Theme Parks & Themed Entertainment

A Chilly Season on the Great White Way

Seth Kubersky returns from a recent trip to the Great White Way and shares his thoughts about two poorly reviewed musicals: “The Boy from Oz” and “Taboo.”

Published

21 years ago

December 2, 2003

Seth Kubersky

When most people think of holiday time in New York City, they see images of warmth and nostalgia. The majestic balloons of the Macy’s parade, the glowing tree at Rockefeller Center, warm chestnuts from a street cart vendor. But the first thing I think of is the cold. Bitter, bone-breaking cold. Six years of living in Florida has thinned my blood to the point that a week-long visit with the family feels like six months in the arctic. The electronic time-and-temperature hovering over Times Square may read 40 degrees, but when the wind whips down the canyons of Broadway, it feels like less than half of that.

But as cold as this Thanksgiving might have been for me, it’s been even colder for producers of Broadway shows. This fall season has been the most brutal in recent memory for new productions. Ellen Burstyn’s “Oldest Living Confederate Widow Tells All” closed 24 hours after opening. “Six Dance Lessons in Six Weeks” and “Jackie Mason: Laughing Room Only” had similarly short runs, and “Bobbi Boland” didn’t even make it to opening night. The verdict is still out on the long-term prospects for “Wicked”, a revisionist prequel to the Wizard of Oz. The only genuine hit this year with both critics and audiences has been “Avenue Q”, the brilliant Sesame Street satire that transferred from Off-Broadway last spring. A visit to TKTS, the discount booth that sells unsold tickets at half price, tells the story: nearly every show, save a few long-running hits like “The Lion King” and “The Producers”, had tickets available during what is normally a busy holiday weekend.

In the middle of all this, two strikingly similar shows opened. The markedly different reactions to these two shows, both by the press and at the box office, illustrates how conventional wisdom, rather than talent or quality, is what ultimately makes or breaks a show in New York. Both are biographical musicals, told in flashback, about the life of a gay pop musician in the 1980’s. Both feature musical scores written by the subject, and feature name-brand stars in a leading role. Both have received less than glowing reviews from the New York critics. But one is regarded as a relative success in this dismal Broadway season, with decent word-of-mouth and healthy box office. The other is being openly derided in both the critical and popular press as a spectacular flop, and its name is quickly becoming synonymous with “epic disaster”. One is an amusing trifle that is pleasant enough, but quickly fades from the mind, while the other is ambitious, moving, and genuinely deserving of a life beyond its current incarnation. And you might be very surprised to learn which is which.

The first show is “The Boy from Oz”, the story of Peter Allen as portrayed by Hugh Jackman. At the risk of committing musical-theater heresy, I didn’t know Peter Allen from Peter Parker before seeing the show. It turns out Allen was a singer-performer from Australia (the “Oz” of the title) who played an opening act for Judy Garland, married her daughter Liza Minnelli, had a successful nightclub act, and wrote a number of award-winning songs. He was also gay (apparently a common theme among Liza’s husbands) and died of AIDS in 1992.

The story is narrated by Allen, looking back over his life. Amusing vignettes from his experiences in show biz alternate with his songs, which are shoehorned into the plot with limited success. I only recognized a handful of the numbers, namely “The Theme from Arthur” and “Don’t Cry Out Loud”, and found most of the songs inoffensive but unmemorable. Worse, they violate the cardinal rule of musical theater, in that they express things that have already been stated, and don’t advance the plot in any meaningful way. The supporting cast is fine, particularly Isabella Keating and Stephanie J. Block, who contribute eerie wax-museum impressions of Garland and Minnelli. Jarrod Emick is also memorable in his brief second-act roll as Allen’s boyfriend. The only true standout supporting player is the young Mitchel David Federan, who steals the show with an opening number song-and-dance routine as a pre-teen Allen. Even the sets, costumes, and choreography, while competent, are underwhelmingly minimal for such a larger-than-life story.

