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From the JHM Archives — M – I – C in NYC : Disney at the 1964 New York World’s Fair

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There has long been this legend about the importance the
1964 New York World's Fair played
in the history of the Walt Disney Company. How the Fair was supposed to be this
vital stepping-stone in the creation of Walt Disney World. How Walt had to see
if his theme park rides and attractions would meet with the approval of those
East Coast sophisticates before he'd agree to buy all that land around Orlando.

It's a nice story. Not true, mind you. But it's a nice story
nonetheless.

Truth be told, Disney operatives had already been scoping
out property around Florida for
at least three years prior to the Fair's opening in April of 1964. Indeed,
Disney's chief purchasing agent — a lawyer named Bob Foster — made a big
point of being seen publicly in New York
for the opening festivities for the '64 World's Fair just before he slipped off
to Orlando to pick up the options
on 12,400 acres of property.


Robert Foster. Copyright Disney
Enterprises, Inc.
All rights reserved

Why for? Just in case someone in Florida
had recognized Bob and later asked him whether he'd been in Central
Florida doing the Mouse's bidding. Foster would then be able to
deny the accusation by saying "Wasn't me, pal. I wasn't in Florida
that week. I was in Flushing attending the Fair. I've
got witnesses."

So if the New York
World's Fair wasn't really the birthplace of Walt Disney World, then why do
Disneyana fans and theme park historians place so much emphasis and/or apply
such significance to the Fair?

The answer is simple, really. So much of the technology that
Disney developed to create the company's break-through theme park attractions
of the 1960s — "Pirates of the Caribbean," "The Haunted
Mansion," etc. — were a direct result of Walt Disney Productions'
involvement in the Fair.


Copyright Disney Enterprises, Inc.
All rights reserved

Walt, having already created a few small exhibits for
earlier versions of the World's Fair (the 1939 New York World's Fair even
featured a special Mickey Mouse cartoon — "Mickey's Surprise Party"
— that Walt personally put into production promoting the product line of the
National Biscuit Company, AKA Nabisco), was already well aware of the
opportunities that an exhibition like this would offer to a company like
Disney.

Don't believe me? Then take a gander at this transcript from
a March 1960 meeting at WED Enterprises, where Walt tells his Imagineers about
the opportunities that he sees in the recent announcement that there's another
World's Fair held in New York in 1964:

"There's
going to be a big fair in New York.
All of the big corporations in the country are going to spend a hell of a lot
of money building exhibits there. They don't know what thy want to do. They
don't even know why they're doing it, except that the other corporations are
doing it and they need to keep up with the Jones. Now they're all going to want
something that will make them stand out from the others, and that's the kind of
service we can offer them. We've proved we can do it with Disneyland.
This is a great opportunity for us to grow. We can use their financing to
develop a lot of technology that will help us in the future. And we'll be
getting new attractions for Disneyland, too. That will
appeal to them. We can say that they'll be getting shows that won't be seen for
two six month periods at the Fair. These shows can go on for five to ten years
at Disneyland."


Copyright Disney Enterprises,
Inc. All rights reserved

You see? Walt saw the New York
World's Fair not so much as a chance to show off what his Imagineers were
capable of, but more as a tremendous business opportunity. A way to connect
with many of the corporate leaders of America
by helping them develop entertaining attractions that would properly showcase
their products at the Fair. Disney also saw the Fair as a means to an end, a
way to move some of his company's highly expensive dreams off the drawing board.

Take – for example – Disneyland's
"Enchanted Tiki Room" attraction. Now keep in mind that this was back
in the early 1960s, a time when the Walt Disney Productions was just beginning
to experiment with audio animatronics. Walt desperately wanted to put this
feathered floorshow into his Anaheim
theme park.

But the guy who actually held the company's purse strings –
Walt's brother, Roy – was reluctant to free up the millions that would be
necessary to build a full-sized version of this then-cutting edge robotic show
for Disneyland.


