Connect with us

Theme Parks & Themed Entertainment

It’s not just funny animals …

Roger Colton returns with a column that explores another side of fandom: those folks who really appreciate the anthropomorphic aspect of animation.

Published

on

Buckle up. Big, bumpy column ahead…

This week, I’m off (okay, when am I not?) to visit another fandom based event. This time it has a connection you should be interested in. If you’ve ever watched a Bugs Bunny cartoon and laughed, you’re already there.

Consider this word: Anthropomorphic.

Truly, a three-dollar word. One not heard in everyday conversations. Right? So? What does it mean?

Well, trying the lovely dictionary provided by the folks at the borg-like cubes in Redmond, Washington, “anthropomorphic” comes up as “anthropomorphize” with the following description: “to give a nonhuman thing a human form or human characteristics”.

I’ll start slowly on this and say that it is not a new concept. Storytellers have given animals human or human-like characteristics since the dawn of time. Spirits appearing as animals communicating with humans were an essential element of many religious oral traditions.

Our own Disney and other animation favorites certainly can trace their lineage right back to those tales told at the campfires of our ancestors. Aesops Fables, the stories by the Brothers Grimm, Beatrix Potter and a whole lot more make heavy use of the practice of anthropomorphizing of their characters. Would you have found the tale of Peter Rabbit as interesting if it had been just another story about a little boy? Maybe not… But that one little story element has made it just that for generations – interesting. Perhaps just as important is the connection it makes with the audience, in this case, younger readers.

Again, back to the connection. But that is what really creates the difference between a story that just offers information and one that an audience can identify with. And that’s just what anthropomorhpics is all about.

Now that you have learned a small lesson on the subject, let us take a look at a fan-based event known as “Further Confusion”, held over the Superbowl weekend, at San Jose’s Doubletree Hotel.

Further Confusion (or FC) is the project of an organization known as Anthropomorphic Arts and Education. This non-profit corporation (501c3 in case you’re curious) supports educational and charitable activities of interest to fans of anthropomorphic art and animals in general.

They do good work in supporting a variety of community projects and FC has become their best way to do so. Over the last five years, they have donated thousands of dollars to a variety of charities including the Oakland Zoo, the Coyote Park Museum, the Barry R Kirshner Wildlife Foundation, the Cartoon Art Museum, the Comic Book Legal Defense Fund, Tiger Touch and Therapy Pets.

This year, various events benefited two worthy organizations. PAWS (Pets Are Wonderful Support) is a volunteer-based organization that helps improve the quality of life for people with AIDS and other disabling illnesses by offering the emotional and practical support to keep the love and companionship of pets.

The other organization was the Seymour Marine Discovery Center, at the Long Marine Laboratory. Part of the Institute of Marine Sciences at the University of California at Santa Cruz, it is a research and education facility that serves as a base for field research in the Monterey Bay and oceans beyond.

So, I can hear you saying, “Who are the folks who attend FC?” Well, simply put, this tends to be the “Furry” crowd.

And before that turns you off, saying not for me, I consider myself part of that group, and you might be one of them and not know it. As I said up at the start of this effort, if have you ever watched a Bugs Bunny cartoon and laughed at it? Guess what? You’re a fan of Anthropomorphics.

I don’t draw funny animals, I don’t write stories about them, nor do I own a fur suit. What I do have is an appreciation of the talents and dedications of some of the people who do. Some do it for fun, others do it for profit.

Just like any group at a fan-based convention, some folks like to dress up and play. Whether you talk about Trekkies, Deadheads, Civil War re-enactors, SCA (the Society for Create Anachronism), the Knights of Columbus or the Shriners, they all have this in common. These are people who take their interests genuinely enough to the point of wearing a costume and adopting a different personality to go along with it. It’s the child in all of us trying to get out for a bit. And they all have their fringe elements, some people who take it a bit too earnestly.

The ugly truth is, shockingly, that the furry folks are all quite normal, for the most part – despite some media attention trying to be sensational and demonstrate the contrary.

Sorry, but that’s the reality here. Just plain folks, odd in some ways, but aren’t we all? These people come from a variety of backgrounds and professions, but all enjoy this fandom in their own special ways.

So… you are about to meet some of them.

