disneygraphy-magazine-5 by Disneygraphy

Disneygraphy Magazine Nº 5 - Jul/Aug 2014

Magazine

This Issue: The Dream World of Infrared Photography including our own infrared photo features for each of the lands of Disneyland Paris. Disney Classic: The Sign of Zorro, Walt Disney’s Disneyland and much, much more... A Non-Commercial Disneyland Paris © Fanzine

“A lie keeps growing and growing until it’s as plain as the nose on your face.” The Blue Fairy, Pinocchio In last century’s fifties Walt Disney became a world-wide household name and people regarded him as ‘Uncle Walt’ due to the way he presented “Walt Disney’s Disneyland”. The public figure however was a different man than Walt the company boss or Walt the father and husband. This led to many speculations and assumptions regarding his personality. Walt never smoked or drank alcohol in public, he was very conscious of his public image and maybe he tried too hard to maintain that image. When people think you´re a saint something has to be wrong so Walt had to be a heavy drinker, light one sigaret with the other and his films were full of hidden messages and Illuminati mind-control. When a person is different and becomes succesful and famous, gossip fills the gaps. Even long after he passed away legends and false accusations emerged and keep emerging. One of the wildest stories that keeps popping up is that Walt’s body was

put in a cryogenic state and stored in a freezer somewhere under the Pirates of the Caribbean attraction in Disneyland. Fairly recent Meryl Streep, who plays an appropriate role as a witch in Disney’s movie production of ´Into The Woods’, accused Walt Disney of being a gender bigot who was a member of an antisemitic lobbying organisation. A simple look at the Walt Disney Studio´s employee list from the 1930´s untill now shows the opposite. Times were different then but I wonder how many productions would have looked like without the talent of people like Hazel Sewell, Harriet Burns, Mary Blair, Joe Grant, Marty Sklar, Ed Solomon or Richard and Robert Sherman. Ofcourse Walt, like anyone else, had his flaws, it´s simply part of being human, he also had a unique and wonderful vision that did change the world of animation, television, theme parks and entertainement. 3

When Walt Disney started his company, he was on the forefront of a new era. So much had to be discovered. So much had to be explored. The Golden Years of Disney animation are truly our favourite years in Disney history. We love so many of the new movies, but there is a charm and a sense of nostalgia when watching the classis Disney productions. Perhaps its not surprising since we love the “Olden Days“, and we love exploration. And soo much had to be explored by the Disney pioneers in those days. All the classically trained artists, all the technitians and all of Walt’s creativity truly came together in those productions. And yes, there is something magical in knowing that Walt himself personally pushed a project foreward to the best it could possibly be. The creative process was more important than the “Big Bucks“, and it shows. The Disney Golden years have truly created Magic. 4

Disneygraphy Magazine is a fanzine focusing on the photographic beauty and detail of Disneyland Paris. We strive to bring you unique and personal visions of the park through our own photography. Articles done on the history of the park and Disney in general will contain images and artwork of the Disney Company. This is done so with the utmost respect and only serves to tell our story. Care is taken to protect those images and all copyright remain with the Disney Company, Disneyland Paris and all other Disney Companies if applicable. You can find us on: www disneygraphy.com facebook facebook.com/Disneygraphy twitter twitter.com/Disneygraphy We are new to the interactive free online magazine business, so if you have any suggestions, tips or tricks that can make our magazine better, please donâ&#x20AC;&#x2122;t hesitate to let us know. We are open to constructive commentary. For future magazines we would like to focus on all aspects of Disneyland Paris including itâ&#x20AC;&#x2122;s past and lost attractions. We are looking for images to accompany our articles of all things that are in the past like the Adeventureland Bazaar or Main Street Motors as it used to be. We would greatly appreciate your help. If you wish to contact us for more information or wish to participate to Disneygraphy Magazine you can find us at: Joost joost@disneygraphy.com Stefan stefan@starwarsarchives.com

Our special thanks go out to Carrie Fisher who signed our Disneyland Paris Autograph Booklet as Disney Princess Leia Organa. And all Castmembers at the resort who extend the magic outside the parks 24/7 ! 6

Photography and Disney is what we love. With our work we want to show you the beauty of ‘our’ Disneyland Paris. We tell you our story , it is our vision on what Disney wants you to experience and mostly it is a wonderful world of color. The great thing about Disneyland is when you take out the carefuly chosen colors there’s even more magic to be found. It seems easier to travel back in time when you experience Mainstreet or Frontierland in black and white or sepia-tone because it eliminates contemparary elements. Infra red photography magicaly brings out something you can not see. The light is different and more dramatic and the grass and trees look like they’ve been covered with snow, even on a hot summer’s day. This issue is a bit of an experiment, we want to show you what happens when the colors are gone. It’s a bit like the magic of the earliest Disney cartoons that still don’t need any color. We invite you to step through the looking glass and hope you like what you find.

I have always been fascinated with the world beyond. Be it astronomy, lost civilisations or the world of the invisible. When I discovered Infrared Photography it was a revelation to me. Here was a world right next to ours, invisible to every human being on the planet. Through the magic of photography it was now possible to get a peek into this hidden realm. As a kid I always looked trough photography books and occasionally I would come across these haunting,ly beautifull images. Mostly landscapes, old churches or graveyards. I started out with the simplest from of infrared photography by holding a filter in front of my sensitive camera. Later generations of camera would become less and less sensitive to infrared light so I had to purchase a converted camera to keep looking beyond the mirror. The results can be stunning and my hope is you’ll like the results as much as we do.