Copyright Disney Enterprises,
Inc. All rights reserved

That's when Walt had a brainstorm. He'd agree to build the
Tiki attraction for some poor company that was desperate to find a show to
present inside their pavilion at the 1964 New York
World's Fair. Disney would then make sure that his company's lawyers worked the
terms of the contract with this other corporation so that A) the pavilion's
sponsor would fully underwrite construction of the Tiki attraction and B) once
the fair was over, the Enchanted Tiki Room would automatically be shipped back
to Anaheim and begin presenting performances there. That way, Disneyland
would get a brand new high tech attraction without the Walt Disney Company
having to layout big bucks to build the thing.

It's an ingenious sounding scheme, isn't it? And here's the
intriguing part: It almost worked. Walt Disney Productions and Coca-Cola spent
most of 1962 going back and forth about whether the cola giant would underwrite
the cost of creating an Enchanted Tiki Room attraction that would be presented
as the centerpiece attraction at the company's pavilion at the 1964 New
York World's Fair. In the end, the folks back in Atlanta
decided that the price that Walt was asking was just too high. Which is why
Coke opted to take a pass on Disney's feathered friends.


Copyright Disney Enterprises,
Inc. All rights reserved

Walt then supposedly tried to interest both the Gas Industry
and GM in including the Tiki Birds as part of the entertainment offered at
their World's Fair Pavilion. When these two companies also passed on the
project, Walt decided to bite the bullet and have Walt Disney Productions pick
up most of the cost of creating Disneyland's Enchanted
Tiki Room. With a slight financial assist from Stouffers Foods, the
Adventureland attraction opened in June of 1963 to great acclaim.

Speaking of GM, the real reason that the auto making giant
opted not to go with Walt's Enchanted Tiki Room (or any other attraction ideas
that the Mouse has put forward) is that — while the corporation had been
negotiating with Disney — it had also been forming its own in-house World's
Fair exhibit committee. So in the end, the carmaker felt that they didn't
really need Mickey's help to make a big splash at the 1964 World's Fair.

But — as they closed out negotiations with Disney in late
1960 — GM officials reportedly jokingly remarked: "You know who you
should really be talking to, Walt? The folks over at Ford. We hear that they
don't know what the hell they're going to do when it comes to the Fair."


Copyright Disney Enterprises,
Inc. All rights reserved

This — as it turns out — was indeed the case. Which was
why Ford jumped at the chance of having Disney create an exhibit for their
company to display at the 1964 World's Fair. By July 1961, the Imagineers were
already on site in Dearborn, Michigan
looking for ideas that they could possibly use in Ford's Fair attraction.

Oddly enough, Disney didn't discover any concepts for
possible Fair attractions out of this particular trip to Michigan.
But what they did get was an idea for a new theme park ride system. Observing
how Ford started out with a half ton of molten metal, then moved that super hot
pile of steel along a half mile long assembly line, only to have a finished car
burped out at the other end of the factory, Veteran Imagineer John Hench
wondered … could this same technology be used to move people?

That trip to Dearborn
lead to the creation of Disney's Omnimover system — the very system that the
Mouse uses today to move millions of people each year through their "Haunted
Mansion" attractions as well
as along its PeopleMover system.


Copyright Disney Enterprises,
Inc. All rights reserved

Anyway … the first idea that Disney pitched to Ford was a
"Symphony of America" ride, which would have taken Fair visitors on a
simulated tour of the United States.
Guests would have sat in Ford vehicles as they rolled past elaborate
recreations of the Grand Canyon, the Everglades,
the Sequoias, etc. Ford rejected this idea outright. Why? Because — back in
those days — you didn't tour America
in a Ford. You saw "the U.S.A.
in your Chevrolet." So Ford didn't want to do anything that might
inadvertently helped its competition.

That's where the Dinosaur ride idea came from. Veteran
Imagineers Claude Coats, Marc Davis and Blaine Gibson were put in charge of the
Ford project and then told to get as far away from the "Symphony of
America" idea as possible. Which is why they decided to set the revamped
Ford attraction in the distant past.

The end result; The Ford Wonder Rotunda featuring the Magic
Skyway, which was a huge hit at the Fair. It was also a massive undertaking. At
275,000 square feet, Ford's show building was easily the largest structure
erected on Flushing Meadow. The 127 audio animatronic figures that lined the
Magic Skyway's ride track also made Ford's show one of the more technologically
complex shows presented at the Fair.


