Beauty and the Beast Is Disney’s Latest Mega Production

Beauty and the Beast is a tale for the ages. We’ve read it in fairytale books and watched it in numerous TV and movie adaptations. Maybe the most memorable of this classic was the iconic 1991 Disney animation. With its infectious songs and beautiful graphics, the film entered the popular mainstream worldwide.

Now, Disney is reviving its 1991 Beauty and the Beast rendition with live action heroes, making this Disney’s latest live action fairytale production, but by no means its last.

The film opens the same way as its 1991 predecessor. Emma Watson inhabits the role of Belle, the iconic character from the 1991 animated film. She says live action fairytales are likely to draw people of all ages into the theaters.

“As a child you love Disney, but as an adult you still love Disney because it sort of connects you with that childlike feeling that everything is going to be OK and there’s hope in the world,” Watson said.

It was this nostalgia that made Disney invest $300 million in this lavish musical, with Oscar winning filmmaker Bill Condon at the helm. The film offers background stories that add depth to their characters, such as Belle.

“It really was the first modern Disney heroine,” the filmmaker said. “A Disney princess who doesn’t want to be a princess, who doesn’t care about finding the prince. Someone who’s more interested in books and seeing the world and kind of figuring out who she is than in finding a guy and getting married. She happens to do those things by the end, but it’s not because that’s her main interest.”

Watson says the evolution of the romance between Belle and the Beast also is more complex than it was in its previous incarnations.

“Beast and Belle really dislike each other at the beginning, they really don’t get on, and then they form a friendship and then they fall in love,” she said.

Apart from Watson, the film includes a long list of famous actors. Kevin Klein interprets Belle’s quirky father. Ewan McGreggor, who plays the enchanted candelabra, and others lend their voices to digitally generated characters.

New songs were added to the original ones by Alan Menken, Howard Ashman and Tim Rice. Such a wealth of raw talent in acting, production, costumes and music bolstered Disney’s decision to take the financial gamble.

History – Bell Picturephone


Photograph shows experimental testing of PICTUREPHONE set (left foreground) at Bell Tele-phone Laboratories. Set is being developed for PICTUREPHONE Service, subject of an article on page 14 of this issue. The first transcon-tinental PICTUREPHONE Service call was made April 20 from the New York World’s Fair to Disneyland in California. Market trial of the new service is expected in the next few months, although service for private businesses and residences is still some distance in the future.




















Why Were EPCOT Countries Chosen and Why Are They Positioned There?

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One of my favorite parts in all of Walt Disney World is the world showcase section of Epcot. Experiencing the various cultures, especially the food and beverages that each country exhibits gives a person the ability to see many other cultures in a short period of time. But have you ever wondered why the countries were set up the way they are, and why some are included and others are not? As with most everything interesting, there’s usually a story behind it.

The World Showcase at Epcot is represented by 11 countries centered on a large lagoon. The distance around the lagoon totals about 1 ¼ miles, and when the countries were being selected any country was welcome to place a bid. In some cases they had to get countries to agree on costs, and for that or for some reason couldn’t come up with an agreement. In fact, three pavilions were advertised as part of the project but were never built: Spain, Israel and Equatorial Africa. It is said that Spain still might be represented at some point in the future.

The original plan was to have the American showcase as the centerpiece, and that would have been the place from where visitors would start the showcase. From there they would go to Mexico to the left or Canada to the right, which of course are our natural geographic neighbors. Then it was decided that the American adventure, being the focal point of the entire area should be on the opposite side as the draw for people to circle the lagoon. That’s the way it’s set up now, as it is more visually appealing as the centerpiece of all of the lands across the lagoon. But Canada and Mexico remained where they are today.

In order to make sure that every country was equal, the frontage is the same as is the height of their tallest feature. In the interior some may spread out a bit more than others, but each is equal in frontage space. Morocco is interesting in that it didn’t cost Disney anything to build. The King of Morocco at the time was so thrilled to be part of the showcase that he sent his own people over to build it, totally paying for its construction. Another thing about Morocco is at night when the countries are all lit up as part of its illuminations, the temple in Morocco is not lit up as it would violate their religious beliefs.

These are a few ways to save on train travel. It takes a bit of effort, but that effort can pay off in substantial savings if you choose to travel by car, train, or  airplane. For additional tips to help you save money when planning your vacation, visit  for a wide range of travel ideas. Glen Wheaton is a writer and travel enthusiast.

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New York State Library, The 1939 and 1964 New York World’s Fairs

The New York State Library’s summer exhibit commemorates both the anniversaries of the 1939 New York World’s Fair and the 1964 one. Both were held at Flushing Meadows-Corona Park in Queens. With the participation of many states and foreign countries, big and small businesses, and various cultural, religious, and scientific bodies, the focus was firmly on the future.

The 1939 fair employed the hopeful slogan “Dawn of a New Day.” Its unifying theme was “The World of Tomorrow,” which in 1940 became “For Peace and Freedom” as tensions mounted in Europe.

The 1964 fair boasted the still-standing Unisphere and United States Space Park, pledging “Peace through Understanding.” It was dominated by futuristic, so-called “Googie” architecture and fantastic fairway rides and attractions. Forward-looking entities such as NASA, IBM, GE, Ford, GM, Bell System, and RCA provided the fair with some of its most memorable exhibits. In a typically oversized but uncharacteristic backward glance, Sinclair Oil sponsored Dinoland, complete with life-size replicas of nine different dinosaurs. Other nods to bygone days included an animatronic Abraham Lincoln delivering oratory at the Illinois Pavilion and an eleven-foot statue of George Washington dressed in Masonic regalia. A bust of the recently slain John F. Kennedy graced the entrance to the United States Pavilion.

Television was the big reveal in 1939, broadcasting speeches by Albert Einstein and then-president FDR—along with color photography, air conditioning, nylon, Formica, and fluorescent lighting. Computers (along with more fanciful not-quite-inventions like “jet packs”) were introduced to the public in 1964.

Both fairs were plagued with problems from the start. They were financial disasters and chose to run for two years instead of the usual one. After flouting a number of other regulations as well, neither fair received the endorsement of the Bureau of International Expositions (BIE). (The principal reason in 1964 was that the Seattle World’s Fair had taken place just two years earlier and BIE rules forbid another one so soon.)