Walt Disney Studios Photo Feature: Infrared

Photography

Photo Feature: Infrared Photography

Photo

Photo Feature: Infrared Photography

Disney History:

Walt Tribute p3 The Sign of Zorro (1958) p34 Walt Disneyâ&#x20AC;&#x2122;s Disneyland p54 The Dream World of Infrared Photography p82

Further:

Editorial p7 Travel Guide p69 Magic on your Plate p78

Photo Feature: Infrared Photography

to Feature: Infrared Photography

Shorts:

Main Street Gazette p21 Emporium p96

hoto Feature: Infrared Photography

The Resort Photo Feature: Infrared

Photography

100 9

released. In a ceremony that brought together former ambassadors and the four finalists, Romina Grochow and Sonia Demay were presented to succeed Jonathan Rabeute and Antonella Giallombardo. For the next two years, Romina and Sonia will represent Disneyland Resort and all its Cast Members. We at Disneygraphy wish them the very best!

Mickey’s Magical Fireworks and Bonfire

With Mickey’s Fireworks and magical Bonfire, take a stroll to Lake Disney and gaze at the night’s sky as it explodes with flashes of fireworks and stunning special effects. At this Mickey’s Fireworks and magical Bonfire, the calm waters beautifully reflect the magic above, a startling soundtrack builds excitement, and Mickey himself makes a very special guest appearance. Don’t miss this spectacular Guy Fawkes celebrations at Disneyland® Resort Paris. This year, the celebration will take place on 3rd, 5th & 7th November 2014 around Lake Disney® Be sure not to miss this event, since this will be a bonfire night of a lifetime with a dramatic fireworks show, enthralling music, incredible special effects and a gigantic floating bonfire on Lake Disney®

New ambassadors for 2015/16

Following several weeks of selections, the names of the new Disneyland Paris Ambassadors for 2015 and 2016 have been

(From the Disneyland Paris newsblog:)

Romina Grochow (1st receptionist – Castle Club)

Born in Hanau, near Frankfurt, Germany, Romina came to Disneyland Paris in 2005, just after obtention of her high school diploma, for a few months’ experience. She began by working in Merchandise team at Disney Village and continued in 2007 at the Disneyland Hotel reception to “deepen her skills in customer relations” and be closer to the theme parks. To continue her studies, she then returned to Germany for three-years of coursework in translation. Since 2012, she is working in the Castle Club. She was awarded as 21

the third best receptionist in France in 2013. At 28, Romina explains that “it is the complicity between the Cast Members and especially the fact of representing the values and legacy of Walt Disney” which motivated to run for the position of Disneyland Paris Ambassador. This precious attention will now accompany her for the next two years. .

is consists of over 10.000 likes. On 5 September, a post attracted more than 30.000 likes.

Sonia Demay (Product Manager – Product Development Department)

Native of Trinidad and Tobago and 40 years old, Sonia is the mother of three children. After studying foreign languages and communication, Sonia started her career in 2004 at The Walt Disney Company, before joining Disneyland Paris in 2008 as Product Manager at Product Development Department. With her team, she is in charge of product development of stationery, phone accessories and media items. For the Disney’s Halloween Festival, she was “particularly pride to contribute in producing the new line, Pop the Villains”. Committed to the values of sharing and diversity dear to Walt Disney, she wants to turn forward them during his mission.

Disneyland Paris has now thanked its 3 million fans by dedicating a video created especially for the community. The video was made with the Time-Lapse technique and shows you the attractions and icons of Disneyland Park and Walt Disney Studios from a completely new angle. A total of 22.719 time-lapse photos were used to create the video resulting in 200 hours of post-production. https://t.co/0dgy54ABMx

Join the Gang

A new record for Disneyland Paris

The Disneyland Paris Facebook page has been named the first Facebook place in France for 2013 before the Champs Elysees and the Eiffel Tower. A typical day on the Facebook page of Disneyland Par22

A new promotional mini-website has launched for the new Halloween festival. The website dares you to join the gang of villains by answering a couple of ques-

tions to find your villain match. Besides asking you to join either Maleficent, Captain Hook, the Evil Queen, Dr Facilier or Cruella De Vil, the site shows the new promotional video for the 2014 Halloween season. http://gang-halloween.disneylandparis.com

Disneyland Paris launches Online News Magazine

The marketing and PR department mof Disneyland Paris have launched a new media outlet to futher inform and involve the fans of Disneyland Paris. On the website you can find out more about the company behind the parks, its strategy, media as well as the latest news and developments. You can find the website for the magazine at: http://disneylandparis-news.com

Disneyland Paris sets its priorities: To offer a quality experience to guests with special needs is one “To offer handicapped guests or those with special needs, the same sensations, the same joys and the same experience as the other guests”: that is how ValéryMary Urritigoïty describes the mission the “Guest Access” department which she leads has set for itself.

Accessibility at the heart of Disneyland Paris development

Ever since the opening of its first theme park, the company placed accessibility at the heart of its development strategy. The department dedicated to guest access was initially linked to the Human Resources department, at the same level as mission handicap. But in 1997, in order to meet growing expectations from guests with special needs, it was shifted and attached to the Operations Department. Now, Valérie-Mary’s teams are as close as possible to operations and this allows them to accompany the refurbishment and development projects as soon as they are designed and even after they are finalized, through guest feedback and at every step of their stay, from their arrival to their departure, in the parks and the restaurants. As a result of these actions, the two theme parks at the destination were awarded the Tourism and Handicap Label in December 2012 for 5 years, thus giving recognition to the group’s policy in this field.

