Between Books - Marking Mary Poppins

As someone who has loved past books by Todd James Pierce and listens to his Disney History Institute podcast weekly, I get pretty excited about any new books or articles he publishes. Having heard some of the material from his latest book in a multi-episode podcast, I was a little worried that his new book would not seem fresh to me. I am happy to report that this anxiety was needless.

Making Mary Poppins: The Sherman Brothers, Walt Disney, and the Creation of the Classic Film by Todd James Pierce provides an engaging and well-researched history of the film. The film’s story is not seen through the life of Walt Disney or Pamela Travers, but instead through the lives of his boys, Richard and Robert Sherman. Pierce begins and ends his story with the brothers, their father Al’s career as a professional songwriter, and the experiences that shaped two very different personalities. It was Al who saw the potential of his two adult sons and songwriting. One son, Robert (or Bob), was a World War II veteran who wanted to write novels. His other son, Richard (or Dick), was a young father and divorcee who dreamed of writing musical theater. With his introvert son Bob and his extrovert son Dick struggling to establish careers, Al challenged them to write a song together that an artist would be willing to purchase. After some early false starts, in 1958 their song “Tall Paul”, recorded by Annette Funicello, would become a hit!

Their continued collaboration with Funicello would garner the attention of Walt Disney Studios. The two met with Walt Disney to discuss potential work on the television show Zorro. But Disney’s focus was on a song that could be used in a future movie that would become The Parent Trap. This led to another meeting, and another assignment, and another meeting…until eventually the Brothers were hired full-time as studio songwriters, contributing to numerous projects across the studio. One of those projects was to provide potential songs for a movie based on Travers’ Mary Poppins, a book lacking a sequential plot fit for a movie. The two brothers would spend the next few years working and reworking songs, and help develop the plot of the film as it entered production. Pierce deviates from the brothers with the film in production as he turns his focus to other artists who worked on all aspects of the film. The book finishes with the successful premiere of the film, a night where young fans looking for stars labeled the two men as nobodies, invisible despite the enormous contributions they made in shepherding the story through music.

I had experienced some of this material in audio form on the Disney History Institute podcast. I enjoyed the storytelling in that format. But I worried that in book form it would feel like material that I had all heard before. However, that was not the case. Even without Pierce narrating the tale, I was still able to pull myself into this story. The Sherman Brothers and their often differing personalities are two characters that you want to cheer on as a reader, so while some of the story has been told before to me, on the page, I was still pulled in. Making Mary Poppins is one of those books that is a joy to read and engage with. It is both well-written and researched. The volume is also accessible for those who are tone deaf, like me! Often, I felt like I was reading the book that inspired Saving Mr. Banks, giving the audience the real story… although the movie was released years ago.

One of the aspects of the book that really stood out to me was the struggle. As a fan who largely knows of the Sherman Brothers well after they reached Disney Legend status, it is hard to imagine that they were not instant successes. In fact, their father may have seen them as grown adults without purpose. He was the parent of two men who were living together, only out of familial connections, and hitting rough patches in their lives. Even after he put them on a path to future success, they still were not instant successes despite Al’s career. The two had false starts on major recordings, had a somewhat unsuccessful publishing business, and had to work other jobs, including Bob as a flower arrangement instructor. This is a story not of overnight successes, but one could argue the American story of hard work and effort. It is a story that makes them even more relatable.

Making Mary Poppins: The Sherman Brothers, Walt Disney, and the Creation of the Classic Film by Todd James Pierce is easily one of my five favorite new Between Books of 2025. Pierce has again written an accessible and engaging story, built around the two figures who had in my opinion the most creative impact on Mary Poppins with little of the credit. Even those who have heard Pierce’s earlier audio-only version of some of this material will still find it feels fresh! It is a volume that only helps you feel even more admiration for Robert and Richard Sherman. 

 

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Between Disney - Animating the Victorians

 

I find myself on a ledge between two worlds of Disney between books. I have academic training, have written academic pieces to those standards of citation and scrutiny, and I teach history while not actually doing research at the moment. But I do put a lot of examination of sources into my teaching. I also love to read Disney books that come from a number of publishers that don’t require citation or peer review, as they are meant for the general public or Disney fans. It’s been one of my stated goals to support the increase of academic study of Disney history (and culture), mostly due to my own background and interests.

And I feel like the floodgates on this movement are opening with an increase in university presses publishing Disney-focused books. There is now an academic conference out there for the study of Disney. And what’s this 2025…an academic journal!

As academic Disney studies spreads, I ask myself, can the regular Disney fan who has been entertained by books from corporate, independent, and general audience presses still be entertained and informed?

