Showing posts with label Walt Disney World. Show all posts
Showing posts with label Walt Disney World. Show all posts

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.

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!

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:

“Audio-Animatronics


Thursday, December 08, 2011

Walter Cronkite - Narrator's voice in Spaceship Earth and IllumiNations Special Christmas Finale

Walter Leland Cronkite, Jr. (November 4, 1916 – July 17, 2009), "the most trusted man in America" was the anchorman for the CBS Evening News for 19 years and reported, during his profiesional life, the World War II, Nuremberg Trials, Vietnam War, the Death of President Kennedy, Watergate, Iran Hostage Crisis, the U.S. Space Program, from Project Mercury and the Moon landings to the Space Shuttle, the Beatles’ first American TV broadcast and much, much more.

He was the only non-NASA recipient of a Moon-rock award.

From May 26, 1986 to August 15, 1994, he was the narrator's voice in the EPCOT attraction, Spaceship Earth, at Walt Disney World.

In 1989 he featured in a 9-minute film entitled Back to Neverland, at the former MGM Studios, (written and directed by Jerry Rees whose include directing the Rock 'n' Roller Coaster Pre and Post videos with Aerosmith and the new version of Epcot's "Oh Canada" film, and more) served as the intro to the Magic of Disney Animation Attraction, the walking tour of Disney’s Animation facility.



Since november, 1999 he is the voice wishing Peace on Earth, Good Will to Men, at the IllumiNations Special Christmas Finale.





Jerry Rees recalled, “Walter was exactly the charming intelligent guy you would imagine him to be.  What he presented on the air and what he was in person was one and the same.”

It is interesting to also note that Williams’ performance in Back to Neverland is what ultimately led to his casting as the Genie in Aladdin. You can instantly see why when watching this clip from the short film, which includes a quick animated impersonation of Cronkite by Williams:





Rees concluded, “In an era when ‘reality’ is anything but real, he and his approach are a lost treasure.”

And that's the way it is!

Here you can see Cronkite as the mystery guest at What's my Line show :)

Friday, August 12, 2011

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.

Thursday, July 14, 2011

Do Bears Belong in an Enchanting Magic Kingdom?

07.14.11 - The Imagineering geniuses behind Walt Disney World knew perfectly well what they were doing when they included a Country Bear Jamboree among the attractions of the Magic Kingdom—theme park focal point of central Florida's Vacation Kingdom.

As any child can tell you (and Theodore Bear's adult admirers will agree), bears and good times just naturally go together.

At Walt Disney World, the good times revolve around a show of bearfoot music—the kind of country and western tunes that drove the west wild—presented by a troupe of 20 Country Bears. This latest phase of man's affair with the hear—an affectionate relationship that's just about as old as the history of organized entertainment—involves the use of Disney s sophisticated Audio-Animatronics® system.

In this case, the electronic approach that brought President Lincoln to "life" at Disneyland, and gives to all 36 American Presidents in the hall of Presidents at Walt Disney World, is used purely for entertainment purposes, with continuous shows daily at: Grizzly Hall, in the Frontierland area of the Magic Kingdom.

The result is a happy mix of America's favorite music and the best-loved friend of the young at heart. The fact is that Teddy, Dora, Theo, and Tad—not to mention Mr. Edward Sanders and the one-and-only Pooh—rule over an empire of the heart that knows no boundaries of language, background, age, or sex.

From the time that Theodore Roosevelt's name was adopted by the first stuffed Teddy, bears have adventured around the world. One even climbed the Matterhorn—with his Alpinist owner. Equally adventurous is Mr. Woppit; the fastest Teddy in the world, he broke all land and sea speed records in the company of his master, Donald Campbell.

Nor are bears at all shy about making friends in the highest places. A Teddy sits on the windowsill of John F. Kennedy's childhood nursery; President Johnson's Teddy remains in residence at his Texas ranch. Even Nashville—home of the Country Bear Jamboree sound—has its famous bear, living with his old friend, Elvis Presley.

There's even a library full of bear books—most notably, the histories of Winnie-the-Pooh. Some forty years old, he's younger than ever—and is even thriving in Latin and Russian (where the hero is called Vinni-Pukh). Graceful old age seems to be the furthest thing from Pooh's mind. British actor Peter Bull, official historian of the bear facts—his Teddy Bear Book is a current best-seller—reports that an original Pooh drawing was recently auctioned for some $3,000, which isn't bad for a bear with nothing more than a pot of honey to call his own.