Walt Disney and Henry Ford II
inspect model of the Ford Wonder Rotunda.
Copyright Disney Enterprises, Inc.
All rights reserved

Indeed, Ford's Wonder Rotunda — with its ambitious size and
scale — could be considered the mother of such Disney mega-attractions as
"Pirates" and many of Epcot's original attractions like "World
of Motion" and "Horizons." And the dinosaurs featured in Epcot's
"Universe of Energy" should look very familiar to '64 World's Fair
fans. They are the exact same figures — down to the creatures' poses and
actions — that terrorized visitors to Flushing back in
'64 and '65. Minus a few minor cosmetic changes, of course.

This brings us to another Fair favorite: General Electric's
Carousel of Progress. Which, as it turns out, wasn't originally developed for
the Fair at all. The Carousel was actually envisioned as the centerpiece
attraction of a late 1950s expansion of Disneyland's Main
Street U.S.A.
area: Edison Square, a
whole new land that would have celebrated the era when America
was shifting over from gas street lamps to the electric light bulb for its
primary source of illumination.

However, back in 1958, when this show was first pitched for
the Anaheim theme park, the
attraction's trademark theater-go-round technology didn't exist yet. Which is
why Disney's Imagineers envisioned audiences getting up and walking from
theater to theater to view this six-act show.


Copyright Disney Enterprises,
Inc. All rights reserved

By the way, this is the show that proves — beyond a shadow
of a doubt — that progress is always on the move. After closing in NYC back in
1965, this New York World's Fair
favorite moved to Anaheim where it
ran for several years. Then it was on to Orlando,
where Carousel has been entertaining visitors at Walt Disney World's Magic
Kingdom since the mid-1970s.

Speaking of shows that weren't originally created for the New
York World's Fair, let's now take a look at
"Great Moments with Mr. Lincoln." What's intriguing about this
attraction — particularly given that a significantly revamped version of
"Great Moments" just re-opened in Anaheim
to significant acclaim — is that this isn't the show that Walt really wanted
to do. "Great Moments with Mr. Lincoln" is a significantly stripped
down version of an attraction that Disney wanted to have debut at Disneyland:
"One Nation Under God."

This attraction was supposed to have been the centerpiece
attraction of yet another expansion of Disneyland's Main
Street U.S.A.
area: Liberty Street. This
proposed Anaheim addition was to
have celebrated America's
colonial period, featuring thirteen authentic period structures that were
supposed to represent the original thirteen American colonies.


Copyright Disney Enterprises,
Inc. All rights reserved

The "One Nation Under God" show? Well, if you ever
saw the original version of Walt Disney World's Hall of Presidents, you've seen
"One Nation Under God." However, due to the huge cost of mounting
this particular production, Walt couldn't afford to produce this show all on
his own. Which is why he spent years trying to line up a corporate sponsor for
this super-patriotic show. Unfortunately, none of the companies that Disney
approached in the late 1950s / early 1960s bit on the high cost project.

Determined to finally line up a corporation to help
underwrite this proposed Disneyland attraction, Walt has
his Imagineers work up a full scale version of one figure from the show:
Abraham Lincoln. Walt hoped that — once potential sponsors got to see one of
these robotic presidents in the flesh (so to speak) — they'd immediately jump
at the chance to be associated with this show. Ever the showman, Walt had his
Imagineers set up a manually controlled version of the Lincoln
robot that could stand up and shake the hand of any potential sponsor.

Finally, the right man got the chance to shake Abe Lincoln's
hand: Fair President Robert Moses. Moses was said to be ecstatic when he
finally got to "meet" Mr. Lincoln, allegedly declaring that "I
won't open the Fair without this exhibit."


Copyright Disney Enterprises,
Inc. All rights reserved

The only problem was that — like Walt — Moses wanted the
big bells-and-whistles version of the show, "One Nation Under God."
So Robert personally began pursuing potential sponsors for the show. First off,
he went after the folks with the deepest pockets … the United States
Government. (The U.S. Government — after much hemming and hawing — had
finally agreed to put up $15 million toward the construction of a federal
exhibit for the 1964 New York World's Fair in early 1962.)