Animating the Victorians: Disney’s Literary History by Patrick C. Fleming investigates the connection between Disney's animated films and shorts, largely but not exclusively under Walt Disney’s production, and literary works and authors from the 19th-century Victorian Period. The book is connected through chapters covering four large themes: Disney and the Victorian Tradition, Disney and connections to Alice in Wonderland, the impact on Disney content by Hans Christian Anderson and his works, and finally, Victorian influences on Disney depictions of princesses and pirates, including in recent films. Each of these large chapters go beyond just discussions on actual literary works and the threads connecting them to on-screen adaptations, but also investigate how these works would have been seen by Walt Disney and his animators, the lives of Charles Dickens and Anderson in the public eye and parallels to Walt Disney himself, and how modern views of princesses conflict with historical and literary Victorian ideals on the big screen in films like Ralph Breaks the Internet.

Fleming provides a serious, well-researched, cited, and reviewed literary academic review. He weaves a story about how the Victorians impacted the Disney content that fans love. As a history guy and not a literary criticism fan, I was worried that I would be out of my depth. I view myself in this arena as a Disney fan and not a scholar, as I opened the academic monograph. I am thrilled to say that Fleming held my attention, made the literary review portions of his text accessible to me, and others. And Fleming provided a large amount of history, both 19th-century English and Disney, to engage this history lover. For example, his discussion on princesses describes the key archetypes of Victorian literary princesses, and then uses the real examples of Queen Victoria and her daughters to illustrate expectations, including how they fulfilled the models and pushed against social ideals. 

Animating the Victorians: Disney’s Literary History by Patrick C. Fleming is a serious academic study of Disney's creative endeavors and how Victorian literature helped form, I think one could say even inspired, some of the most important Disney films of numerous Disney eras. It is also an interesting study of entertainment archetypes and history. And best of all, as academic study of Disney grows, it is the type of book that most Disney history fans will find accessible while finding something new…like a discussion on the history of international copyright laws before the creation of Mickey Mouse! 

 

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Between Books - Walt Disney & El Grupo in Latin America

I’m tired! I think Walt Disney may have been tired too!

Walt Disney & El Grupo in Latin America by Theodore Thomas, J.B. Kaufman, and Didier Ghez outlines Walt Disney’s trip to South America in 1941. The book covers the entirety of the nearly 3-month fall expedition, spreading American goodwill as a strategy to win over South American neighbors away from Nazi sympathy. Disney was asked by the Coordinator of Inter-American Affairs (CIAA) to use his global celebrity to strengthen Western hemisphere ties. The story is told heavily in images with the authors providing narration to the group’s daily doings. The volume does not focus on just Walt Disney but recognizes that El Grupo the 18 Walt Disney employees and family members on the journey, were at times separated into smaller traveling parties or even in the same cities separated to meet with numerous local industries or celebrities. Due to the highly visual nature of the text, it at times feels like a documentary and less than a book.

I’m tired, did I mention that? The goal of the authors is to provide a detailed account of the trip. The trio, therefore, doesn’t provide us a thesis to prove, in fact, the three have other works on El Grupo that have this as a goal. As a reader, you understand this is a very visual book seeking to provide a daily accounting. Hence, I’m tired. It feels like the group, especially Disney, rarely had a chance to rest during this fact-finding and goodwill-building adventure. Even in “downtime” artists like Mary and Lee Blair and Jack Ryman were sketching, painting, and refining ideas for potential future movies Saludos Amigos and The Three Caballeros. Or perhaps, Jack Cutting may visit a local studio to supervise a movie dubbing into Spanish. The book makes it clear that this group of 18 were constantly in motion. And while early in the trip, they may have spent in the reader's mind “weeks” in Rio, it becomes clear to the reader that on later stays the group seemed to only linger a day or two in a location before moving on again.

Design-wise, I was pulled into the book and it often felt like a visual experience and not a book. That is why I feel tired. This isn’t an era of perfect staged pictures. The spontaneous nature of many of the pictures helps one to feel the emotion and action, like a tired Lillian Disney asleep on a train car one can feel the stuffiness within. The closed eyes and the improperly directed glances remind us this is a different time before everyone had a camera and the time to coordinate numerous shots for the perfect social media image.

My only complaint with the design is some pages have maps on the layout that pictures and text sit upon. These maps have notations to locations on the page design. Sadly at times, I read these like image captions and not part of the page design which took me out of the journey for a bit.

Walt Disney & El Grupo in Latin America by Theodore Thomas, J.B. Kaufman, and Didier Ghez is a book for those who want to go deeper into Disney’s trip to South America in a highly visual way. For those who want to see Disney legends like the Blairs and Frank Thomas working, drawing, and immersing themselves into a culture this offering is for you. The authors help me to understand the kinetic and tiring nature of the trip, even without making this an overt goal. I wondered, can El Grupo just kick back and relax? An answer that seems like no as Frank Thomas was teaching himself Spanish even on the long-trip home.


Quick Note: While you can purchase this text on Amazon. I grabbed mine at Stuart Ng books where I was able to pick up an autographed copy. 

 

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Between Books - Directing at Disney

What does a director of an animated film do? What did Walt Disney do as “director” as he opened his 1923 cartoon studio? What do directors do today? Honestly, it may be more complicated than you think!

