TWELVE DAYS OF CHRISTMAS-Day Twelve

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THE TWELVE DAYS OF CHRISTMAS
DAY TWELVE-by Paul F. Anderson

For the final installment of 2009's DHI Twelve Days of Christmas, we have a Christmas present ... literally! One of the early employee “benefits” at the Walt Disney Studios was the spirit of giving that was exhibited by the boss. Yet, what was a generous Christmas nature with Walt, was a logistical nightmare for his secretaries. “Christmas was a time of trial for Walt’s secretaries,” wrote Bob Thomas in Walt Disney: An American Original (1976). “He maintained a file of hundreds of children of his personal friends, members of the press, studio workers, film executives, etc. To each child went gifts of Disney character merchandise–one important item apiece, plus a few little ones. The gifts continued until the child reached the age of twelve, then he or she was dropped from the list and received a Christmas card instead. Walt’s secretaries were charged with assembling the packages, and each had to be wrapped separately. A room in a studio warehouse was converted to a Santa’s workshop, and Walt dropped in to inspect the packages and make sure that his specifications were observed.

Preparation for Walt’s Christmas gifts began months before the season started, as a flurry of correspondence was exchanged between Walt, his secretaries, his licensees, and Kay Kamen (his Character Merchandise Guru). Walt usually had a good idea of what he wanted to include in the packages, and would instruct his secretaries, usually Dolores Vought his life-long secretary, to make the arrangements.

The DHI Christmas present for Day Twelve is from December 1945. While doing research at the Walt Disney Archives back in 1998 I discovered a memo from Kay Kamen to Dolores Vought tucked away in a “Government & Commercial Films” file. Kamen was writing from Mexico where he was surveying potential interest in licensees for The Three Caballeros (1945). He wanted Dolores to let Walt know he had taken care of much of the work for Walt’s Christmas package for the year. Kamen told her that he would be at the Studio in two weeks and would then take care of gathering any remaining items that Walt wanted. Kamen also included copies of invoices of everything that had been ordered, and according to Walt’s wishes it was to be billed to the Studio. The following is what Walt requested:

-Two Gross of Disney Slotties (Container Corporation of America, St. Louis, MO)
-Six Cases of Donald Duck Oats (National Oats Company, Cedar Rapids, IA)
-One Case (144) Mickey Mouse Cookies (National Biscuit Company, New York)
-One Case (144) Donald Duck Cookies (National Biscuit Company, New York)
-Six Cases Donald Duck Peanut Butter (Nash-Underwood, Chicago, IL)
-Donald Duck Cameras (Chicago, IL)
-Six Cases of assorted Donald Duck Citrus Juices (Florida Citrus Canners Co-Op, Lake Wales, FL)

The image with this essay shows all of these items together in one Christmas “package.” So had you been a lucky child on Walt’s Christmas list in 1945, this would have been close to what you would have received. All the items in the photograph are period items from around 1945 and are from the DHI collection. Enjoy.

TWELVE DAYS OF CHRISTMAS-Day Eleven

THE TWELVE DAYS OF CHRISTMAS
DAY ELEVEN-by Paul F. Anderson

I have saved what I consider to be the two best items of the Twelve Days of Christmas, for last. (Make sure you don't miss tomorrow's post.) Those who know my fondness for the Christmas season, also know that my youngest son is named after Santa Claus, his name is Nicholas. The idea came from a prop book I purchased for the Institute some eight years ago.

The prop book was a familiar opening to quite a few Disney films and animated features, but seems to be a lost cinematic vehicle these days. The books in and of themselves were often artistic masterpieces. We recently were privileged to see this in firsthand, as the original prop book for Sleeping Beauty (1959) was displayed at the Treasures of the Archives Exhibit at the D23 Expo. Being a huge fan of books, it was only a natural extension of my Disney history mania to try and obtain a few of the book props used by the Disney Studios, which is the subject of the eleventh day of Christmas.