At that, Teddy and Pooh—and their contemporary colleague, Smokey the Bear—are latecomers to the business of keeping people happy.

Way back when, the real article was the center of attention in all kinds of popular attractions. The Greek writer Plutarch tells of British bears transported to Rome for circus performances—and that was back in the first century. In the more recent past, trained bears traveled Europe, entertaining villagers by dancing, wrestling and boxing with their keepers.

Even today, the same Russian bears—the most adaptable and trustworthy of the species—play regular circus performances, executing remarkable feats of skill and daring. So far as the public is concerned, a Russian circus isn't worth its name without a troupe of bears roaring around the ring on motorcycles and driving through hoops of fire with uncannily human skill.

As a matter of fact, to some of us bears are human. Many American Indians look on the bear as a sort of supernatural brother. The Ainu tribesmen of Japan even have a bear cult—in which they bring up cubs with the care and affection normally given to a child.

As fascinating as real bears may be to man, the stuffed article, though, has the lead in the love department. And now the whole marvelous mystique is getting still another new dimension in the form of the down-home country bear.

What's more, Big Al, and Henry the emcee, glamorous Teddi Barra and Wendell of the grizzly bearitone... the whole 20-bear club making up the Country Bear Jamboree bids fair to rival Teddy and Pooh in popularity.

Even before their formal debut, there was a waiting list for country bear replicas. The Pepsi-Cola/Frito-Lay people, who are presenting the Country Bear Jamboree at Walt Disney World, report a mounting list of requests for traveling bearfoot musicians—the kind a visitor can take home and love.

Is the traditional Teddy worried about the competition?

Interviewed by an inquiring arctophilist (that's a friend of bears), the long-reigning boss-bear could only Pooh-Pooh the suggestion that rivalry was causing trouble.

"The bear fact," he is reported to have said, is that what's good for one bear is good for the entire Magic Kingdom."
From the 1971 Country Bear Jamboree (WDW) press materials.

Friday, June 10, 2011

Tomorrow evening the Main Street Electrical Parade Premieres

NEW PARADE PREMIERES

06.17.09 - Tomorrow evening at 9 p.m., the most ambitious outdoor spectacular since last year's "America On Parade" will premiere in the Magic Kingdom: Our Main Street Electrical Parade!


The Main Street Electrical Parade will be made up of nearly 100 performers and 30 fanciful float units using new techniques of "piping" light through fiber optics and outlining figures with micro-neon "threads" of light to create entirely new visual effects, all interspersed with row after row of twinkling lights.
With the cool evening air shrouding Main Street, the scene will be set for a pageant of enormous proportions, which will combine the latest in Disney "imagineering" to excite your eyes with sights of light in motion, and your ears with an incredible soundtrack.

As Main Street's lights dim, you will be confronted with Mickey Mouse atop the world's largest electrified drum, an eye-blinking hippopotamus, and 33 of our characters outlined in micro-neon light-swirls! The sparkling cavalcade of twinkling lights... over 500,000 strong... along with animation and musical entertainment will take place twice each night in the Magic Kingdom this summer at 9 pm and 11:30 pm.

The Main Street Electrical Parade will be made up of nearly 100 performers and 30 fanciful float units using new techniques of "piping" light through fiber optics and outlining figures with micro-neon "threads" of light to create entirely new visual effects, all interspersed with row after row of twinkling lights.

Winding down Main Street and through the Magic Kingdom in ten divisions, the parade features Alice in Wonderland riding atop one of three giant 15-foot high mushrooms. Huge snails and colorful ladybugs twist and turn along the parade route.

Cinderella rides in her magical pumpkin coach, while her fairy godmother changes the coach's color with a wave of her wand. In a spectacular underwater scene, called the Briny Deep, fiber optics are used to create an underwater set where fish, coral and colorful sea creatures perform a marine ballet followed by Monstro the Whale, spouting a sparkling shower of lights!

The spectacular finale has 33 Disney characters traced in sparkling lights and reflected in a myriad of rotating mirrors, a fitting end to the 30-minute parade.

