THE DHI FESS-TIVAL-Crocketmania!

It started December 16, 1954--the day after the first episode "Davy Crockett, Indian Fighter" aired on ABC. By the second episode, "Davy Crockett, Goes to Congress," broadcast on January 26, 1955, it was a spreading epidemic that would shortly engulf the nation's thoughts, pastime, and psyche. It had taken Walt and everybody at the Studio by surprise. Crockett producer Bill Walsh expressed the feeling of astonishment in a Disney publicity memo, "ABC couldn't believe it. Parker couldn't believe it. Neither could Walt nor I. After the second episode aired in January 1955, there was no mistake. We had a hit show."

The merchandising aspect of the fad was astonishing--it also provided much needed capital for the Disney Studios. Time reported that in the first three months of the craze alone, over $100,000,000 of Crockett merchandise was sold. When it was over, an astronomical $300,000,000 in Crockett commodities was sold. Compare this to the previous Hopalong Cassidy craze in 1950, which did a grand total of just $1,000,000 in merchandise sales. Bob Thomas in Walt Disney: An American Original, called it "the greatest merchandising sweep for any national craze, before or after."

Fess Parker, Lillian Disney, Walt Disney, and Pat Hogan
on location in Tennessee

While not all of the merchandise boom was Disney’s, as Davy was after all a historical figure, the items that bore the “Walt Disney’s Official Davy Crockett” name were of high quality and authentic to the time period. The Crockett merchandise integrity was strictly based on Walt's convictions. When a licensee approached Disney about doing a Davy Crockett Colt .45, Walt objected vehemently, "Absolutely not! They didn't have Colt pistols in Crockett's time." His involvement in merchandising was not extensive, but he insisted upon authenticity and quality.

The Coonskin Cap became the classic Crockett possession. Raccoon tails, which were selling at 25¢ a pound, quickly rose to $5.00 per pound. When raccoon pelts became scarce other animals were recruited. Tom Tumbusch said it best, "If you had fur--you'd better watch out!" Even raccoon coats from the twenties became a valuable commodity.


At one point a line of caps was produced using a compound of cardboard and shredded crepe paper. This caused a nationwide alert among fire chiefs, as the caps were deemed a fire hazard. So serious did this become, that The New York Times Magazine called it a "matter of national safety."

Books were another popular seller. The publishing industry estimates that 14 million books on Davy were sold in 1955. The previous year had averaged just around 20,000 books on Crockett. In the end it is estimated that over 300 different Davy Crockett products were manufactured.

Even education was swept up into the mania. Schools were named and renamed after Davy. The naming of a school wasn't necessarily contested, either--The New York Times reported that the Mansfield, Ohio School Board "overwhelmingly" chose Davy Crockett as the name for their new elementary school. Schools closed down when Fess Parker arrived in town for a personal appearance. One such occasion was the arrival of Fess at Hudon's Department store in Detroit, Michigan. In this case the Detroit Public School System was "forced" to close down.

Not even the political arena was immune. Davy Crockett, once again, entered public service--not of his own volition, however. Pittsburgh voters, discouraged with their elected officials, took the opportunity to write-in Davy's name in several primary elections. In one case, in a district election, Crockett actually won the post of Judge of Elections.

Noting the success that the Whigs had in using Crockett against President Andrew Jackson, the Republican Party considered using the Crockett image in much the same way. That was until Democratic Vice-Presidential Candidate Estes Kefauver, who was from Tennessee, beat them to it by donning (numerous times) the Coonskin cap. It did not help the Democratic ticket win the 1956 election, however.

Then Crockett found his way to the floor of the House of Representatives again--at least his words did. During deliberation on the use of atomic energy, Texas Representative Martin Dies, read from Crockett's 1830 speech to the House. Dies used the speech to emphasize the motto, "Be sure you're right, then go ahead." He further proposed that "these immortal words could be inscribed on a tablet and placed in the House of Representatives. I am sure that if they are practiced by you and me, the security, the liberty, and happiness of the Republic would be insure for all generations to come."

An amusing situation arose from Dies proposal, as Representatives from Texas, North Carolina, and Tennessee engaged in a spirited debate over the right to "claim credit for this great American." The debate even lead to a dispute over the birth of Crockett when Representative Jones of North Carolina submitted that Davy was born in the North Carolina territory before Tennessee had become a state. A Tennessee Congressman took exception to this. The Congressional Record chronicles his startling response, "I appreciate that what the gentleman has said is historically correct, but in view of the popularity of the present song ["The Ballad of Davy Crockett"] the record of history will probably show that he was born on a mountaintop in Tennessee." The New York Times reported on this great debate on the floor of the House of Representatives: "Presumably fifty million kids can't be wrong, but Davy Crockett has finally been asked to do something beyond his power. He has been asked to reform Congress."

Besides being the focus of political fervor the intellectuals and academics got involved in the Davy debates. Brendon Sexton, Education Director for the United Auto Workers, commented on a Detroit Radio show that Davy was an "ordinary backwoodsman, who probably spat on the sidewalk, chewed tobacco, certainly didn't know any grammar... not at all an admirable character." Presumably because Crockett's individualism did not suit Union needs. Newsweek suggested that "Sexton's fusillade was his fear that the freshly venerated frontiersman might be turned into a Republican tool."

The New York Post launched an "idol-smashing" campaign led by its labor columnist, Murray Kempton, called "The Real Davy." Kempton's barrage pointed out apparent inaccuracies: "He met his first bear at age of 8," not 3; he claimed Old Betsy "was a Republican campaign contribution"; and called Davy "a fellow purchasable for no more than a drink."