New York City “master builder” and long-time parks commissioner Robert Moses—who had arranged for a “vast ash dump in Queens” to be transformed into what would become the 1939 fairgrounds and saw the later fair as his chance to create a permanent park there—proved to be a contentious figure throughout. The upshot was that the 1964 fair was boycotted by Canada, Australia, the USSR, and most of the larger European nations. As a consequence, smaller countries played a much bigger role in it (the refreshingly retro Belgian Pavilion with its “Bel-Gem Brussels Waffle” and the Vatican Pavilion containing Michelangelo’s Pietà were definite crowd pleasers) and corporate influence was rife.

These fairs drew over 96 million visitors and left a lasting impression in the minds of all who witnessed them at two very pivotal times in our world’s history. This exhibit shows some of the New York State Library’s many books, magazines, documents, and ephemera about the 1939 and 1964 World’s Fairs.

Conceived in 1935, with hopes of helping to lift New York City and the U.S. out of the Depression, four years went into planning, building and promoting the 1939-40 World’s Fair. Items in one display case provided a glimpse of what went on “behind the scenes”:

Images from the New York World’s Fair Bulletin show the construction of two iconic symbols of the Fair, the Trylon and Perisphere (both of which were later melted down to make bombs for World War II).

A trio of promotional photographs from the Diorama Corporation of America (MSC Collection: PRI 5643) shows some of the extensive three-dimensional exhibits the company created for the 1939 World’s Fair.

A related article in the May 1939 issue of Popular Mechanics (Call number: 605 P83 V.71 1939), written by the President of the Diorama Corporation, includes a diagram of the Victoria Falls diorama, complete with a working waterfall, that was a popular attraction at the 1939 World’s Fair.

State documents from the Fair Commission, report on their work before and after the World’s Fair.

The theme for the 1939 New York World’s Fair was “The World of Tomorrow.” However, the intent was not so much to predict what the future might hold, but rather, as one pamphlet proclaimed, to present “a new and clearer view of today in preparation for tomorrow.” Displays at the Fair covered a wide variety of topics, from cultural subjects such as art, history, and religion; to food, health, and medicine; to business, industry, and agriculture. Many states and foreign countries also had exhibit pavilions. Items on display included:

“Masterpieces of Art” broadside (MSC Collection: BRO5503+)
For All Who Worship God and Prize Religious Freedom booklet from the
Temple of Religion (Call Number: 200.74 qF692 96-19267)
Polish Week commemorative souvenir program (Call Number: 607.34 097471 qN532 97-13614)
Directory and catalogue of exhibits at the Japanese Pavilion (Call Number: 709.52 D598 97-11380)
Man and His Health, a guide to medical and health-related exhibits at the World’s Fair (MSC collection: QC16514)
Photos of the exhibits of George Washington’s Farewell Address and Abraham Lincoln’s Preliminary Emancipation Proclamation (MSC collection: QC16514)
Songs of the World’s Fair, John Black, 1939 (Call Number: 811.5 B6274)
The book of record of the time capsule of cupaloy, deemed capable of resisting the effects of time for five thousand years, preserving an account of universal achievements, embedded in the grounds of the New York World’s Fair, 1939, Westinghouse Electric Corporation, 1938 (Call Number: 901 W526 87-056773)

The 1939 World’s Fair opened on April 30, a date that coincided with the 150th anniversary of George Washington’s inauguration as President, which also took place in New York City. The center display case looked at the event from the perspective of a visitor to the Fair, displaying a variety of items that fairgoers might have collected as souvenirs of the experience, including postcards, maps, brochures, and guide books. The photograph album, compiled by an anonymous visitor to the World’s Fair, includes snapshots of the exhibits as well as postcards, brochures, and news clippings (MSC Collection: SC23155). In addition, it also included some books that used the World’s Fair as their setting.

The smaller cases by the elevator focused on the 1964 World’s Fair, which coincided with the 300th anniversary of the City of New York. The New York City Building was created to house its pavilion in 1939 and is currently the only building that survives from that fair. Its architect, Aymar Embury III, also designed the Central Park Zoo and Triborough Bridge. The building was renovated and used for the New York City Pavilion in 1964 as well. It currently serves as the Queens Museum of Art and contains a model of the 1964 World’s Fair, along with a small collection of fair memorabilia. The museum also includes “The Panorama of the City of New York,” which was originally conceived as a city planning tool and was displayed at the 1964 World’s Fair. The United Nations met in the Queens Museum of Art building from 1946 to 1950.

In April 2014, the New York State Pavilion, one of the few remaining vestiges of either fair, was deemed a “National Treasure” by the National Trust for Historic Preservation. Architect Philip Johnson had been inspired by the “allure of putting a man on the moon” and had envisioned the pavilion as an “emblem for space age enthusiasm.” The pavilion comprised three structures: the Observation Towers, Theaterama, and the Tent of Tomorrow. The latter was especially impressive. It had a fiberglass roof in brilliant colors and a gigantic Texaco map of New York State composed of over 500 terrazzo mosaic panels. Efforts are now underway to restore this badly deteriorating structure. After the 1964 World’s Fair closed, many other pavilions were removed and reinstalled elsewhere.

Pamphlets from pavilions at the 1964-65 World’s Fair items on display in these cases included:

Pamphlets from various state and national pavilions and exhibits
New York World’s Fair 1964–1965: 588 Days to Opening (Call number: 606.4 qN559)
Final Report: New York World’s Fair 1964-1965, 1972 (Call number: 606.4 N532 74-8744)
New York World’s Fair 1964–1965: 454 Days to Opening (Call number: 606.4 qN559)
New York State Vacationlands, World’s Fair Edition, 1964, NYS Department of Commerce, 1964 (Call number: COM 255-3 NYSVA 72-5417)
A selection of magazines featuring cover stories about the 1964-65 World’s Fair

Westinghouse donated two “time capsules” to the New York World’s Fairs. They were both meant to be opened after 5,000 years, in the year 6939—a rather, if not wildly, optimistic notion that seems to have reflected the fairs’ overall world view. They were made of a non-ferrous alloy called “Cupaloy” and the vast time frame was probably meant to reflect an undying faith in the company’s product. The 1939 capsule contained things like a child’s Mickey Mouse cup, a Kewpie doll, a Gillette safety razor, a pack of Camels, a Sears Roebuck catalog, a copy of Life Magazine, a dictionary, an RKO newsreel, a dictionary, millions of words of text on microfilm, and more. The 1964 capsule held eighty-plus items, including an electric toothbrush, filtered cigarettes, a 50-star U.S. flag, irradiated seeds, a bikini, a Beatles record, a plastic heart valve, some credit cards, and a rechargeable flashlight.