Moses appealed directly to the Department of Commerce, the
one office within the government with direct control over how the U.S.'s
money would be spent at the fair. He met personally with the undersecretary of
Commerce — Franklin Deleanor Roosevelt, Jr. — to try to get his office behind
"One Nation Under God" show. In the end, the U.S. Government —
though impressed with Disney's proposed presentation — felt that a show that
featured "talking doll" versions of our Commanders in Chief might be
viewed by some as being demeaning to the office of the President. So they opted
to pass on the project.

Now it's been suggested that FDR Jr. — who allegedly felt
that a robotic version of his dad would be extremely disrespectful —
personally put the kibosh on the Government picking up the tab for the
"One Nation Under God" show. Well, while I had heard this story from
literally dozens of former Disney Productions employees, no one's ever been
able to provide me with definitive proof on this matter. So — until that proof
turns up — I'm afraid that we're just going to have relegate the "FDR Jr.
killed 'Hall of Presidents' for the '64 World's Fair" story to the urban
legends pile.


Copyright Disney Enterprises,
Inc. All rights reserved

Moses refused to give up, though. He kept pursuing potential
sponsors for the "One Nation Under God" / "Hall of Presidents"
show until December 1962. Robert even appealed to Coca-Cola, which — after
passing on presenting Disney's "Enchanted Tiki Room" — was still in
search of an attraction for the Fair. Hoping to finally close the deal with
Coke, Disney supposedly had the delicate Lincoln
figure shipped all the way from Burbank
to NYC to give a demo to Coke's CEO.

Unfortunately, the Chairman of Coca-Cola — while riding
into the city to see the Lincoln
demonstration — was supposedly insulted by a bunch of African-American
teenagers who were riding in an open car next to his limo. This supposedly put
the CEO in a foul mood that morning. Which — according to Robert Moses'
autobiography, "Public Works: A Dangerous Tale" — is the reason that
Coke ultimately decided to pass on sponsoring this project.

Things were looking pretty bleak for the electronic Honest
Abe until the state of Illinois
entered the picture. Illinois —
which didn't even get around to putting together the funding necessary sponsor
an attraction at the 1964 New York
World's Fair until early 1963 — was desperate to find some sort of show to
present at the Fair. Disney and Moses were desperate to find someone to sponsor
their "One Nation Under God" show. In one of those great "You've
got Peanut Butter in my Chocolate" moments, these three came together and
— Presto Change-o — Lincoln
finally had a sponsor.


The Illinois "Land
of Lincoln" pavilion as seen
from above

Unfortunately, given the limited amount of prep time left
until the Fair opened, Abe would NOT be appearing alongside the other Chief
Executives. Why for? Because Disney just didn't have time to build AA versions
of all of the other Commanders in Chief. Which is why Lincoln
ended up doing a solo act — his "Great Moments with Mr. Lincoln"
show.

Of course, give that Disney got a late start on the
"Great Moments" show, it just makes sense that the robotic version of
our 16th president didn't debut with the rest of the Fair on April 20th. Due to
all the hassles associated with the rushed production, Lincoln
didn't officially open to the public until two weeks later, May 2, 1964.

As you probably already know, the finished version of
"Great Moments with Mr. Lincoln" was a complete smash. Walt was
proud, but not prouder than Moses — who had worked like a champ for nearly two
years to find Disney's remarkable Lincoln
figure a home at his Fair. How proud was Robert of this particular exhibit?
Years after the 1964 New York
World's Fair closed, Moses was often heard to say "My two greatest
accomplishments at the Fair were Michaelangelo's Pieta and Disney's Lincoln."


New York World's Fair visitors viewing the Pieta from the
Vatican Pavilion's moving walkway

But — at least from Walt's point of view — Walt Disney
Productions' greatest accomplishment at the Fair had to be its high-speed
creation of the "It's a Small World" ride. After all, this was a show
that no one thought would happen, let alone work.

You see, Pepsi-Cola was working with UNICEF — the United
Nation's Agency for Children's Welfare — to come up with an attraction for the
Fair that would salute UNICEF as well as pay tribute to all the children of the
world. After months of floundering, the creative staff at the cola giant
finally had to admit to management that they were stumped. They just couldn't
come up with a workable concept for a Unicef show for the Fair.