Other parade units include the Blue Fairy from Pinocchio, whose gown stretches 15-feet to the street below; King Lion's Circus Parade with an elephant rotating merrily in a shower bath; all Seven Dwarfs in fully lighted mining regalia; and "It's A Small World" with child-like figures from many lands.

An electronic Moog Synthesizer produces a unique and lively musical score filled with original and familiar Disney tunes to "theme" each division in the parade. The exciting and unusual Moog music, similar to our popular "Electric Water Pageant" soundtrack, will actually be transmitted from atop Cinderella Castle to individual floats, where the radio signals will be amplified and broadcast from onboard sound systems. The basic musical theme is interwoven with counter-themes to produce a special song for each of the patade's divisions. Because all of the music is broadcast from a single transmitter, all of the tunes are heard in time with one another, and in tune with all the others!

PARADE REMARKABLY COMPLEX
Designed at Disneyland by some 20 artists under the direction, of Bob Jani, Vice President of Entertainment Division, the 30 float units were constructed by a crew of 70 workers who attached each individual light to its assigned spot on the facades.

About 20 craftspeople in our Walt Disney World Wardrobe Department produced the electric powered costumes. And more than 200 cast members are involved in each nightly performance!

A special low-voltage direct current (DC) system using 1,200 batteries transmits energy to more than 500,000 lightbulbs dotted across the 30 floats with 20 silent electric drive units powering them along. Over 12 miles of miniature electric cable is used in our Main Street Electrical Parade.

In addition to fiber optics, the parade also makes use of a new king of multicolored low voltage system of neon tubing, the only one of its kind.

And for those concerned with the energy output of our dazzling parade, the 500,000 parade lights will use approximately the same amount of energy as that which is saved by turning out the lights along the parade route as it passes by. The special electric drive units engineered by Disney technicians for the parade eliminates the need for gasoline powered floats as in conventional parades.

The Wardrobe Department used special safety materials so that lights could be installed along the outlines of performers' costumes. Some of the performers carry their own batteries, while others are designed to plug into the float units they walk along with.

Similar to "America On Parade", the Main Street Electrical Parade will be produced simultaneously at Walt Disney World and Disneyland throughout the summer months.

With some float units reaching almost to the ceiling, the Production Center lately has been the scene of over 200 cast members... both back stage technicians and on stage performers... preparing for tomorrow night's 9 pm premiere.

Although the 30 parade units were constructed in California, each had to be shipped to Florida, unloaded, assembled, tested and declared "ready" to go on stage for tomorrow night's premiere. This enormous task was given to the Entertainment Support Department, which is based at the Production Center complex. Pictured above is a scene typical for the 16 men of Entertainment Support ... they first carefully uncrate a huge wooden container carried from California on the back of a semi-truck rig, and remove the delicate parade parts enclosed. Then a heavy duty crane from the Reedy Creek Drainage Department lifts the main float structure from the trailer bed. While suspended in the air by the crane, an electric drive unit (as seen here being driven by Dewey Rewis, Entertainment Support Supervisor) is carefully positioned beneath the dangling structure and it is gently lowered until contact is made. Long bolts connect them together, electrical connections are made, and the float unit is driven into the Production Center for final readying.

From the June 10, 1977 edition of the Eyes and Ears employee newsletter, published by Walt Disney World.


Saturday, June 04, 2011

The Pirates of the Caribbean Arrive at Walt Disney World

06.04.11 - Avast there, ye lubbers, for the saltiest adventure ever to shake your sails!



Pirates, pirates everywhere! And guests will find themselves part of the swashbuckling action when they "take to the high seas," in Walt Disney World's newest attraction, Pirates of the Caribbean.
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, May 22, 2011

A major Disney museum in Glendale? It may be the future for the company’s past

{EAV_BLOG_VER:e86f42cfca549bc8}

THE DISNEY ARCHIVES

This is a longer version of Geoff Boucher's article that ran Friday on the front page of the Los Angeles Times (June 2010).

Davesmith

After Walt Disney died in 1966, his grieving staff sealed his office suite in Burbank, and even as work proceeded on “The Jungle Book” there was anxiety that the company’s past might be brighter than its future.