What saves this show from disaster is Hugh Jackman’s performance as Peter Allen. American fans who know him from his blockbuster movies might wonder if he can really sing and dance, much less play piano with those adamantium claws protruding from his knuckles. The answer, as anyone who saw his performance in London’s “Oklahoma!” (recently televised on PBS) can testify, is “yes, and how!” Jackman is charming and engaging from the opening moments, with a powerful singing voice and polished dance moves. Most importantly, he has the stage presence and charisma to sustain an audience’s attention through what is a fairly thin story. Unlike many movie stars who perform on Broadway, Jackman shows astounding endurance, staying on stage nearly every minute of the play. He also seems remarkably un-self-conscious about his macho screen image, capturing Allen’s flamboyant mannerisms with flair and flirting equally with male and female audience members.

Ultimately, while the show survives on Jackman’s charms, it lacks in depth or complexity. Aside from an 11th-hour revelation of childhood trauma, there is little shown of Allen’s psychological reality. It’s hard to tell if he kept his dark side remarkably well hidden, or if there simply wasn’t anything more to him than his stage persona. Jackman receives well-deserved standing ovations for the energy and likeability of his performance, but I walked out knowing nothing about the real Peter Allen that I couldn’t have learned from a 1-paragraph bio. The show is worth seeing (but not a full price) for Jackman alone, but I can’t see it having any staying power once he goes back to Hollywood.

“Taboo” is in many ways the mirror-universe dark twin of “The Boy from Oz”. Like “Oz”, it charts the life of a gay pop-music icon. In both, the first act chronicles his rise from obscurity to the first tastes of success, while in the second he succumbs to the excesses of fame. In both, there is an untimely death from AIDS, followed by an uplifting finale of hope and redemption through art.

The subject of “Taboo” is George O’Dowd, better known as Boy George, lead singer of the 80’s pop group Culture Club. His story is narrated in flashback by Philip Salon, a nightclub impresario who claims to have discovered Boy George. Salon’s account is constantly challenged by a second narrator, Big Sue, making for a hilarious exploration of the flexible nature of memory. We see George’s rise from coat checker to pop star, and his subsequent public descent into heroin addiction. Running parallel to George’s story is that of Leigh Bowery, an outrageous performance artist and designer played by the real George O’Dowd. This bit of casting, coupled with lead actor Euan Morton’s striking resemblance to the young Boy George, leads to such surreal delights as O’Dowd telling his younger self that “Karma Chameleon” is a terrible song that will never go anywhere.

The cast of “Taboo” is nearly uniformly excellent. Euan Morton not only looks like the 80’s-era Boy George, but sings like him too. He gives the performance an unexpected depth and vulnerability under the makeup. Even better is Raul Esparza as Salon. Raul’s theatricality and vocal contortions make him a love-it-or-hate-it performer, and I fall squarely in the love-it camp. He brings the same blend of sinister mystery and raw power that made him the best Riff Raff since Richard O’Brien created the role in “The Rocky Horror Show”. Here, he nearly steals every scene he’s in, only to be undercut by the earthy and profane Big Sue. As portrayed at the performance I saw by understudy Brooke Elliott, Sue is the most human character, a cynical romantic, with a stunning solo number in the second act. Surprisingly, the weakest link performance-wise is O’Dowd himself. He is heavy, stiff, and his voice is a croaking shadow of its former self, particularly in the first act. He seems mainly to exist in the show to display one astounding costume design after another.

But if George O’Dowd the actor is a disappointment, George O’Dowd the composer is a revelation. Though I grew up in the 80’s, I largely ignored the pop music of the time. While my peers were obsessing over Michael Jackson and Madonna, my Walkman was playing the Beatles and the Rolling Stones. I could probably hum a few bars of “Karma Chameleon” and “Do You Really Want to Hurt Me”, but I was never a fan of Culture Club. While both those songs are briefly heard in “Taboo”, along with an excerpt from “Church of the Poison Mind”, they are the exception. The rest of the score consists of hauntingly beautiful ballads and rocking techno-flavored dance numbers. The scores for “Urinetown” and “Avenue Q” are wittier, but “Taboo” has the most moving and memorable new melodies of any recent Broadway show. The nearest shows one can compare it to in style are “Aida” and “Rent”, and this blows both of those over-rated scores out of the water. If “Taboo” fails before a cast album is recorded, it would be a great tragedy, because these performances and this music need to be preserved.