It was at this point that somebody finally said, "Let's
call Walt Disney." After all, given Walt Disney Productions' reputation
for turning out fine family entertainment, it just made sense to the folks at
Pepsi to approach Disney. After all, Walt and his staff were sure to be able to
find a way to make this UNICEF tribute show work.


Admiral Joe Fowler. Copyright Disney Enterprises,
Inc.
All rights reserved

The only problem is that Pepsi didn't approach Disney about
helping out with this project until April of 1963. Given the limited amount of
time until the Fair opened, head Imagineer Joe Fowler politely turned the cola
people away, explaining that there was just no way that Walt Disney Productions
could get a full-scale attraction for the Fair designed and built in the amount
of time that was left.

Which, as it turns out, was a mistake. When Walt got wind of
what Joe had done, he was furious. Disney called Fowler into his office and
basically read the man the riot act. "I'm the one who makes the decisions
around here," Walt allegedly roared. "So you call the Pepsi people
back now and tell them that we'll do their damned UNICEF pavilion."

Kind of ironic, isn't it? That the only reason that
"the Happiest Little Cruise That Ever Sailed " (or so says Disney's
own press releases) actually exists is that someone made the mistake of
upsetting Walt Disney.


Copyright Disney Enterprises,
Inc. All rights reserved

Anywho … what's truly fascinating about the story of the
creation of Disney's "It's A Small World" is how much of what this
now beloved attraction is today was determined by how quickly the project was
slapped together. How so? Well, a lot of the layout and design of the finished
version of "Small World" was due to the fact that the Pepsi-Cola ride
building for this attraction was actually under construction before anyone knew
for sure what was going to go into the structure. That's why the folks at the
Fair just threw up a simple L shaped building with 32,000 square feet of space
inside. Those who actually worked on the attraction called it "the ugliest
building you ever saw in your life."

(Perhaps recognizing that the Pepsi-Cola building wasn't
what you'd call attractive, Walt Disney asked veteran Imagineer Rolly Crump to
come up with something to jazz up the front of the "small world"
structure. Distract people from seeing how boring the building really was. That's
when Rolly came up with the Tower of the Four Winds, a colorful but complex
array of mobiles that stood over the entrance to "Small World."
Which, in the end, proved to be a brilliant plan. Crump's mobile is now
remembered by many as one of the more charming things they saw while touring
the Fair. But almost no one remembers how boring the exterior of the Pepsi-Cola
building was. Anyway…)

It was until after the foundation had been poured and steel
was flying up that Walt decided that he wanted some sort of boat ride to run
through the Pepsi-Cola building. So — working with the L shaped boundaries of
the building — the Imagineers quickly roughed out a floor plan for a ride that
would pay tribute to all the children of the world. Only — in the original
version of the attraction — the children were all supposed to be singing the
national anthem of each of their individual countries.


Copyright Disney Enterprises,
Inc. All rights reserved

An early test on the Disney lot proved that this idea was a
complete disaster. All of the national anthems sung simultaneously meant that
the songs drowned each other out or — worse than that — bled together, making
this unholy noise. That's when Walt got the idea of grabbing the Sherman
Brothers — Bob and Dick — and asking them to do a song for the show.

Best known today as the Oscar winning composers of the score
for "Mary Poppins," the Sherman Brothers had already contributed
several songs for other Disney shows at the Fair. Remember "It's a Great
Big Beautiful Tomorrow" for G.E.'s Carousel of Progress? That was theirs.

Anyway, working off of Walt's instructions, Bob and Dick
quickly knocked out a roundelay, a song that could be sung as a round by the
robotic kids with an occasional counterpoint. Sticking a temporary title on the
tune of "It's a Small World After All," they dropped their first
draft of the song on Disney's desk — apologizing for the song being so silly
and simple. They promised their boss that they'd come back with something more
musically complex sometime later. Walt wouldn't hear of it. So the
thrown-together tune that the Sherman Brothers delivered to Walt Disney that
afternoon in late 1963 is the very same song that we can't get out of our heads
— no matter how hard we try — 50 years later.