Directing at Disney: The Original Directors of Walt’s Animated Films by Don Peri and Pete Doctor outlines the history of animation directors from pre-Disney Brothers Studios to the retirement of one of the original Nine Old Men Woolie Reitherman. Peri and Doctor start the book dropping us into early 20th-century animation, a time when animators were assigned scenes and largely were unsupervised by studio leadership in scene production. Walt Disney, as the visionary creative force behind his studio, took on a bigger role at his shop, dictating and approving the shots in his cartoon shorts. As the studio grew, Ub Iwerks, would take on a more supervisory role taking some of the roles from Disney that we would label directorial today. As this division of labor was more defined as the studio grew, Walt Disney filled the role of creative visionary with directors taking on the coordination and supervisory roles. And while not called directors, Iwerks and Burt Gillett took on these direction roles allowing Disney to focus his attention elsewhere. Director Dave Hand would fight to even better define the role of Disney directors in organization and authority, with the hope that the organization could create an efficient creative machine…but Disney would often interfere with the efficiencies Hand desired through his personality. Peri and Doctor provide chapters to highlight other key Disney directors such as Ben Sharpsteen, and Wilfred Jackson, up until Reitherman, detailing the evolution of organizational, supervisory, and creative roles including the differences between directors, sequence directors, and other directing roles. Much of this evolution follows the trail of creative vision, moving fully from Disney as a producer to Reitherman as director providing his own stories much like modern Disney directors do today.

There is a lot to love about this book. It easily could have slid into a reference-type book with a dull narrative. The tools of a reference book are here, with eye-catching illustrations that detail complicated organizational relationships and appendixes that list out titles and credits for directing-type positions. But Peri and Doctor run from reference only and use their chapters to provide us with biographical stories that clearly show roles, authority, and change. They often come with personality. For example, Sharpsteen is a figure that I have often seen animators complain about as a company man who was macro-managing. Peri and Doctor don’t run from this characterization. But they do place in the context of the needs of the studio at the time and Sharpsteen’s personality. What others may have seen as overbearing, Sharpsteen saw as parental. This personality element makes this more than a bland reference that sits on a shelf just to answer a trivia question or comparison data. It is a story of people working within a changing organization, and often struggling with this change.

There is a line between publicity and history that can sometimes be merged in the corporate press of a major firm. I can see how modern leadership would have loved a book that came out and said, “Everything was fine.” But the book to me illustrates the tension. Walt Disney’s interests changed. The book details the lives of individuals who had opinions of their own about how to best make animated films and shorts and often did not agree with each other. Some personalities fell out of favor with Walt Disney himself. Maybe because of Doctor’s authority within modern Disney, I feel a story is told that does not make heroes out of legends or hide the tension. For example, Dave Hand who loved structure as seen by his reproduced organization chart, did have personality conflicts with Walt Disney. This led to a falling out that left Hand outside of the studio. How others saw directors like Sharpsteen and Reitherman is clear. Maybe along with Doctor’s current personal authority within the company, this tension between guidance and authority is found in his journey, and something he was very well aware of, as being a leader is not always about being beloved.

Directing at Disney: The Original Directors of Walt’s Animated Films by Don Peri and Pete Doctor is a gorgeously illustrated book telling a story of organizational evolution and the personalities that helped build the changing role of animation directors. It is a frank discussion about change within a corporate body and the tensions that this creates. Peri and Doctor note the years they worked on this volume, and it was well-spent by providing a book that allows us to see the directors and not just the trivia.

Between Books - Before the Birds Sang Words

I have to beg the Between Kid to enter Walt Disney’s Enchanted Tiki Room in the Magic Kingdom! Maybe it takes a Dole Whip to get him to agree to enter. Maybe I just have to demand a break in the AC. Cearly, singing colorful birds doesn’t excite him. Now, Pirates of the Caribbean, he can ride all day! And what’s sad about this situation is that José is essential to the story of Jack Sparrow, Elsa, Mr. Potato Head, and Hondo Ohnaka when we see them in the parks today.

Before the Birds Sang Words by Ken Bruce outlines the long, and we mean long, saga of the Disneyland Walt Disney’s Enchanted Tiki Room. While the attraction may have opened in 1963, Bruce ties the origins of the singing bird attraction not in just the popular tale of the New Orleans bird toy that Walt Disney brought to Imagineering, but even earlier to the astronomical clock in the Cathedral of Our Lady of Strasbourg in Alsace, France. The 60-foot clock was created in 1354 and seen by Walt as a young Red Cross volunteer and an American businessman visiting France in the 1930s. Bruce uses the clock as a foundation from which he builds intersecting histories of mechanical toys, American views on Tiki and Polynesian culture, and Walt Disney’s development of the American theme park as seen through Disneyland. With Disneyland established, and his gift of a mechanical bird to Imagineering, Disney charged his artists to develop a bird restaurant. This challenge would lead to a ten-year development cycle that includes some of Disney’s most respected artists including John Hench, Marc Davis, Rolly Crump, the Sherman Brothers, Harriet Burns, and numerous other Disney Legends who participated in the evolution of a planned restaurant to a higher-capacity singing bird show. Bruce provides a comprehensive view of the show's development discussing Disneyland food service (can we talk about Stouffer’s Foods friends), Audio-Animatronic development, show scripting, building layout, song selection, recording, and virtually any topic of relevance to the show. Bruce finishes with a discussion of the evolution of the Disneyland attraction and its duplication in other parks like Walt Disney World.