Cast Members, the 1st actors of the accessibility procedure

“It is indispensable to ensure infrastructures are in compliance with the existing regulations. But this is not enough to offer quality experience to our guests. The role of our Cast Members is just as essential.” It is important to create awareness among all our teams and to mobilize them. Valérie-Mary goes even further and says that “It is essential that our teams understand the specific needs of that public in order to improve our practices and infrastructures”. Consequently all Disneyland Paris Cast Members follow a module to make them aware of handicaps when they integrate the company. This initial training can be reinforced if the Cast Member so wishes through a great number of additional training courses, such as learning sign language. 23

The Sign of Zorro (1958) Out of the night, when the full moon is bright, comes the horseman known as Zorro. This bold renegade carves a “Z” with his blade! A “Z” that stands for “Zorro”! Zorro, the fox so cunning and free. Zorro, who makes the sign of the “Z”. Zorro...Zorro...Zorro...

The Story of Zorro

Johnston McCulley. The first Zorro story appeared in 1919 in a magazine called AllStar Weekly. More than 65 Zorro books followed, and Zorro has been popular with an estimated 500 million readers worldwide. The many stories of the masked crusader have been translated in as many as 26 different languages.

The real identity of Zorro is that of Don Diego de la Vega, the son of a wealthy landowner. Don Diego returns home from his studies in Spain and discovers that Los Angeles is under the command of Capitan Monastario, a cruel man who relishes in the misuse of his power for personal gain.

With such a popular character it was inevitable that the literary Zorro would make the jump to the Big Screen. There have been many, many film versions of Zorro. The first, a 1920 silent production with Douglas Fairbanks in The Mark of Zorro. A 1940 remake of The Mark of Zorro with Tyrone Power was a huge hit and several other Zorro films and serials followed over the years.

Similar to Robin Hood, who is famous for “stealing from the rich and giving to the poor”, is the Spanish legend of Zorro. Like Robin Hood, Zorro is a masked rider who battles the unjust rulers of the pueblo of los Angeles during the days of Spanish rule of the area.

Knowing that he cannot hope to single-handedly defeat Monastario and his troops, Diego resorts to a secret rebellion against the unjust rulers. He adopts the secret identity of Zorro, a sinister figure dressed in black, and rides to fight Monastario’s injustice. Zorro sprung from the mind of writer

Walt Disney’s Zorro

In 1950 the film and television rights to Zorro were assigned to Mitchell Gertz, a Hollywood agent. He tried to produce a Zorro series for years without much suc35

cess. At around the same time Walt Disney was in the process to finance Disneyland. Walt used WED Enterprises to license the rights to the Zorro Stories. His plan was to produce a number of episodes and use the resulting profits for developing the Park. A separate company, Zorro Productions, was set up in 1953 as part of Walt Disney Incorporated for this new venture. Walt started work on a series with some preliminary story ideas and costume sketches. Antique furnishings were bought that would have been used on the sets. In the meantime Walt tried to sell the show to several networks. They all wanted to see a pilot episode which he refused. Eventually the project was stopped and didnâ&#x20AC;&#x2122;t get past the preliminary stages. Walt continued to work on the Disney Theme Park project and eventually reached an agreement with the ABC net36

work to help finance it. Their condition was that Disney would provide a weekly series for them. This was not Zorro, but a Disneyland anthology series, but it is suspected that the Zorro series was indeed offered to ABC a part of their deal. By 1957 Disneyland had proven to be a huge success, but Walt wasnâ&#x20AC;&#x2122;t satisfied with it and wanted to expand the Park. He turned again to ABC to help him finance his grand ideas and again ABC agreed on the condition that Walt would produce another television series. This was the perfect time for the Zorro series to become viable. Zorro was finally headed to television and production on the series began.

Production

By 1957, the Disney name had proven to draw in an audience. ABC didnâ&#x20AC;&#x2122;t require a pilot episode for the new Zorro series. Al-

ways striving to be the best, Walt went for a top-quality production. As was Walt’s way, he spared no expense. Props and furnishings alone cost the production around $65.000,-. The Zorro set (Pueblo La Reina de Los Angeles), was created on the Disney Studio backlot at Burbank. The area was located at the southeast corner of the Studio and consisted of a jail, a hacienda, barracks, stables, the Plaza Church and the governor’s fortress. The sets cost the Studio around half a million dollars. Today the area where Zorro fought for justice is a parking garage. Walt also immediately set out to search for someone to play Zorro. Because of the immense success of the 1940 version of The Mark of Zorro it was apparent that, whoever was picked as the lead, comparisons would be drawn to Tyrone Power. The role was much sought after following the success of Disney’s Davy Crockett series. A host of other actors could only

dream of becoming the next Fess Parker. Beside a slew of household names, a relatively unknown actor named Guy Williams also tested for the part. After Guy’s screen-test, Walt knew he had found his Zorro. Up until that time Guy didn’t have much success as an actor and he was almost ready to give up on acting altogether. He proved to be an excellent choice for the part and seemed to be born to play the part . He was already an accomplished fencer and seemed born to play the part of Zorro. Until this day, even after Antonio Banderas donned the mask and cape, Guy Williams is considered to be the best embodiment of the masked crusader. The part of Zorro’s manservant, Bernardo, was played by Gene Sheldon. Bernardo was a mute who pretended to be deaf a well in his service to Don Diego. This allowed Bernardo to secretly listen in on conversations and report back to his mas37

ter. Gene Sheldon brought his past experience as a pantomimist to his portrayal of the mute servant. Sheldon proved to be so good at the part, that viewers were convinced the actor was really unable to speak. This public view of the actor was reinforced when he appeared as another mute character in Disney’s “Babes in Toyland”. A versatile performer with experience in radio, vaudeville, Broadway and films, Gene signed a long term contract with Disney. This would lead to several other films for the actor for the Disney Studio. Without the bad guys, there are no good guys and we would have no story. Another character in the series who was part of the occupiers was Sergeant Garcia. Mainly a comedic character partly due to his physical characteristics, he provided some comic relief to the more sinister commanders of the garrison. As the series developed, the character even developed