Four years later, those worries deepened as key executives approached retirement, including Walt’s older brother, Roy O. Disney. That’s why, in 1970, the company handed the key to Walt’s still-sealed office to a former UCLA research librarian named Dave Smith, who was sent into the chamber to learn its history.

“I didn’t expect this to become my life’s work, but it did,” Smith, 69, said on a recent afternoon as he gave a tour of the Disney Archives, a massive collection spread across several in-house libraries and high-security warehouses filled with Disney movie props, costumes, toys, art, animation, vintage theme-park gear and company publications.

Geppetto

It all began with the items that Smith found in Walt’s desk all those years ago.

“It was an eerie thing to sit … in his chair and count the paper clips in the drawer,” Smith recalled with a nervous chuckle. On the bookshelves, he discovered books and letters given to Walt by Upton Sinclair, Winston Churchill and C. S. Lewis, who inscribed one of his books of poetry with the words: “From one visionary to another.”

On Friday, 40 years and a day after he was hired, Smith announced his imminent retirement from a corporation that, as he put it, “reuses and returns to its past more often than any company in the world.”

His one-man history department has become a team of 12 that is busy going through hundreds of boxes of artifacts never fully cataloged. For years, there simply wasn’t time for Smith to do anything more than grab, save and store. Now, with wide eyes and sometimes racing hearts, the younger preservation experts make almost daily discoveries of forgotten treasures.

Boxes

On a recent afternoon at one of the archive’s secret Glendale warehouses, Disney archive manager Becky Cline held up one recent find — a cache of storyboards and concept art for the 1964 classic “Mary Poppins.”

“This hasn’t been seen or touched since the movie came out, and it’s never been reproduced in any way,” said Cline, who will take over Smith’s title as official archivist after his departure in October. “This is simply amazing stuff. And we’re going to get to show it to the world.”

The texture of the job is different these days, but the spirit of the mission remains the same, Cline said.
“When I talk to Dave about it, it’s the same,” Cline said. “He was searching in different places but the job is the same. Find it, catalog it, save it. We’re still finding wonderful unique material. We just got cutting records from ‘Snow White’ that had been filed strangely in 1940 in the music department and no one came across them until now. I can’t tell you how it feels when something like that shows up.”
When Disney President and Chief Executive Robert Iger got his first tour of the warehouse — which resembles the piled-high repository shown at the end of “Raiders of the Lost Ark” — he knew the artifacts could be collecting more than dust.

Blackhole

Iger said this week that a fully dedicated Disney museum is a possibility and, when asked if the company’s largely undeveloped industrial park in Glendale might be an option, he said yes. That parcel includes the old Grand Central Airport, a 1920s Art Deco relic that might be a candidate, according to some Disney sources, but Iger did not speak about that building specifically. At the least, Iger said, the company heirlooms will be displayed at the D23 Expo planned for next year in Anaheim or in a touring museum exhibit.

“I’m certainly intrigued by that idea but we’re exploring multiple ways to do it,” Iger said. “It could be that end up in partnership with an existing museum, figure out ways to exhibit these great works at museums around the country or the world. It also could be that we create our own — obviously there’s significant investment associated with that. As we consider any significant investment we look at what kind of return we could get on that investment. In meantime we know one return from this would be all the great goodwill we’d see from making this collection accessible. We also need to be practical about it from the dollars and cents perspective.”

In its early years, Smith’s work was hardly revered in every corner of the company.

The research librarian got the job by being the right man in the right place at the right time. At UCLA, he had toiled on a Disney bibliography, and one day at the campus he overheard one of his bosses tell a Disney executive that the company should create its own in-house archive to hold on to its past. Smith was enthused Birdincage and offered his services, but no one in Burbank was sure what the job description could or should be.

Smith took a two-month leave from the Westwood stacks to poke through filing cabinets, unlock dusty storage rooms and interview Disney old-timers about long-gone colleagues and half-forgotten projects. Some staffers were puzzled or amused by the earnest young man scribbling down dates and names. In those days, the notion that youth entertainment deserved the permanent-record treatment seemed, well, goofy.

Smith wrote a proposal for an in-house archive and in 1970 officially joined the Disney payroll. The job was a mix of discoveries and dashed hopes in the early years. Some employees were reluctant to surrender caches that were so much a part of their history and, in many cases, connected to their current work. Others watched the parade of departing boxes with a smile.