Harpers and Saturday Review also joined in the heated intellectual debate; running articles with titles like, "The Embarrassing Truth about Davy Crockett" and "The Two Davy Crocketts." Most concerned Davy's moral character and were alarmed at the differences between actual history and Disney's version.

A host of allies sprung to Crockett's defense, including, oddly enough, The Communist Worker. The Worker defended Davy, "It is all in the American democratic tradition, and who said tradition must be found on 100 per cent verified fact?"

William F. Buckley, on his State of the Nation show on the Mutual Broadcasting Company, exonerated Crockett, too. "The assault on Davy is one part a traditional debunking campaign," Buckley commented, "and one part resentment by liberal publicists of Davy's neuroses-free approach to life. He'll survive the carpers." (And he did.)

Finally children came to Davy's defense. Children and their parents, picketed the editorial offices of The New York Post. They wrote letters to Harper's and Saturday Review, expressing their disapproval. One such letter to Harper's, concerning the article "The Embarrassing Truth About Davy Crockett," was from a 12-year old girl. She contended that the article was "dangerous." It seems that she had read it to her boy friend "and was barely halfway through when he gave me a crack on my shins with old Betsy and then hit me across my nose with his coonskin cap."

Collier's had the most eloquent defense, explaining "Children don't select their heroes on the basis of the exact historical record. And who can say that Daniel Boone is any more real an American hero than Pecos Bill or Paul Bunyan or Huckleberry Finn? It is he who makes the hero real, who by some childhood magic can turn a stick into a horse. The real hero is not Davy Crockett or Galahad, it is himself."


The craze raged and so did the debate, (even though most parents and educators felt that Disney's version of the frontiersman represented a good role model). In the end Disney's Crockett outlasted his detractors.

Then, just as suddenly as it had started, the hysteria seemed to fizzle out. "A fad disappears when its function has 'functioned' long enough. When almost every child had his cap, rifle, powder horn, book and record," says Sociologist Paul Lazarsfeld. "Then most children aren't impressed with these things any more. The more pressure behind a fad the more quickly it'll run out."

"Manufacturers were shipping Davy Crockett items as fast as they could make them," claimed Jerome Fryer, President of the Toy Manufacturers of the USA. "Then one Monday morning the phone stopped ringing and the orders stopped coming. Don't ask me why everyone picked that day. They just did." The craze had ended. Whether it was a sudden decline, as Fryer's comment suggests, or a gradual decline, is open to debate.

Buddy Ebsen remarked, "It was like a skyrocket, it goes up and it comes down. But I, from the comments I get from people, think it's still alive." Fess Parker agrees, "What happened was that the show was an instantaneous hit in December. And there were only two one hour shows after that and they were spread over the next four and a half months--and reprieved. So it was on television twice over a six month period. Then we went into the theaters as a first run picture. And while that was happening, we made two more hours which was shown the following year--and then reshown--and then went into the theaters the next season. So there was about two years, I agree a diminishing trip, but it extended for a long, long time."

THE DHI FESS-TIVAL-The Crockett Craze

THE CROCKETT CRAZE

By Paul F. Anderson

"I know, that obscure as I am, my name is making a considerable deal of fuss in the world."
-David Crockett Autobiography [1834]

The craze set-off by the Emmy Award winning Davy Crockett Series is a unique phenomenon of the 20th Century. There has never really been anything like it--and it is likely that there never will be. It was a spectacular demonstration of the power of the infant medium, television, to govern behavior and sway events. And Fess Parker was at the center of it all!

Why did it happen? It is a popular question, but one that has no easy answer. It is a question that many have had trouble answering, including the likes of Walt Disney, Bill Walsh, Fess Parker, and more.

As far as television was concerned, there had been nothing remotely like it up to that time. The quality of the series was sound in most respects. The story and performances were exceptional. It had good music and a "catchy tune." These factors were necessary, yet there had to be more for it to beget such a response.

The social and political climate of the 1950s certainly played a major role in its success. The fear of Communism had people's patriotism at a fever pitch. It is likely that the show intensified these feelings. With the tensions of the Cold War, even children were receiving large portions of Americanism in the schools. The Pledge of Allegiance, air raid drills, anti-Communist assemblies, and nuclear safety training were all common-place in the 1950s. Davy Crockett as portrayed by Fess was as American as apple pie and as such it played to the patriotic emotions of the era. Margaret King, in her doctoral dissertation on the Crockett craze, intimates that Davy’s appeal "might have been the direct result of the general feeling of the time that what the country needed in the face of the Red Scare was deeds instead of words."

The Craze's timing coming after World War II could not have been better. Economic growth was surging and there was a new abundance of consumer products. This new attitude of "consumerism" fueled the fire when it came to the Crockett merchandise. Furthermore, all of the post-World War II babies–now called the "baby boomers"--were just coming into the prime age group for the Crockett series.

Crockett was also a real life hero, not a fantasy super hero. Many of the heroes that appeared in popular culture up to the time of Disney’s Crockett had been imaginary--Buck Rogers, Space Cadets, Superman, and so forth. Children could grasp the reality of the frontiersman much easier, and more importantly, they could truly believe that they could become someone like Davy Crockett. He was easy to identify with. Ernst Dichter, an expert on fads, took a stab at the “real-life hero” hypothesis for the craze: "Children are seeking for an opportunity to explain themselves in terms of the tradition of this country. Crockett gave them that opportunity. On a very imaginative level the kids really felt they were Davy Crockett."