“Taboo” is not without its flaws. While the music is consistently wonderful, the book is less so. Charles Busch, author of “Vampire Lesbians of Sodom”, has written some beautifully bitchy dialogue, but the structure is uneven, and the tone becomes abruptly dark in the second act. The show’s biggest flaw, as pointed out by all the critics, is that Boy George’s story never intersects with Leigh Bowery’s. As a result, you have two separate plots that alternate, with only a few characters that cross over between them. This wouldn’t be a problem if the stories commented on each other in a thematically meaningful way, but the connection never really becomes clear. In truth, this isn’t a fatal flaw, though the way critics have harped on it would make you think it ruins the show. Other elements that have been derided critically, such as the choreography, the over-the-top costume designs, and a video tribute to the real-life Bowery, I found to be assets to the show.

So why has the lesser of these two shows received a free pass from the press, and is in the top-5 for ticket sales, while the other is openly mocked and struggling financially? I must admit that the reviews led me to “Taboo” with a gleeful sense of schadenfreude. I never had the chance to see “Carrie” or “Legs Diamond”, so I figured this was my chance to be able to tell my children I saw one of the biggest train wrecks in Broadway history. Imagine my surprise when I turned to my seat-mate at intermission and said, “You know, this is pretty damn good”. If you had told me when I walked in that I’d be giving a standing ovation at the curtain, I’d never have believed you, but there I was.

What could make a show that is clearly so much better than many of the successes on Broadway such a pariah among the press?

Much of the blame can probably be laid at the feet of its producer, Rosie O’Donnell. This is a woman badly in need of new publicist. Ever since the cancellation of her TV show, and especially with her highly-publicized lawsuit against her former magazine partner, she’s been on a path of self-destruction. Giving the middle finger to critics in the audience at a recent performance didn’t help her any either. But Rosie is far from the first prickly producer, though being a household name and a woman makes her a more inviting target than most.

Also damaging was the widely-discussed revisions to the show during rehearsals and previews, and a near-mutiny by some cast members. But the truth is that many shows go through growing pains like these, and come out stronger for it. A responsible reviewer should evaluate the final product, and not simply regurgitate tabloid gossip.

Perhaps there is a darker and more disturbing reason for the abuse this show has suffered. American culture as a whole has become much more accepting of gay people and gay culture, and no city is more gay-friendly than New York. You can’t turn on the TV without seeing “Will & Grace” or “*** Eye for the Straight Guy”, and the trend has been discussed endlessly in the press. But the gays that the mainstream accepts are largely safe and neutered. The fashion and attitude associated with homosexuality might be embraced by the larger culture, but the sexuality and politics are not.

This might be the essential difference between the superficially similar “Boy from Oz” and “Taboo”. While the former is informed by the safe camp that appealed to Peter Allen’s straight female audience, the latter embraces the anarchic punk culture that thrived in the underground club scene of Boy George’s London. Or, to use the semiotics of modern activism, Peter Allen was “gay”, but Boy George was “***”.

This essential difference, both in the subjects and their shows, may help explain why the lesser show will probably outlast the better one. After all, New York is the capital of capitalism, and you can’t stay open on Broadway unless you can sell tickets to the blue-hair tourists. It’s just as shame that the press can’t stop bashing “Taboo”, and instead help those tourists look past the unconventional exterior to see the beauty at its heart.

History

The Super Bowl & Disney: The Untold Story Behind ‘I’m Going to Disneyland!’

Published

2 months ago

February 6, 2025

Jim Hill

One of the highlights of the Super Bowl isn’t just the game itself—it’s the moment when the winning quarterback turns to the camera and exclaims, “I’m going to Disney World!” This now-iconic phrase has been a staple of post-game celebrations for decades. But where did this tradition begin? Surprisingly, it didn’t originate in a stadium but at a dinner table in 1987, in a conversation involving Michael Eisner, George Lucas, and aviation pioneers Dick Rutan and Jeana Yeager.