“They were just happy,” Smith said, “to get the office space.”

Smith’s work was far more than a paper chase. Within a few years of its founding in 1923, Disney was licensing its characters to companies of all sizes and sorts for toys, trinkets, apparel and bric-a-brac. The Disney corporate attitude toward this mountain of “outsider” product was lack of interest or vague disdain. But the new archivist saw the Mickey Mouse wristwatches and “Fantasia” figurines as true artifacts, pieces of history.

“This was a period before there were a lot of Disney collectors, so it was easier to find things and they didn’t cost nearly as much as they would now,” Smith said, sitting in a Burbank office lined with rare Disney memorabilia.

“Take a look at this. I got this at the Rose Bowl swap meet for $18 in the 1970s,” Smith said, reaching for a small 1930s Donald Duck toy in a tiny, faded carton. “It’s in the original box, which is quite unusual. It’s preserved in perfect condition and worth about $2,500 now.”

Ticket

In the corporate corridors, Smith used to run into people who assumed he and his pesky school project would be gone within a few months. Roy O. Disney’s ferociously loyal secretary fought his efforts to get access to her boss’ papers and effects. Finally, the archivist prevailed.

Among Roy’s stuff was a ticket stub he kept in his top drawer. “It’s marked ‘No. 000001,’ Smith said, holding the first Disneyland ticket ever sold. “Roy bought the first ticket when the park opened 55 years ago. He paid $1 for it and then he kept it all those years right within reach.”

For the creative teams at work in the company today, the archive is a resource of the highest order.
“I think it took a few years for the company to realize it had an archive and what that meant,” Smith said. “It took a few years to understand how the archive could help them. Our primary reason for being is to help the various divisions….There were 10,000 employees when I started; now its 140,000. It’s a much different company and it makes it incumbent upon us to collect much different materials. When people come along in 30 years and want to know what this moment in time was like, they will be able to come to us and find out.”


Jackinthebox
Is there a list of rare items or lost information that Smith wishes he could find before he leaves his archive in the hands of a new generation? “The short list is really just one item. We have no lists of artists who painted the backgrounds for our cartoons. We have lists of directors, we have lists of the animators, we have lists of the voices in most cases — but the backgrounds, which had beautiful artistry, in a lot of the cases we don’t know who did the work. That bothers me.”

These days the archive is growing faster than ever. Iger issued an order in 2006 to all business divisions that if the archive wants something, it gets it — an acknowledgment of the growing value of movie props and Disney artifacts in the eBay era. Through the years, too many treasures walked out the door or went in the trash.

The team is now known around the company as the “Raiders of the Lost Archive.”

“We did get a little bit of a reputation for being the people who came in and said, ‘OK, we’ll take that and that and that …’ In a way, we are like, ‘We have our warrant and we’re coming in,’ ” said Steven Clark, vice president of corporate communications, who also oversees the administration of the archives.
“We try to be gentle, but we are taking things to be protected. And we are going to take them,” said Becky Cline, the archive manager.


Animatedheads 

So, despite turbulence, the team recently returned from Anaheim with three prized trophies from Disneyland: Melvin, Max and Buff, the three mounted animal heads that for decades serenaded visitors at the now-dismantled Country Bear Jamboree attraction.

Clark said that Iger has given the archives a budget that, for the first time, allows the team to acquire key Disney artifacts from private collectors. For instance, the carpet bag carried by Julie Andrews in “Mary Poppins” may soon be back in the company’s possession, though Clark won’t reveal details.
“We’ve found it,” he said somewhat cryptically. “We’re working on it.”

The job is defined by long hours of meticulous research and methodical cataloging. But there are flashes of adventure in unexpected places. Last year, Clark and Cline were in Orlando, Fla., to meet with Walt Disney World leaders to explain archive policies and plans, and they were told that, the next day, the attic section of the Haunted Mansion ride would be gutted to make way for a major renovation. The California visitors were told they were welcome to save the vintage assets — if they were ready to do it all on their own.

Nautilus 

In borrowed work clothes and hard hats, the two archivists went to work with drills to save the items that made up the entire spooky tableau. “Everything was screwed down,” Clark said, “because otherwise it would have walked off years ago.”