The 1964 fair was a showcase for Walt Disney (exhibits like “It’s a Small World” went on to become permanent fixtures at Disneyland and elsewhere), as well as a proving ground for independent filmmakers. The Protestant Pavilion created a stir with a 22-minute silent film called Parable, which depicted mankind as a traveling circus and Jesus Christ as a clown. Two pavilion organizers resigned in protest and one minister threatened to shoot up the screen if it continued to be shown. Some people claimed the film was sacrilegious; that its director, Rolf Forsberg, was a Buddhist; and that it ended with a death, but not with resurrection. Robert Moses obligingly sought to have the film withdrawn. However, Parable, which inspired the making of Godspell less than a decade later, was overwhelmingly popular with both critics and viewers and was added to the National Film Registry in 2012.

A flap ensued in the wake of a “racially integrated minstrel show, intended to be satirical anti-bigotry.” The NAACP reluctantly approved it as parody, but fairgoers were apparently put off by the “minstrelsy” tag and the whiff of racial politics—for whatever reason, the show lasted for only two performances. Robert Moses, who according to Smithsonian Magazine was “never a friend to minorities,” endeavored to make the second fair more family-friendly than the first one (with its occasional appeals to prurient interest) had been, but at the height of the civil rights movement and just months after the death of JFK, the issue of race was impossible to ignore. The Congress of Racial Equality picketed the fair on opening day and interrupted LBJ’s opening address, shouting “Freedom Now!” and “Jim Crow Must Go!” The “minstrel show” America, Be Seated! may have been a theatrical flop, but it kept the discussion of bigotry and discrimination front and center.

Another controversy erupted on the second day of the fair over a mural in the Jordan Pavilion. It included a poem on behalf of Palestinian refugees and caused consternation among segments of the Jewish community and the American-Israel World’s Fair Corporation. Moses gamely attempted to stick to his motto of “peace through understanding” and struggled unsuccessfully to quell the unease and keep “politics” out of the fair. The Queens Criminal Court (which had seen hundreds of cases of arrested activists, including members of CORE and the NAACP) finally ruled in April 1965 that protestors could pass out handbills, but not picket in such a way as to block visitors’ access. This conflict seemed to escalate for a couple of months, but then calmed down. The mural and poem remained and “the only thing ever removed from the Jordan Pavilion was an unauthorized vending machine.” (“War Through Misunderstanding: the Jordan Pavilion Controversy,” by Sharyn Elise Jackson)

The 1939 World’s Fair had had its share of controversy as well. Disputes between the scientific community and other more mercantile interests over the direction of the fair eventuated in a kind of hybrid perhaps best described as “infotainment.” The Amusements Area consisted of a variety of carnival rides and circus acts, such as Frank Buck’s Jungleland and the Billy Rose Aquacade. It also featured several “girlie shows” (one of them designed by Salvatore Dali was called “20,000 Legs Under the Sea”) that were raided by the New York City vice squad.

In a mystifying scandal of another sort, Albany-born artist Louis Slobodkin arrived on opening day to find that his fifteen-foot steel and plaster sculpture of a young Abe Lincoln had been summarily destroyed on order of the U.S. Commissioner General for the fair, Edward Flynn, and for reasons that remain murky. (It was “too tall,” according to one account and not in “good taste,” in the opinion of a female friend of Flynn’s.) Slobodkin was not appeased, the case was adjudicated in court, and the statue was eventually recast in bronze and given a permanent home at the Department of the Interior in Washington, D.C.

And on July 4, 1940, in what many mistook at first to be fireworks, a “ticking suitcase” bombing occurred at the British Pavilion, which took the lives of two policemen and wounded five others. Detectives Joseph Lynch and Ferdinand Socha were killed as they tried to open a canvas bag that had been left inside the pavilion. This case was never solved (although Nazis, whom Britain was at that time engaged in fighting, were suspected) and there is still a $26,000 reward offered for any information about it.

Items on display in these cases included:

The 1964-1965 New York World’s Fair, Bill Cotter and Bill Young, 2004
(Call number: 974.7243 F647 206-5569)
New York’s 1939–1940 World’s Fair, Andrew F. Wood, 2004
(Call number: 607.34 W873 206-6730)
Articles from ProQuest Historical Newspapers: The New York Times (1851-2010)
Pamphlet from the British Pavilion, 1939 New York World’s Fair

History – Världsutställningen 1964


In the land of the Fair which covers 646 acres on Flushing Meadows, film is king. All along the 40 miles of sidewalks, exhibitors are showing pictures that surround the viewer, project on sky-domes overhead, poke their light, shadow and substance through obscuring veils and provide a multitude of ideas and wares on a thousandfold screens. There is 70mm, 35mm, 16mm, 8mm, stereo and monaural sound and a virtual army was enlisted to operate and maintain the complex as well as the simplest, means of projection. There are 65 projectors in the Bell System Pavilion and 159 are required for The American Journey show in the United States Pavilion.

The 300 exhibiting companies and 66 nations at the Fair are joined by religious exhibits of many faiths in this kaleidoscopic exposition of man’s material accomplishments. His future aspirations and his spiritual yearnings. The Fair is colorful and chaotic. It has areas of rare beauty in architectural design and an equal portion of garish.

Notable is the repeated use of circular theater designs. Fair exhibitors are learning fast that their guests have come to be entertained or, at least, bemused. They also want action and they get it in the innumerable exhibit “rides” which are Robert Moses’ answer to Coney Island. The president of the Fair corporation has rare courage. His show is doing without fan-dancers and has practically exiled the paid amusement area. Instead, visitors are looking into the Futurama at General Motors, at the dinosaurs in Ford convertibles and at Michelangelo’s Pieta in the Vatican pavilion.

Are the films at the Fair equal to the multitude and complexity of the projection systems? One of these has drawn widespread critical praise for the sheer joy which abounds on the three screens showing To Be Alive! in the Johnson pavilion. The Searching Eye is a cinematic, imaginative treat for visitors to the Kodak exhibit. Audiences feel they are literally in the action of the 360-degree tour A-Round New York.

The Moody science films are familiar fare in our field but wondrous to behold again in the Sermons from Science theater. The “People Wall” in the IBM pavilion is a show itself but there are also nine screens in action all at once as this exhibitor illuminates the science of the computer. Smaller but imaginative techniques are found in the “well” of the Patterns in Sports film and in the spherical projection globe of the Berlin pavilion.


A scene from the Tower of Light show exemplifies participation at the Fair of many of these leading U.S. industrial companies.


Fairgoers wait on the colonnaded porch” of the Du Pont Pavilion for their turn to see “The Wonderful World of Chemistry” musical revue.