The Unlikely Beginning of a Marketing Sensation

To understand the origins of this campaign, we have to go back to December 1986, when the Rutan Voyager became the first aircraft to fly around the world without stopping or refueling. Pilots Dick Rutan and Jeana Yeager completed the nine-day journey on December 23, 1986, flying over 26,000 miles before landing at Edwards Air Force Base. Their historic achievement earned them national recognition, and just days later, President Ronald Reagan awarded them the Presidential Citizen Medal at the White House.

Meanwhile, Disney was gearing up for the grand opening of Star Tours at Disneyland, set for January 12, 1987. Following its usual playbook of associating major theme park attractions with real-world pioneers, Disney’s PR team invited astronauts Gordon Cooper and Deke Slayton to the launch event. But in a twist, they also invited Rutan and Yeager, who were still making headlines.

A Dinner Conversation That Changed Advertising Forever

After the Star Tours opening ceremony, a private dinner was held with Disney CEO Michael Eisner, George Lucas, and Eisner’s wife, Jane. During the meal, Eisner asked Rutan and Yeager, “You just made history. You traveled non-stop around the planet on a plane without ever refueling. How are you ever going to top that, career-wise? What are you two gonna do next?”

Without hesitation, Jeana Yeager replied, “Well, after being cramped inside that tiny plane for nine days, I’m just glad to be anywhere else. And even though you folks were nice enough to fly us here, invite us to your party… Well, as soon as we finish eating, I’m gonna go over to the Park and ride some rides. I’m going to Disneyland.”

Jane Eisner immediately recognized the power of Yeager’s statement. On the car ride home, she turned to Michael and said, “That’s a great slogan. I think you should use that to promote the theme parks.” Like many husbands, Michael initially dismissed the idea, but Jane persisted. Eventually, Eisner relented and pitched it to his team.

The Super Bowl Connection

With Super Bowl XXI just around the corner, Disney’s PR team saw an opportunity. The game was set for January 25, 1987, at the Rose Bowl in Pasadena—just miles from Disney Studios. What if they convinced the winning quarterback to say, “I’m going to Disneyland” live on-air?

Disney quickly struck a deal with both quarterbacks—Phil Simms of the New York Giants and John Elway of the Denver Broncos—offering each $75,000 to deliver the line if their team won. Simms led the Giants to victory, making history as the first athlete to say, “I’m going to Disney World!” on national television.

A Marketing Triumph

That year’s Super Bowl had the second-highest viewership in television history, with 87 million people watching Simms say the famous line. The next day, Disney turned the clip into a national commercial, cementing the phrase as a marketing goldmine.

Since then, “I’m going to Disneyland” (or Disney World, depending on the commercial) has been a staple of championship celebrations, spanning the NFL, NBA, and even the Olympics. What started as a casual remark at dinner became one of the most successful advertising campaigns in history.

A Lasting Legacy

Jane Eisner’s keen instinct and Disney’s ability to act quickly on a great idea created a tradition that continues to captivate audiences. The “I’m going to Disneyland” campaign remains a testament to the power of spontaneous inspiration and smart marketing, proving that sometimes, the best ideas come from the most unexpected places.

To learn more about Disney’s ties to the world of sports, check out I Want That Too: A Disney History and Consumer Product Podcast.

Television & Shows

How the Creators of South Park Tricked A-List Celebrities to Roast Universal – “Your Studio & You”

Published

3 months ago

January 12, 2025

Jim Hill

Universal Studios has a rich and storied history, but few moments are as peculiar—and as hilariously cutting—as the creation of Your Studio & You. This 14-minute parody film, commissioned in 1995 to celebrate Universal’s new ownership under Seagram’s, brings together an all-star cast, biting humor, and the unmistakable comedic fingerprints of Matt Stone and Trey Parker.

Long before South Park debuted on Comedy Central in 1997, Stone and Parker were already carving out a reputation for their irreverent style, and Your Studio & You perfectly encapsulates their knack for turning even the most corporate project into something delightfully subversive.