"A fad satisfies a need for status and common experience among kids." commented Paul F. Lazarsfeld, chairman of Columbia University's Department of Sociology, "Parents welcome it, too--sometimes subconsciously. First, because it helps keep the kids out of their hair. Second, because the hunger of children for new experiences usually is far beyond the inventive capacity of even the most devoted parents. And a fad provides a clear-cut line of gratifactions: `If you're good, you'll get a Davy Crockett cap.' "

James L. Baughman in the book Hollywood in the Age of Television, advances one of the most unique theories, "many parents had discovered at the height of the Crockett craze, to their horror: it was hard to say no to children." Furthermore, many of these parents that simply could not say “no,” grew up during the Depression and had to go without. It was so much easier to just buy little junior (or junior-ette) that extra Crockett item.

Regardless of why--the craze happened--and it taught us a great deal. Tomorrow here at the Institute for our DHI FESS-Tival, I’ll take a look at Crockettmania and some of the incidents responsible for earning it the status of “craze.”

THE DHI FESS-TIVAL-Worldwide for Davy

DAVY CROCKETT OVERSEAS

Davy Crockett's popularity created one of America's all-time greatest fads. While not quite as epic in foreign countries, it was still popular and the Disney Davy Crockett brand, with Fess Parker as the hero, had success in numerous countries. This movie program is from Denmark and is completely reprinted below. The program here at the Institute that accompanied my obituary of Fess Parker (See it here) is also from Denmark. Truly the loss of Fess Parker will be felt around the world. (Note: Thank you to Are Myklebust for the correction on the country. I originally had it listed as Norway.)

SUNDAY FUNNIES-My Childhood Dream

THE SUNDAY FUNNIES

I don't recall when I discovered this cartoon, but I do know it was back in the "early days" of the Institute; the 1970s. Even in grade school and junior high I was interested in Walt Disney and his legacy. Moreover, I was completely and totally enthralled by Disneyland. As such, this cartoon must have seemed a solution to me for getting back to Disneyland, considering I lived in Wyoming (which meant a two-day trip just to get to Disneyland--and how much gas does a school bus actually have?).

The cartoon is by famed magazine cartoonist Orlando Busino. His cartoons have appeared in McCalls, Reader's Digest, Good Housekeeping, Saturday Evening Post, and many more. I first encountered him in the pages of the Boy Scouts' magazine, Boy's Life. Born in 1926 in Binghamton, New York, he is now enjoying retirement in Connecticut. I do not have the information on the date and the magazine it was cut from (my adolescent mind did not comprehend the concept of "citation"). However, on the back of the cartoon is an advertisement for a Barbie-like doll ("they cost a fraction of other leading ..."), and six pictures of these dolls in differing outfits. The first thing this tells me, is that it is probably not from Boy's Life! Secondly, the fashions are late sixties/early seventies. Enjoy!

The caption reads: "Take this bus to Disneyland!" (Click on the cartoon for a larger image.)

THE DHI FESS-TIVAL-Fess Parker on Indians

Fess Parker and Pat Hogan (Chief Red Stick)
"Davy Crockett, Indian Fighter" broadcast December 16, 1954

FESS PARKER ON INDIANS

"Well, I think there's no question about it. It's a very disgraceful aspect of our country's history, past, present, and I'm afraid into the future. We have not yet faced up to what was done, what was promised with unbroken promises. But I don't think really, we should be too hard on ourselves because we're only a little over 200 years old, and while it's been hard on certain segments of our population, I think things are generally improving and understanding is growing."

DHI BOOK SHOP HAS OPENED FOR BUSINESS

Just a quick note to let Institute readers know that I have started to put books, magazines, and other Disney paper (and one Walt signature) in the DHI Book Shop. My plan is to put in a half dozen or so items every few days (rarer historical items, rather than the common stuff that can be found everywhere), so check back often. The funds are helping to pay off some medical bills and also going towards supporting the Institute and for additional research (primarily interviews--I am going to the Disney Archives in two weeks, and I have three people I am trying to set up interviews with). So thank you for your support and feel free to spread the word. You can click the DHI Book Shop link at top anytime to go to the store.

THE DHI FESS-TIVAL-Celebrating the Life of Fess Parker

THE DHI FESS-TIVAL CELEBRATION KICKOFF!
by Paul F. Anderson

Welcome to the first installment of the Disney History Institute's Fess-Tival: A Celebration of the Disney Life & Times of Fess Parker. Check back each day for a new story, anecdote, or photo from Parker's work for Walt Disney. All of the quotes from Fess Parker will come from the interview I did with him over Memorial Day weekend 1993 (unless otherwise cited).

When I first arrived for the interview at his Winery, the 68-year-old grandfather welcomed me as if we had known each other all of our lives. He escorted me through a room and into a high ceiling-beamed office. I noticed a coat rack with an American flag and a coonskin cap, all nestled against a wall with a myriad of photos from his career. We started the interview, but it was more like a chat between old friends. He seemed genuinely delighted to talk with me and share his memories. About half-way through our interview, Marcy Parker joined us. I can honestly say that this was a match made in heaven--the two kindest people on the planet had found each other. I sat there as the two of them talked with me and reminisced about the good old days. They are both wonderful people, and the world was a much better place because of them. The photo of the two (above) was taken that Memorial Day weekend. Enjoy.

FESS PARKER ON WALT DISNEY

"He was an extraordinary man, and I was so lucky. I was the only adult actor to ever be under a personal contract and I enjoyed that for a couple of years and then my contract was made with the Studio. But I used to go in and shoot the bull with him and he always received me. It was quite a privilege."