Many leading companies with exhibits at the Fair are sponsoring five-minute motion pictures for showing exclusively on RCA’s closed-circuit color television network on the Fairgrounds. All the sponsored films to be shown on the network are institutional in nature — Fair-oriented and non-commercial. “It might take as much as three weeks for a visitor to see everything at the Fair,” says James M. Toney, director of RCA’s World’s Fair Operations, “The closed-circuit network will help visitors see many things they might otherwise have missed.”


Everywhere you look at the fair there are friendy faces and all kinds of exotic costumes. These boys from Guatemala have been taking in sights at the Hong Kong exhibit in the background.


The Bell System pavilion is a 400-foot floating wing which offers a chair ride and a series of demonstrations.

The ride in the Bell Systern Pavilion is one of the most complex and interesting film experiences of the Fair. The 1,000 moving armchairs with built-in speakers in two continuous loops of 500 each on two levels carry spectators through a 15-minute program which involves 65 motion pictures on individual screens. Titled From Drumbeat to Telstar, the program takes us from man’s first efforts to communicate with voice, drumbeats, smoke signals — on through the discovery of symbols, numbers, the written word and modern developments — the telephone and Telstar. The story is told by speakers synchronized to the action on the screen for each individual chair. The ride was conceived by the Pavilion’s designer, Jo Mielziner, working with architects Harrison & Abramovitch, motion picture engineers, the Reevesound Company, and the film producers, Owen Murphy Productions. On the 65 screens — which cannot be seen as screens at all since they are veiled in various thicknesses of gauze curtains are short pieces of action performed by Hal Holbrook, noted stage actor. Mr. Holbrook will be seen calling “hello” in an early part of the ride, sending smoke signals, in-venting the printing press or the telephone. It takes an average of six seconds for each chair to pass each individual screen (although many of the screens are grouped in a single tableau). On the screens are endlessly repeated actions on looped films which run from six to 15 seconds. What is amazing about this is that there is no point at which the action can be seen to obviously stop and repeat itself — no jerks at the splices to spoil the smoothness. Director Paul Cohen, of Owen Murphy Productions, achieved this by working with Mr. Holbrook until he was able to perform an action “forward” and then smoothly continue “backward” to the point of origination of the action. In other words, he would pick up a pen, write a few words, fold the paper, and lay it aside. Then he would continue right on doing the same thing, but backwards. With this forward and backward action on film, editors could then print the “forward” portion straight, reverse print the “back-ward” portion, and splice almost anywhere in the action without it being noticeable on the screen. If this sounds complicated, it most assuredly is, but it works. To achieve the effect of having none of the screens visible, the designer has used multiple scrims before each one, and the figures in the film are performing entirely with limbo backgrounds. There are no frame lines anywhere visible. This was accomplished by photographing the action on a blue cyclorama set. Then, by printing this through a blue filter, a matte exactly matching the action is obtained. Printing both together produces a film with no background, no frame lines, and the character entirely in limbo. Each of the 65 loops in the pro-gram is changed daily. It is estimated that an average loop goes through 5,000 runs during the 12-hour day before it is discarded. For the producer, this means a regular editing staff constantly preparing new loops for the projectors.

Design and engineering installation in the Bell System Pavilion was a major task in it-self, primarily centering on the 1,000 chair “sound” ride which occupies a mobile ramp in the “floating wing of the wide structure. Produced by Jo Mielziner, this unusual theatrical presentation has projection and sound systems of unique capability which were created by Reevesound. A monaural sound system of special two-ear design is built into each of the 1,000 upholstered lounge-type chairs. This sound system utilizes two tracks on Reevesound’s four-track, sixteen-millimeter reproducing system, with like programs being fed through right and left car speakers, positioned at the upper inside of the chairs. Individuals are provided with a sound program that is synchronized with the ride. Projectors, lamps, rectifiers and loop racks are located on long platforms behind a series of rear projection screens. A first-surface mirror placed at the front of each projector mechanism receives light from the projector, redirects it to similar, larger mirrors positioned overhead, which transfer light to rear projection screens ahead. This system of mirror optics is used to increase projection distance and image size. This combination of continuous 16mm film loops, synchronous motors and Xenon lamps gives the Reevesound system long operating life with minimum maintenance requirements on film and projection equipment.




Sound-equipped upholstered chairs carry visitors along the ride.



The Chrysler Corporation exhibit is dominated by a giant engine model which typifies this “autofare” with its landscaped islands of displays and mockups. But the focal center is the theater in which a Max Liebman Show-Go-Round production is presented on a 70-foot revolving stage serving four pentagon-shaped auditoriums housing some 2,500 persons in their comfortable bucket-shaped seats. Through this unique design, a four-phased performance is in continuous action offering a 24-minute interlude of music and whimsy, featuring a film story introduced on the screen by Bob Hope, the marionettes and a finale in which a Chrysler experimental car (designed by the puppets) closes the entertainment. In the introductory, first phase of the show, the master-of-ceremonies talks to puppet hero “Bob Bolt” against a backdrop of auto-motive parts. As the stage revolves to a big-screen, rear-projection setup, Hope (on film) introduces the rest of the little film play about an eager auto designer which starts out on the screen. This Group Productions’ film is followed by Phase Three. In this phase, the marionette creations of Bill and Cora Baird take over the action. Singing and dancing gaskets, dancing spark plugs, animated carburetors and jiving seat belts perform under the skillful hands of four rotating crews of five puppeteers each. The villain, “Monkey Wrench,” gives way to a dancing line of 15 girl motor blocks as the stage turns to Phase Four, the finale. Before the final curtain falls, a completely-assembled puppet-built “experimental car” appears on stage, designed by the young genius with the help of his friends. Max Liebman’s talent, the genius of the Bairds, air-conditioned comfort and the attention-holding film and “live” segments on the revolving stage add up to full houses for these Show-Go-Round performances.


Sketch shows 70-foot revolving stage which serves four pentagon-shaped theaters for the Chrysler Show-Go-Round.



Girls on screens and boys on stage perform the flower-passing sequence.

The Du Pont Pavillion show “Wonderful World of Chemistry,” is a musical revue in which singers and dancers onstage join in musical interplay with other performers on motion picture film. It’s startling fare, which requires perfect timing, especially when a girl on film passes a rose to a boy onstage, who in turn, hands it to another girl on film. Three circular theaters uphold a N. Y. Fair tradition. In the Blue and Gold Rooms, audiences are viewing the same musical show; then they move to a dazzling Red Room for science demonstrations. Michael Brown wrote, produced and directed “Wonderful World”. Animation was by Ernest Pintoff; special effects were by Film Effects of Hollywood. Scientific concepts and design of the Red Room show were by Jonathan Karas with a spectacular finale in Mobilcolor.