I really enjoyed Before the Birds Sang Words. It is well-organized, well-written, and engaging. As someone who is not in food service, if you had told me that I would be fascinated by a chapter discussing Stouffer’s Foods I would have loudly said that would not happen. But in the big picture of Disneyland and Walt Disney’s Enchanted Tiki Room, this one small detail matters for understanding the relationship between leasees in Disneyland and why Walt Disney moved away from their large role in the park. The quality of the book and its definitive coverage of the attraction is surprising to me due to the fact it’s not a Disney Press edition yet it meets or exceeds the qualities of that press.

I called this story a saga, and it really is. The short story us Disney fans tell is that Walt Disney wanted a bird restaurant, Walt Disney realized that the birds were above the food, and he moved to an attraction. No, this is a ten-year development where technology changed, capacity was better understood, and Tiki culture grew in popularity. What’s also interesting to me is that honestly no one seems to have gotten what they wanted. Marc Davis designs were rejected, along with Rolly Crump’s. I really enjoyed the pages that discussed Davis and Hench working at cross-purposes. Songs were revised by George Bruns. Scripts and roles were changed, taking out some of Wally Boag’s saucy jokes. In the end, the attraction was rarely what anyone truly wanted, but a true collaboration between many visions. Though some would be able to show in the attraction’s evolution that what they wanted likely would have been for the best from the start.

Before the Birds Sang Words by Ken Bruce is a engaging saga of one Disney attraction. But it’s an attraction who’s impact extends beyond the four corners the bird room. Bruce notes that some like the Between Kid may not be an enthusiastic for singing birds today as in the past. But Bruce gives us a context to better understand how important singing birds really are in Disney history and a chronicle of the hit they really were for Disney fans in Anaheim and beyond. Bruce helps us understand fully the lastly impact of the tiki birds and their entertainment legacy even for those who lack modern interest.

Clearly next time I’m in the park, I need a AC break even if he says no!  Because I love legacy.

Review Copy Provided for Review

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Between Books – Hyperion Historical Alliance Annual 2023

New year, same review?


I feel like I restate the same thoughts whenever I read the latest Hyperion Historical Alliance annual.

Maybe it’s because I feel “excluded” and I don’t like that. I’d like to think I’m pretty serious when it comes to history.

The “2023 Hyperion Historical Alliance Annual” consists of five articles that span decades of Disney history from the early days of animation to the 1900’s in Disney parks. The five articles are:

• “Oswald the Laemmle Rabbit” by Tom Klein

• “Walt Disney and The Life of Hans Christian Anderson” by Didier Ghez

• “Woolie Reitherman Needs to Fly” A Disney Artist Goes to War” by Lucas O. Seastrom

• “1945-1946: Edgar Bergan and Disney’s Story Department” by Didier Ghez

• “Direct from the Islands: The Polynesian Magic of Pete Seanoa” by Nathan Eick

The articles are all written with an academic slant. And they have extensive footnotes with bibliographies showing source material. They definitely as a group are attempting to show the seriousness of Disney history.

For me, the most engaging topics were Oswald and Woolie Reitherman. Klein’s article demonstrated that the creation of Oswald the Lucky Rabbit was not fully in the mind of Walt Disney. In many ways, Oswald was a corporate creation, which reminded me of the modern studio and network system where executives, producers, and writers all have claim to pieces of the character. Disney’s additions were critical, providing Oswald with much of his character development and growth. But Klein makes it clearer that the Lucky Rabbit was a corporate rabbit not a Disney one. We might even call Oswald work-for-hire. The Reitherman article dives deep into the artist’s non-animation career as a military and civilian pilot. The article helps remind us of how the Greatest Generation was often more than one thing and career, which should inspire us! But it is also a history that includes World War II, transportation over The Hump into China, and the growth of commercial air travel.

The “2023 Hyperion Historical Alliance Annual” to me has an audience, Disney fans who want serious historical research. They want their passion to be validated as a serious academic pursuit. I also think these fans, like me, would love to support the Hyperion Historical Alliance in their mission. In fact, my proof is the purchase, reading, and review of now four Annuals. I just think that they need to grow the mission. I am someone who has a master’s degree in history. I’d like to think I am taking my history seriously. I am also not currently mining archives for serious historical additions to the knowledge base. But I would like to support those that are doing so. As someone who’s been a member of the Society of Baseball Research, who has a model I think can be used here, I don’t get why this isn’t being democratized. I’ve also been a member of the Society for Military History and American Historical Association, founded in 1884 and very serious, which both have options for non-working historians.