JOURNAL OF A DISNEY HISTORIAN #2

One Disney Historian's Journey Journal

By Paul F. Anderson

INTRODUCTION To those that are still following this, you may recall back in November I posted the first "Journal of a Disney Historian" (Entry #1). It was supposed to be an attempt by me to answer questions and emails, update folks on future entries here at DHI, and tie up any loose ends from previous essays and entries. My apologies for taking so long to get to it. Because of the length of time that has gone by, I have quite a bit of material to cover, so I apologize for the length. Many a friend has told me that it is suicide for a blog to include so much information. I am guessing that those that visit the Institute on a regular basis are not as into the ephemeral nature of the Disney blogosphere, and perhaps are looking for a bit more. It is those people that I am intending to appeal to. Those of us that really want to study and learn about Walt Disney and his creative legacy. Still, if this is a bit too lengthy, perhaps you can divide it up over a few days. And for heaven's sake, do not miss all of the entries below, as a situation with the power here at DHI sort of backlogged several essays that have all been recently posted.

OUT OF THE INKWELL I am answering some of the emails here, especially as they pertain to previous posts and either ask for clarification, or offer clarification of their own.

CARLSBAD CAVERNS
DHI Reference: "The Unbelievable According to Walt"

TRAVEL DATES: I had speculated on the general time period Walt and his party visited Carlsbad Caverns, but wanted the exact date. Unfortunately, I was off by a year (but right about the trip being World's Fair related). Enter those most excellent (and supremely omnipotent) folks at the Disney Archives. According to Walt's travel log he was at Carlsbad Caverns, New Mexico on May 16, 1963. He left for Kansas City on the 17th, and then onto Springfield, Illinois (for meetings on Lincoln, no doubt). He stopped in St. Louis on the 19th, and then to New York City for a General Electric Press Conference on the 20th. He returned home on the 25th. I would like to graciously thank Rob "Part of Your World" Klein and Chief Archivist Dave Smith for going to the trouble of getting this information.

PIRATE CAVERNS: I received an email from my good friend Todd James Pierce (my hero when it comes to actually getting an interview with an old-timer--he will do anything, now that is dedication!!) about Walt's visit to Carlsbad: "Enjoyed the articles and photos. I assume you know that these caverns in all likelihood--during this particular trip--were the inspiration for the caverns section of the Pirates of the Caribbean attraction--as there are no limestone caverns at all in the Caribbean (that I know of)."(Rendering at left: WED Imagineering Art Concept For The Pirate Caverns at Disneyland's Pirates of the Caribbean)

I was not aware of this and Todd and I did some checking. Actually, as it turns out, there are more than 150 limestone caves in Bermuda alone, all containing abundant stalactites and stalagmites. In Barbados there is a famous limestone cave called Harrison's Cave, that is reputed to be the largest of its kind in the Caribbean, as well as a former pirate hang out. This is why Todd and I are historians, and not geologists. However, with this knew information we continued to chase down the story. Todd added, "I'm pretty sure that the Carlsbad Caverns did play into the creations of the Pirates' atmosphere--even if they do exist in the Caribbean. I think I can find a reference for you on that. I do remember coming across that in an interview I read or listened to a couple years back. But in terms of timeline, I think it makes sense, too."

Once we get that information (or if anyone has it), I'll post it here at the Institute. Recently it seems as if the Pirates of the Caribbean caverns have been on the mind of a lot of folks. D23 did a fantastic Live Chat with Imagineer and Walt Disney Legacy Defender Supreme, Tony Baxter (see D23 Chat With Imagineer Tony Baxter). In that, Tony was asked the specific reason for putting the caverns at the end of Pirates of the Caribbean at Disneyland Paris (Euro Disneyland to us old-timers). Baxter's response was: "It's a long story but yes, at DLP we had a chance to correct what we felt was a problem with the original show. The caves at Disneyland filled leftover space. And at Paris, we were able to put that at the end where we all know Dead Men Tell No Tales. It didn't hurt that Herb Ryman had created a painting years before showing the boats going up into the fort at the beginning of the ride."

CARL BARKS' RESIGNATION

DHI Reference: "Carl Barks Leaves Disney-Thank Goodness!"

I printed Carl Barks resignation letter here at the Institute and in that post I mentioned that Michael Barrier would be the ultimate resource for any information on the letter and its history. I was right. And true to his nature, Mike came through:

"I was the person who located that letter, but long after my book on Barks was published. It was in the Disney Archives' files of Walt's interoffice correspondence (a much richer trove than his correspondence with the outside world, at least for my purposes at the time). I remember calling the letter to Dave Smith's attention, and I believe he subsequently filed the letter with other Barks letters and such (which I saw and some of which I copied on one of my very first visits to the Archives--I still have the old slick photocopies). I wrote a piece about finding the letter, and about the circumstances surrounding Barks's resignation, that appeared with a reproduction of the letter in Walt Disney's Comics No. 605, October 1996. (Barks's letter was also reproduced in Uncle Scrooge Adventures in Color No. 4, in June 1996. The letter was typewritten, by the way, not handwritten.)"

So for the "Rest of the Story" (with apologies to Paul Harvey), I recommend you seek out the comic book. Moreover, if you have not been following the essays by Michael on Walt and the Ivy League and on Dumbo, you should. Highly stimulating history, with the typical Barrier "overkill" (in his own words). See his site at: Michael Barrier.