Matt Stone & Trey Parker Before South Park

Stone & Parker were already known out in Hollywood as funny guys. Thanks largely to “The Spirit of Christmas,” which was this video greeting card that they’d crafted for a Fox executive – who then distributed this infamously funny thing (which had Our Lord Jesus Christ & Santa Claus literally duking it out for the holiday affections of Cartman, Kenny, Stan & Kyle) to friends & family.

This was the early 1990s. No internet. Each copy of “The Spirit of Christmas” was made on VHS tape and then mailed. Went viral the old-fashioned way. It’s rumored that George Clooney made over 300 copies of “The Spirit of Christmas” and passed these VHS taps along to friends and family.

Things didn’t move as fast as they do today. “The Spirit of Christmas” still became a sensation out West.

Zucker Brothers

Matt & Trey also had other supporters in the entertainment industry. Among them David Zucker, who was one of the members of ZAZ (i.e., Zucker Abrahams Zucker), the talented trio that made “Airplane!” in 1980, “Top Secret!” in 1984 and the three “Naked Gun” movies.

The original “Naked Gun” in 1988
“Naked Gun 2 & 1/2 : The Smell of Fear” in 1991
and “Naked Gun 33 & a 1/3: The Final Insult” in 1994

All five of these parody films had been made for Paramount Pictures. But in the Late Winter / Early Spring of 1995, Universal had persuaded the Zucker Brothers to come over and set up shop in a bungalow on their lower lot. With the hope that – at some point further on down the line – David & his brother Jerry would start making funny films for Universal.

Zucker Brothers featured in "Your Studio and You"

And it’s during this same window of time (We’re now talking April of 1995) that news breaks that Seagrams (Yep, the adult beverage company. Who – at the time – was making an absolute fortune on the sales of wine coolers) was about to buy a majority stake in MCAUniversal. We’re talking control of 80% of that company’s stock. Which would effectively make Seagrams the new owners of Universal Studios.

Edgar Bronfman

And Edgar Bronfman – the owner of Seagrams – knew that Universal had had a tough time with its previous owners – which had been the Matsushita Electric Industrial Co. of Japan. Matsushita had bought MCA back in November of 1990 for $7.5 billion but had never really understood the entertainment industry.

This is why – after repeatedly butting heads with Lew Wasserman & Sidney Sheinberg (i.e., the heads of Universal Studios & the Universal theme park respectively) when it came to creative control of this company – Matsushita decided to wash it hands of the entire enterprise. Agreeing to sell their holdings in MCA to Seagrams for $5.7 billion (effectively taking a nearly $2 billion loss on this investment).

And Bronfman … He knew that some bad feeling had developed between Hollywood’s creative community and the Japanese owners of Universal. The thinking was that executives at Matsushita Electric had just not gotten what it took to make movies & TV shows.

And Edgar? Right from the get-go, he wanted to show that Seagrams was NOT going to be Matsushita Electric Redux. Bronfman was looking for a way to send a clear message to Hollywood’s creative community that Universal’s new owners got it. That they were willing to work with Hollywood to make the best possible movies & TV shows at Universal.

And how did Edgar decide to get this message across? By making a funny movie.

Zucker Commissions Trey Parker for “Your Studio & You”

Mind you, Bronfman himself didn’t make this film. The owner of Seagrams reached out to David Zucker. Who – after initially agreeing to produce this introduction-to-Universal film – then farmed out the production of the actual project to Trey Parker. Who – just two days before shooting was supposed to star on the Universal Lot – persuaded Matt Stone to come help him on this project.

Which brings us to “Your Studio and You.” Which is a parody of an educational film from the 1950s, right down to being shot in black & white and featuring a very generic soundtrack.

Now what’s amazing about watching “Your Studio and You” today is that this 14-minute-long film features some of the biggest names working in Hollywood back in the mid-1990s. We’re talking about people like recent Golden Globe winner Demi Moore, Sylvester Stallone, Michael J. Fox and Angela Lansbury. Not to mention two of the most powerful men in all of Hollywood, Steven Spielberg & Jeffrey Katzenberg.

