Not very long ago, FoxxFur at Passport to Dreams posed the question of what makes a themed attraction, themed space, or theme park distinctively "Disney" in contrast to other amusement parks, rides, and spaces. What does it mean when we criticize something made by Disney of not being "Disney" enough? What do we mean when we say the so-called competition doesn't measure up to Disney, or has "out-Disneyed" Disney? Since I take my cues from Passport to Dreams apparently, which frankly isn't a bad place to take them from, I've been given pause to think seriously about what that means.
Saturday, 20 May 2017
Wednesday, 17 May 2017
Poor Ngendei, the Earth-balancer... Tormented by Pele, barely hanging on, wobbling around on the globe he is supposed to be supporting... If we descend into the original Fijian mythology from which Ngendi comes, however, it's really Pele who should be on the lookout!
Degei, also called Ndengei, is the supreme god of ancient Fiji. The first of the Fijian gods, he created the islands and peopled them, determines the fate of his people in the afterlife, and provides for them as they live, blessing them with fruits and rains... Or tormenting them with floods, famine, and devastating earthquakes. Like nature itself, Degei's moods change from kindly to wrathful, from provider to judge, jury, and executioner.
|Fiji's coastline. Photo: Wikimedia Commons.|
Saturday, 13 May 2017
The process of finding new footing continued for Disney into 1961. The company paid off its existing loans, debuted Wonderful World of Color on NBC on September 24th (and introduced America to Professor Ludwig von Drake), and released its first truly new animated film since Snow White and the Seven Dwarfs to theatres. Disney also ended their popular series of Donald Duck cartoons this year, against the backdrop of general changes in America's filmgoing habits. Nevertheless, they also acquired the rights to the Winnie the Pooh character. The first draft of Mary Poppins was finished, and it is in this year that the film Saving Mr. Banks is set, fictionalizing the challenges of working with Pamela Travers. Disney was setting itself up nicely for its new-new era.
Wednesday, 3 May 2017
The Mississippi River is one of the great rivers of the world. Counting in its entire drainage basin, the Mississippi and its tributaries drain 31 states and the southernmost part of two Canadian provinces. It straddles the Rocky Mountains to the West and Appalachian Mountains to the East. It is the fourth longest and ninth largest river in the world. The Mississippi is the central artery of American industry, controlling it meant victory for the Union and defeat for the Confederates, it demarcates Country music from Western music, and the settlements along its ever advancing delta gave birth to Jazz. Sooner rather than later, the living river might bypass New Orleans and Baton Rouge altogether, rerouting its primary outflow to the Atchafalaya River. It already would be, if not for the engineering marvels placed by the US government attempting to bend nature to its will. Great industrial barges ply the urbanized riverscape today, but in Disneyland, Magic Kingdom, and wherever Imagineers have transplanted the American frontier, the romance of the river's old steamboat days are perpetually rekindled.
In Disneyland, the riverboat is named for the Mississippi's favourite son: Mark Twain. Born and raised in Hannibal, Missouri, Twain grew up to the whistle of the paddlewheeler. He served as a pilot aboard one before he stopped working and became a writer. Never quite prepared to leave that life behind, he penned a nostalgic tome entitled Life on the Mississippi, capturing the spirit of those halcyon days.