a kinship with Zorro as Sergeant Garcia always tried his best to be a good soldier. Sergeant Garcia was played by Henry Calvin. The series hosted many other regular characters, but one important member of the cast didn’t even get his name in the credits. The cape, mask and sword of Zorro are very important attributes of the character, but Zorro wouldn’t be complete without his trusty horse, Tornado. Tornado was played by 4 different horses, but the production mostly relied on Diamond Decorator, a seven-year old quarter horse. The three other stand-ins were used to perform the horse’s various stunts. One horse specialized in Tornado’s dramatic rearing, as seen in the opening credits, one was used in fight scenes, and the third for high-speed running. Diamond Decorator also was used for many of Guy’s personal appearances as Zorro, being well behaved despite the distractions of the eager fans.

Zorro meets his fans at Disneyland

As part of his deal with Disney, Guy Williams made regular appearances around the country dressed up as Zorro. As a marketing strategy, this raised awareness to the show and added to the popularity of the character. Williams most popular appearances were at rodeo’s where he would ride his horse dressed as Zorro. Williams received $ 2.500,- for each of these appearances. This was more than the salary he was getting at Disney. Always the promoter of his productions, Walt promoted Disneyland as a place where visitors might meets the stars of Walt Disney Productions. The Mouseketeers were regular celebrities to appear in the park, as was Fess Parker as Davy Crockett. Zorro would be no exception. Large newspaper ads touted the appearance of Guy Williams, Henry Calvin, Gene Sheldon and Britt Lomond at the Park. The publicity photos were sold at Jimmy Starr’s Show Business shop in Town Square. Still, Guy Williams only appeared as Zorro 5 times in Disneyland. There were three Zorro weekends in 1958, one in 1959, and a final one in 1960. Each event had a parade featuring Zorro, several stunt shows during the day featuring Zorro, and a stage show in Magnolia Park where Zorro crossed swords with children (much like the current Jedi Academy shows at Disneyland). The Zorro stunt show would always be followed by the parade. Guy Williams would race down from the Mark Twain, enter the Golden Horseshoe. Buddy van Horn (Guy Williams stunt double from the show), would do the stunts on top of the Golden Horseshoe. A few minutes later Guy Williams would join the rest of the cast for the parade. The parade would venture from Frontierland to Main Street with

Guy Williams on horseback and some of the other cast members in horse-drawn carriages. Later personal appearances had Van Horn accompany Williams for fencing demonstrations, taking on the role of the villain, and sometimes Van Horn performing as Zorro himself when Williams was unavailable (like a Disney family night at the Hollywood Bowl in the Summer of 1958).

A merchandising frenzy

When Zorro hit the air, a new cultural favorite was born. Children would play on the streets imitating their new hero, fighting and scrawling “Z’s” everywhere one looked. The juvenile vandalism would eventually become a popular news item as 41

even Guy Williams one day found a large “Z” scratched into the paint of his car. The success of the Davy Crockett series came as a surprise to the Walt Disney Company, but Disney capitalized on its success by licensing the sale of various Davy Crockett merchandising items. With Zorro, the Studio came prepared as Disney had already lined up a number of merchandise licensees. Zorro costumes, swords and bullwhips were popular for Halloween. Many adults nowadays must have fond memories dressing up for the part. Many of the licensees who had enjoyed a very profitable deal with Disney with Davy Crockett and Mickey Mouse Club merchandise quickly signed up for the new show. Books, magazine, toys, baseball cards, licensed photos of the stars, play sets, pajamas, paint sets, watches, puzzles, games, coloring books and all sorts of other fan items hit the stores. More than 500 individual Zorro items were released. The success of the show made sure the success of these new deals were just as profitable. The Studio further promoted the series by creating a new character called Little Zorro. This new character was used daily in the Mickey Mouse comic strip which appeared in more than 100 newspapers across the country.

overseas. The series had not aired overseas and new audiences flocked to see the adventures of Zorro in the theatres. Overseas, The Sign of Zorro achieved yet another success for Disney. Following his role as Zorro, Guy Williams only appeared in one other Disney project, the television show The Prince and the Pauper. The Studio tried to find suitable film roles for Williams, but eventually decided not to renew his contract. The series however, found new audiences when the Black and White episodes were screened repeatedly on The Disney Channel. A new generation of viewers rooted for the masked crusader when Disney later successfully colorized the series. The original Black and White versions were eventually released on DVD as part of the outstanding Disney Treasures series. Guy Williams reminisced: “The show has

been a great experience, but Zorro is a role I both love and hate. It wasn’t what I prepared for as an actor. I ’m not worried about being typed as Zorro because the whole thing has had so many pleasant aspects to it. Besides, such typecasting buys a lot of groceries…”.