It was grueling work; the ride — and the air conditioning — were shut down and there were decades of spider webs in every corner. “If you’re the Haunted Mansion,” Cline noted, “you don’t even think about dusting.” In sweltering heat, the two gagged and wheezed through their face masks. The work was worth it. The two packed up The Bride and enough trappings from the ride sequence so that someday the entire scene could be re-created. On a recent afternoon, Cline and Clark were sitting in Smith’s office at Disney’s Burbank headquarters, chatting about their planned trip to Hawaii to gather props from the just-completed ABC television series “Lost.” Smith smiled as he listened in.

“They offered us the airplane — and I mean it’s a plane — but we had to say no,” Clark said. “Sometimes you do have to say no. But we are going to take the interior.”

Mickeyminnie 

During the meeting, Smith got up at one point and reached into a corner for something he wanted to share. It was much smaller than a commercial airliner and, really, much more impressive. Immediately interested and hushed, everyone leaned forward to inspect the yellowing pages of a booklet.

“People told me all the time that Walt wasn’t that interested in his own history and once he finished a film he put it away and never looked at it again. But when I inventoried his office, I found this,” Smith said.

He presented a 12-page sheaf with chunks of text interspersed with pencil drawings of a jaunty-looking cartoon character on a riverboat escapade.

“It’s the script for ‘Steamboat Willie,’ the first Mickey Mouse cartoon,” Smith said as he offered the 82-year-old artifact for inspection. “His chief artist, Ub Iwerks, did the drawings and Walt would have typed the text. I saw this and I knew Walt cared about his history, just like I do. Just like we do. And just like people always will.”

– Geoff Boucher

Saturday, April 16, 2011

The Building of Model "G" Ford

 04.16.11 - "Mildly rugged. He looks like what he was — a football player."

"Sporty. A little more relaxed than most Presidents."

"He is a pretty-down-to-earth sort of dresser."



Disney sculptors and wardrobe designers looked even more than they listened as Gerald Rudolph Ford took the oath of office last year, becoming the 38th President of the United States.

While the rest of the world anxiously sought the political views of this first unelected American President, Disney craftsmen were critically examining President Ford's physical appearance and his manner of dressing, for soon he would be the 37th "guest of honor" in Walt Disney World's The Hall of Presidents' attraction.

Life-like "Audio-Animatronics"® figures of all the United States' chief executives appear together onstage in "The Hall of Presidents" for a historical roll call. (Although there have been 38 Presidents, including Ford, there are only 37 individuals, since Grover Cleveland served two separate terms in office.)

Before the Liberty Square attraction opened in 1971, the nation's leaders, from Washington to Nixon, were studied in detail by Disney "Imagineers" at WED Enterprises in California. Books, photographs, diaries, television programs, and personal accounts were examined so that the craftsmen could accurately create the life-size Presidential figures.

And by the time Gerald Ford had moved into the White House, the "Imagineers" were already compiling statistics on his size, personality, and wardrobe.

"I looked through all the magazines I could immediately after Ford became President, and one or two of them actually gave me his height and weight. What they didn't give me, was his girth," recalled the WED sculptor who created the Ford bust (and the busts of most of the other Presidents) and supervised the detailing of the figure.

"I had our librarian check with the White House, and the Secretary sent his measurements. He had a 38-inch waist and weighed 204 pounds, and was trying to lose weight. So we proportioned the figure based on that."

"President Ford has a face you cannot describe or caricature very easily," said the sculptor, but he added that Ford's eyes are unusual. "His eyes are a little closer together than average, and he has a rather piercing stare. He looks with intensity, yet his eyes are warm."

President Ford's nose is somewhat wide and roundish. This trait, combined with the fact that the distance from his eyes to the bottom of his nose is shorter than average, makes the area above his upper lip seem larger than usual, the Disney artist noted.

A mold was made from the original Ford bust which the sculptor created so that additional busts could be cast. Since the "Audio-Animatronics"® figures move and speak, the "skin" of the President was cast of a rubber-like material.

The wigmaker used another specially designed bust to fashion the hair for Disney's Ford. Placing each strand by hand, she styled the wig to match the President's blonde hair. Barely noticeable because of their natural lightness, Ford's eyebrows also were duplicated with hairpieces.