The above painting (yes, painting, including all the letters) is the prop book from Hans Brinker, or the Silver Skates (1962), a production done for Walt Disney's Wonderful World of Color. The story appeared in two parts on the Sunday show in January of 1962., and was the highest rated Disney program that season. So popular were the episodes, they were combined into a full-length film which was released theatrically in Europe. In the film, a visit from Saint Nicholas (aka Santa Claus) is featured in a key scene, and is often the case with these prop books, various images and pieces inside provide interstitials to the film. The story is based on a novel by American author Mary Mapes Dodge and paints a portrait of nineteenth-century Dutch life. The book therefore is full of various paintings of scenes from Holland (and not all used in the film).

Featured below are a few more pages from the book, as well as the book itself. You'll notice something a bit odd about the book ... it is from the Great Locomotive Chase (1956). A quote Walt gave to the New York Times in 1961 best sums up why the prop book from the Fess Parker, Civil War Railroad drama was also used for Hans Brinker: "Once you are in television, it's like operating a slaughter house. Nothing must go to waste. You have to figure ways to make glue out of the hoofs." And so, the Disney Studios found another way to use a six-year old prop! Enjoy.

TWELVE DAYS OF CHRISTMAS-Day Ten

THE TWELVE DAYS OF CHRISTMAS
DAY TEN-by Paul F. Anderson

Now for something totally different here at the Institute. A truly unique exploitation idea for the Disney live-action film That Darn Cat (1965). This "Holiday Fun Book" was a give away from J.C. Penney, but was also sponsored by several other companies: Luden's Candies, Purina Cat Chow, Scriptip Pens by Scripto, Wink from Canada Dry, and Yamaha Sportcycles. It is a 24-page, 8.5" x 5.5" booklet, with nice stylized artwork for D.C. and his holiday world. Few have survived, as I've only run across three or four in the last twenty-five years. As the film is not considered a seminal Disney work, my guess is not a lot of them were saved and there certainly isn't a heavy demand for the item. Still, it is a nice, oddball Disney Christmas item.

TWELVE DAYS OF CHRISTMAS-Day Nine

THE TWELVE DAYS OF CHRISTMAS
DAY NINE-by Paul F. Anderson

I think my intense interest in World War II combined with my love for the Christmas season, have made this particular item my all-time favorite Disney Christmas piece (and it ranks pretty high on my World War II list as well). This was a Christmas card probably from 1943 that was sold to aid the American Woman's Voluntary Services. I know the cards have been around for awhile due to a small find of them in California some ten years back, and so it may not be the rarest of items to present here at the Institute. However, I just love the artwork and all that it symbolizes and everything it contains. It represents the War-weary hope of the United States for the true meaning of Christmas, Peace on Earth. Santa Donald is flashing the Winston Churchill "V" for Victory sign with his left hand, and if that is not enough a very subtle arrangement of stars set behind the word "Merry" reinforces America's hope for a quick end to the War and Victory once and for all. By Christmas of 1943 the Third War Bond Drive had been completed and the government was gearing up for another one. Here Donald is obviously showing his support for War Bonds with a Santa sack complete with a Battleship, Tank, Fighter, M-1 Garand, and a Christmas Tree for our men and women fighting the Axis. At the bottom is a note: "Proceeds to the American Woman's Voluntary Services." The A.W.V.S. was based on the British program (B.W.V.S.) that was formed to support the armed forces and to help civilians on the homefront. The volunteers of the A.W.V.S. did everything from driving ambulances to organizing canteens, selling war bonds to babysitting, making clothing to working in war industry in vital jobs. The A.W.V.S. most likely contacted Disney, like so many other organizations working for the war effort, and wanted something special to help assist their endeavors. As with most everything I have seen in the Disney Archives, Walt would have instructed his people to help, and the result was this Christmas Card.