Zorro the series ran for two seasons after which it was cancelled. Walt lost interest in the character and legal issues arose over the deal with ABC. The success, however, prompted the Studio to edit several episodes together and release them as the 1958 feature film The Sign of Zorro. Domestically, the film was a mediocre success, but it was another story 43

Walt Disney was looking for ways to finance the realisation of one of his greatest dreams; the construction of Disneyland on the 160 acre of orange groves he bought near Anaheim in 1953. Disneyland was going to be a park “where parents and children could have fun together”and meet the Disney characters. A new and different vision without the vulgarity of a typical amusement park of those days. Through Main Street U.S.A., guests would be able to visit four different lands perfectly designed to bring them into another reality. His unique vision made it hard to find sufficient funding, “I could never convince the financiers that Disneyland was feasible, because dreams offer too little collateral”. On top of that, his brother Roy did not support Walt and refused to invest more than $10.000. He advised Walt to start a

design company that was named WED Enterprises.The idea was that if this crazy idea wouldn’t work out the succesful studio shouldn’t have to suffer. Again Walt had to come up with more original ways to finance his dream next to borrowing $100.000 on his life insurance policy and arranging an agreement with the studio to use the name Walt Disney so he would be able to generate more money. Walther Elias Disney used WED Enterprises to license the right to the Zorro Stories and wanted to produce a number of episodes of Zorro and use the resulting profits for developing Disneyland. Disney tried to sell the show to several networks but he refused to show a pilot episode and the project was halted. Walt understood the growing importance of television and figured it had to be the best way to raise money and advertise his revolutionary 55

This rare photograph features Walt Disney himself with various ABC and ad sponsor executives. This is an archive image of the selling of the Mickey Mouse Show and the Disneyland Show, and used by ABC TV, the early television partner of Walt Disney Studios.

themepark. The solution came in a very new and unique collabiration with the American Broadcast Company after being turned down by CBS and NBC. In exchange for funding Disneyland’s construction,a 17 million dollar project, Walt Disney himself started to host a weekly one-hour television show hat was named ‘Disneyland’. For the first time a major Hollywood movie studio collaborated with a televison studio. The partnership eventually put ABC at the top of the rankings. Just like the future themepark the show that premiered on Wednesday night, October 27, 1954 consisted of a look at one of the four lands , Fantasyland, Frontierland, Adventureland and Tomorrowland to make the audience familliar with each of these lands and show the park’s progres. The show also became Disney’s showcase of the studio’s past and future productions and even featured edits of films like ‘Alice In Wonderland’ or complete Disney films split in two or more episodes. Unlike other studios Disney didn’t fear television’s competition but embraced it as a new way to promote the Disney Studios.

Because he hosted the show for thirteen years Walt Disney would become” Uncle Walt “ to a world wide audience. As the show evolved, more characters were added. One of them was Davy Crockett as Walt Disney Disney wanted to highlight historical figures. Disney developed five episodes that starred Fess Parker as Davy Crockett and Buddy Ebsen as his friend, George Russel. There was some debate on the series’ historical accuracy but nevertheless it gained an enormous popularity, probably partly due to the catchy theme song “the Ballad of Davy Crockett”by George Burns. Disney cashed in on the sale of Davy Crockett merchandise including coonskin hats and bubble gum cards. By the end of 1955over $300 million worth of Davy Crockett merchandise was sold. It became clear Walt was right when he recognised the power of television’. Disney however couldn’t equal the succes of the Davy Crockett series with series about other historical figures like “The Saga of Andy Burnett”, “The Nine Lives of Elfego Baca” or “Texas John Slaughter”. 57

“The Swamp Fox’’ with Leslie Nielsen as Francis Marion, who wore a foxtail on his hat, never raised the sale of foxtail hats. In 1958 the show moved from Wednesday to Friday night under a new name “Walt Disney Presents” Two years later the show switched to Sunday nights. Because he wanted to take advantage of NBC’s abbility to broadcast in color the series moved to this network under a new name; “Walt Disney’s Wonderful World of Color”. Disney’s relationship with ABCwas pretty chilled when ABC refused to sell their share in Disneyland back to Disney until they did in 1960. In the first episode of “Wonderful World of Color” a new, and the first Disney character created for television , Ludwig Von Drake, explained the principles of color. Because Disney already had shot many of the older shows in color NBC was able to repeat them. On December 18, 1966 three days after Walt Disney passed away, the show had a memorial tribute by Dick van Dyke and NBC news anchor Chet Huntly. Walt Disney already had recorded all intros for the rest of the season.

For the next series NBC decided to drop the host segment since no one could replace Walt. In 1969 came another change of name, “The Wonderful World of Disney” and yet another, not very original one in 1979, “Disney’s Wonderful World”. In 1981 NBC cancelled the show that found a new network in CBS that moved it to Saturday night at 8:00 P.M. under the name Walt Disney. Two years later CEO E. Cardon Walker cancelled the show because the new Disney Channel would make it redundant. Then in on Febrary 2 , 1986 ABC revived the show, now called ‘The Disney Sunday Movie’. After talents as Julie Andrews, Roy E. Disney , Cary Grant, Mickey Mouse, Walter Cronkite, Dick Van Dyke and Cary Grant were considered to follow Walt Disney’s footsteps, Disney CEO Michael Eisner became the new host after he had made a test video. In 1988 the show moved back to NBC and from 1990 to 1996 returned to the Disney Channel. Two years after Disney had purchased ABC, the series returned to this network under the familliar name ‘The Wonderful World of Disney’. The series finale was aired on Christmas Eve 2008. 59

A visit to Disneyland Paris is is a perfect way to celebrate an anniversary or birthday and strengthen family ties. All Disney hotels at the resort have adjoining rooms that can be connected to each other which is ideal for larger families. Have breakfast together and make plans for the many adventures you are going to experience. Have a festive meal in one of the many table service restaurants and end it with a birthday cake and singing castmembers wishing you a happy birthday before you go see Disney Dreams together. When Disney Dreams is over and the park is closing it’s gates you could go to your hotelroom, or, stay a while longer in Disney Village for some late night shopping or grab a meal at the Steakhouse, New York Style Sandwiches, King Ludwig’s Castle, Annette’s Diner, La Grange, Planet Hollywood, or The Earl of Sandwich. Go see Buffalo Bills Wild west Show or a movie in Disney Gaumont cinema: The Complex that houses 15 huge cinemas. For children a visit to Disneyland Paris is good for their social, emotional and mental development. There really is a lot to learn in the parks and even a ride on a roller coaster, start with Casey Junior, can boost their self-confidence! Before you take the journey to Disneyland watch as many Disney films as you can, it get’s you in the perfect mood and creates many priceless moments, and photo oppotunities, when children recognize their favorite Disney characters. When you’re visiting Disneyland Paris just for a day you can save time by buying a ticket onlinein advance ! www.disney.com