In this animated film sequence, audiences learn that all Greek philosophers did was just sit around and think. Film sequences continue the interplay between live talent onstage, events on screen.


Sketch of the Du Pont circular theater arrangement all elements are stationary. Both Blue and Gold Rooms offer same musical show. Below: huge circular pavilion which houses Du Pont’s exhibit.



The artistry of visualization expected of a leader in photographic equipment and materials has been achieved in the imaginative and exciting free-form build-ing of the Kodak Pavilion. Picture-making opportunities abound on its “Moondeck” roof; the world’s largest outdoor color prints illuminate the dominant “Picture Tower.” Within, a pair of round theaters each present 70mm motion pictures. Dozens of small kiosks around the exhibit areas offer rear-projected slides and motion pictures on Kodak products and a good part of the pavilion is devoted to examples of the best in modern picture-taking; aerial photography, weather pictures, and the like. And throughout the Fair-grounds, Kodak signs point out good picture possibilities, including correct exposures and even sample prints for the camera fan!

Working closely with producers, architects, technical representatives of Eastman Kodak Company and Eastman Chemical Products, Inc. from earliest planning stages, Reevesound provided more than two dozen motion picture technical systems for the Kodak Pavilion. These include projection, sound and control devices located in two theaters and in a number of individual displays strategically located throughout the Pavilion. Reevesound’s projection, sound and control system in the Dome Theater includes one Norelco 35/70mm projector operating at 70mm, equipped with a 2500 watt Zeiss Xenosol II light source. Shown daily in the circular Tower Theater, the 20-minute color motion picture, The Searching Eye, is one of the focal points of the Kodak Pavilion. Produced by Saul Bass, the film dramatizes the heights of sensitivity to which vision may be honed on a motion picture screen. Reevesound’s unusual motion picture system in the Tower Theater includes two 35/70mm Norel projectors equipped with 2500 watt Zeiss Xenosol II lighting sources. Reevesound’s selsyn system electrically interlocks the two Norelco projectors. One presents a 35mm film while its mate shows a 70mm film. Screen images resulting from this interlock operation of 35mm and 70mm projection give the film producer a dual format capability which he needs to develop his theme and story. This special system allows the up the story, showing composite prints all made from intermediates. Transitions from one machine to another are timed with great accuracy.

Special motion picture systems arc located in ground-level kiosks at Eastman Kodak Pavilion, displaying uses of photography in science. Systems include Eastman Model 25-13 16mm arc projector mechanism, two projectors to show alternate segments of film. The 35mm ma-chine opens the show, projecting first-generation prints from original camera film. An unusual Reevesound system in the Astronaut Bubble is design-ed to activate an animated astronaut in sync with optical sound track on 16mm film and motion picture display. The sound track carries narration, as well as a subsonic signal to activate the astronaut. The system includes a Reeve-sound-modified Eastman 16mm mechanism equipped with a 900-watt Xenon arc lamp.



Visible all over the Fairgrounds, the Kodak Picture Tower dominates the free-form Pavilion building with its multitude of visual shows.


At entrance to pavilion’s Tower ‘Theater, this lighted panel proclaims “The Searching Eye” 70mm film feature, gives credits for production.


One, of company’s many well-trained “hosts” greets visitors at entrance to Dome Theater where Eastman Chemical film is shown.



Fair visitors hear narrated story on car speakers as they watch two Audio-Animatronic triceratops during hatching of prehistoric babies.


Sights unseen for millions of years on earth are recreated in animated dioramas along a ride which is the feature of the Ford Rotunda at the Fair. Taped sound is fed through speakers of Ford convertibles in which visitors are towed past the dinosaurs, through the Birth of Man, emergence of the cave man and the invention of the wheel. Walt Disney “Audio-Animatronic” figures make it all pretty realistic. Henry Ford II does the introductory talk; a professional narrator carries on during the ride.

General Electric “Progress-Land” show ends up with an actual demonstration of controlled nuclear fusion. The Pavilion features a Carousel of Progress ride on which six audiences of 250 visitors apiece move along ramps and into theaters. The show opens with figures in reenactions of life-at-home in the 1890’s, through the 1920’s, 40’s and the up-to-the-minute all-electric home of today! Groups are moved out of the nostalgic past into a Time Tube” which opens on the third floor `Galaxy of Science and Engineering” with its dramatized examples of G-E scientists working on contemporary research projects and kaleidoscopic mirror effects are a feature of this sequence. Inexorably, visitors find themselves in the top-level “Skydome” with its “Spectacular,” a projected and narrated dramatization of the power of nature’s energy and man’s efforts to harness it. It ends with an explanation of nuclear fusion as audiences then descend the central well of Progressland for the nuclear fusion “bang.” The Carousel returns visitors to “Medallion City” on the first floor. This model, all-electric community features the latest innovations in home living, electronics and space exploration.

Highlight of the General Motors Exhibit, the Futurama Ride permits visitors to see, hear and feel the world as it may be known in the future, a lunar outpost, a permanent community in once-lifeless Antarctica, a vacation playground amid the strange beauty of the ocean floor, Metropolis of Tomorrow, U.S.A., where an extensive freeway net-work speeds traffic to a park-like industrial sector or recreational and cultural areas, while moving sidewalks whisk shoppers from store to store. A unique system, designed, manufactured and installed by Reevesound, provides stereophonic sound for the 1,389-passenger ride which consists of 463 three-chair cars. Each chair is equipped with a special Reevesound two-ear listening system. The speech program, originating on ever third car from a multi-track sound film reproducer. feeds the succeeding two cars for a total of nine passengers per individual sound unit. Reevesound created the multi-channel photographic sound track reproducing system for those high-reliability, low-maintenance appli-cations in which a single program has to be repeated continually, and where it is possible to have that program doubled up on a single recording medium and run back and forth, as contrasted with endless loop systems, which run continually in a single direction. The four-track, 16mm reproducing system is based upon existing motion picture industry dimensional standards, formerly used only on 35mm film. The system uses existing production facilities, recorders, printing machines and conventional methods for making release prints. The 16mm photographic sound print has two pairs of tracks, one pair in the right-going direction, and one pair in the left-going direction. Each pair of tracks provides separate right-ear and left-ear programs. resulting in a full binaural reproducing system free from cross talk between adjacent channels. Forward and reverse running capability of the transport provides a unique solution to the long running time requirement. Reevesound malfunction detectors are placed in fixed locations along the ride’s route, while others are mounted on the ride itself to as-sure maximum reliability. Interspersed among the dioramic Futurama displays are a number of 16mm motion picture images projected by professional Norelco units.