THE PEPSI DISNEY MAIDEN

Longtime friend Kai Verbarg from Germany wrote me the following: "This is just to let you know how excited I am about your new blog! It hardly seems possible, with all the Disney-themed blogs out there, that you could find and post fresh stuff, but from what you've posted so far, that is exactly what you're doing. One article or post that I'd love to see would be on the involvement of Pepsi-Cola and Disney at the 1964 World's Fair. There's one item I THINK I saw you mention in Persistence of Vision once, namely, a character called "Pepsi Maid" or something, only I haven't been able to scare up an image of that anywhere...I seem to recall you published an image of the maiden in a POV issue (which I'd have to pull out of my safety deposit box). Well, if not you, then who would have something on this?"

Thank you Kai for your kind words and continued support. In my extensive piece on Walt and the 1964 New York World's Fair in POV #6/7, I did have a "chapter" on Pepsi and hope to add to it and post bits and pieces here at the Institute. And yes, I did post one image of the Pepsi Maiden with that article, but in the last fifteen years I have found a few more. The idea was largely that of Van France who had the responsibility of writing the Disney training manuals (aka, Standard Operating Procedures) for those working at the Fair. (Image at Left: The Pepsi Maiden from POV #6/7)

The following image is the cover of one of several different training manuals done by Disney for It's A Small World at the Fair (each area needed a separate manual). This image includes Disney ambassador Jiminy Cricket (used extensively in training materials from the Fair) and a Pepsi Maiden.

The other Disney ambassador that was used extensively in the Fair training manuals (more so than Jiminy) was Tinker Bell. In just one It's A Small World books, she makes over a dozen appearances inside to assist those in learning the Disney magic. In this particular book, she actually takes on the persona of a Pepsi Maiden.

More "Out of the Inkwell" Next Journal

STOLEN ORPHAN'S MILK To those that actually follow my strange musings here at the institute (DHI Reference: The Mystery of "Grisham's Mickey Mouse"), I offer another teaser of things to come, and to who actually stole the orphan's milk! In this new clue, we see Mickey Mouse, in his former politically uncorrect Gottfredson incarnation, needing Big Bertha Bricks to placate the Indians (did they steal the Orphans' Milk?). Will Grisham come to the rescue? Will Mickey live to see another adventure? What exactly is a "Big Bertha Brick"? Keep tuning in to the Institute to see how this mystery turns out!

DISNEY & HIRSCHFELD-"An Artist Contests Mr. Disney"
(DHI Reference: Walt Caricatures)


Back on the DHI Walt Disney Birthday Celebration I wrote about caricatures of Walt, and mentioned one by Al Hirschfeld, the “line king.” I had intended on posting it shortly after the Birthday celebration, but this became an issue when it could not be readily found; and searching through tens of thousands of newspaper clippings here at the Institute to find said caricature appeared to be a formidable task. Fortunately, an unexpected rescue came in the form of my eleven-year old son and the question, “Dad, can I do Disney research too?” What resulted was the Institute’s first internship and the discovery of what I promised to share with DHI readers over four months ago.

The caricature, and accompanying Hirschfeld article titled “An Artist Contests Mr. Disney,” appeared in the New York Times on January 30 1938. Having been removed from the article for over a decade, I did not remember the less-than-flattering nature of the piece. It was guised under the pretense of reviewing Snow White and the Seven Dwarfs, and the famed caricaturist was not very fond of Walt’s newest creation (one of the few that felt this way, I might add).

I’ve learned more about Hirschfeld in the intervening years, including his use of the line to express his feelings towards an individual, whether to the positive or negative. There is more to Hirschfeld’s line than a caricaturist’s exaggeration, there is editorial content. Because of this, I did not want to post the caricature by itself, especially when a closer examination suggests a rather uncomplimentary tone towards Walt. The caricature comes off as a bit of a hick-ish, foppish dandy; beady eyes, buck teeth, tux, wilted rose, and all. Not lost on me was the pedestal, surely a commentary on the artistic Sainting of Walt during the thirties (and of course, in Hirschfeld’s vision, Walt is decidedly not on a pedestal). Moreover, the garland on the pedestal further illustrates Hirschfeld’s perceived adulation of Walt ( garland was a mark of honor and a tribute). Based on this, I felt a bit of my own editorial commentary might be appropriate.

Hirschfeld’s objections to Walt’s new art form are the “attempts at realism.” A given, I guess, considering his own work and fame were founded upon heavily stylized art. Hirschfeld takes particular aim at the human characters, especially Snow White, the Evil Queen, and Prince Charming, referring to the latter as the “cardboard lover.” He states that art–at least his idea of art–is of a well directed pen line and should not “be confused with the gingerbread realities of a Snow White.” In Hirschfeld’s world, Disney’s realism belongs to the “oopsy-woopsy school of art practiced mostly by etchers who portray dogs with cute sayings” (an artistic slam if ever there was one). Moreover, he directly assaults Ms. White’s realism by declaring that “with her full complement of fingers and fingernails, eyelashes, one dimensional head, bare arms without solidity and uninventive neck” she is nothing more than an “anatomic automaton.” Interestingly, no mention was made of the rouge that was uniformly and painstakingly applied to each cel by the talented Disney Ink and Paint Department (too realistic, perchance?).

Hirschfeld’s disdain with the human characters is not, however, transferred to the dwarfs. For the seven little men he finds a soft spot: “Much praise has been written about the Dwarfs by competent reviewers, and I enthusiastically join in their huzzahs. These inspired gnomes, with their geometrical noses, flexible cheeks, linear mouths and eyes, highly stylized beards, costumes and three fingers lend themselves to articulation because of the tremendous magic of well directed lines.”