The “2023 Hyperion Historical Alliance Annual” is a collection of five historical articles that span the varying topics in Disney history. Most Disney fans, like I did, will likely find a topic of interest and comparisons to trends today in media. Again, I wish they would open membership up to a more scalable and likely-lasting membership model.

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Between Books - Disneyland on the Mountain: Walt, the Environmentalists, and the Ski Resort that Never Was

Mineral King is a project mentioned in every complete Walt Disney biography. It’s also one mentioned throughout books on the development of the Disney parks. But generally, these mentions are glancing, a paragraph or, a few pages. But now we have a complete look at the history of Disney’s failed outdoor recreation area. As one delves deeper, it becomes clear that this story is about more than Walt Disney and his hopes for the Mineral King Valley.

Disneyland on the Mountain: Walt, the Environmentalists, and the Ski Resort that Never Was by Greg Glasgow and Kathryn Mayer provides a detailed history of the Walt Disney Company’s hopes and failed vision for the Mineral King Valley. In 1966, Walt Disney, after extensive research, announced his intention to develop Mineral King as a skiing and outdoor recreation area. Disney, inspired by European ski villages hoped to bring visitors to the valley’s natural beauty through a ski resort that would bring visitors all year long. But others saw his vision as destroying the valley's splendor by bringing in a cheap Disneyland aesthetic to the Sierra Nevada mountains. The book chronicles the regulatory, legal, and public relations challenges that kept the Walt Disney Company from moving forward on its ambitious plans. Immediately creating obstacles was Walt Disney’s death soon after the announcement, and leadership changes within the corporate structure. Mineral King would be added to the Sequoia National Park in the National Parks and Recreation Act of 1978, ending any options for extensive land development and putting an end to a project that had fatigued many in the company. The book ends with a discussion of the legacy of the fight over Mineral King, both inside and outside of Disney's corporate history.

Disneyland on the Mountain feels complete and is super dense. This is a true serious well well-researched study of the park. The language used is formal and is more than a fan-written history. The 180 pages are misleading, as each page is packed with facts and reports of the action. Glasgow and Mayer also ensure that their writing goes beyond the perspectives of Walt Disney, Card Walker, and other Disney executives. Instead, they look at the issue from the perspective of Walt Disney employees, Sierra Club officials, Mineral King homeowners, a Supreme Court Justice, and many more. The story is made even more complex through all these perspectives making the tale one much more than a Disney story and infused with unexpected drama. For example, some parties in this tale, saw their opinions change as developments moved forward. The authors are fair to all involved voices, leaving room for readers to make their own conclusions about the benefits of the outcome.

This story does what I love about history, using one story to point out greater societal changes within history. Glasgow and Mayer use this incident to point out the growing voice of women in politics, as key members of the movement against Mineral King development were women who were freed by the standards of the day to not only add their voices but also use their voices in leading this movement. Also, it is a good case study, as the authors show, for the growth of the environmental movement. Mineral King serves as one incident in the growth of advocacy groups, lobbying, and legislation that increased environmental protections.

While this book’s beautiful cover features a picture of Walt Disney at Mineral King, due to his death his memory was more active than the man himself. Readers, much like the participants in the story, are often left asking what was Walt’s intent. So while Walt is not always present, you do ask yourself like those who lived the story, what would Walt do?

For Card Walker, leading Walt Disney Productions, he was left with a charge and moral obligation to honor Walt Disney’s hopes for Mineral King. As a reader, we find that Walker was very concerned with the impact of the struggle on the company’s public image which placed the company as the villain looking to destroy natural wonder. The incident strained the company's image with the state and federal government along with California citizens. And one wonders how the story will be reflected in more recent legal struggles with the state of Florida. I will say one lesson that I took from the story was that for the company this incident passed and is now very much today mostly locked away in the Disney Archives.  

Disneyland on the Mountain: Walt, the Environmentalists, and the Ski Resort that Never Was by Greg Glasgow and Kathryn Mayer expands the story that many Disney fans just see as a paragraph or rare failure in Disney history. However the book goes beyond just telling the story of Mineral King by presenting a case study that demonstrates changing societal norms in American society. 

 

Review Copy Provided by Rowan & Littlefield.

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Between Books - Who Was Walt Disney?

When I was a kid I remember falling in love with history. One of the important moments I remember is a kid’s Albert Einstein biography that I borrowed from the library. I am not huge into Einstein's history today, but I remember the feeling of being fascinated by a true life story of obstacles and triumph. And I hope that kids can still use the pages of books to reclaim that feeling.