Minnie's Pulled Taffy

From Walt Disney Mickey Mouse Club Magazine Year 4 Issue 3

“Let’s surprise Uncle Mickey,” said Minnie Mouse one day. “Let’s have a taffy pull and make some taffy for him.” “What’s a... “taffy pull... “Aunt Minnie?” Sais Huey, Dewey and Louie. “A taffy pull is a way of making candy,” said Minnie. “Oh... “boy... “candy!!! ” Said Huey, Dewey and Louie. So Minnie went to the telephone and called Goofy, Donald and Daisy and asked them to come to the taffy pull. “ You have to have lots of people at a taffy pull,” Minnie said. “The more the merrier.” Goofy and Donald and Daisy all came to help with the taffy. Goofy stirred and stirred while it was cooking. Donald poured it onto buttered plates. Daisy put butter on everyones hands, and on her won hands. Then, when the taffy started to get hard and cool, everyone took hold

of it, twisted it into a big rope, and pulled. Goofy and Donald pulled on one end. Daisy and Huey, Dewey and Louie pulled the other end. Goofy and Donald pulled their end out to one side of the living room. Daisy, Huey, Dewey and Louie pulled their end out to the other side of the living room. In between stretched the rope of taffy. Just then, the front door opened and Mickey rushed in. “Minnie! ” Mickey called. “Minnie, look what I have...ULP! ” And Micket ran right into the rope of sticky taffy. Mickey’s feet flew one way and the box he was carrying flew the other way. “Hey... “Unca, Mickey... “we’ll save you.” Said Huey, Dewey and Louie. And they did. But it took quite a while to get Mickey unstuck from the taffy. When the excitement was over, and Mickey was finally unstuck and clened up, Minnie noticed the box he had brought. “Why, Mickey - you brought me a present,” she said. “What is it?” “It’s for everybody, really,” said Mickey, and he opened the box. It was all filled with taffy.

Minnie’s Pulled Taffy 1 cup of melasses 2 teaspoons of vinegar 1/2 cup of sugar 1 tablespoon of butter 1/4 teaspoon of soda Put melasses, vinegar, sugar and butter together in a saucepan. Cook over a low flame, stirring constantly, until the taffy turns brittle when a little is dropped into cold water. Then stir in the soda. Pour the taffy into a buttered platter and let it get cool. When it’s cool enough so you can dent it with your finger, shape it into a rope and pull. Cut into one-inch pieces with scissors. Better keep dipping the scissors into hot water so they won’t stick to the taffy.

Our world is full of light. Light combined with our vision is one of our ways to experience the world around us. Pure sunlight is white like a crystal. Within this white light all the colors of the rainbow are combined. When sunlight beam passes through a prism, the individual colors can become visible to our naked eyes. This aspect of light also creates the colors we observe around us. When we see color, we are actually looking at reflected light. When illuminating an object or scene, a light source emits a spectrum of colored wavelengths. For example, sunlight emits a spectrum including infrared, ultraviolet and all visible wavelengths, whereas candlelight emits only red, orange, yellow and infrared wavelengths, giving everything it illuminates an orange cast. When a scene or object is illuminated, some of the light source’s wavelengths are absorbed and some are reflected. The reflected wavelengths create what we perceive as color. If no light is reflected (or if there is no illumination), the scene or object looks black. The color of an object depends on two factors – the color of the light source and which wavelengths of light the object reflects. To view the true color of an object, we must illuminate it with a light source that includes all the wavelengths that the object will reflect. For example, if a light source only emits a partial range of wavelengths, an object’s true color may not be visible. For example, if we shine a light source emitting red, green and blue wavelengths at a red strawberry, then the green and blue wavelengths will be absorbed and the red wavelength will be reflected. This means that the strawberry will appear red. However, if only green and blue wavelengths are emitted, they will both be absorbed and the strawberry will appear black.

When looking at the world around us we humans think we know all of reality, but the behavior of lights shows us this is not true. Outside the observable spectrum of the human eye there are other wavelengths, other realities. Just outside our reach lies the world of infrared light. When infrared light hits any foliage it turns white, blue sunny skies turn dark and fogs or any atmospheric haze becomes invisible. Infrared Photography is therefore perfect for landscapes on sunny days, but other uses can also give otherworldly, often dreamlike results. Through the years and through our visits to DLP, we have become very passionate about this kind of photography. Given the right conditions, the results can be stunning. Since these photographs can have an otherworldly, magical quality to them Disneyland Paris seemed like the perfect place to take infrared photographs. So usually we set out with our specially converted camera on sunny days when visiting DLP to make this magical world vis-

ible through our camera. To give a better understanding what this magical world beyond our vision really is we thought it would be nice to give a bit of background information into this unique art form.

Discovery of IR light

The astronomer, Sir Frederick William Herschel, discovered infrared light on 11th February 1800. He used a variety of col83

ored filters to view sunlight. With these filter he observed that some colors of light passed more heat through the filters than others. He hypothesized that the colors themselves produced the different heat variations, and he set out to test his theory. By directing sunlight through a small prism, he measured the temperature of each color with a thermometer. He found that the colors more towards the red spectrum produced more heat than the other colors. He also measured the temperature beyond the red-colored light, a spectrum where there was no sunlight. This area produced the highest temperature reading despite being invisible to the human eye. Herschel named this radiation of light “Calorific Rays”, which nowadays is known as Infrared Light. The word infra is a Latin prefix meaning ‘below’ – the radiation is below red in terms of light frequency.