After dissecting the characters, Hirschfeld offers some pointed words for the movie’s surroundings: “A specific example of this contagious influence may be observed toward the end of the film. Prince Charming lifts Snow White and places her on his white charger. The horse is badly drawn because Snow White and Prince Charming are badly drawn. This scene, whose only virtue is its consistency, could not avoid being bad all the way through.”

The article is not all doom and gloom. Hirschfeld does offer high praise to Walt’s alter-ego: “I do not mean to imply that Disney has offered us nothing new. I merely wish to point out that Mickey Mouse is great art and not a clever novelty, and Disney should not underestimate the genius of his original invention.” The cantankerous caricaturist admonishes Walt to return to what he does best, to once again become “tuned in” to the “right” (read: Hirschfeld’s vision) form of artistic expression; for in his mind, Snow White is merely “corrupting Disney’s style.” This type of sentiment does not surface until after World War II, when Walt, the former darling of the intellectual and artistic set in the thirties, is accused of selling out to commercialism. Better to be poor and artistic than rich and popular. True irony exists here, for the Disney’s were much better off financially in the thirties when they were “artistic” as compared to the forties and fifties when they were “commercial.”

Hirschfeld also takes umbrage to Walt’s perceived lack of originality in the film based on the reuse of gags: “I laughed loud and long when Chaplin in City Lights swallowed a policeman’s whistle and hic-coughed a high wheeze. When Dopey, an excellently designed dwarf, swallows a cake of soap and burps bubbles it is just as funny, but no funnier.”

Just when you think artist Al has finished his critique, he once again revisits his dislike of realism in animation (one wonders what his thoughts towards Fantasia were?). In his mind the evolution of animation towards realism is heresy. Indeed, he takes a jab at Walt referring to him as a “mediocre genius” simply because “he is working toward realistic photography” which is a ghastly vision and an “innocuous departure” from his early genius at animation. What could ensue if Walt does not return to this former glory, according to Hirschfeld, is that this new vision represented in Snow White “could once more revolutionize the motion picture industry by reverting to human beings” rather than the wonderment of caricatures. The end would therefore be just “taxidermy rather than graphic art.”

In the final paragraph Hirschfeld shows us the lenses in which he has used to view Snow White and the Seven Dwarfs: “My primary interest is the proper appreciation of caricature and its allied arts.” Had he started by sharing his perspective-as all English professors preach as gospel for writing an editorial–he might not have come off so harsh. Yet, even with this confession, which has the feel of softening the blow, he shows us that he believes himself to be the arbiter of art, or as he states in his closing statement the “voice of reason” from “one craftsman to another.” It reeks a bit of perhaps some professional jealousy, with a large dose of sermonizing–one artist explaining the vision to another artist, and why the vision is best and should be returned to. Very peculiar coming from an artist–any artist–because the very nature of art suggests no right or wrong way. The vision of an artist should be their vision, and not what someone else thinks it should be.

Hirschfeld brings it to a close with one final parting poke: “And so, Mr. Disney, it is with regret and some anger that I feel you have made the biggest needle-point ever devised by man.” To which, I close with...And so, Mr. Hirschfeld, it is with some regret and happiness that I report Walt did not take your artistic advice. In fact, history has demonstrated that your artistic vision was not applicable, at least where Mr. Disney is concerned. Walt did amuse and amaze us with the vision you approved of–and does to this day, after all, is Mickey Mouse still not popular? Walt also showed his vision of full-length animated features was correct. Oh, and also live-action films. Oh, and also something we call theme parks. Oh, and ....

PERSISTENCE OF VISION I mentioned here at DHI back in November in response to a comment (See: Comments) about the disappearance of POV. It was obviously not my plan, but it is the plan that life had for me. Believe me, illness is no fun, I would much rather have just continued on with POV. Still, if there is anybody that feels like they did not get their money's worth, or wish take a pound of flesh from me (or even just write me an email sharing their thoughts), please do so. I will try to make it right in whatever way I can. Much of what I planned for POV I will be sharing here at the Institute. If there is any way in the future to publish again (with all the new technology available), then hopefully the stars will be right (but it is currently not in my plans). My number one task is to preserve the 250-plus interviews I did through the work from POV (of which, your support in the early years was crucial--thank you). In the coming months here at DHI, I will be trying to regularly list items in the DHI Museum Store (mostly historical items, books, and so forth). If I can offer you a percent off to equate to any loss you feel, or make amends in another way, just let me know. Thank you.

THE DISNEY HISTORY INSTITUTE BOOK STORE The first listing of historical items and books will be put up at the DHI Book Shop link by Friday. Moreover, I will be attempting to put up another ten to twenty items a week as things sell. There will be everything from extremely rare Walt Disney historical items to books (rare, out of print, and more common tomes). I will also have autographs and signatures from those that worked with Walt. The purpose is to help support the Institute, as well as to assist in paying off some massive medical bills. I am not selling any of the Institute's collection, but doubles and extras. I am also interested in trading for historical items I may not have. Please feel free to email me with anything you might have for trade.

FINALLY ... THE PASSING OF A DISNEY LEGEND It is with deep sadness that I recognize the passing of a good friend, and someone who was instrumental in my Disney history career. By now, you have all heard of the passing of Fess Parker at age 85. Because of the power issues here, I was two days behind the world in learning of our loss.

I first met Fess Parker in 1991 at the Disney Legends Ceremony. I was in attendance as a member of Ken Anderson's family; Ken was also receiving a Disney Legends award that day. The Studio had set up a special breakfast area for the honorees and their families. I was in seventh heaven and totally oblivious to my surroundings (some of which included the likes of Carl Barks, Sterling Holloway, Fess Parker, Julie Andrews, Claude Coats, and so forth). After finishing our Mickey pancakes and scrambled eggs, Ken stood up and said to me, "Come on, I want you to meet someone." Ken walked over to a giant of a man (I'm 6'2" and he dwarfed me) and said, "Fess, I want to introduce you to my son." I could not have gone any higher in the stratosphere at this point, even with a Tomorrowland Jet Pack. It was a Disney historian's dream.