Who Was Walt Disney? by Whitney Stewart is a Walt Disney biography for kids ages 7 and up. Along with Stewart’s text are illustrations from Nancy Harrison. The book is a from-birth-to-death biography of Disney. It glances over all the big moments but does not go deep into many topics. With around 100 pages there is only limited space to discuss in depth a full life. This is especially true when many of the illustrations are full or nearly full-page spreads with a medium-sized font.

For a child in the 7 to 10 age range, I think this is a fine biography to introduce a child to Walt Disney or help grow Disney excitement in a young fan. As a biography there are a few moments where I was like, no that’s not right. And I mean a few handfuls of moments. As I looked back at them, it was really items that were actually true, but being the person who can be asked a question and then answer for 30 minutes, items of omission. There is simply just not enough room in 100 pages for a comprehensive take on Disney. But hey, we have really long Disney biographies for those adult fans. Even with it being brief, Stewart does introduce kids to the major themes of Disney’s life. For example, Stewart captures Disney’s emotional change as the studio grew and the animator’s strike in the 1940s showed him that his company was no longer a tight family.

Some of the illustrations don’t feel to be fully on model. But this is also an unauthorized biography. The publisher does need to be cautious in the handling of Disney images. And how many 8-year-olds are really going to be worried about if Roy O. Disney looks just like his photos?
 

Who Was Walt Disney? by Whitney Stewart is an accurate introduction to Walt Disney’s life and legacy. Hopefully, kids can find excitement in triumphs in the face of obstacles in the book. And maybe it will help foster the next generation of history nerds, if it be here or another of the volumes in this very successful series. 

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Between Books - The Official Walt Disney Quote Book

 

 

“All the adversity I’ve had in my life, all the troubles and obstacles have strengthened me.” Walt Disney

That just has to inspire you as a Disney fan, even when you have a bad day!

We know the story. We know how it started and ended. And we know there was a lot of adversity.

The Official Walt Disney Quote Book by the Walt Disney Archives provides us not a story but quotes such as the one above to inspire our spirit, jumpstart our imagination, and provide us insights directly from Walt Disney. The book is divided into 21 chapters around themes such as films and animation, the Disney theme parks, television, animals and nature, family, life, wonder, and more. The quotes are a page or less in eye-catching fonts on pages embellished with pictures from Walt Disney’s life. While there is no index, as topics are easy to look for in their chapters, the Walt Disney Archives staff does provide an original source for all quotes and images.

This book is honest. It is a quote book, and there is no story provided. Though the themes of the chapters do provide some thematic cohesion that keeps readers from feeling like they are jumping from topic to topic to topic and I quite like it. The title is part of the Disney 100 campaign, with Disney Editions making it very visually attractive with its hardcover adorned by Walt Disney along with good use of fonts and images on the page. The text can easily serve as a thought jogger as one considers Disney and non-Disney topics.

I do have another Walt Disney quote book printed in the 1990s for the parks, which I have not reviewed. That edition is smaller and softcover. And honestly, it does not look as good on the shelf. It also has 100 plus chapters, which are really headers with multiple topics on the page and not thematic but in alphabetic order. That version may make it easier to find a topic, but it lacks the idea of moving together a story.


Is The Official Walt Disney Quote Book by the Walt Disney Archives for everyone? Probably not. It is however attractive visually and I like having it where I can quickly grab it when I need a Walt Disney quote. Yes, I could get those in an internet search too, but it doesn’t feel as satisfying as flipping the pages myself. Often times inspiration for me is easier to find on a page in my hand than a screen in front of my face.

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Between Books - Walt's Apprentice

It is a harsh reality that Walt Disney passed away over 55 years ago. And sadly it means that many of Disney’s close colleagues and acquaintances have been taken from us. Dick Nunis represents one of those colleagues who worked with Disney over half a century ago, who we have heard others talk about but who had not yet captured his memories working at Disney until now.

Walt’s Apprentice: Keeping the Disney Dream Alive by Dick Nunis collects Nunis’ memories. Nunis outlines his youth including his college football career at the University of Southern California. After suffering a significant injury, Nunis moved into education, then training and development where Disney hired him as part of the Disneyland opening day training team. After a successful launch, Nunis found himself in operations where he oversaw lands within the park. His focus on capacity, efficiency, and maintaining Walt Disney’s standards led to his oversight of park operations. Working closely with Disney, Nunis would find himself added to projects as assigned. This would include participation in a World’s Fair, an Olympics, and eventually Disney’s move to the east coast with Walt Disney World. Nunis would successfully lead operations on both coasts until his retirement. Nunis then describes his post-Disney years as ones where he remained active and shared Walt Disney’s standards with others.