Jeff Ferris is one of my closest friends. If anyone could be called my “big brother”, I suppose he would be the one. I’ve known him for some twenty odd years, and this is only one of several interests I share with him. Among the others, there are trains (surprise!), Disneyland, comic books, a good Basque meal, and a wicked riposte or two. We have worked as volunteers at various science fiction and fantasy conventions, and driven a mile or two to some very interesting places. (More tales for more columns. One worth telling involves Ely, Nevada, just to tease…) Jeff acts as the CFO for AA&E.

Jeff Ferris and Dasha Clancey being interrupted by some mouse while enjoying lunch at Club 33.
Photo by Roger Colton

Over all those years, he has become the publisher of “Yarf! The Journal of Applied Anthropomorphics”. Publishing a fanzine (fan produced magazine) isn’t all that unusual but this one has legs. 66 issues have been produced since issue 0.1 in 1990 and that is extremely unusual.

The average fanzine lasts about two years. The person or persons behind it tend to move on to other interests or the readership drops off. I can think only think of one other fanzine that has kept publishing so long, and that is Jack and Leon Janzen’s “E-Ticket”.

So what’s the secret to this success? Part of it has to be the enthusiasm of the staff for the fandom they are promoting with the publication. Another part has to be the more than occasional infusion of new talent, either in the content or in the editorial side. While I can’t speak for Jack & Leon, I do know that Jeff has been lucky enough to get more than his fair share on both sides of the proverbial coin.

Content has run from stories in print and strip form, to some great stories that deserve the graphic novel treatment. And, yes, there are funny or cute animals in drawings in profusion. “Yarf!” has tended not to allow content of a decidedly graphic sexual nature, as other “furry” fanzines may have. That’s not to say that passion does not become an element, but it tends to leave more to the imagination than to drag it out in front of the readers for display.

So why does Jeff and his crew keep doing it?

It’s the contributors for one. As long as they keep sending in great things to share, he keeps publishing them. The quality tends to be quite good, and that helps keep subscribers coming back for more. Sales of single issues and back issues do well, again with the quality of the product as part of the process. An average year (one in which the publisher doesn’t have quad bypass surgery…) tends to see four issues produced.

Nominally, black and white tends to be the format for the issues. Having used most of the Astrobright paper colors available for cover stock, there have been three full color covers, and Jeff says that will probably happen again. Over the lifespan of the zine, costs have come way down for color, as well as the quality of overall reproduction having improved. At an average cost of $6.00 an issue, that’s not too expensive a way to enjoy this interest. YARF! has a web presence at http://yarf.furry.com

With a good crew on the production end to keep him honest, Jeff expects this year will see a full slate or better.

This interest is not limited to the male of the human species. Women represent a strong element of the “furry” crowd. One artist is Shannon Stuart. At twenty, she’s not exactly new to all of this. At a young age, she became interested in drawing, having admired the anime style found in “Sailor Moon”

Her father had the furry interest, and that grew from attending various science fiction and fantasy conventions. After one event, he brought home a book of furry art. She discovered it and decided this was a style she wanted to explore. More anime such as Magic Knight Rayearth and others influenced her. As the result, the characters Shannon creates are based in the anime and manga styles – especially with big, very expressive eyes (even down to the shading and textures of the irises.

Art by Shannon Stuart

She’s making her art pay by selling at school as well as conventions and online. Paintings and drawings are putting her through school, and getting her exposure. She is also a frequent contributor to fanzines such as YARF!

For her future, Shannon hope to progress to a sequential work, perhaps some story in strip form. If she has a challenge to face, it is to stick with one idea, and be consistent. She’s got no problem coming up with new subjects, but it’s trying to stick to one and finish it before something new comes along to inspire her. The pacing of stories and reaching a conclusion are areas she’s looking to improve on.

She’s twenty now and has five years of furry art behind her. Off at school, she’s an art major. Classroom work such as illustration and landscapes are adding to her style. The use of textures is something she sees as helpful in adding her own touches to the usually flat anime styles.

I asked her if she had a piece she was especially proud of. An oil painting, titled “Himeko’s World” offers a look into what might become that sequential story. The character takes the center of the painting and is circled by her friends and allies, including the spirits she summons for assistance. If persistence pays off, this might just be the starting point for that sequential work.

Shannon’s web pages are located at http://www.minespot.com

Taking a momentary break, the Parade of Fur Suits just passed by, some fifty odd strong. Some great costumes including Pinky from “Pinky and the Brain”, and Don Carnage from “Talespin”…

One of the two Guests of Honor for this year’s FC was Toby Bluth. For Disney fans, he may be most well known as the Art Director for Disney’s “Tigger Movie”, and his brother Don has a legacy all his own.