The image does one other thing for me. It gives me the opportunity to once again ask for assistance with the book I am doing for the Walt Disney Family Foundation on Disney and the World War II effort. I have been researching this topic off and on for easily the last ten years (with a short "vacation" due to health concerns). However, it seems that weekly I am learning something new about this vast undertaking by Walt and his Studio. If you have information that may be of interest, or know of anyone that perhaps worked at the Studio during the War (yes, rare, but maybe a son or daughter), please let me know. Both the Walt Disney Family Foundation and myself will be very thankful (and I'll be happy to acknowledge you in the book). At this point, the amount of material I have collected is close to 6000 pages of historical documents of all kinds relating to the Disney War effort. While it is a great deal, I know there is still a lot out there--especially in terms of first person accounts (diaries, journals, correspondence, interviews, and so forth). Please contact me at: povpfa@gmail.com with anything you think might be of interest.

We do have a few extra for sale in the Disney History Institute Gift Shop at: A Donald Duck Christmas.

TWELVE DAYS OF CHRISTMAS-Day Eight

THE TWELVE DAYS OF CHRISTMAS
DAY EIGHT-by Paul F. Anderson

We here of the Institute Research & Development Staff would like to wish you all a Mary Christmas (Mary Blair Christmas that is!). What can be said about Mary Blair? Where does one begin? I've written two pieces on her, and done one presentation on her. I think if there is ever a Disney artist whose art defies the written word and truly needs to be experienced, it is Mary Blair. After all, she was Walt's favorite. As such, I am going to let these Christmas images speak for themselves (and write a lot more on Mary Blair in the future). The first four cards (below), are from a Hallmark boxed set (above) that was sold during the 1945 Christmas Season. The box included three each of four different Mary Blair Las Posadas scenes. The four Christmas cards below those are also from 1945 and feature concept art from The Three Caballeros (1945). They are from a Hallmark line titled Rufftex Cards and sold for five cents each (that was with envelope!). They feature Holiday and Christmas greetings inside. The Las Posadas cards feature Christmas and Seasons greetings inside, but they also include the following information on the Las Posada tradition:

LAS POSADAS This custom takes place on each of the nine days before Christmas. Each evening the children gather at the village church and form a procession, symbolizing the journey of Mary and Joseph from Nazareth to Bethlehem. The little ones carry images of the saints from house to house, singing a plea for shelter, or "posada".

A reply comes from within the house, "No posada, no shelter." Looking sad and downhearted, they try again, but the reply is still the same, "No shelter, no posada." They repeat their song time after time and always they are refused, until at last they reach a friendly house and the door is opened. "Come in, come in, holy pilgrims. This humble home is yours." And now Mary and Joseph have found shelter at last.

TWELVE DAYS OF CHRISTMAS-Day Seven

THE TWELVE DAYS OF CHRISTMAS
DAY SEVEN-by Paul F. Anderson

We pulled another rare Disney cover here at the Institute for Dave Seven of our Twelve Days of Christmas celebration. Rexall Magazine was the house publication for the Rexall Drug Stores that used to dot America in every small town. It was a free giveaway for customers of Rexall ("Good Health To All, From Rexall!"), and featured a homespun feel, with recipes, gift suggestions, cartoons for the kids, short fiction, and advertisements for Rexall products. Each month there were over one million issues in circulation, but few survive today because of the ephemeral nature of the publication (that and it was printed on very cheap paper). Following the War, a series of Disney covers appeared, with at least fourteen known to exist here at the Institute (and it is believed to be twice this many, or more). It is our educated guess that Hank Porter, Disney's one-man art department did the covers, and we'll wait for the brilliant David Lesjak to confirm this (who is thankfully writing a biography on this important Disney artist). Of special interest is that the Rexall Radio Show starred Phil Harris and Alice Faye. Harris would, of course, go on to have a distinguished career doing memorable voice work for Disney. The date for this is December 1948 and features the caption: "DANNY, the new lamb in Walt Disney's 'So Dear to My Heart,' is welcomed by Donald Duck and Mickey Mouse."

TWELVE DAYS OF CHRISTMAS-Day Six

THE TWELVE DAYS OF CHRISTMAS
DAY SIX-by Paul F. Anderson

Mickey Mouse has received so much early attention here at the Institute, our Board of Governors decided to move the emphasis on to Donald Duck for a post or two. Unanimously voted as are favorite Donald Duck Christmas Cover is this 1938 issue of Script magazine.