Copyright Disney Enterprises,
Inc. All rights reserved

Luckily, all of this hard work by Walt's Imagineers paid
off. All four of Disney's shows for the Fair received enormous acclaim. Indeed,
in some surveys that were taken to gauge the popularity of various shows and
attractions at the 1964 New York
World's Fair, Walt's shows often took four of the top five slots.
Attendance-wise, "Great Moments with Mr. Lincoln," "It's A Small
World," "Carousel of Progress" and "The Magic Skyway"
always made it into the top 15.

Of course, it's not like Disney didn't have a few
difficulties with its attractions during their days at the Fair. For example,
Mr. Lincoln had to have his glass eyes and false teeth repaired repeatedly. Why
for? Because some guests at the Fair became convinced that there was just no
way that this lifelike figure could be a robot. So — in an effort to prove
that Disney's Lincoln figure was
really just a guy in a suit — these folks used to whip the free ball bearings
that they'd pick up the SKF exhibit at the Honest Abe AA figure. Hence the
cracked eyeballs and the chipped false teeth.

The "Small World" attraction also had to deal with
periodic damage caused by pranksters. Not-so-nice New Yorkers were forever
stealing fish out of the Koi pond at the Japanese pavilion and slipping the
colorful creatures into the immense water-filled trough that ran through the
Pepsi-Cola show building. That is, of course, when they weren't emptying entire
bottles of Mr. Bubble into the water … which would result in the boats having
to push through 4-foot high walls of foam.


Copyright Disney Enterprises,
Inc. All rights reserved

Disney also wanted to have some of the company's rubberheads
– you know, those full-sized costume characters that regularly meet-n-greet
tourists at Disneyland and Walt Disney World – make
daily appearances in front of the Pepsi-Cola Building.
However, after Snow White had a switchblade pulled on her and Practical Pig had
his arm of his costume torn off, Disney's rubberheads suddenly began greeting
guests at the Fair from above – waving down at the people standing in line at
"It's A Small World" from a platform that was fixed to the
bottom-most portion of the Tower of the Four Winds.

True to his word, Walt tried to get all four of the exhibits
that Walt Disney Productions produced for the Fair brought back to Disneyland.
To that end, Disney was about 75% successful.

He got "Great Moments with Mr. Lincoln" and the
"Carousel of Progress" brought back to Anaheim
virtually unchanged. "It's A Small World?" Well, the ride made it
back to Disneyland … but not the Tower of the Four
Winds. As charming as this immense mobile might have been, Walt balked when he
learned about the projected cost of dismantling the tower and having it shipped
back to California.


Walt Disney & Rolly Crump
with the Tower of the Four Winds in
Glendale,
before it was disassembled & sent to Flushing
Meadows. Copyright Disney
Enterprises, Inc.
All rights reserved

Which is why — after the Fair closed — the Tower of the
Four Winds was unceremoniously pulled down. The all-metal structure was chopped
into itty, bitty pieces using acetylene torches, then tossed into the Flushing
Rive The Tower's final resting place? I keep hearing that most of it ended just
offshore of the Fair's Lakeside Amusement area / Transportation Zone. Anyone up
for mounting an underwater salvage operation?

Ford's Magic Skyway? Well, given the size of the thing,
there was just no way that the entire attraction was going to make it back to Anaheim.
Walt settled for just the dinosaur AA figures, which he then tacked on the
park's "Grand Canyon" diorama as a trip
through the "Primeval World." This sequence has been serving as the
grand finale for the grand circle tour of Disneyland
aboard the park's steam locomotives for almost 35 years now.

Of course, these are the sorts of stories that any dedicated
Disneyana fan could already tell you about the company's involvement in the New
York World's Fair. But one of the more intriguing but
least well know aspects of Disney's tenure at the Fair was — after the 1964
season closed and the billion dollar extravaganza hadn't even come close to
meeting its attendance projections — Moses supposedly met with Walt and asked
for his help in driving up attendance for the 1965 season. Robert allegedly
proposed a new Disney-designed amusement area, which would have been built on a
large vacant piece of land next to the gas pavilion. Moses reportedly
envisioned a miniature Disneyland, complete with castle
and dark rides. Walt politely refused Robert's request.


