The second official Disneyana Convention in 1993

Collecting Dreams

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08.02.11 – Savvy Disneyana connoisseurs’ wishes came true when Disneyland Resort hosted the second official Disneyana Convention in 1993. 

Enthusiastic “Conventionears,” made up not only of collectors but also serious investors, could find every kind of Disney collectible imaginable—from T-shirts and buttons commemorating the convention itself to vintage produc­tion reels used to create Walt Disney’s animated classics such as Snow White and the Seven Dwarfs; from original illustrations to a memo signed by Walt himself.

The event was an impressive collection of museum-quality art, Disney icons, entertainment her­itage, and personalities that make up what has come to be referred to as “Disneyesque.”

The event, which ran September 16-19, included a “fun­tastic” evening reception held in Mickey’s Toontown at Disneyland Park. The evening’s highlight was a sneak preview of Toontown’s newest attraction, a wacky ride on the wild side of town.

Many conventioneers opted for one or more of a variety of unique tours of Disneyland. One of these tours included a ride in the Lilly Belle car on the Disneyland Railroad, a tour of Walt’s apartment above the firehouse in Town Square, and a guided tour of the Disney Gallery above Pirates of the Caribbean (which had originally been slated to be Walt’s official apartment.

As important and exciting as the mesmerizing memorabilia and count­less collectibles at the show was the wealth of memorable and equally valuable information and history shared by an impressive collection of speakers. In his opening remarks, Judson Green, President of Walt Disney Attractions, welcomed the gathering by offering a look at some future plans. He modeled, then gave away a baseball hat from Alien Encounter, a white-knuckle thrill attraction to be built in Tomorrowland in the Magic Kingdom at Walt Disney World Resort.

President of Walt Disney Imagineering Marty Sklar took this opportunity to tell a few first-hand sto­ries about Walt Disney: The King of Disneyland and His Court. His favorite Walt story was the day science fiction writer Ray Bradbury visited Walt at the Studio to persuade Walt to run for mayor of Los Angeles. Walt’s response: Why should I want to be mayor when I’m king of Disneyland?”

Appropriate to Mickey’s 65th birth­day, Dave Smith, Director of the Walt Disney Archives, spoke about the gene­sis of Steamboat Willie. Quoting let­ters written by Walt during his three-month stay in New York City, he told the history-making story of putting sound to a cartoon (considered a novelty at the time) and getting a theater to show it. Walt was pretty sure he had a hit on his hands, and, in Mickey, a char­acter that would be “as well known as any cartoon…” When he showed his creation to the people at Paramount who were attempting to do the same thing, he was positive. “They laughed at it while it was being shown, and looked around amazed when it was over.” Walt wrote at the time.

Pam Haynes, Director of Disneyland Costuming, recounted the historic evolution of outfitting the Theme Park Casts through the years. She also described the monumental task of designing, maintaining, and replacing those costumes. Haynes explained that the job doesn’t stop with the human Cast. “The next time you sail through It’s a Small World or explore Pirates of the Caribbean,” she said, “remember that each of those perform­ers has had our special touch of magic.” She then presented a fash­ion show of Disney costumes, highlighted by the uniforms of the Mighty Ducks of Anaheim.

On Friday, the col conventioneers attended an auction that offered the ultimate in Disney-oriented collectibles: animation cels featur­ing the likes of Snow White, Pinocchio, and Roger Rabbit; illus­trations used for advertising and merchandise: sculptures, dis­plays, and even a check and a copy of the origin book, Lady and the Tramp, signed by Walt himself. These last two extremely coveted items brought in winning bids of $4,250 each.

The auction was as Disneyesque as the items on the block. Introduced by Ariel and a few of her underwater friends, the terms and conditions of the auction were listed to the tune of “Under the Sea.” Then David Redden, Senior Vice President of Sotheby’s, con­ducted a lively and most unusual auc­tion. Imagine this dignified gentleman taking bids from a crowd waving mouse-ear placards to indicate their bids!