Script magazine was a weekly literary film publication started in 1929 by Robert Wagner a screenwriter, director, and artist. Throughout the Great Depression the magazine primarily focused on covering the burgeoning film industry of California, as well as local and national politics. It was left-leaning and as such attracted numerous artists and writers during the rough times of the thirties. Early contributors included the likes of Edgar Rice Burroughs, Ray Bradbury, Charlie Chaplin, Dalton Trumbo, William Saroyan, and Ogden Nash, to name a few. The magazine struggled throughout its existence and most artists contributed without pay. One such artist was Walt Disney, who approved the contribution of this Donald Duck cover for the Christmas 1938 issue, with the message: “Merrie [sic] Christmas and (Donald) Ducky Greetings to Script and all Scripters from Walt Disney.”

The publication and its decidedly Socialist-leaning founder, were very supportive of the Roosevelt administration’s New Deal, as well exhibiting strong Pacifist sentimentalities in the late 1930s. [A] It might be considered a bit odd that Walt would contribute to a publication like this, but one thing to note is that all the Disney material appearing in Script, that is here at the Institute, all hails from the 1930s—well before the Studio strike. It should also be noted that the magazine was popular with the artistic set in Hollywood during the 1930s, which Walt was considered to be a part of, at least creatively, certainly not politically. Wagner died in 1942 and Script took a more news and film centered approach, until the publication folded in 1949.

Endnotes and Citations can be seen at: endnotes

TWELVE DAYS OF CHRISTMAS-Day Five

THE TWELVE DAYS OF CHRISTMAS

DAY FIVE-by Paul F. Anderson

Nothing quite says "Merry Christmas" like dancing Christmas Trees in a Parade: "Seventy-Six Green Trees Lead The Big Parade" ... or something like that (with apologies to Mr. Willson). I like the above photo, because the Christmas Trees rarely get any attention, as most images feature the marching soldiers from Babes in Toyland. The Trees are certainly the Rodney Dangerfield of the "Christmas In Many Lands" Parade at Disneyland (followed by the lovable, but somewhat frightening, silly reindeer--you have got to love those tongues!).

The two photographs with today's post are vintage press images to promote Walt Disney's Wonderful World of Color episode "Holiday Time at Disneyland" broadcast on N.B.C. TV on December 23, 1962 (Season 9, Episode 13 of the Disney Sunday Show). The episode featured a Holiday tour of Disneyland by the avuncular host of the show. Since the main facet of the Yuletide Season at Disneyland was the parade, it was featured heavily in the television show. The parade pictured in the two images is the "Christmas In Many Lands" parade. The parade premiered at Disneyland for the Holiday season of 1960 and lasted until 1964, when it then became the "Fantasy On Parade" (still with the marching "wooden" soldiers and silly reindeer, but sadly the trees had dried up). Unlike today where the Christmas parade will run for upwards of two months, in the early 1960s typically the parade would start about a week before Christmas day.

So here is to Christmas Past at Disneyland (with apologies to Mr. Dickens) and the beloved twirling and performing Christmas Trees. As for me, I wouldn't mind seeing them again ... and especially bring back those Wacky Reindeer! Merry Christmas.

TWELVE DAYS OF CHRISTMAS-Day Four

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THE TWELVE DAYS OF CHRISTMAS

DAY FOUR-by Paul F. Anderson

Donald Duck and I would like to present a Christmas memory about one of our favorite people here at the Institute--Carl Barks. When Barks' estate was sadly auctioned off (as compared to going to an institution or library), I was lucky enough to buy some items. I mostly focused on documents, as compared to the artwork (where a virtual feeding frenzy existed). The above Christmas story idea came from a Junior Woodchucks' "Story Ideas" file, dating mostly from the late 1960s.

So as we sit here here at the Institute drinking our egg nog by the fire and reading "Christmas for Shacktown" we present the Fourth Day of Christmas piece, an unpublished Carl Barks Christmas story idea.