(L to R) Robert Moses, Walt
Disney & Henry Ford II at the grand opening of the Magic
Skyway at the Ford
Wonder Rotunda. Copyright Disney Enterprises, Inc.
All rights reserved

Why for? Well, maybe it was because Disney knew that Moses
was skating on thin ice at that point. As 1965 and the Fair continued to fall
behind its financial projections, a movement was started to oust Moses as head
of the Fair. And whose name was on the short list to take over Robert's
position as President of the Fair. You guessed it, folks: Walt Disney.

When approached about the position, Walt again supposedly
politely refused. Why? Probably because his top secret Florida
project was already well underway. So why waste time trying to find ways to
improve attendance at Flushing Meadows when there was a whole new world to be
carved out of the swamps of Florida?

Of course, even though Walt turned down the job as President
of the Fair, that didn't necessary mean that he wasn't above raiding the Fair's
staff to help run his own organization. That's why Walt hired away Robert
Moses' right hand man, General William E. (Joe) Potter (USA,
ret.) as the Fair was winding down.


William E. "General
Joe" Potter points to the Magic Kingdom
construction site.
Copyright Disney Enterprises, Inc. All rights reserved

Who's General Joe Potter? Well, prior to his time spent
working with Moses, Potter spent many years working with the Army Corps of
Engineers. Joe was a man who accustomed to taking on big jobs and getting them
done. At one point, Potter had actually been governor of the Panama
Canal Zone.

After watching Potter masterfully ride herds on the
construction of the dozens of different pavilions that were rising up out of
Flushing Meadow, Walt knew that Joe was exactly the guy he needed to help turn
all those cypress swamps in Florida
into a vacation paradise. Which is why — as the Fair was drawing to a close in
late 1965 — Disney offered Potter a position with the Disney organization.

In the end, Potter was the man responsible for turning the
28,000 acres of Florida swampland
that Disney had purchased outside of Orlando
into a workable construction site. Starting in July 1967, Joe and his staff dug
44 miles of canals. Potter's crew also drained the 450-acre Bay Lake,
scraped the bottom clean, refilled the lake, then move 9 million cubic yards of
earth to create a nearby lagoon. This monumental effort led to the creation of
the scenic centerpiece of the Magic Kingdom Resort area: Seven Seas Lagoon.


The Seven Seas Lagoon worksite
as seen from above. Copyright Disney
Enterprises, Inc. All rights reserved

So who knows if Walt Disney World would have become the
enormous success it is today if Gen. Joe Potter hadn't been available to help
carve this vacation paradise out of the Florida
wilderness. Of course, Walt probably wouldn't have even met Joe if the Disney
organization hadn't done all those shows for Robert Moses and his 1964 New
York World's Fair.

So — in the end — I guess maybe the Fair WAS actually the
vital stepping stone in the creation of Walt Disney World. But just not in the
way you might have thought that it was.

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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Super Soap Weekends at Disney-MGM Studios

A long time ago in a galaxy that … Well, to be honest, wasn’t all that far away. This was down in Florida after all. But if you traveled to the WDW Resort, you could then experience “Star Wars Weekends.” Which ran seasonally at Disney’s Hollywood Studios Disney World from 1997 to 2015.

Mind you, what most folks don’t remember is the annual event that effectively plowed the road for “Star Wars Weekends.” Which was “Super Soap Weekend.” That seasonal offering — which allowed ABC soap fans to get up-close with their favorite performers from “All My Children,” “General Hospital,” “One Life to Live” and “Port Charles” — debuted at that same theme park the year previous (1996).

So how did this weekend-long celebration of daytime drama (which drew tens of thousands of people to Orlando every Fall for 15 years straight) come to be? 

Michael Eisner’s Daytime TV Origins and a Theme Park Vision

Super Soap Weekend was the brainchild of then-Disney CEO Michael Eisner. His career in media began with short stints at NBC and CBS, but it truly took off in 1964 when he joined ABC as the assistant to Leonard Goldberg, who was the network’s national programming director at the time.

Eisner quickly advanced through the ranks. By 1971, he had become Vice President of Daytime Programming at ABC. That meant he was on the scene when One Life to Live joined the lineup in July 1968 and when All My Children made its debut in January 1970. Even after being promoted to Senior Vice President of Prime Time Programming in 1976, Eisner stayed close to the daytime division and often recruited standout soap talent for ABC’s primetime shows.