Fess was gracious. Fess was always gracious! I asked if I could do an interview with him, and he happily agreed (being with Ken's family helped, I'm sure).

Two years later over Memorial Day weekend I went up to his Winery and sat down with him for a wonderful series of interviews. Fess was beyond gracious! We quickly discovered a common interest in history. I told him I was truly interested in all history, but especially Disney history. He asked me if this is what I really wanted to do with my life. More than anything, I responded. At that point, I received a good dose of fatherly advice (I can not explain it any other way). It was about following my dream and sticking to what I have passion for. If Disney history was it, do it better than anyone else and always devote yourself to it. To this day, I have never forgotten his words. When I told him I was interested in oral history and wanted to do as many interviews as I could before everyone was gone, he graciously (Fess was as gracious as they come) opened his address book and personally called a dozen or so folks from his days at Disney that he felt I should talk to. This resulted in an article for Persistence of Vision, and ultimately lead to my first book, The Davy Crockett Craze.

The one thing that I learned over the years of my association with Fess Parker, is that he was the very personification of Davy Crockett; a case of life imitating art, if ever there was one. But in this instance, Fess was no imitation, he was the real thing. His only shortcoming was that he only gave us 85 years, and it wasn't enough.

In the upcoming weeks I am going to present a Disney Fess Parker tribute here at the Institute. Often times a tribute is for those who are left behind--for those who mourn the loss of a loved one. If this is true, then this DHI tribute is for Baby Boomers everywhere, because on March 18th, we all lost somebody we loved a lot. The void that is left with us after his passing, will hopefully be filled with the happy memories and stories that I will be sharing in this tribute. Please stop back in to the Institute in the coming days to celebrate the life of Fess Parker.

God keep him. Enjoy him. We did for 85 years.

WALT DISNEY & THE E.P. RIPLEY Part Two

WALT DISNEY'S RIDE AROUND DISNEYLAND

I got such a strong response to the Fun Foto piece I put up two weeks ago (FUN FOTO-E.P. Ripley and Walt), that I decided to add some photos from the rest of the day (as many emails had requested). So below are eight more photographs from that historic ride by Walt on the E.P. Ripley of the Santa Fe & Disneyland Railroad, before the opening of Disneyland. A few things to watch for are Walt's Smoke Tree Ranch tie, Walt hanging out of the cab and engineering the executives around the park, and finally Walt and a famous mouse. (I tried scanning these photos in at even a higher resolution, so click on each for a nice, clear image.) Enjoy!

THE INNER WORKINGS-The Backside of...Rocks

THE INNER WORKINGS OF DISNEY
Mine Train Through Nature's Wonderland

or "The Back Side of Rocks"
by Paul F. Anderson

Welcome to a new feature here at the Institute. In keeping with my original mission statement for DHI of presenting Disney historical items that can not be seen anywhere else, I inaugurate the column "The Inner Workings" for just that purpose. Each time this feature appears, it will be a rare behind-the-scenes look at the magic--everything from animation to the theme parks, and beyond.

I decided that due to the popularity of the Mine Train Through Nature's Wonderland, it would be a prime candidate for the kick off of this feature. And in honor of the age old Jungle Cruise joke, "The Backside of Water," here at the Institute we give you the inner workings of the backside of the desert--specifically, one of the balancing rocks. The above image is the decidedly rare Disneyland Panorama Postcard J-11 "Frontierland Desert." There are three balancing (sometimes referred to as "teetering") rocks in the picture. Our inner workings subject is the "balancing act" on the right. The black and white photo below showcases the literal "inner workings" of this rock and is taken from the same perspective as the above postcard. It must have been a relatively easy task for Walt's movie craftsman to create such a structure. Probably the most difficult problem they encountered was to create the illusion for long-term, and almost continual, use. (As with all our images here at the Institute, we suggest you click on the image for a much nicer, and clearer, image.)

DHI UPDATE: Power Issues

I was only able to save the one essay on Joyce Hall, so I'm working from scratch to put back together the other essays that were supposed to go up last week. So watch for a flurry of posts in the next few days, including a fairly lengthy Journal of a Disney Historian.

DHI UPDATE: Joyce Hall & Walt Disney

If you have read below about the power issues the Institute has suffered from this last week, you know I had scheduled posts ready to go. I have been able to save two of them, and posted the first. Oddly, it still appears as if being listed on Tuesday, March 16th. As such, I didn't want anybody to overlook it. So page down a bit and look for the 1931 advertisement to the left. Or click on: Walt's People-Joyce C. Hall.

SUNDAY FUNNIES-A Decidedly Disney Hook

THE SUNDAY FUNNIES

In the years I have collected non-Disney cartoons that make reference to Disney, The Far Side simply leads the way. Gary Larson is an astute observer of the media and popular culture, and the sheer number of cartoons he has devoted to Disney mirrors how ingrained within our culture the media giant has become. Interestingly, although the cartoons are current (from the last twenty-five years or so), most Disney references refer to the creations done under the tutelage of Walt Disney. We are to gather from this that Mr. Larson also has good taste (although his cartoons do enjoyably cross the line from time to time). This cartoon is a perfect example. Captain Hook has received many incarnations in the numerous portrayals of him; from Dustin Hoffman more recently and all the way back to J.M. Barrie's original 1902 creation. And yet, it is the decidedly Disney version that is used.