Idea

Don gets a Christmas Card from a total stranger among the bales of cards he usually gets. He is curious about who the person is. He and kids snoop around the address of the sender. They get more curious all the time. Nobody appears at the doors or windows. Yet they know somebody is there. Who could it be? And why did the person send the card?

Endnotes and Citations can be seen at: endnotes.

TWELVE DAYS OF CHRISTMAS-Day Three

THE TWELVE DAYS OF CHRISTMAS

DAY THREE-by Paul F. Anderson

Okay, I know the Third Day of Christmas here at the institute is not a super rare item. However, it remains as one of my all-time favorite pieces of Disney Christmas artwork. It is from the Mickey Mouse Magazine of December 1937 (Vol. 3 No. 3). As far as I am concerned it is a classic, and no further explanation is needed. As such, since the image is not particularly rare, I will spare you of my intellectual pedantic psycho-babble (which is pretty rare ... for those who know me--so Merry Christmas!), and let you all enjoy. Below I have included some additional Christmas images from the interior of the magazine, including the full story and artwork of "Santa's Whiskers, Or Donald Duck Has A Close Shave." (As always here at the Institute, click on each image for a larger view.)

MONDAY-WALT QUOTE DAY "Recession"

I believe this quote will strike you as profound and prophetic, and make you wonder why in the world we are in the mess we are.

"Recession doesn't deserve the right to exist. There are just too many things to be done in science and engineering to be bogged down by temporary economic dislocations."

TWELVE DAYS OF CHRISTMAS-Day Two

THE TWELVE DAYS OF CHRISTMAS
DAY TWO-by Paul F. Anderson

When I teach my class on "Walt Disney in American Culture" I really try to give the kids a sense of historical context; that is to try and put themselves into the time period in which they are studying, and attempt to understand the culture and its effects on the subject at hand...to not judge or view it with today's sensibilities. I feel that this helps them achieve a truer sense of their topic. I mean, how do you explain the full and total immersion of the world into the Great Depression to young twenty-year olds? And if they can't understand the Depression, how do they grasp how Mickey Mouse, as the "everyman," became so important to America's psyche? I am fortunate in that the class I teach is a Senior/Graduate level course, and 95% of my students are on their way to some form of advanced degree (MBA, MA, PhD, Law School). As such, they are able to comprehend a bit better the historical context of a certain subject we are studying.

I use several ideas of mine to try and illustrate the importance of historical context to them. These have been developed over the years of teaching this class, as I try to experiment to find out what they respond to. My favorite, is the use of oral history--personal and relevant memories from people that lived during the time or were involved with the topic. Second, I try and give them specific examples from the time period that affect them today. And finally, I trt to have actual artifacts from the period we are studying that help illustrate the history.

Taking the Great Depression as an example, I'll give you an idea of each of my ideas and how I used them. With oral history, I tell them a story about when I went to stay with Ken and Polly Anderson. Ken and I were doing our oral history over the course of three years, where I would go to Los Angeles one week each month, to stay with Ken and Polly and do our work. We spent a good ten or so hours on the 1930s and Ken's career with Disney during the Depression. They were married in the early 1930s, and times were tough, even when Ken began working at Disney in 1934 they were still living out of their automobile. In the old nature vs. nurture question, I fall strongly on the nurture side--the environment in which you spend your life strongly indicates who you are and how you think. I find this especially true of folks that grew up during the Depression, and Ken and Polly were no exception. The time I spent with them, they were both in their eighties, and were very active and healthy. Moreover, from Ken's more than fifty years at Disney, they were well off and lived in a beautiful home on Palm Drive in La Canada, California. They did not want for anything, and could buy anything they desired (Ken was particularly fond of Porsche sports cars). Each morning we would all enjoy breakfast together, and Polly, the consummate hostess, always insisted on preparing the first meal of the day. One morning we had Corn Flakes that had an ant or two for extra flavor and texture. Ken and I joked about it (that's the way he was). I discovered, that this was really just the tip of the proverbial ant iceberg, as quite a few ants had made their way into the box of Corn Flakes, which was only about half full. Rather than throw the box away, Polly instead put the box on a table and surrounded it with a ring of powdered ant poison. Of course, all (well most) of the ants came out for their treat and summarily died, leaving the cereal 99% ant free (better than hot dogs, I understand), which we then had for breakfast. This was totally fascinating to me, as they could have bought a Corn Flakes factory if they wanted. Yet, here was a perfect example of someone who grew up during the Depression, they wasted nothing!

