the town is being dunked unceremoniously in a well by pirates who want him to tell where the treasure is hidden.

“Do not tell heem, Carlos!” screams his wife from an upstairs window, hastily closing the shutters as pirates let go a shot in her direction.

Other pirates guard bound townsmen, still in their nightclothes, and one boisterous buccaneer pipes away at his flute, keeping time as the mayor bobs up and down in the town-square well.

In other parts of the city, the pirates are engaged in commerce of a dubious sort and other sport involving the fairer denizens of the city. One scene depicts a gaily bedecked rogue, blithely auctioning off the none-too-reluctant maidens of the town. In the foreground, a gorgeous redhead advertises her own charms, much to the chagrin of her less-endowed sisters.

“Strike yer colors ya brazen wench, no need to expose yer superstructure!” orders the pirate auctioneer, anxious to unload his less-attractive cargo.

“We wants the redhead! Pipe the redhead aboard!” yell his revelous mates, while goats, chickens, and a donkey add their comments to the occasion.

Laughing, singing, and shooting their guns into the air in sheer exuberance, the roistering pirates chase squealing maidens, harmonize with pigs, and try to tempt hissing cats to join in the fun.

As the boats pass through the burning city, the pirates join with a braying donkey and a howling dog to render their rollicking chantey at the top of their lungs.

“Yo ho, yo ho, a pirates life for me!” they bellow, as flames crackle and piles of booty litter the street.
But not all the pirates are so fortunate. As the strain of the pirates’ theme song fades with the view of the burning city, guests find themselves in the dungeon area. Here, while charred beams overhead threaten to collapse, a group of jailed brigands attempt to get the keys from a friendly dog, which wags his tail and stands his ground, key ring held firmly in his mouth.

Swiftly, the boats pass through the town’s arsenal and into the brightest scene of all. For here, where two Spanish guards sit firmly trussed together, is the enormous treasure of the town. Triumphant pirates sit midst towering heaps of glittering jewels, golden coins, and ropes of milky pearls.

Gleeful and inebriated with success, the plundering pirates scatter the treasure about and fire their weapons into the air. Ricocheting bullets zing off walls, falling dangerously near the passing boats, as a drunken parrot perched on a trunk sings his own version of the pirate song:
“Yo ho, yo ho, a parrot’s life for me… so, drink up me ‘earties, yo ho!”

The pirate’s expedition has ended in triumph, and as guests depart the final scene, a peg-legged, one-eyed pirate parrot with a tattoo on his close-clipped chest, warns disembarking adventurers to “keep a lookout for the movin’ gangplank! Steady as she goes, lubbers! Ye’ll be needin’ yer sea legs on that rollin’ gangplank!’
Premiered last December as the climax of Walt Disney Productions’ 50th Anniversary Year, the Pirates of the Caribbean will remain the high point for visitors to Walt Disney World for years to come.

From Walt Disney World Vacationland Magazine, Spring 1974.

Sunday, August 12, 2012

Creating ‘Fantasmic!’ for Disneyland Park

What had been a tranquil scene during the day was magically transformed at night by the power of Mickey’s imagination, and when the Sailing Ship Columbia fired its cannon and suddenly appeared as Captain Hook’s galleon during the show, it gave me goose bumps. It still does!

Barnette Ricci, Vice President/Show Director of Special Events for the Walt Disney Studios, who 20 years ago was senior show director for Disneyland park, shared some of her memories of creating Fantasmic!

'Fantasmic' debuts at Disneyland Park in 1992
We had no new attraction opening that summer of 1992, so I was asked to create a show that could be marketed as something really special. I always felt that the [Rivers of America] was a truly unique venue, but I wanted to use it in a new way to create something different for our guests.

We researched all kinds of water-related special effects, and we discovered these water screens in France. We found that projecting animation footage on the water looked absolutely spectacular! By layering the dancing water fountains, special lighting, lasers, pyrotechnics and black light, along with live performers on watercraft and this new way to project animation on water, I was convinced all of these elements combined would create a rather exciting show!

It took months of searching through Disney film footage to find the right clips for the storyline and to create the film elements so they would look great on the water. We spent three months of ‘all-nighters’ out there on the river, programming all the effects and meticulously finessing the timing based on the time code of the film. Every burst of water, pyrotechnic, laser and live element had to be exactly timed and rehearsed to be in sync with what happened on the screen and with the fantastic musical score.

The show was originally called ‘Imagination’, as the title song implies, but everyone felt it needed a stronger title, so finally – and fortunately – it was renamed ‘Fantasmic!’

The first time we performed the show for a real audience, I was thrilled watching and hearing their reaction to the show. Words cannot express how proud I am of ‘Fantasmic!’ and how proud and thankful I am of everyone who worked so hard to bring it to life, and who continue to keep it going strong, night after night.

Friday, July 27, 2012

Remembering Jennings Osborne and the Spectacle of Dancing Lights

Remembering Jennings Osborne at Walt Disney World

posted at the official Disney Parks blog on July 28th, 2011 by John Phelan, Show Director, Disney Creative Entertainment

Jennings Osborne, the creator of the Osborne Family Spectacle of Dancing Lights, passed away on Wednesday and we extend our condolences to the family. His creativity has influenced many guests, cast members and fans of Walt Disney World, and that includes me. In fact, I consider the years I worked with the Osborne family the highlight of my career. 