One busy guy this weekend, with lots to do. During a workshop on watercolors, Toby produced a completed painting in about 90 minutes. Another panel discussion he participated in was “The State of Modern Animation”. Joining him was John Nunamacher (who also worked on the “Tigger movie” as well as other projects at Disney).

Boiling down the 90 minutes… If the story isn’t there, it doesn’t matter how good it looks.

Business now seems to have become more the focus than story and animators. Today’s Production Assistant is likely to become tomorrows Producer. Ironically, it was noted that when a project ended, there was more concern what the PA’s would be assigned to next, rather than the artists.

There was also a brief discussion on Disney and it’s focus being more on what fits the “Disney” mold, instead of looking to expand the horizon. That tends to be left more for studios like Pixar or Dreamworks.

Another comment was the incredible lack of synergy between marketing, merchandising, theme parks and production at Disney. A prominent example came up of how Disney Stores had merchandise for “Monsters Inc.” some six weeks before the film opened. No one knew anything about the characters or story, so these items sat on shelves for five weeks, and mangers ordered a 50 percent clearance the week before the film opened. When demand did hit, the profit margin had already been torpedoed.

The opposite was noted for “Lilo & Stich”, where merchandise was selling so well, that it was pulled from shelves at the World Of Disney in Anaheim for fear of not having anything on hand when the movie did open. Quality between the pre-opening products and those rushed to market after opening is somewhat noticeable.

The lack of merchandising for adult clothing also was discussed. No one could understand why. Toby did volunteer that he had managed to get his own personal pair of “Tigger” shorts, which he proudly wore around the office to many questions of “Where did you get those?”

Another topic of concern was the theme of how folks want to see Disney fall flat on its face with animation. Were that to happen, it might be catastrophic for the industry as a whole. If the premiere producer of animated films cannot make money in this medium, who else could?

Ain’t technology grand? Jim Groat, right, shows Ken Mitchroney, center, and Toby Bluth, left, that he
actually has a life! His digital camera displayed pictures of his wife and children, safe at home.
Toby was this year’s Artist Guest of Honor, and Ken had been FC’s first Artist GOH five years ago.
Photo by Dasha Clancey

Another interesting fan is Jim Groat. In younger days, his interests were peaked by Disney’s “Robin Hood” and the Rankin Bass “Rudolph the Red Nosed Reindeer” TV classic. Always a fan of horses in animation, he also was attracted to Hannah Barbera’s “Quickdraw McGraw”. A true “anthropomorphic” moment came when he first saw “Animalympics”. Originally intended as segments for the NBC coverage 1988 Moscow Summer Olympics (which were boycotted by the US teams, after the Soviets had boycotted the 1984 Los Angeles Summer Olympic Games) this project was assembled as a feature for theatrical release and is somewhat of a cult favorite on video today.

So it’s a good bet to say that Jim is one of the old-timers of “Furry Fandom” as it exists today. He started drawing funny animals in high school, and that led him to a period of employment drawing a syndicated strip called “Mudd Flat” between 1979 and 1981. That came to an end after a major problem with a paper changing his dialog to fit it’s own political agenda. He was so fed up with it all, that he literally burned all of his work on hand, and gave up drawing entirely for two years. He feels today that he lost a great deal of skill by taking that break, and that he will never draw as he did back then.

He was invited to resume his schooling at Cal Arts, but didn’t feel he could burden his parents with expense, even then a healthy chunk of change each year at $8000. So he passed.

A big change for Jim came in 1983 when he met his partner in comics, Richard Konkle. He had gotten his start working at Marvel Comics. They shared interests in the Conan stories as well as the anthopomorphics. Along the way, they discovered an interesting pattern of elements to the Conan stories that boiled down to five steps.

Number One: Conan would discover some fantastic lost city or castle.

Number Two: Conan would hear of some lost treasure within guarded by either an evil demon or sorcerer.

Number Three: Conan would always discover a scantily clad, attractive woman in peril, thanks to the demon or sorcerer.

Number Four: Inevitably, Conan would defeat the demon or the wizard, rescue the girl and get the gold.

Number Five: Conan would lose the girl and the gold and start all over again at Number One.

So… Jim and Richard decided to take on the challenge and did a similar story, set in the furry world in their own comic book. And they did it all in one issue, called “Equine the Uncivilized”. It was true success story for the summer of 1985. In ten days, they sold 20,000 copies of this black and white comic book with a color cover.