For my second idea, I ask everybody in the room who is wearing a Timex watch to raise their hand (I cap the class at 40 students, but because of the topic, and depending on what film I am showing, I typically get upwards of 100 to 150 people). Depending on the fashions of the day, I typically get anywhere from 30% to 40% of the room that were wearing a Timex. I then explain to them the story of how Mickey Mouse saved the Ingersoll Watch Company during the Depression, and that, of course, Ingersoll became Timex (and so many others).

Finally, with my last idea, I bring out an original Ingersoll Mickey Mouse pocket watch for them to look at (tough in a large classroom, but we take a 10-minute break every hour). This is more fascinating to them the I ever thought it would be (so I show a lot of artifacts).

Ultimately, I think when the three ideas are put together to help explain a concept or time period, that it helps them grasp what I am talking about. Often, I'll have students come up to me a week or two later, stating that they talked to their grandparents (or, great-grandparents) about the Depression and heard similar stories. And even at that, they still say it is difficult for them to understand.

So, what does this have to do with Christmas (and the second day thereof)? Well, in my typical Obsessive Compulsive Over-Explain Everything mode, I wanted to give you a background of historical context and what I mean by that term. The reasoning is that I feel most people (myself included) that did not live through the thirties, do not understand how important Walt Disney was to our country. Or how much Walt Disney and his world were part of our everyday life. So much so, that most everyone would have a Disney story, a Disney favorite, a Disney connection, or just make use of Disney during their daily routine. I encourage you to learn more about the various time periods in which Walt Disney lived and created, and I think you'll end up with a lot deeper understanding and meaning of how truly important this man was to our country, and to a better part of the world!

A perfect example of Walt's "omnipresence" during the 1930s, at least to me, is today's item for the Second Day of Christmas here at the Institute. This is what historians (and collectors) call a "knock off," which is something that is not licensed by Disney or makes use of the Disney product without permission. This can include everything from movies, publications, toys, endorsements, and so much more. The amount of Disney knock-offs in the 1930s is beyond anything one could even calculate. Seemingly, every time I turn around, I find some new Disney knock off from the 1930s, and usually not very well done. The item today is a Christmas Card from the firm of Lang, Fisher, and Kirk, Inc., and is a rarer example of a knock off simply because it is done well (art wise) and is quite clever. Keep in mind that anybody receiving this Christmas Card would know exactly everyone of these characters and the story behind it (except for the poor chicken). It is a clever use of personalities of the day that all will know, all will respect, and as such, implies sort of an endorsement of the firm ("Hey, if Snow White and Donald Duck use Lang, Fisher, and Kirk, then so should we!").

I spent some time trying to find out what business the company was in, but could come up with nothing. My guess is manufacturing (common in the 1930s), or perhaps a law firm (I love Mickey carrying the stack of office work). The Christmas Card is circa 1937 or 1938, and the artwork is surprisingly well done. At the very least, the firm offers Walt an apology, perhaps with the hope of avoiding a lawsuit. But by this time in Disney history, Kay Kamen and Gunther Lessing were employed by the Disney Brothers, and they were very strict about protecting the company's intellectual property! 'Tis The Season To Go To Court.