Nunis was assisted by a book team that created an outline for his recollections. Chapters tend to be topical and do not fully link to each other. The writing is clear, his team likely included editing skills, and he is easy to understand. Nunis has a reputation for being gruff. And his writing at times leans into this image with one section including phrases that support the story of the taskmaster general. The value is to see and hear these stories in Nunis’ voice. For example, he clearly was proud of his actions during the Yippie invasion of Disneyland. The text allows him to share his thoughts on this historical moment instead of letting others describe his actions for him. The pages allow him to tell the story in his voice and as he would shape it. The interesting piece to me however was how little was new. So many writers and colleagues have talked about the man that stories are not generally new information. Instead, they are about Nunis, by Nunis, and all of them are collected in one volume. Each chapter ends with a business lesson from Nunis, Disney, or other colleagues. I found these quotes somewhat unneeded as I read the volume less as a business book than a memoir. And some of these lessons seemed a little stretched to fit.

Walt’s Apprentice by Dick Nunis paints the former executive as a student of Walt Disney. And for some who see Disney as creative or affable may not take to the imagery. But we must also remember that Walt Disney was not a man who issued praise, worked hard, and demanded high standards. And while Disney may not have seen himself as a general like Nunis is willing to do, in many ways Nunis learned much from Disney. We must never forget that people are complex and do not always fit the stereotypes we place within our heads. The great benefit of Walt’s Apprentice is this book captures Nunis’ memories in Nunis’ words including his impressions of Walt Disney and himself.


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Between Books - The Disney Revolt

 

The Disney Revolt by Jake S Friedman could be my favorite new Disney book of 2022. It entertains, educates, and provides more depth into a turning point moment in Disney history. This book is a must-read for those who are Disney animation history enthusiasts.

The Disney Revolt: The Great Labor War of Animation’s Golden Age by Jake S, Friedman details the rise of Disney animation, the animation strike of 1941, and the long-term repercussions of this event. While at moments, it reminds me of a Parallel Lives of Plutarch formula, using Walt Disney and Art Babbit as the main entries into the story, it is really the insight into Babbit’s life that gave me the most interest as a reader. Friedman discusses the early life and career of Walt Disney to the founding of his animation studio and the release of animated shorts to features with Snow White. Disney evolves as a businessman with working-class roots who was close to his small yet growing staff and invested in their development with the creation of the in-studio art school as he attempted to maximize his artist’s efforts. As the business grew, the gap between labor and management also grew. This led to miscommunication and differing priorities over schedules, salaries, credit, and bonuses. Additionally, labor in Hollywood became increasingly organized, due to market and criminal forces, which meant eventually union influences would make their way to the studio. Disney and his leadership team attempted to shepherd and control, these influences in an attempt to keep the union voices pro-Disney, At the same time, the intelligent and outspoken Babbit worked to limit management control hoping that the voice of the worker would be truly heard. This eventually led Babbit to lead the 1941 lockout that would polarize employees and in some cases break relationships forever. Case in point, Babbit himself would virtually be exiled within the studio and later forced to leave with his art contributions largely ignored by the studio. Friedman presents us a history of Disney labor relations that is factual and highlights the faults of all involved in what was a painful and messy moment in Disney history.

While I at times saw similarities with the Parallel lives structure, it was really the Babbit content that stuck most with me. Friedman, in my mind, does not make him the hero of the book he provides a balanced view of Babbit’s life. I have found that other books will make mention of Babbit as only a victim, but Friedman introduces us to a man who was innovative and artistic and yet flawed. Babbit could carry grudges and act on perceived offenses that perhaps would be best ignored. He was passionate about things that he believed matter, and in this case, making sure that Disney employees were able to be heard on the union issue and not forced into a decision and organization that did not truly represent them. It is easy to see him standing on the picket line, yelling at his colleagues for breaking the line, and doing so with a tone that would forever break their friendships, until their elder years. Friedman shows us also an artist who was not perfect, at times needing to work outside of the Disney standard, and was innovative as he brought forth ideas like film reference.

The Disney Studio does not leave this account guilt-free. Walt and his leadership team were very invested, too invested, in creating a pro-management union at the studio. And many of their actions were underhanded and deceitful. It was not Babbit, but the studio, that interacted with gangsters in attempts to end the strike! Reading this account, one’s stomach gets squeamish as you read about Disney’s counsel Gunther Lessing and some of his actions at and before Disney. For strikers and management, everyone has a share of the blame for the moment that turned vicious and ended the family feeling at the studio.

The text is a solid work of history. It is extensively researched and notated. Additionally, it is well-written and engaging for a work that is primarily academic in tone. I enjoyed the use of pictures, which are sprinkled through the pages instead of condensed in one spot. They are put next to the most relevant moments and help to move the story along.

The Disney Revolt: The Great Labor War of Animation’s Golden Age by Jake S, Friedman is an engaging story of a key moment in Disney and animation history. Readers get to better know Art Babbit, both his strengths and weaknesses, and are reminded that Disney is a company that acts on business interests. If you told me that I would “enjoy” a labor history, I would have likely laughed. But seeing this moment through the eyes of Babbit and Disney created different views of this moment and likely a better understanding of this turning point!