And what’s especially interesting about watch “Your Studio and You” is that – as you watch these performers go through their paces in this motion pictures (which – most of the time – involves doing some innocuous task while holding a Seagram’s wine cooler) – you often get the feeling that this star is not in on the gag.

So how did Matt & Trey get away with this? Simple. There was never actually a script for “Your Studio and You.”

Filming “Your Studio & You” at Universal Studios Hollywood

Mind you, David Zucker would always insist that there was. Especially when he’d phone up celebrities on the Universal Lot and say “Hey, I’m sending over a couple of college kids later today. They’re working with me on a new parody film. It’s something that we’re doing for the new owners of Universal. I need just a half hour of your time. We’re shooting something special for the party we’ll be holding when the Seagrams people first arrive at the Studio. Absolutely. You’ll definitely get an invite to that party. So can I count on you to help these kids out? Beautiful. They’ll be over there later this morning.”

And then Matt & Trey would show up and say “… Dang, Miss Lansbury. We’re sorry. We must have left our copy of the ‘Your Studio and You’ script back in our office. Which is clear on the other side of the Lot. So – rather than waste your time – why don’t we do this instead? Follow us over to the Psycho House. Where we’re then going to get footage of you painting the front porch on Mother Bates’ house while you say ‘Gosh, with all of the wonderful improvements going on around here, everyone is going to want to work at Universal.’ Oh, and can we also get you to wear this button on the front of your blazer which reads ‘Universal is A-OK’ ? “

And over & over again, the biggest names who were working for Universal at that time took part in the production of “Your Studio & You” because A) David Zucker vouched for Matt Stone & Trey Parker and B) this was something that was being made for the new owners of Universal. And it’s just natural to want to get in good with the new boss.

Steven Spielberg, Jeffery Katzenberg, and Jaws

But no one at Universal anticipated that “Your Studio & You” would wind up being as sharp edged as the finished product turned out to be. I mean, it’s one thing to bite the hand that feeds you. But “Your Studio & You” ? It doesn’t just bite the hand. It takes the hand off at the wrist.

It’s a brutally funny film. With one of the meanest moments reserved for Steven Spielberg, who plays a driver on the Universal Studio Tour who’s trying to persuade a tram full of bored tourists (one of whom is played by Jeffery Katzenberg) that the “Shark Attack” scene down by Jaws Lagoon is actually exciting.

Spielberg actually says lines like “ … Whoa, whoa. What is going on here? Ladies and gentlemen, this never happens. Look out! It’s a shark! Whoa, that is one big scary shark.”

Mind you, as footage of this mechanical shark repeatedly coming up out of the water is shown, “Your Studio & You” ‘s off-screen narrator (who is voiced by Trey Parker says):

“But what about tomorrow? If we don’t keep in step with the times, things that were once neat and thrilling can become old and stupid.”

“Your Studio & You” Reception

This film was supposed to be shown only once at the welcoming party for Seagrams executive on the Universal Lot. And I’m told that – when Edgar Bronfman saw the finished product at that party – he reportedly turned to David Zucker and said “ … That’s a little more mean-spirited that I think it needed to be.”

And with that, “Your Studio & You” was supposed to go back into the Universal vault, never to be seen again. But when “South Park” debuted on Comedy Central in August of 1997 and then became a sensation for its biting humor, there was suddenly a lot of interest in what else Matt & Trey had done. Which is why copies of “The Spirit of Christmas” began to circulate. And – over time – copies of “Your Studio & You” began to bubble up.

Which – as Stone & Parker have repeatedly pointed out – was just not supposed to happen. Largely because none of the celebrities who appeared in “Your Studio & You” had never signed releases for Universal’s legal department. Because – again – this was for a movie that was only going to be shown once at a private function on the Universal Lot.

Matt mentioned (as part of a career retrospective at the Paley Center in LA back in 2000) that “ … they wouldn’t even let us keep a copy of the finished film.”