The Carousel of Progress present day exterior at Magic Kingdom Florida.

Behind the wide facade of the Greyhound Pavilion, lobby film showings of travel pictures entertain waiting bus riders but the main attraction is in the turn-table “Circle Theater” which alternates illuminated transparencies, an animated map and synchronized slide showings on multiple screens with the main feature: a four-minute 35mm CinemaScope film journey from coast-to-coast, produced by Fred Niles Communications Centers, Inc. The film carries its viewers from the Golden Gate to the Grand Canyon (spectacular shots) — through the Midwest and on to the towers of Manhattan. The turntable show is fast-paced, there’s no long wait as four synchronized projectors show slides of travel history. But the “big show” is the four-minute CinemaScope film.

Showcase of the Gas Industry at the Fair in New York is the Festival of Gas with exhibits nestling beneath the octagonal white “umbrella” roof that shelters the cool interiors. Pleasantly landscaped pools reflect the foliage and the area provides a comfortable retreat for the travel-weary. Pleasant, too, is the screen fare which provides two main attractions in this pavilion. The puppet picture, Tale of Truthful George, is followed (in the Theater of Food area) by a Heinz Magic of Food picture, a “live” magic show put on film, featuring H. J. Heinz’ food products. A third and very well-conceived use of films is represented in the use of rear-projections at pipe ends of the huge natural gas pipelines, within a “sculpt.” Audiences sit on the carpeted floor of the modest, curve-shaped theater where they watch those amusing puppets as they move about the three screens of Owen Murphy’s film production, The Tale of Truthful George. In this fantasy, Tom Therm is the puppet creation of the film;s magician. Tom symbolizes gas en-ergy as he solves the problems of a loveable puppet family. Bauer 16mm sound projectors put the images bright and sharp on the three screens of the Gas Industry theater.

The multiple screen presentation inside the big white egg-shaped pavilion which houses the IBM exhibit at the Fair is called an ‘Information Machine.” Its purpose, to explain how methods used by computer systems are similar to those used in solving human problems in a variety of everyday situations. One of the Fair’s mechanical marvels carries groups of 500 visitors at a time into the 90-foot high ovoid theater. Seated along 12 steeply-rising tiers of this “People Wall” the audience slowly rises into the darkened loft to await the action. And so begins one of the most complex visual presentations to be seen on the grounds: a 13-minute synchronized presentation which takes place on 15 motion picture and slide screens spread over the front wall of the big dome. The films, designed and produced by Charles Eames, interact on a variety of shapes and sizes of screens. The program’s intention is to show how data is stored and sort-ed by a computer; how the conclusions reached by these machines are not unlike those reached by the human mind when it compiles everyday data. For instance, one sequence shows a woman planning a party and drawing a seating plan while people pop on — and off — as she decides whom to invite and who should sit next to whom. The viewer is taken “inside” the lady’s mind as the considerations of the party take place on the 15 screens all around him. Elsewhere in the pavilion are little “theaters” where mechanical puppets act out playlets on such topics as speed, logic and information handling systems. In one of these Sherlock Holmes unravels “The Singular Case of the Plural Green Moustache” using the same kind of logic as a computer and the logic which you use to solve your problems. “Cast of Characters” and “Computer Day at Midvale” are the other playlets.

The multi-image motion picture, To Be Alive, is the undisputed highlight of the Johnson Pavilion. Produced by Francis Thompson
and Alexander Hammid, veteran documentary film makers, the picture, depicting the joy and delights of simply being alive, is projected onto three 18-foot wide Hurley matte white screens engineered and operated by Reevesound who created the projection and control systems and advised on sight lines and acoustics for the 500-seat Golden Rondelle Theatre, main feature of the Johnson Pavilion. Reevesound’s special technical facilities include three Century 35mm motion picture projectors equipped with sync interlock drive and 78 amp Xetron light sources. To Be Alive! is said to have taken its creators nearly 18 months to produce on location throughout the world. Its message, reminding all who see it of the sheer joy of living, was worth every second of their creative effort.

Rocketing viewers into outer space, past the moon and into the far galaxies. the Cinerama film To the Moon and Beyond projects exploration of space against the 80-foot dome of a Spacearium on top of the Transportation and Travel Pavilion at the Fair. Presently sponsored by the Royal Dutch Airlines, the film is shown to paid admissions. It was produced by Graphic Films Corporation for Cinerama and Rod Serling narrates the film. The audience is taken within the action which generally occurs in darkness to free the viewer from conventional ideas of size and time. Speeding up the events known to astronomers. the picture shows through animation how clouds of gas whirl into great galaxies, expanding outward from one another, with old generations of stars exploding to distribute the gaseous components of subse-quent stellar generations. visible in our time. Returning to earth, the film takes us to a great rocky canyon to illustrate the shape of matter on the stirs to the middle of a great forest and to the bottom of the sea. In one sequence the audience finds itself at the bottom of an anthole, watching the insects crawling in and out above. But the intricate workings of molecular and atomic space are the film’s true goal. From a broad view of the cosmos, attention shifts to the familiar building processes that we call the chemistry of the planets: the relation of liquid water to the diverse manifestations of life.

ABRAHAM LINCOLN stands, speaks and gestures with amazing realism in the Disney-created Audio-Animatronic feature of Illinois’ Fair pavilion. The simplicity of the stage setting and the expressive excerpts from six of Lincoln’s speeches are drawing appreciative audiences to the 12-minute performances. State exhibit also has an adjacent theater for promotional film showings.

Resort promotion is understandably a primary motif within the large circular Florida Pavilion. Various tourist areas, such as Miami. Orlando and Palm Beach, are using sight; sound media to show visitors the delights awaiting them. Transparencies are shown on a revolving ride in the Palm Beach booth; the Miami show uses slide boxes turning on a center core.





Mankind’s hope of the future is expressed in “Futurama” which takes Fair visitors past models showing how the world, and outer space are yet to be conquered.