That same evening, hearty collectors, armed with pillows and lawn chairs, waited through the night to have first crack at the objects d’art, which had been created in very limited quantities to be on sale the next morning.

An Lladro Peter Pan figurine, a 14-inch Annette Funicello doll by Madame Alexander Dolls, and “The Disneyland Barbershop Quartet” lithograph by Disneyland Master Illustrator Charles Boyer were among the items offered. Other world-renowned artisans with limited edition pieces included Goebel, Gund and Arman. Adding to their value, most pieces were signed by the artists at the time of purchase.

During the course of the Convention a peerless collection of Disney talent was on hand to meet and greet their fans: Artists and animators like Carl Barks, Ward Kimball, Eyvind Earle, Marc Davis, Frank Thomas and Ollie Johnson. The Disney Trivia Book authors Dave Smith and Kevin Neary were on hand to answer questions and sign autographs, as was animator/illustrator David Pacheco, and many more.

And speaking of autographs, what true Disneyana collector could pass up the chance to add the signatures of original Mouseketeers like Cubby, Lonnie, Bobby and Karen to their collection?

Displays by the Disney Business Groups were designed to update passer-by on what’s going on in the Company’s many and diverse divisions.  Included in the assemblage were Disney Software, The Mighty Ducks, Disney Collectibles, The Disney Collector Society, Hyperion Press, the Magic Kingdom Club and Disney News, The Disney Store, Fairy Tale Weddings and Honeymoons, and more.

The trade show, comprised of independent collectors rounded out the entire affair with a myriad of vintage Disney collectibles of nearly every shape and size.

The Saturday night banquet featured keynote speaker Jack Linquist, President of Disneyland, and a finale that showcased a never-before-performed song called “Mickey, Donald Duck, Goofy and the Gang,” A joyful recounting of Walt’s cartoon contributions to the world, the song was written anonymously shortly after Walt’s death in 1966. This was the song’s public debut.

All in all, the experience enjoyed by this year’s “ConventionEars” was fun, entertaining, inspiring, informative- an experience of which dreams are made. Disneyesque.

From Disney News, Winter 1993.

Click Here to read the article about the 1st official Disneyana Convention in 1992

Walt Disney World hosts its first Disneyana convention, as told by Dave Smith in 1992

Whether it’s early Mickey Mouse watches, original cartoon cels, recent limited edition figurines, or 1955 Disneyland guide­books, Disneyana collectibles have a fascination for Amer­icans young and old. And, with the opening of Disney Parks in Japan and France, and the expansion of The Disney Stores throughout the world, what started as an American hobby has grown to where it is enjoyed worldwide today.

Disney Archivist Dave Smith with the first Disneyland

attraction vehicle ever sold at a Disneyana convention

To provide an event where Disneyana fans could gather together for several days of collecting, guest speakers, good food, special merchandise, and the fun experi­ence of a Disney Theme Park, Walt Disney World Attractions hosted its first Disneyana Convention. Held September 24-27, the Convention Center drew over 750 Disneyana collectors and fans to Disney’s Contemporary Resort.

Guests arriving on Thursday morning took care of their hotel check-in and convention registration, then rushed to the Disneyana Collectible Shop where special merchandise featuring the convention logo had been placed on sale. Eager collectors grabbed up ornaments, decals, buttons, T-shirts, spoons, and even stropping bags. The hottest items were a $25 plate—in a limited supply of just 500—and a watch. One watch had been given to each registrant, winch left less than 500 available for sale.

The convention began in earnest Thursday evening with a welcome reception Ice Cream Social. The Fantasia Lobby was decked out with banners flags, park benches, gazebos, and greenery, along with tables loaded with ice cream, pastries, and other delectable taste treats. Disney characters were on hand to greet guests, and as a special added attraction, three of the original Mousketeers—Bobby, Sharon and Sherry—were there to autograph photographs in a Mousketeer Clubhouse in the West Rotunda.