It’s a funny but brutal movie. And worth taking a look at today especially if you’re a theme park history buff because it shows Universal Studios Hollywood’s “Jurassic Park: The Ride” still under construction on the Lower Lot. That attraction would finally open to the public in June of 1996.

“Your Studio & You” became a lot easier to see after Seagrams sold off its share of Universal to Vivendi in 2000. Copies began propagating online after that. Though Universal Legal will periodically make an effort to get the latest copy of “Your Studio & You” taken off the Internet because – again – none of the performers who appear on camera ever signed the proper releases and/or were paid for their efforts.

That said, if you’re up for a mean-spirited laugh, “Your Studio & You” is well worth 14 minutes of your time. That said, once you watch this thing, be warned:

You’re immediately going to be thirsty for a Seagram’s wine cooler
And you’re going to have a sudden desire to go out & buy a porcelain deer.

Theme Parks & Themed Entertainment

Disney and Macy’s 90-Year Thanksgiving Day Parade Partnership: From Mickey’s First Balloon to Minnie’s Big Debut

Published

5 months ago

November 15, 2024

Jim Hill

Now, folks, if you’re like me, Thanksgiving just wouldn’t be the same without a coffee, a cozy seat, and Macy’s Thanksgiving Day Parade on the TV. And if you’re really like me, you’re watching for one thing: Disney balloons floating down 34th Street. Ever wondered how Mickey, Donald, and soon Minnie Mouse found their way into this beloved New York tradition? Well, grab your popcorn because we’re diving into nearly 90 years of Disney’s partnership with Macy’s.

The Very First Parade and the Early Days of Balloons

The Macy’s Thanksgiving Day Parade goes way back to 1924, but if you can believe it, balloons weren’t part of the festivities until 1927. That first lineup included Felix the Cat, a dragon, and a toy soldier, all towering above the crowds. Back then, Macy’s had a pretty wild idea to end the parade: they would let the balloons drift off into the sky, free as birds. But this wasn’t just Macy’s feeling generous. Each balloon had a message attached, offering a $100 reward (about $1,800 in today’s dollars) for anyone who returned it to the flagship store on 34th Street.

And here’s where it gets interesting. This tradition carried on for a few years, right up until 1932, when Felix the Cat almost took down a plane flying over New York City! Imagine that—you’re flying into LaGuardia, and suddenly, there’s a 60-foot balloon drifting toward your wing. Needless to say, that was the end of Macy’s “fly away” stunt, and from then on, the balloons have stayed firmly grounded after the parade ends.

1934: Mickey Mouse Floats In, and Disney Joins the Parade

It was 1934 when Mickey Mouse finally made his grand debut in the Macy’s parade. Rumor has it Walt Disney himself collaborated with Macy’s on the design, and by today’s standards, that first Mickey balloon was a bit of a rough cut. This early Mickey had a hotdog-shaped body, and those oversized ears gave him a slightly lopsided look. But no one seemed to mind. Mickey was there, larger than life, floating down the streets of New York, and the crowd loved him.

Mickey wasn’t alone that year. He was joined by Pluto, Horace Horsecollar, and even the Big Bad Wolf and Practical Pig from The Three Little Pigs, making it a full Disney lineup for the first time. Back then, Disney wasn’t yet the entertainment powerhouse we know today, so for Walt, getting these characters in the parade meant making a deal. Macy’s required its star logo to be featured on each Disney balloon—a small concession that set the stage for Disney’s long-standing presence in the parade.

Duck Joins and Towers Over Mickey

A year later, in 1935, Macy’s introduced Donald Duck to the lineup, and here’s where things got interesting. Mickey may have been the first Disney character to float through the parade, but Donald made a huge splash—literally. His balloon was an enormous 60 feet tall and 65 feet long, towering over Mickey’s 40-foot frame. Donald quickly became a fan favorite, appearing in the lineup for several years before being retired.

Fast-forward a few decades, and Donald was back for a special appearance in 1984 to celebrate his 50th birthday. Macy’s dug the balloon out of storage, re-inflated it, and sent Donald down 34th Street once again, bringing a bit of nostalgia to the holiday crowd.