TWELVE DAYS OF CHRISTMAS-Day One

THE TWELVE DAYS OF CHRISTMAS
DAY ONE-by Paul F. Anderson

To me, nothing seems to go together as well as Walt Disney and Christmas. The Yuletide season is my favorite time of year, and, of course, Walt Disney is my life's work. Put the two together, and I am in absolute bliss (by both Webster definitions of this word). Therefore, I am pleased to present to those visiting the Institute, our DHI Twelve Days of Christmas (with apologies to the good folks in England and Frederic Austin). In keeping with the Institute's mission statement, I hope to present twelve Disney/Christmas essays that feature a heretofore little known (or unknown) facet of history. I have written several essays here on the Institute's website about Walt's sense of charity, and his desire to give not only to any good cause that came along, but also to the communities in which he lived. The first day of Christmas in our twelve days, is just that--another sparkling example of Walt giving back to Kansas City. As I have written before, with today's sensibilities this may seem small, but to those in Kansas City that were fighting the Great Depression, this was a sense of hope, charity, and happiness (all embodiments of Christmas). The above illustration was most likely done especially for the Kansas City Star (the few historians I have shown it to, have not seen it prior to this apparent first appearance). It came without a date, but through dating the material it came with I believe it is from December 1937 (a chance that it is from December 1938). It feature's Mickey's nephews (Morty and Ferdie Mouse) obviously thrilled at the visit of Santa Claus (who looks suspiciously like Donald Duck). Pluto is the keeper of the the Christmas stockings. The caption read: "Celebrators! Mickey Mouse, Donald Duck and Pluto, famous Walt Disney characters, readying for Santa's advent." (Obviously they must have been a bit confused by the appearance of two Mickeys.) Merry First Day of the Disney History Institute's Twelve Days of Christmas.

MONDAY-WALT QUOTE DAY "Books"

Anybody who has been to my office and home will realize that this is probably the one Walt quote I live my life by.

"There is more treasure in books than in all the pirates' loot on Treasure Island and at the bottom of the Spanish Main...and best of all, you can enjoy these riches every day of your life."

WALT'S BIRTHDAY 2009-The End

Mr. J.B. Kaufman and I have just returned from a wonderful Birthday celebration for Walt Disney. It was a great presentation and a festive time was had by all. Thank you for joining us here today on Walt's 108th Birthday. From Both Of Us To All Of You ... Happy Walt's Birthday.

Paul F. Anderson and J.B. Kaufman
Good night!

WALT'S BIRTHDAY 2009-Hyperion Studio

If you are reading this, then you are lucky. This is put in as a placeholder, and will shortly be removed to put in the real Birthday post. However, since you are reading this, it means I am late getting back to my computer. J.B. Kaufman and I are out this evening to do talk about Walt Disney and some book signings. We are supposed to be back in time, but in case we are not, I am posting this. Sort of a montage of photos from my Disney Historical Tour of the Hyperion Studio (no longer there, so I need lots of photos when I take people). Enjoy.

WALT'S BIRTHDAY 2009-Charity For Home

I've written quite a bit here at the Institute about Walt's sense of charity and giving back. He was always willing to help a good cause (and much more on this in future Institute essays), but as you know he was especially fond of his roots (Chicago, Illinois; Marceline, Missouri; and Kansas City, Missouri). In the 1930s he was often sending off little things to help along the people and organizations from his "hometowns." All of the big things he did are documented, but many of the day-to-day requests to help Walt responded to, but they are often forgotten. Remember, it was the Great Depression, and Mickey Mouse became the everyman, overcoming odds and prevailing. As we have heard, the song "Who's Afraid of the Big Bad Wolf" was a rallying cry for many during the height of the Depression. The same can be said of a lot of small gestures Walt gave back to his communities to help out. Such as these Easter Eggs. Seemingly today, really not much of anything. During the Depression, this was something significant and important. It lifted people's spirits. It helped the community. And, it was a nice thing to do. As I preach to my students "Historical Context," I ask you to think about living through the Depression and having someone from your community who has truly made good, give something back. It was hope. Hope in the future and the American dream. "If Walt Disney, who grew up right here in Kansas City, can make his dreams comes true, then so can I. To Hell with the Depression. And then, when I make it, I can give back too." A worn out cliche, "It was a simpler time"--but it really was, and it was people like Walt Disney who made the tough times bearable.