But facial expression and characteristics were not all that the "Imagineers" had to consider. As with every other Presidential figure, the wardrobe experts spent hours comparing White House, news, and magazine photographs to see if there was any continuity in the way the President dressed.

"He is very up-to-date — not mod. He wears a good, sensible businessman's suit," the costumers concluded.

"Ford seems to prefer lighter colors, especially blue. And he wears more plaid or striped suits and colored, button-down-collar shirts than we have seen for awhile on a President."

The costume designers agreed that President Ford is a "pretty-down-to-earth sort of dresser," so they chose a medium-blue plaid fabric with tiny white and rust stripes for his wool suit.

The Disney tailor then made a pattern for the size-42 outfit, and sewed a handsome suit that the President, himself, would probably love to wear.

Choosing a tie for President Ford meant more research. "He seems to especially like bold, diagonal-striped or geometric-patterned ties," said one costume designer, "so we decided to use one like the striped tie he wore when he was inaugurated."

In less than four months, the Disney team "built" a President who now stands in a grouping of modern-era Presidents among the 37 historic leaders of our country in Walt Disney World's "The Hall of Presidents."

From the Spring 1975 edition of Vacationland magazine, published by Walt Disney World.

Sunday, April 03, 2011

The Voice in Mission to the Moon and Mission to Mars From 1988 Disneyland Line

It Takes People

04.03.11 - George Walsh, who lent his voice to numerous narrations for Disney, voiced Mr. Johnson in Mission to the Moon, and later, Mission to Mars.



"Welcome to Mission Control, space travelers..." begins the opening remarks from Mission Control Director Mr. Johnson in the Mission to Mars attraction. The voice of Mr. Johnson belongs, coincidentally, to one of our own Disneyland Cast Members, George Walsh.

"Mr. Johnson" has been aboard the Mission to Mars attraction for many years. George has only been "on board" as a Disneyland cast member for a few months. His association with the Disney organization, however, has been a long one. He has voiced many narration spots for the Disney Studios over the years.

In addition to some educational films for the Studios, George has narrated several films promoting Mineral King and Epcot Center. George believes he may have narrated the last Epcot Center film on which Walt Disney appeared. So when the opportunity arose to do the voice of Mr. Johnson in Mission to the Moon — and later, Mission to Mars — George was well established as a Disney Studios narrator and a natural choice for the project.

George's 34 years as announcer for CBS/ KNX radio involved him in a diversity of projects. He is well remembered for being one of the voices of Smokey the Bear for many TV and movie spots. One of his most memorable achievements was announcing for a radio program called Gunsmoke, starring William Conrad, currently the star of TV's Jake and the Fatman. When the program went to an hour-long TV show, George did the lead-ins to the commercial spots for 20 years. He also narrated a popular radio show called Suspense, in which he was, as he puts it, "the spooky voice that told a tale, well calculated to keep you in suspense." He did a series of programs with award-winning designer Edith Head. When the radio division of CBS went to an all-news operation, George became a newscaster until his retirement two years ago. And somewhere among all of his achievements over the years, he was named Announcer of the Year by the Los Angeles Times.

George didn't always know that announcing would become his bread and butter. His first time "on the air" was in high school, where he took a public speaking course. He remembers that his first assignment was to describe "what I hope to become." He said, "My classmates were giving speeches about becoming doctors, lawyers, ministers and so forth and I didn't have the slightest idea what I wanted to become. So I decided to do something for laughs, just to get a grade in the class." He put together a skit, using voice impersonations of famous radio personalities. He received a good grade for his efforts. A couple of weeks later, for $15 and two tickets to the Senior Prom, George brought his impersonations act to the prom floorshow, and the rest is history. By the time George retired, he had spent half of his life with CBS and decided that it was time to try something else. So for a couple of years he "painted the house, pruned the roses, fixed up the old car and, one day last September, read in the newspaper that Disneyland was having a Job Fair. I came out to the Job Fair and left with a job."

"The voice of Mr. Johnson is alive and well at Disneyland," said George. "I've always been a Disney fan and now I have the pleasure of working here." George and his voice can be found in the Disneyana shop on Main Street where, he said, "I fit in very well with all of the old things."

From Disneyland Line, April 8, 1988
Related Posts Plugin for WordPress, Blogger...