Jim is thankful to those days because the comics let him meet other fans like Steve Gallaci, who was kind enough to offer him table space at the San Diego Comicon, that led him to a much wider audience.

However, comics became simply too much of a good thing as the market became over saturated between 1985 and 1987. It was heady days for the independents like Jim. But eventually, the bottom fell out of comics as the major players like Marvel squeezed the dealers and distributors by forcing them to carry titles. In the end, there was simply no shelf space in comic shops for the small publishers. A good example from Marvel was one title where the same issue had multiple covers, which they hoped the drooling comic fans would need to buy a copy of each one to keep collections complete. (I understand that, as I was one of those fans who had to keep a complete set of issues on certain titles – most of which are rotting away in my storage locker today.)

Jim was only one of the casualties of that time, as not only comic publishers, but also distributors and dealers went out of business almost overnight.

Today, he’s still drawing and sharing his interest. He sees the future of furry fandom as solid, but hopes that today’s crop of young artists will try to remember that their actually is a life outside of fandom.

Jim’s web presence is located at http://www.graphxpress.com and he’ll have some artist jam pages from FC 2003 up soon…

Now we’ve looked over the people. What was the content of the convention all about? With a theme based on “Alice In Wonderland”, you know to expect something unusual, right? A great piece of entertainment, or if you take the view of some, a fine piece of satire or allegory on society in Great Britain in it’s day. Undeniably, Lewis Carroll anthropomorphized the characters to appeal to his readers, and it works extremely well. All in all, a great choice for a theme.

So it leads to all kinds of programming on a number of distinct tracks.

An artist track, a writers track, a gaming track, a costuming track, a puppeteering track, and a spirituality track provided more than enough content for five days, as the event ran Thursday through Monday. Throw in a main stage for special events and there was never a dull moment. A particular highlight on stage was the Iron Artist event in the method of the popular Fuji TV “Iron Chef” show. Last year, the competing artists found cake and frosting awaiting them. This year things were kicked up a notch with the theme ingredient: Sharpie Markers! The media for the artist to work upon was volunteers from the audience. Arms provided a great place for Sharpie tattoos.

With a time limit of 30 minutes, three Iron Artists took on three challengers in the categories of Cute, Spotty and Comics. John Nunamacher took up the last minute challenge as Iron Artist Cute. Guests of Honor Toby Bluth and Karen Anderson assisted other (impartial?) judges in scoring the works. Some great works resulted, complete with a tie in the Cute competition. That called for a five-minute tiebreaker on the other arm, with Iron Artist Cute winning with a classic cartoon red fox. In all the Iron Artists successfully defended their titles.

There were a variety of room parties, dances and other social events to keep everyone busy. That didn’t stop folks from just pulling up a chair and making new friends, or enjoying good times with old ones.

Tigris relaxes after a long day with friends, Samantha and Stacy.
Photo by Jeff Ferris

A large dealers room offered all kinds of merchandise. Everything from videos to comics to specially created art was on sale. The Art show proved extremely popular as well with a good number of works going to auction.

FC is only one of a growing number of furry fan events across the world.

They are already planning for FC 2004, with one guest announced, author Larry Niven, and the theme of “The Great Outdoors” (curious for an event that takes place inside a hotel in urban San Jose…)

I’ll probably be there again, and there are folks trying to get me to volunteer as the Guest of Honor liaison. We’ll see how that goes.

For more info, visit http://www.furtherconfusion.org

Coming to the close of my longest column yet, I hope this has offered you a bit more of an insight into the world of furry fandom. Contrary to the multitude of horror stories, these are just regular people. As one Oakland Raider fan said on TV over the weekend, “Fan is just short for fanatic.”

 

Roger’s been a contributor to Yarf! off and on. Issues 4 and 5 featured book reviews of Warner and Disney character information. He and wife Michele, and cat Cruiser all have their own favored plush animals (although Roger and Michele’s aren’t filled with catnip). You read about Roger’s fur suit experience in a previous column, and he has no plans to reprise that soon. Jeff reported that FC 2003 did top 1200 registrants and that the art show and charity auction topped estimates by a healthy margin. No word yet on who will be the Artist Guest of Honor for 2004.

Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

History

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

Published

on

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.

Continue Reading

Television & Shows

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

Published

on

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.
Continue Reading

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

on

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.

Continue Reading

Trending