Friday dawned with a buffet breakfast outdoors in front of the Convention Center. Mickey Mouse and Dick Nunis, Chairman of Walt Disney Attractions, made a grand entrance in the LiMOUSEine. Other members of Mickey’s gang gathered with some of the Park’s singers and dancers for a couple of musing numbers to lead guests into the Fantasia Ballroom for the opening session.

After the surprise entrance of the Voice of Disney—Jack Wagner—to emcee the events, the morning got off to an exciting start with a kinetic audio-visual presentation covering the history of The Walt Disney Company. The morning speakers were Dick Nunis, reminiscing on his many years with Disney, landscaper Bill Evans sharing experiences in creating the natural scenery in all of the Disney Parks, Max Howard speaking on the expansion of the feature animation division in Florida and showing pre­views of Aladdin, and Esther Ewert of Disney Art Editions, relating the history of Disney animation art in the market­ place. The climax of the morning ses­sion was the introduction of the Al­addin characters in a festive parade complete with a live camel and horses.

For the afternoon, convention-goers had many choices. They could attend a Limited Edition sale and Artist Signing, where a number of very special pieces had been created especially for the convention by the likes of Lladro Goebel, Armani, R. John Wright, Ron I.ee, Laurenz, and others. Nearby was a Disneyana Fair, where Disney signs, artwork, and props—many never before offered for sale—could be purchased.

There was a preview of auction items, and, upstairs, a Disney Business Group Presentation included displays from Disney Art Editions, Disney Stores, Disney Vacation Club, Disney Gallery, Disney Classics Collection, The Disney Channel, Disney Publishing, the Magic Kingdom Club and other divisions of the Disney organization. Finally, down the hall was a Disneyana Trade Show where independent dealers displayed their wares. It was almost more than a collector could han­dle in one day.

The day was capped by a thrilling Disneyana auction, with selected pieces from the Disney vaults bringing record prices. An original Dumbo attraction unit from Disneyland brought $16.000, as did a bronze-cast Mickey Mouse statue. A Carousel horse brought $4,000 and the art for a Little Mermaid plate $8,250.

At Saturday morning’s session, my assistant, Robert Tieman and I had the thrill of being delivered into the banquet with Mickey Mouse it an armored truck, bring­ing 30 Treasures of the Walt Disney Archives for show and-tell. Tony Baxter, from Walt Disney Imagineering, brought insight into Euro Disneyland’s design, and a high­light was a conversation with 98-year-old Joe Fowler, builder of Disneyland and Walt Disney World.

The public was allowed to join conven­tioneers at the various fairs and trade shows on Saturday and then the convention culminated with a deli­cious banquet, followed by comments by Dick Nunis, and Bob Bowman and Bo Boyd of Disney Consumer Products. The Kids of the Kingdom brought the house down with The Best of Disney and each guest received a valuable medallion as a keepsake.

It was an exhausting three days, but those in attendance praised the conven­tion planners. The First Disneyana Convention had been a rousing success. Now, off to Anaheim for the next one in September, 1993.

From Disney News, Winter 1992.

Horse, Motor Car Share Main Street, U.S.A.'s Thoroughfare

06.01.11 - WED Enterprises, Walt's planning and designing firm, built the horse drawn streetcars by working from photographs of earlier authentic vehicles.

Streetcar travel of a bygone era is relived on Main Street, U.S.A.

An almost forgotten era of America's history is relived by guests entering Disneyland's Main Street, U.S.A. The feeling of a typical small thoroughfare of the 1900 era will be experienced by guests strolling down Main Street, U.S.A.

Walt Disney, who was reared in a small mid-western town of Marcelline, Missouri, worked with his staff in building Main Street, U.S.A. so that the uniqueness of this street would he authentic to the smallest detail.

The same demand for detail is designed into the Main Street vehicles. Many types of unique con-veyances are represented on Main Street, U.S.A.

The four horse-drawn streetcars on Main Street are composite reproductions of 19th century streetcars you might have found in such late 1800 cities as Chicago, Boston, Philadelphia or New York.