Development of infrared film

In Disneygraphy magazine Issue 3 we featured an article on the development and history of photography during the Victorian era. It wasn’t until the early 20th century, that infrared photography became possible. The traditional silver emulsions used in photography thus far, were not sensitive enough to longer wavelengths without the addition of a dye to act as a color sensitizer. In 1910, an American physicist named Robert Williams Wood sensitized his own photographic plates and produced the first known infrared photographs of various scenes. The pictures were published in the February 1910 edition of The Century Magazine (article: A New Departure in Photography), and in the Royal Photographic Society’s October 1910 Photographic Journal. Wood’s pictures were taken using experimental film which required very long exposures. Because of these longer exposures his work focused

on landscapes. The resulting images became haunting, dreamlike images because of the slight movements of branches and clouds during the exposure time.

The Infared World becomes visible

The first reactions to this new kind of photography exclaimed: “But these are not pictures of things as they are. They are merely curious effects obtained by special apparatus.” Robert Wood’s response to these reactions was that this was a mistake and that these photographs give us quite as truthful representations of “things as they are” as do ordinary photographs, or the human eye for that matter. Those of us who are fortunate enough to possess normal eyes are apt to feel instinctively that we see things as they are. The appearance of the world at large is merely the result of the circumstance that the human eye perceives only a comparatively small part of the total radiation which comes from the sun or is given out by a lamp. Although Wood sensitized his own plates and took infrared pictures in 1910, infrared film only became commercially avail-

able in the 1930s, when Kodak developed emulsions that were sensitive to infrared light. 33 types of black and- white infrared film were available from five different manufacturers by 1937. The popularization of infrared photography started in the 1960s when 35mm false-color infrared film became available from Kodak. Another reason that IR photography became popular in the 1960s is because a number of recording artists – including Jimi Hendrix and Frank Zappa – made use of the technique on their album covers. In 2007, Kodak announced that it would discontinue its 35mm infrared film due to a decline in demand for the product.

Development of digital cameras

Steve Sasson, an engineer at Eastman Kodak, invented the first digital camera in 1975. The camera captured 0.1 megapixel pictures in black-and-white, saving them on a digital cassette tape. Not only did the camera produce low quality pictures, but it also weighed around 4kg and took 23 seconds to record photographs. For that reason it was useless to most people.

Nowadays, both professionals and non-professionals alike mainly use digital SLRs for the purpose of photography. In the past ten years, there has been a lot of development in the SLR market. In January 2000, Fujifilm released the FinePix S1 Pro – the first DSLR aimed at non-professional users – featuring a 3.1 megapixel sensor and an ISO range of 320-1600. The camera cost around $3,995USD.

different industries. From medicine to detecting new stars in the sky, infrared is very helpful in more ways than most people could ever imagine. In the fields of medicine, Infrared photography is very useful as the infrared radiation can penetrate skin, making problems such as varicose veins or venous blood easy to spot. It is also helpful as an early diagnosis of the severity of burns.

Compared to even the most basic current digital SLRs nowadays, this was an extremely high price to pay for now-standard features. As uptake became more popular, the prices of digital SLRs began to go down. Canon launched the EOS 300D in 2003. At $999USD, it was much more affordable to most buyers, and also had a 6.3 megapixel sensor.

Many celestial objects that can’t be seen by humans immediately become visible when using an infrared camera. On the 25th January 1983, the Infrared Astronomical Satellite (IRAS) – a joint project between the United States (NASA), the United Kingdom (SERC) and the Netherlands (NIVR) – was launched into space to perform a survey of the entire sky at infrared wavelengths. The satellite recorded over 500,000 infrared sources in the sky and made discoveries including six new comets, a disk of dust grains around the star Vega and our galaxy’s core – the Milky Way.

With the plethora of cameras currently on the market, the modern-day camera buyer is spoiled for choice. Along with full size SLRs, systems such as the Panasonic G1 allow for a full range of SLR features in a smaller camera body. Most importantly, digital has made it much easier for people to capture infrared photographs. Because these cameras were more sensitive to the infrared light the exposure times became much shorter. This exposure time gets reduced to normal exposure times when a camera is converted with the infrared filter build into the camera itself. With these cameras it has become possible to take sharp and clear infrared images. With special filters that allow a bit of the normal color spectrum to pass through the filter with the infrared light, it becomes possible to get strange color images. This all further increases the creative possibilities.

Beyond creative photography

Because of the properties of infrared light the possibility to photograph this invisible spectrum creates many uses in many

In Botany Infrared photography can be used to detect diseases, insect infestation and other problems in plants. This is because plants normally reflect near infrared light, creating a glowing white image on an infrared photograph, however when they are under stress less infrared radiation is reflected. For this reason, in an infrared photograph a stressed plant will be much darker than one that is functioning normally and healthily. There are many other uses in forensics, ecology, the military, law enforcement, and art to name a few. Whatever the use, infrared has changed the way we can view our world. We will continue to bring our infrared camera in sunny days when visiting Disneyland Paris to catch the magical realm that lies just beyond our reach.

Among the tales fresh from the Vault: •Unraveling the facts from the fiction of Disney’s recent film, Saving Mr. Banks •Walt’s never-realized plan for Edison Square, an urban counterpart to Disneyland’s Main Street, USA •The sad life of Cliff Edwards, voice of Jiminy Cricket, who died penniless in a nursing home, after a life of alcohol and drug addiction •The forgotten Cast Members who “discovered” Hidden Mickeys and made them famous

The Vault of Walt: Volume 3: Even More Unofficial Disney Stories Never Told It Came from the Vault (of Walt)...Again!