Fast forward nearly two decades to July 31, 1995. The Walt Disney Company announced that it would acquire ABC/Cap Cities in a $19 billion deal. Although the acquisition wasn’t finalized until February 1996, Eisner was already thinking ahead. He wanted to use the stars of All My Children, One Life to Live, and General Hospital to draw people to Disney’s theme parks.

He had seen how individual soap stars were drawing huge mall crowds across America since the late 1970s. Now he wanted to bring dozens of them together for something much bigger.

Super Soap Weekend Takes Over Disney-MGM Studios

The very first Super Soap Weekend was announced in June 1996, just a few months after the ABC deal closed. The event was scheduled for October 19 and 20 at Disney-MGM Studios and was a massive success.

The weekend featured panel discussions, autograph sessions, and photo opportunities with the stars of ABC’s daytime dramas. Thousands of fans packed the park for the chance to meet their favorite actors. Due to the overwhelming response, the event became an annual tradition and was eventually moved to Veterans Day weekend each November to better accommodate attendees.

Longtime fans like Nancy Stadler, her mom Mary, and their close friend Angela Ragno returned year after year, making the event a personal tradition and building lifelong memories.

West Coast Events and the ABC Soap Opera Bistro

Disney even tried to recreate the event out west. Two Super Soap Weekends were held at Disneyland Resort, one in April 2002 and another in June 2003.

At Disney’s California Adventure, Eisner also introduced the ABC Soap Opera Bistro, a themed dining experience that opened in February 2001. Guests could dine inside recreated sets from shows like General Hospital and All My Children, including Kelly’s Diner and the Chandler Mansion. The Bistro closed in November 2002, but for fans, it offered a rare opportunity to step into the world of their favorite soaps.

SOAPnet, Port Charles, and the Expansion of Daytime TV at Disney

Eisner’s enthusiasm for soaps extended beyond the parks. In January 2000, he launched SOAPnet, a cable channel dedicated to prime time replays of ABC’s daytime dramas.

During his time at Disney, General Hospital also received a spin-off series titled Port Charles, which aired from June 1997 to October 2003. The show leaned into supernatural plotlines and was another example of Eisner’s commitment to evolving and expanding the soap genre.

The Final Curtain for Super Soap Weekend

In September 2005, Eisner stepped down after 21 years as head of The Walt Disney Company. Bob Iger, who had previously served as President of ABC and Chief Operating Officer of ABC/Cap Cities, took over as CEO. While Iger had deep ABC credentials, he didn’t share Eisner’s passion for daytime television.

In the fall of 2008, Disney hosted the final Super Soap Weekend at what was then still called Disney-MGM Studios. That same year, the park was rebranded as Disney’s Hollywood Studios, and Disney began shifting away from television-focused experiences.

Within the next five years, the rest of Eisner’s soap legacy faded. One Life to Live was canceled in January 2012. SOAPnet was rebranded as Disney Junior in February 2013. Later that year, All My Children ended its 41-year run on ABC.

Only General Hospital remains on the network today, the last standing soap from the golden age of ABC Daytime.

A New Chapter for Daytime TV and Super Soap Fans

The soap genre may have faded from its former glory, but it’s not gone. On February 24, 2025, CBS premiered a brand-new daytime drama called Beyond the Gates, marking the first new soap launch in years.

Meanwhile, All My Children alum Kelly Ripa has been actively working on a revival. In September 2024, she mentioned a holiday-themed movie set in Pine Valley that would bring back many original cast members. The project was in development for Lifetime, though its current status is unclear.

And what about Super Soap? Fans like Nancy and Angela still hope Disney will bring it back. Even if it only featured the cast of General Hospital, it would be a welcome return for longtime viewers who miss that one weekend a year where the magic of Disney collided with the drama of daytime TV.

If you want to hear firsthand what it was like to be part of Super Soap Weekend, be sure to listen to our I Want That Too podcast interview with actor Colin Egglesfield. He shares behind-the-scenes memories from his days as Josh Madden on All My Children and what it meant to be part of one of the most unique fan events in Disney park history.

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History

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

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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.

Credit: AP News

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.

Credit: Endor Express

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.

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Television & Shows

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

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Your Studio and You

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).

Edgar M. Bronfman
Credit: NYTimes

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:

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