WED Enterprises, Walt's planning and designing firm, built the horse drawn streetcars by working from photographs of earlier authentic vehicles.

The large horses, which pull the streetcars, are either Percheron, Belgian, Clydesdale, or a cross between Shire and Percheron. These horses each receive a minimum of 30 hours special training before going "on stage." Each works a four-hour day, five-day week, and is given taxi service to and from the stables — it sure beats our work week!!

The horseless carriages on Main Street, U.S.A. are a composite of the design and size of many gas-driven cars of that early period of automobile history.

The three horseless carriages that carry guests entering and exiting the Park run on two-cylinder water pump engines that chug and snort just like the originals. But riot everything is a reproduction. The external parts, such as the horns, lights and wheels, are authentic.

The green and yellow double decker Omnibus is as authentic as any bus you might have found on the main streets of New York, Chicago or Boston at the turn of the century. An old electric English klaxon horn is the only original part used in the building of the two Disneyland Omnibuses. The Studio designers built the Omnibuses or for that matter, all the vehicles, so that guests would have greater comfort, safety, and convenience. The drop frame chassis is from a modern day truck. Having a modern clay engine, the buses also include power steering and power brakes. On your next visit to the Magic Kingdom, leave the hustle and bustle of today's streamlined transportation and travel down Disneyland's Main Street, U.S.A. The years will roll back until there is only the sound of a casual clop-clop of a horse-drawn streetcar and the chug-chug of the horseless carriages.

From Disney News (Fall 1968).

Videopolis - The 100-Day Miracle

05.18.11 - Fondly referred to as "The 100-Day Miracle" by Disneyland Management, Videopolis encapsulated the beat of the 80s and the birth of music videos.

Videopolis offers a high tech teen dance area with a 5,000 square foot dance floor and70 television monitors offering popular music videos.

A blur of brilliant-colored neon. Flashing strobes. Whirling lights. And the pulsing. driving beat of electrifying music that seems to surround you. Towering stacks of MTV-style music video monitors flank the stage, mirroring the excitement of the sound. While high over head, huge "skytracker" follow-spots slice through the night sky. The band is wailing. The crowd is jumping. It's another Saturday night at Videopolis, Disneyland's first teen dance club, the place to be. The kids who dance here call it "radical," "wild" and "the best." Management calls it one of Disneyland's most successful attractions in recent years. But to the designers and engineers who produced it, Videopolis is better known as "The 100-Day Miracle."

"We had our first meeting on February 14, 1985," says Steve Carroll, Manager of Disneyland Show Operations and one of the key conceptual idea men behind the project. "And we scheduled to have it open by June 21, the first day of Disneyland's summer season... which just happened to be exactly 100 days later."

Carroll first put his ideas for a teenage dance spot on the back of a placemat in a Chinese restaurant. "But I typed it up before I submitted the idea," he adds with a grin. That was two years ago. The project was originally titled "Galaxy" and was intended to replace the Space Mountain stage. Instead a 3-D theater was scheduled for the area for the Michael Jackson film, "Captain EO" (tentatively set to open this Fall), and the teen club site was changed to its present location in the meadowby "It's a Small World."

Late 1984 brought a keen interest in making Disneyland a viable place in today's teenage market instead of relying as heavily on tradition as in the past. "Today's teens are caught between being a child and being a young adult, with the pressures in society pushing them to be this young adult. They want a place to go where they can feel comfortable — where they can dress up and be part of their peer group. Videopolis provides that for them. And that was our goal," recalls Dennis Despie, Vice President of Entertainment.

Because of Disneyland's high operating standards, Videopolis has the added advantage of putting parents' minds at ease. "It's a very safe, fun place that lets teens have a good experience without all the problems that may occur in other clubs in the city," Despie adds, himself the father of a I6-year-old boy and a 13-year-old girl, "My kids come out here as often as they can for those very reasons."