Best-selling author Jim Korkis brings forth from his famous Vault of Walt two dozen new stories about Disney films and theme parks, Disney stars and attractions, and of course, Walt himself. Disney fans and historians alike will relish these little-known tales. Now in its third volume, the Vault of Walt series continues to be the definitive source for Disney lovers eager to peek behind the magic and learn the spells that made the magic in the first place. Jim Korkis doesn’t just tell the stories, he brings you face-to-face with the storytellers themselves, drawing on exclusive interviews and private correspondence.

•Walt’s infamous cough, his connection to Norman Rockwell, and even his favorite apple pie •The history of Disney fandom, from the exclusive Mouse Club to Disneyana The only combination to this vault is a love for Disney and what makes it tick. If this is your first visit, make sure to also check out Vault of Walt volumes 1 and 2, as well as Jim’s Who’s Afraid of the Song of the South, packed with tales from the “adult-only” section of the Vault.

Animation Anecdotes: The Hidden History of Classic American Animation

Your Cartoons Will Never Be the Same The history of animation in America is full of colorful characters—and that in-

cludes the animators themselves! Jim Korkis shares hundreds of funny, sometimes odd, but always endearing stories about the major animation studios, including Disney, Warner Brothers, MGM, and Hanna-Barbera. Korkis delves into little-known—and sometimes unknown, until now—tales about animation greats like Walt Disney, Walter Lantz, Chuck Jones, Ward Kimball, Ralph Bakshi, and Jay Ward. In Animation Anecdotes, you’ll meet these legends at their best and at their worst, such as when Warner Brothers’ producer Leon Schlesinger bought a yacht and told his animators that they weren’t welcome aboard because he didn’t like to sail with poor people. When animators aren’t animating, they’re thinking about what to animate next—and often, their wildest dreams never get past the drawing board. Korkis also uncovers this “animation that never was”, including unbelievable (as in, “seriously, they wanted to do this?”) projects from Steven Spielberg, Pat Boone, David Spade, and Stevie Nicks.

bi all wrong •How the inspiration for Woody Woodpecker may have come to Walter Lantz during sex with his wife •Marvel Comics legend Jack Kirby’s early years with Max Fleischer •Why stuttering country singer Mel Tillis defended Porky Pig’s right to stutter •How Casey Kasem turned Scooby-Doo’s Shaggy into a vegan •And hundreds more, including Jim Backus’ desire to do an X-rated Mr. Magoo, Bullwinkle’s Jay Ward confounding the censors with the term “hog flogger”, and Ralph Bakshi’s rotoscope rant Packed with bite-sized tales to nourish your animated soul, Animation Anecdotes lays bare the creators behind the characters. Your cartoons will never be the same. Both books by Jim Korkis are available on amazon

Disneyland Paris 2015 Calendar

Among the many anecdotes and stories in the book: •Walt Disney’s confrontation with a wildlife “expert” who told him he’d done Bam-

Celebrate the magic of Disneyland Paris all year round! Our 2015 calendar features 12 glossy colour photographs of the resort throughout the seasons. •Disneyland Paris 2015 wall calendar 97

•One page for each month •Each month has a large photograph from around the resort •Character artwork •H29.5 x W29.5cm approx •Created for Disneyland Paris and online

Mickey Mouse Comic Salt and Pepper Shakers

Add some Disney flavour to meals with this smart, matching salt and pepper shaker set. The round shakers come in a presentation box and incorporate Mickey Mouse comic style artwork.

•2 piece stoneware condiment set •Wraparound Mickey Mouse comic design •Rubber stopper on the base for refills •Shakers measure H10 x Dia.4cm approx •Presentation box measures H14 x W13.5 x D5cm approx •Created for Disneyland Paris and online

Mickey Mouse Storage Pot

Whether you use it to store cereal, pasta or cookies our Mickey Mouse storage pot will always be filled with Disney charm, thanks to its character motifs and Mickey silhouette on the lid. •Stoneware storage pot •Part of the Authentic Collection •Mickey Mouse design •Mickey silhouette detailing on the lid •Other matching kitchen ware also avail98

able •H20 x Dia.14cm approx •Created for Disneyland Parks and online

•This is not intended as a toy or children’s product

Walt Disney in Los Angeles Figurine

This Walt Disney in Los Angeles figurine celebrates one of the ‘moments that made Disney’. Resembling bronze, the resin ornament depicts Walt behind the camera shortly after he first came to the city.

Walt Disney and Mickey Mouse ‘Partners’ Bronze Statue

Here’s a memento to treasure from Disneyland Paris. This high quality, superbly detailed bronze statue of Walt and Mickey holding hands is a replica of that found at Walt Disney Studios within the resort.

•’Partners’ bronze statue •Walt Disney and Mickey Mouse •Exceptional detailing •Part of The Art of Disney Theme Parks collection •Resembles the statue in Walt Disney Studios at Disneyland Paris •Brass statue on a wooden plinth •Protective felt layer on base •H21 x Dia.13cm approx

•Collectible resin figurine •Part of the Sketchbook Collection •Depicts one of the ‘moments that made Disney’ •A new ornament released each month •Shows Walt Disney behind a camera •Raised wording on base reads ‘Walt Disney, Los Angeles, 1923’ •Bronze effect finish •Hanging ribbon •Can also stand on its base •H10 x W6.5 x D5cm approx •Made from resin •Please note: this is a decorative item, not a toy •Warning: not suitable under 36 months due to small parts •Created for Disney Store 99

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