Review Copy Provided by Publisher

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Between Books - Mary Poppins & Mary Poppins Comes Back

 

For years I have had a copy of Mary Poppins & Mary Poppins Comes Back by P.L. Travers sitting on my Between Books shelf, but I have never had a chance to read it.  Recently, I decided to pick it up and dive into the story that was a key Disney movie moment.  As I read through it, I realized how factual another semi-fictional Disney film actually was and the challenge this story presented. 

Mary Poppins & Mary Poppins Comes Back by P.L. Travers collects the first two books of Travers' Mary Poppins series.  The titles consist of a series of short stories detailing the interactions between the magical nanny Mary Poppins and the four, yep four, Banks children.  The characters will feel familiarish to anyone who has seen the Poppins films.  And the stories will occasionally remind one of the movies as we travel into China bowls or visit a laughing uncle.  But overall, the stories are generally not connected and provide short incidents, which are often confusing and nonsensical, with the Banks children.

When we hear the story of the Disney movie, we are told that Walt's children loved these stories.  But to be honest, I did not.  They really are confusing at times and I often feel like the characters are not that approachable.  If anything, reading through these makes it clear how factual Saving Mr. Banks is, as it would have been impossible to make a straight adaptation of this writing into an engaging movie.  In short, the Travers' stories had to be adapted, and the Sherman Brothers and Don DaGradai did an excellent job taking random stories and connecting them together.  For example, the presence of Mr. Banks is somewhat invisible in the book, and the choice to make him the antagonist helps string together a watchable movie.  Ironically, at the same time, I was reading this Between Book, I also started listening to the Sherman Brothers series on the Disney History Institute podcast which focused on the facts of Saving Mr. Banks and describes the actual adaption of the book into a movie.  

In short, I was disappointed by Mary Poppins & Mary Poppins Comes Back.  I will not read any more of the series.  it is not for me.  But I also better understand the challenge that Walt Disney and his team faced when creating a classic movie. 

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Between Books - The Making of Walt Disney's Fun and Fancy Free

 

As a fairly busy person, I have never to my remembrance watched Fun and Fancy Free.  Okay, that’s a little bit of a lie.  I remember segments of this 1947 package film as it was taken apart to provide television and school’s shorter segments, specifically Mickey and the Beanstalk.  But it is honestly a film that I do not know a lot about or have a deep experience with.  I mean I likely have an old copy picked up and maybe unwatched from my college years.  So I was excited that the Hyperion Historical Alliance’s first monograph was a blind spot in my Disney knowledge.    

The Making of Walt Disney’s Fun and Fancy Free by J.B. Kaufman is truly the definitive book on this Disney feature.   Kaufman starts his story in 1941 as Walt Disney sought new stories in the midst of global war to justify his expanding studio.  One of the potential stories that Disney tasked to his staff was the development of Sinclair Lewis’ “Bongo” a tale of a circus bear meeting wild bears in the wild.  A story with only three main characters; Bongo the circus bear, Silver Ear a wild female bear and Lump Jaw a male bully bear was going to take a lot of development to create an animated film.  Kaufman highlights the starts and stops in the story including changing development leads, changing studio priorities and story problems which stretched out the development of the film.  For examples, as story personnel changed so did characters, endings and even how Bongo found himself in the forest.  Next Kaufman transitions to Mickey and the Beanstalk, a story that Walt Disney had visited before.  As early as 1938, Disney had considered producing a version of “Jack and the Beanstalk” again as a Mickey Mouse feature which could help put the studio on stronger financial grounds.  This feature was stalled in the World War II studio activities and revived again in 1944, among the projects like “Bongo” that Disney hoped would bring his studio in to the post-war world.  And with the war ended in 1945 and Disney needing to put a feature in theaters, the decision was made to place Bongo and Mickey and the Beanstalk together for one theatrical released feature.  The new fun spirited Fun and Fancy Free was to provide a Disney a more economical feature which already had years of development behind it.  This new film would be promoted heavily with both musical numbers found in the film and with Mickey Mouse’s 20^th anniversary, a year early. After its initial release, the film would separated into smaller segments for further release in other avenues.

Kaufman’s work is solid, informative and entertaining. The Making of Walt Disney’s Fun and Fancy Free is full of images.  The book does not just tell you about the evolution of characters but shows you.  And along with concept art, Kaufman shows us the artists crafting the film’s development.  But my biggest concern about image heavy books is the narrative.  Here, Kaufman does not scrimp on his words giving a strongly researched historical narrative.  For such an image heavy book, the words provide equal value.  The Hyperion Historical Alliance has stated they wish to support image driven books which also have historically strong research.  This first volume definitely meets that goal!  And I as a reader look forward to seeing future volumes. 

In the age of Disney+, Fun and Fancy Free is available at anytime to me.  Though I think I may still have a VHS copy of it…but a streaming channel seems so much easier for searching and starting/stopping.  J.B. Kaufman has given me the excitement to watch it again for the second or third first time in a whole new historical light. 

 

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