The caption reads: "OK, Mr. Hook. Seems you're trying to decide between a career in pirating or massage therapy. Well, maybe we can help you narrow it down." (Click on the cartoon for a larger image.)

DHI UPDATE: Power Issues

My apologies for the lack of posts and essays this last week. Apparently the Gremlins that I am studying for the Disney and the War book got into the DHI electrical system. Items were scheduled to go up, but there was a utilities issue here at DHI (even our Disney reference and nod to Reddy Killowatt did not save us). The short of it is, we had just minimal power to run everything until the power company got us back up and running (although we did get free electricity for the duration). I am now trying to recover everything, including scheduled posts, so watch the site for a lot of posts these next few days.

WALT'S PEOPLE-Joyce C. Hall

WALT'S PEOPLE-Joyce C. Hall

by Paul F. Anderson

Joyce C. Hall founder of Hallmark Cards became one of the first licensees for Walt Disney. Both had very similar childhoods, each spending their childhood in poverty, and in the Midwest (Hall in Nebraska, Disney in Illinois and Missouri). In 1910 Hall left the Husker state and settled in Kansas City. With him, he had his life savings and an idea for a business that would sell a line of postcards. His venture was successful enough that several years later Hall's brothers joined him and the business became Hall Brothers Company. Business boomed during World War I and by 1917 they started to produce their own line of greeting cards.

In 1931 Hall Brothers Company (later Hallmark Greeting Cards and then Hallmark, Inc.) signed a licensing agreement with Walt Disney to produce greeting cards of all kinds. This relationship flourished for 24 years, when in 1955, Gibson Greeting cards and Disney signed an agreement. The big reason for the change is that Gibson had become one of the original lessees for Disneyland and agreed to set up shop on Main Street. In 1960 Hallmark returned to Disney, and also moved in to Disneyland, where they offered a line of greeting cards, postcards, wrapping paper, pocket calendars, and other items. A new overall license for all of Disney was signed again in 1971 and continued through 1984. During this time, Joyce C. Hall, who had retired in the 1960s, passed away in 1982 at the age of 91.

The advertisement above that features the famous mouse talking to himself (no Disney copyright, OOPS!) is from The Greeting Card May 1931. This trade periodical was published by The Greeting Card Association, Inc. in the interest of the retail dealer. The leading novelty and card companies often advertised in this publication, which included articles on market trends, window displays, advertising slogans, sales aids, merchandising ideas, and much more. I am certain that this is the earliest Hallmark/Disney item that was published, as the ad is basically announcing to the industry the joining of the two companies. We have other cards and advertisements here at the Institute, but this is by far and away the earliest (would love to learn of anything earlier). The fact that it is missing a Walt Disney copyright shows that the Disney Brothers were still learning their way around the merchandising world.

The relationship between Joyce Hall and Walt Disney was especially intriguing during the 1960s, when Hall was interested in discussing the involvement of Walt and WED in a project called Sign Board Hill--a planned community. This was at a time when Walt was considering his Utopian city, EPCOT, and in my research I found a very interesting round of correspondence between James W. Rouse, Joyce C. Hall, and Walter E. Disney (more on this in a future essay here at the Institute).

The personable Hall once recalled an amusing story that happened on a plane ride to California. He was talking with three children who were greatly looking forward to visiting Disneyland upon their arrival in the Golden State. Hall quizzed them as to whether they thought Walt Disney was a real person or an imaginary one like Santa Claus. Putting serious thought into the question, the oldest girl contemplated it for a minute, after which she proudly proclaimed "Both!".

ABOVE: One last look at an early Greeting Card advertisement from 1932.

WALT DISNEY QUOTE-Humor

"Childishness? I think it's the equivalent of never using your sense of humor. I mean there's a certain something that you retain. It's the equivalent of not getting so stuffy that you can't laugh at others."

SUNDAY FUNNIES-Mary Poppins Goes To D.C.

THE SUNDAY FUNNIES

Welcome to this offhand homage to the Sherman Brothers wonderful score to Walt Disney's Mary Poppins (1964). From the Presidential campaign of 1992 when independent H. Ross Perot entered the race. The political strip from August of 1992 was originally featured in The Pittsburgh Press and was the creation of cartoonist Rob Rogers (United Features Syndicate). Rogers demonstrates the lasting power of Walt's Mary Poppins and Bob and Dick's memorable song.

HIDDEN TREASURE-Pirates of the Caribbean Maquettes

HIDDEN TREASURE-Pirate Maquettes

While searching the Institute's photo collection for the Walt and E.P. Ripley photos that were just posted, I came across this image and decided what a great "hidden treasure." I think more than anything it shows the detail that Walt and WED demanded in making an attraction. Photo is dated December 1967, and was a promotional image for the Walt Disney's Wonderful World of Color episode "Disneyland: From The Pirates of the Caribbean to The World of Tomorrow." Enjoy!

FUN FOTO(s)-E.P. Ripley and Walt

WALT DISNEY'S RIDE ON THE E.P. RIPLEY

Everybody has seen the pictures of Walt's ride on the Disneyland Railroad (E.P. Ripley) before the opening of Disneyland. In fact, there is also film of the event that is often used for various Disneyland TV specials. For the Fun Foto contribution, I have added an "s" and rummaged through the DHI photo library to find a handful of very rare photographs from that historic trip that have never seen the light of day. Walt is in every photograph (sort of the first ever Find Waldo, or in this case "Find Walt-o"). As always, click on each image to view a sharper and larger image.