This Fair is unique in exposition history in its emphasis on these religious pavilions.At the Vatican Pavilion, the most important work of art of the Fair is on display. the 465-year-old Pieta, carved in marble by Michelangelo and generally considered the finest example of Christian art in any medium. It was sent to New York by special permission of the late Pope John. Theme of the Vatican pavilion exhibit is “The Church is Christ Living in the World” and a multiple screen wall carries ten one-minute films which reflect various aspects of Christ’s love and the Church as an instrument thereof. Each of these films contributes its own separate images to the theme.

Billy Graham’s Pavilion is a showcase for the noted evangelist’s 70mm motion picture, Man in the 5th Dimension, showing daily on the hour. Rev. Graham’s prologue notes: “You are about to embark on a breathtaking journey through the four-dimensional world of space and time, into the realm of the fifth dimension, the dimension of the spirit” Scenes taken at Mount Palomar show our own galaxy and the galactic systems millions of light years away. The story of creation is told in the setting of the Earth’s “oldest living things,” the giant redwoods of California. Billy Graham demonstrates the continuity of Christian witness down through ancient and modern times to the present day. An imported 70mm projection system is used to beam images to a wrap-around screen.

THE Pepsi-Cola Fair Exhibit transports the magic of Disneyland to Flushing Meadow as it takes visitors on a water-jet voy-age titled “It’s a Small World,” a Salute to UNICEF. Once again, Audio-Animatronic figures of the world’s children sing and dance in full-color fantasy settings of their native countries. Canals wind through 26 lands, past a Very Leaning Tower of Pisa, a confetti-draped Eiffel Tower, miniature Swiss Alps and a Disneyesque Taj Mahal. Great fun for the small fry as the Irish “wee folk” sing. a Swiss yodels and Dickens-inspired Britains carol atop a Cockney moon. Within the two-acre Pepsi-Cola area, the U. S. Committee for UNICEF is operating its own pavilion, dramatizing its role in helping meet the needs of children in over 100 developing countries. The cruise is housed in a 47,-000-foot air-conditioned building. It can handle some 55.000 passengers along its waterway. This combination of enter-tainment and international welfare is one of the Fair’s best!

West Berliners going about their daily chores are pictured in the cartoon film projected on a novel, spherical globe in the City’s Pavilion at the Fair. Another short film takes up technological productivity; maps with special lighting effects portray the Berlin of the future.


Under the light, airy white umbrella roof of the Gas Pavilion, there’s a puppet film, a “food magic” show, also on film, cooking demonstrations and clever use of rear-projection images within the ends of huge natural gas pipelines, set up in a “sculpt” design.


Rear-projected pictures are cleverly drsilzned into pipe ends along the Pipe Labyrinth within the Gas Pavilion. This sculptured display uses actual pipe which carries natural gas cross-country. Relevant projected visuals tie -in the story of the gas industry, its cross-country pipelines and industrial applications.








Fair visitors in this shaded waiting line will soon be rewarded when they enter the Golden Rondelle Theater for showing of “To Be Alive!”




You’re watching the “big game” from a hovering helicopter as you look down this picture well to see the “round” movie produced for the General Cigar exhibit area by editors of Sports Illustrated.




Housed in a domed stone struc-ture designed to resemble its red umbrella symbol of insurance protection, the Travelers Exhibit presents a dioramic portrayal of man’s struggles and growth through the ages. Beginning in prehistoric times, the dioramas trace human exist-ence through more than two bil-lion years from the dawn of man to the present. This story, “The Triumph of Man,” culminates in an unusual motion picture depict-ing man’s current explorations in-to the reaches of outer space, his current searching for the basis of life itself. Produced by Robert P. Davis of Little Movies, Inc., the film is pro-jected by a specially designed Reevesound motion picture sys-tem. The picture images and ultra-violet stars are received by a dark blue screen wall and ceiling shaped like a half-sphere. Reevesound’s projection system consists of a 35mm Norelco FP-20 projector with conventional shut-ter. a 2500 watt Zeiss Xenosol II light source, and a Reevesound-designed continuous 35mm film looping rack. The Reevesound-modified projector has intermit-tent start-stop operation, triggered every four minutes by a sensing de-vice signalling the conclusion of the dioramic display one floor be-low. Two first-surface mirrors, one mounted at the front of the pro-jector mechanism and another lo-cated overhead, receive light beams leaving the machine, redirect them to the screen wall, thereby increas-ing projector distance and image size. The system operates with a 50 watt Fairchild power amplifier. Donald Deskey and Associates were architects for the Travelers Pavilion, which was constructed by the George A. Fuller Company. Designers were Lippincott & Margulies.




























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As finishing touches were being given to the World’s Fair, F&M Schaefer commercial series was being location-taped at brew firm’s long-length bar by Videotape Productions’ mobile unit and TV crew.


Något nerkortad version av Wonderful World of Chemistry med svensk text som ägde rum i Världustställningen i New York 1964-65:

Epcot – A Great Place For A Family Vacation

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Epcot at the World Disney World resort in Florida is the ideal place for you next family vacation. The name, Epcot, stands for “Experimental Prototype Community Of Tomorrow” and was to be Walt Disney’s vision of a huge futuristic self sustaining city. Unfortunately, he died before he could complete his plans for Epcot – the city. But, great ideas at Disney never die. Walt’s vision still gave us a very interesting theme park that is really adult oriented.

Future World is the portion of EPCOT that has rides and attractions that showcases future progress and technology.

Spaceship Earth

This is a ride that takes you from the beginning of time through to today. It takes about 15 minutes and is very educational. You step off the ride into Project Tomorrow which has a lot of interactive new technology for you to try out.

Ellen’s Energy Adventure

This is the Universe of energy ride and it has recently been updated to include a section with Ellen Degeneres and Bill Nye, the Science Guy. Beware of the dinosaurs; they may be hungry.

Mission Space

This is a simulator ride that gives you the experience of liftoff, G forces, and reentry from space. If you ever wanted to be an astronaut, this is your chance.

Test Track

This is a roller coaster type of thrill ride that lets you see what it feels like to ride an automobile test track.


Let your ideas run wild – color, sounds, smells. Enjoy the Journey into Imagination with Figment attraction – a fun ride that lets your mind have fun.

The Land Pavilion

This attraction is an important one. It features a boat ride entitled The Land where you journey through different types of growing areas and times on this planet. It also wanders through the Walt Disney World greenhouse and fisheries so that you can see the innovative ways that Disney uses to produce seafood and vegetables for use in its resorts.

Many other attractions are available throughout Epcot including the different countries located around the World Showcase.


This country is represented by an Aztec temple which houses a ride through the country’s past and present. There is a Mexican restaurant as well as a Mexican cantina.