A Somber Parade in 2001

Now, one of my most memorable trips to the parade was in 2001, just weeks after the 9/11 attacks. Nancy and I, along with our friends, headed down to New York, and the mood was something I’ll never forget. We watched the start of the parade from Central Park West, but before that, we went to the Museum of Natural History the night before to see the balloons being inflated. They were covered in massive cargo nets, with sandbags holding them down. It’s surreal to see these enormous balloons anchored down before they’re set free.

That year, security was intense, with police lining the streets, and then-Mayor Rudy Giuliani rode on the Big Apple float to roaring applause. People cheered his name, waving and shouting as he passed. It felt like the entire city had turned out to show their resilience. Even amidst all the heightened security and tension, seeing those balloons—brought a bit of joy back to the city.

Balloon Prep: From New Jersey’s MetLife Stadium to California’s D23 Expo

Each year before the parade, Macy’s holds a rehearsal event known as Balloon Fest at MetLife Stadium in New Jersey. This is where handlers get their first crack at guiding the balloons, practicing with their parade masters, and learning the ropes—literally. It’s an entire production unto itself, with dozens of people rehearsing to make sure these enormous inflatables glide smoothly down the streets of New York on parade day.

In 2015, Macy’s took the balloon show on the road, bringing their Buzz Lightyear balloon out to California for the D23 Expo. I was lucky enough to be there, and watching Buzz get inflated piece by piece in the Anaheim Convention Center parking lot was something to behold. Each section was filled with helium in stages, and when they got around to Buzz’s lower half, well, there were more than a few gas-related jokes from the crowd.

These balloons seem to have a personality all their own, and seeing one like Buzz come to life up close—even outside of New York—had all the excitement and anticipation of the real deal.

Mickey’s Comeback as a Bandleader and Sailor Mickey

After a long hiatus, Mickey Mouse made his return to the Macy’s parade in 2000, this time sporting a new bandleader outfit. Nine years later, in 2009, Sailor Mickey joined the lineup, promoting Disney Cruise Line with a nautical twist. Over the past two decades, Disney has continued to enchant parade-goers with characters like Buzz Lightyear in 2008 and Olaf from Frozen in 2017. These balloons keep Disney’s iconic characters front and center, drawing in both longtime fans and new viewers.

But ever wonder what happens to the balloons after they reach the end of 34th Street? They don’t just disappear. Each balloon is carefully deflated, rolled up like a massive piece of laundry, and packed into storage bins. From there, they’re carted back through the Lincoln Tunnel to Macy’s Parade Studio in New Jersey, where they await their next flight.

Macy’s Disney Celebration at Hollywood Studios

In 1992, Macy’s took the spirit of the parade down to Disney-MGM Studios in Orlando. After that year’s parade, several balloons—including Santa Goofy, Kermit the Frog, and Betty Boop—were transported to Hollywood Studios, re-inflated, and anchored along New York Street as part of a holiday display. Visitors could walk through this “Macy’s New York Christmas” setup and see the balloons up close, right in the middle of the park. While this display only ran for one season, it paved the way for the Osborne Family Spectacle of Dancing Lights, which became a holiday staple at the park for years to come.

Minnie Mouse’s Long-Awaited Debut in 2024

This year, Minnie Mouse will finally join the parade, making her long-overdue debut. Macy’s is rolling out the red carpet for Minnie’s arrival with special pop-up shops across the country, where fans can find exclusive Minnie ears, blown-glass ornaments, T-shirts, and more to celebrate her first appearance in the Thanksgiving Day Parade.

For those lucky enough to catch the parade this year, you’ll see Minnie take her first float down 34th Street, decked out in her iconic red bow and polka-dot dress. Macy’s and Disney are also unveiling a new Disney Cruise Line float honoring all eight ships, including the latest, the Disney Treasure.

As always, I’ll be watching from my favorite chair, coffee in hand, as Minnie makes her grand entrance. The 98th annual Macy’s Thanksgiving Day Parade airs live on NBC, and it’s a tradition you won’t want to miss—whether you’re on 34th Street or tuning in from home.