The collaborative effort of the Disneyland Entertainment Department and the "Imagineers" at the Walt Disney Imagineering Division, the Food Division and the Costume Design Department, resulted in a sparkling high-tech video nightspot that dazzles the first-time visitor with its sheer size and complexity.

Videopolis features a versatile 90-foot wide stage, three dance floors (one of which measures 5,000 square feet), and seating to accommodate up to 1,500 people. Two 12' by 16' video screens loom overhead, flanked by 90 television monitors which create a video "wall paper" effect around the floor. The main superstructure and the lively peristyle entrance is made of dramatic black scaffolding, based on the design used in the 1984 Olympic Games venues. Some of the structure actually contains portions of those very same historical venues.

Tucked in amongst the wild profusion of some 300 linear feet of neon graphics are five special effects called "light sticks." At first glance they appear to be simply vertical rows of red lights. But each stick is actually a matrix array of LEDs (light emitting diodes) which project up to 16 different light images such as stars, musical notes, dancers, surfers and palm trees. The trick is, these banks of LEDs blink on and off so fast the observer can only catch the image being projected as his eye tracks across it, not while looking directly at the light stick. The results are quick snatches of lighted pictures that catch guest by surprise as they appear to float independently in space.

Completing the facility is a snack bar called "Yumz" where club-goers can treat themselves to pizza, nachos, churros, popcorn and soft drinks. And a merchandise stand offers Videopolis T-shirts, visors and other accessories for those who want to take home a little of their dancing experience.

The show itself consists of a combination of live bands and music videos frequently hosted by a Disneyland emcee or a "guest" disc jockey from a local radio station. Three live television cameras scan the action on the floor televising dancers and their performances on the various video screens. And matching the mood of the moment, are some 600 lightning instruments on massive moving trusses that can drop as close as 12' above the floor.

"What we're using is concert technology versus disco technology," Steve Carroll explains. "The setting changes throughout the night, and the effect is definitely an environmental experience rather than just a show."

"If you could take an x-ray of the sheer volume of conduit running underneath the concrete all over that area you'd be amazed," says Videopolis Show Designer, John Kavelin, who estimates that number to be in the thousands of feet. "The reason for that is because we had to provide not only for Videopolis' current needs, but the needs of the future. We're not finished yet you know. This was just the first go-round."

Some of the future plans include more neon, more television monitors, and a "video wall" in which electronically enhanced multi-colored images will be created, using black and white cameras and spot-lighted dancers. There are also plans in the works to build a Videopolis railroad station so that the club can operate during Disneyland's winter season even when the rest of the Park is closed.

"Videopolis can never be complete," Steve Carrol explains. "It will never be what it was last year, because we keep coming up with new ideas to match the kid's changing entertainment styles."

From Disney News, Summer 1986

Cuban Sculptor Carves Furniture for Disneyland's Haunted Mansion

  Sculptor Santana busy at work on furniture for Haunted Mansion.

02.17.11 - For Ciro Rolando Santana y Arrite, a soft-spoken, wiry little Cuban sculptor of extraordinary talent, a temporary position at Disneyland has become a springboard to the fulfillment of a longtime dream — to bring his family from an adopted home in Puerto Rico to the United States and continue his career as a sculptor.

Rolando Santana came to this country early in 1969. He had been at Disneyland for only a few weeks when the word went out from WED that new projects required the talents of an additional sculptor.

Rolando went to WED for an interview, presented his credentials, and was promptly made a member of the WED Imagineering staff.

The sculptor's work has been exhibited in many countries throughout the Americas and in Spain. For two decades, art and educational publications have featured articles on his works.

Rolando received his formal art training as a student for seven years at Havana's St. Alexander's National School of Fine Arts and two years at the Havana Center of Fine Arts.

Adept in sculpturing all media, Rolando has begun the resumption of his career at WED by carving wooden furniture and ornamentation for Disneyland's Haunted Mansion.

While one part of Rolando's dream became a reality, the other part came true in May when his wife and three children joined him in their new home in the United States.

From Disney News, Fall 1969