The next country has a boat ride through the Norwegian seaside and exits at a movie about the country of Norway. You can eat at the Norwegian smorgasbord.


There is a 15 minute 360 circle vision movie about China inside the huge Chinese temple. Chinese gifts are available.


A beer Hall is the attraction where you can enjoy German food and fun. Shops showcase German figurines and gifts.


The architecture is quaint and the shops are fun and filled with Italian goods


The American Experience is a history lesson onstage.


Their pavilion is a large Japanese building which houses shops and a wonderful Japanese restaurant.


Eat at the Moroccan restaurant and buy some interesting souvenirs from that country.


Buy French souvenirs while waiting to see a movie about France in 360 Circle Vision. Walk by the Seine and have your picture taken in the shadow of the Eiffel Tower

England and Canada round out the countries in this around the world adventure that takes you on a fast trip around the world while at Walt Disney World Epcot Center Theme Park.

A Great Vacation For Families And Adults

Epcot has something to offer everyone – from the thrills of space to cuisine from around the world. Be sure to plan a day or two at Epcot the next time you visit the Walt Disney World resort in Florida.

Herb likes to write about Disney World. Please check out his website that contains information on Epcot as well as Walt Disney World.

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Disney Rides at Magic Kingdom

The Disney rides that the kids enjoyed the most were Big Thunder Mountain Railroad which is a runaway train roller coaster and The Pirates of the Caribbean ride. Big Thunder Mountain is located in Frontierland along with another of our top Disney rides which was Splash Mountain a water flume adventure ride. One of my favourites has always been It’s a Small World which is an indoor boat ride through scenes from many countries of the World, with the catchy “It’s a small world”song played as you go along. When I come off that ride I find myself humming the tune from the ride for at least the next hour! It’s a Small world really is one the whole family can enjoy this ride is in Fantasyland along with another couple of our favourite rides Cinderella’s Golden Carousel which is a beautiful carousel ride and the Dumbo the flying Elephant, which is a very popular Disney ride for children both of these rides the whole family went on together.

Of course different height restrictions apply for different Disney Rides so check these out preferably before you go, we found it easier when planning our Disney vacation to find out which Disney rides the kids could definitely not go on then we could avoid them and because they knew beforehand if they were too small it didn’t cause a problem but to be totally honest I think there was only one ride that my son wanted to go on that he was too small for anyway. Also think about getting fast passes for some of the popular Disney Rides such as Splash Mountain and Big Thunder Mountain Railroad.

Another one of our favourites in Magic Kingdom was Buzz Lightyears Space Ranger Spin it’s an interactive space adventure based on Toy Story 2, an outer space themed ride which was loads and loads of fun. This ride is in Tomorrowland which is also where the Tomorrowland Speedway is this is a ride where you drive your own race car the kids really enjoyed this one. So these are just a few of my families favourite Disney rides, but I’m sure you’ll find your own favourites when you go there and start creating your own special Walt Disney World memories.


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Movies – The Mad Doctor


Musse Pigg – The Mad Doctor

Under en stormig natt blir Pluto kidnappad. Musse följer spåren som leder till ett hemsk hus som ägs av en galen forskare. Musse måste kämpa mot skelett för att rädda Pluto.

It is a Small World is the Reason We Have Walt Disney World Today


Although some people might consider multiple visits to “It’s A Small World” something on par with water-boarding, I look forward to riding this attraction every chance I get. It is a reminder that without it, there may never have been a Walt Disney World in Florida for me and my family to enjoy these many times. And, here’s why. I was at the 1964/65 New York World’s Fair as a young teen, and visited the UNICEF Salute that was the Pepsi Pavilion. I particularly remember all the Walt Disney contributions to this event since I was also a big fan of the original Mickey Mouse Club, documentaries such as “The Living Desert” from the True Life Adventures Series that I saw in school, and the various TV incarnations of the Wonderful World of Disney.

But it is this “international kaleidoscope and tribute to the enchanting world of childhood”, which was It’s a Small World, that I give full credit to creation of “Project X”. As much as adults were enamored with the Carousel of Progress, Great Moments with Mr. Lincoln and Magic Skyway (and so was I), it is only when their children get very excited about a vacation destination that adults will travel hundreds or thousands of miles simply to do rides. Little kids liked “It’s a Small World” and wanted to see more. Interestingly Disney first declined Pepsi when approached to do something in mid-1963. It was much later that Walt alone decided to build this “little boat ride”.

The ride at the World’s Fair benefiting UNICEF cost 95 cents for adults and 60 cents for children. Over the two years, each only a 6-month period, there were over ten million visitors to this pavilion. They experienced a 12-minute highly animated show with memorable music featuring among the decorations France’s Eiffel Tower, a Dutch windmill and India’s Taj Majal. The large kinetic sculpture in front of the show building was called “The Tower of the Four Winds”, but this didn’t survive the later trip to California.

Originally the “Children of the World” was to be the attraction name, but with the Sherman Brothers song titled “It’s a Small World”, the attraction name was changed to match. On the evolution of the song, I’ve read that first it was going to be a medley of national anthems. Then a ballad of the new title was created by Richard and Robert Sherman, but Walt asked that it be more “peppy” and sung in different languages.

So I believe that Small World was the real culmination of everything Walt Disney had previously accomplished for kids (Disneyland, TV shows, movies, three other Worlds Fair pavilions and collateral products) that ultimately made Walt Disney World possible. And it was the reason an east coast Disney Park would work, since it gave parents a strong reason to travel very long distances just for their children. It was only much later when grownups started to learn how much fun it could be at without the kids that WDW became a destination for everyone.

Once the NY World’s Fair ended, Disneyland gained this attraction on May 28, 1966. Then on opening day at Walt Disney World (October 1, 1971) Small World in Fantasyland joined the other start-up attractions, and as an E-Ticket ride. Three hundred singing and animatronic dancing dolls surrounding the Seven Seaways Water Canals represent the100 countries and five languages spoken here. It is something like a gentle, tunnel-of-love water ride (just no smooching, the kids are watching)

That is why I ride “It’s A Small World” every opportunity I can, since it is ongoing reminder that because of this one animatronics collage and sometimes annoying tune, I’m able to enjoy the total package which is Walt Disney World.

Bruce A. Brodsky
A World View – Enjoying Walt Disney World

A World View describes experiences of a Walt Disney World visit, with interesting and relevant articles, photos and videos. In addition to guest feedback, A World View gathers information, reviews, and multi-media from experts and reliable sources on the Internet, offering a well-rounded presentation very helpful for planning a trip to the “World”.

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