Jennings Osborne and Mickey Mouse

Christmas time and the holiday season at Walt Disney World can be a truly wondrous time, so many sights and sounds to fill you with the Spirit of the Season. Back in 1995, I was part of a creative team charged with developing such a holiday experience for Disney’s Hollywood Studios (called the Disney-MGM Studios back then). I remember sitting in a staff meeting when I was told that a vice president had seen a brief news report about a businessman in Little Rock, Arkansas who had a Christmas lights display so big that his neighbors took him to court to have it turned off. He fought it all the way to the Arkansas Supreme Court and lost. I was asked to contact him and find out if he would like to bring his display to the Studio and put it on Residential Street on the backlot. I tracked down his business phone number and gave him a call. Little did I know that was the beginning of a 16 year magical holiday ride for me, the Studio and millions of our guests. 

The Osborne Family Spectacle of Dancing Lights

The Osborne Family Spectacle of Dancing Lights has become a holiday tradition to rival any experience at Walt Disney World. The display was the vision and passion of Jennings. In 1986, his daughter, Breezy, asked for some Christmas lights. He put up 1 million. When his next door neighbors complained, he bought their houses and put lights on them, too. With the support of his wife, Mitzi, and to the delight of Breezy, the display was THE holiday experience in all of Arkansas and beyond….until he had to turn it off. And that’s when Disney stepped in and Jennings could say, “I’m going to Disney World!” As it turned out, Jennings, Mitzi and Breezy were huge Disney fans and had visited the parks many times. 

Indeed, they bought the nativity scene that is in the display to this day at the Italian Pavilion in Epcot. All the original icons are still part of the display: the giant globe, the 100 flying angels, the twirling carousels, the flying Santas and reindeer, the red canopy of lights, the 70 foot tree and all the other figurines of elves, snowmen and carolers.

Now, you may think that a man who creates such a spectacular display on his house would be an extrovert and over the top. Jennings was the opposite. He was a quiet man although there was certainly a twinkle in his eye. He and his family came to Disney every year at Christmas time. He would spend hours on the street, talking to guests and chatting with the crew. The local press in Arkansas is calling him a great philanthropist, and indeed, he was. He donated holiday light displays to over 20 towns in Arkansas. He decorated hospitals, museums and the local zoo. He threw giant charity barbecues that fed 2,000 people at a time or more. He was a great proponent of committing “a random act of kindness.” As he used to say to me, “John, I like creating memories that people won’t soon forget.” 

I think that was his driving force, creating memories. I remember standing underneath the red canopy with him one year. I asked him how he came up with the idea for it. He said, “I want the people to feel like they are inside the lights, looking out at the world.” 

May we all be Christmas lights that shine for all the world to see. Thanks, Jennings. I will miss you, big guy!

Monday, May 28, 2012

Celebrating 45 Years of Laughter and Hope at Disneyland Park

posted at the Disney Parks blog on May 27th, 2011 by Jim Ames, Manager, Food and Wine Events, Disneyland Resort

Saturday, May 28, marks the anniversary of one of the most endearing attractions to ever open at a Disney park when “it’s a small world” celebrates 45 happy years at Disneyland park.

Celebrating 45 Years of Laughter and Hope at Disneyland Park

When he originally imagined this attraction for the 1964 New York World’s Fair, Walt Disney tasked a talented team of Imagineers, including artist and Disney Legend Mary Blair, to bring his vision of brotherhood and friendship to life. Mary’s concept was that of a “pop-up book” that looked like the children within the story had designed their worlds themselves.

Celebrating 45 Years of Laughter and Hope at Disneyland Park

Mary Blair also designed the iconic facade when the attraction was moved to its new home at Disneyland park. With whimsical representations of the Eiffel Tower, Leaning Tower of Pisa, Big Ben and the Taj Mahal, the exterior is no less impressive than the ride itself.

Of course it is the playful music, by legendary songwriting team Richard M. and Robert B. Sherman that keeps us humming long after we have exited the attraction. Walt asked the duo to write a simple piece that could be repeated and sung in different languages. The Sherman Brothers succeeded creating quite possibly the catchiest Disney attraction theme song of all time.

In 1966, Walt Disney presided over the opening ceremonies of the attraction in its new home at Disneyland park. Children representing countries from around the world came together to pour water from all seven continents into the “Rivers of the World.”

Since that moment, more than 233 million Disneyland park guests have joined “the happiest cruise that ever sailed” – enough to circumnavigate the Earth more than 190 times. “it’s a small world” has opened in the Magic Kingdom park at Walt Disney World Resort, Tokyo Disneyland park, Disneyland Resort Paris and Hong Kong Disneyland Resort, proving that “though the mountains divide and the oceans are wide, it’s a small world after all.”

Celebrating 45 Years of Laughter and Hope at Disneyland Park

Thursday, May 24, 2012

May 1975 - Carousel of Progress Final Scene

This is how Christmastime looked like back in May 1975 in the final scene of Carousel of Progress (Believe it or not, that final scene is actually set on New Years Eve).

And this is today:


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