Other Secret Stories of Walt Disney World

by Jim Korkis

  Imagineer Joe Rohde stated:

  Disney’s Animal Kingdom is built around the lives of animals, built around the rules of nature, and those rules dictate that as you move between day and night everything changes.

  It all really is summed up by Rivers of Light. In the show, we take this combination of light and water which create life, and out of that comes this fantastically rich explosion of animal life that ultimately rises up and joins the stars.

  Two mystical hosts come to the river bearing gifts of light. They set out from the shore on elaborate lantern vessels. Adorned in intricately designed costumes, the hosts engage in a dramatic dance of water and light to summon the animal spirits: an Asian Tiger, a tropical Turtle, an African elephant, and a Great Horned Owl.

  Costumes for the storytellers and their acolytes include fabrics using 5,000-year-old dye and weaving techniques.

  Disney challenged renowned Broadway production designer Michael Curry to create vessels that were artistic and stimulating, yet innovative. The commanding lantern vessels stand 15-feet tall and are 30-feet long, illuminated from within by innovative LED technology utilizing more than 50,000 programmable color-changing, light-emitting diodes.

  The show has a powerful musical score by songwriter and composer Don L. Harper and was recorded at the renowned Abbey Road Studio in London. The signature song “We Are One” was written by Mark Mancina, who wrote the score and was a key collaborator on the music for the Disney animated feature film Moana (2016).

  A collaboration with Disneynature to incorporate rare nature cinematography showcasing tender animal moments on the arched water mist screens features many never-before-seen moments from the Disneynature film series.

  The eleven show floats are independent of each other and programmed to follow a choreographed “dance” pattern across the lagoon.

  Imagineering creative director Michael Jung said:

  At the show’s finale, we hope guests will feel like they have been on a tremendous ceremonial and visual journey. Rivers of Light really provides an affirmation of life and reminds us of the beauty and fragility of the natural world we all share—with animals and one another.

  Animal Kingdom

  Harambe

  Harambe is a fictional town meant to be reminiscent of an East African port catering to tourists in modern Africa in order to better communicate urgent dangers like poaching and destruction of the environment.

  Imagineers specifically did not want to represent an actual town because the challenges are not limited to just one town or area and also did not want to be linked to the political history of a particular place.

  Some elements from the trips that Imagineers took to places like Kenya and Tanzania for research include a fortress found in Zanzibar and a faux water-stained, crumbling old building and private home that were originally seen in Kenya. The thatched huts found throughout this community were constructed by thirteen Zulu craftspeople from South Africa.

  “Harambe” was derived from a Swahili word meaning “let’s pull together.” It is located just inland from the Indian Ocean, along the Uvumbuzi River (roughly translated into “Discovery” River).

  The history of the town dates back to the 15th century, when it was a trading center for gold, spices, and elephant ivory between Arab merchants and local tribes. The Swahili language is actually a mixture created from bits of Arabic, German, Portuguese, English, French, and tribal dialects, allowing traders to be able to communicate with one another.

  Because of the value of these goods, a fortress was built to protect against pirates and other threats, but today it has started to be reclaimed by nature just like other areas of the town. Harambe was a Dutch colony at one time, but it was also under the control of several different countries over the decades including a period of British colonial rule and so artifacts like a British post box still remain.

  Harambe gained its independence through a peaceful revolution in 1961; a stone bench with the word “uhuru” meaning “freedom” commemorates that event. The town reflects elements from its history and the effects of weather and decay. Signs appear in both Swahili and English. A minaret stands near the waterfront, ready to summon the Islamic faithful to daily prayer because many different faiths live together in peace in this area.

  Since independence, the community has been torn between two factions: one that wishes to modernize and industrialize at any cost and the other that insists the cultural heritage and wildlife of the area must be respected and protected.

  The town’s seal combines images of lions and a shield with a machine gear and the word “enterprise,” combining these diverse points of view of heritage and progress.

  It is hoped that the growth of eco-tourism (tourists coming specifically to see wild animals in their natural environment) will help the economy and also spark the creation of new businesses devoted to shopping and dining.

  The main source of income for the town is the Harambe Wildlife Reserve that was established in 1971 to preserve and protect native wildlife threatened by rapid population growth and the encroachment of agriculture and industry. The photo safari offered at the reserve is a popular international tourist activity.

  A close look at one of the posted maps shows that the reserve is surrounded by ranches, coffee and banana plantations, and a phosphate mine. Hunting and poaching are forbidden, but that does not seem to stop those activities despite the presence of passionate game wardens who seem to be on constant patrol in their jeeps.

  According to the Imagineering back story, the Harambe Wildlife Reserve is 800 square miles. Actually, the Kilimanjaro Safaris attraction is “only” 140 acres, but that is still large enough to hold the entire Magic Kingdom.

  Animal Kingdom

  Gorilla Falls Exploration Trail

  “Welcome to Pangani Forest Conservation School and Wildlife Sanctuary—a joint effort of the citizens of Harambe and international conservation groups” was the sign that greeted guests for almost eighteen years.

  “Pangani” is a Swahili word meaning “place of spirits,” or more commonly, “enchanted.” This fictional wildlife sanctuary and research facility is somewhat unique in that it also contains a conservation school that is open to the public.

  The inspiration for this location came from the Imagineers who visited the William Holden Wildlife Education Center in Kenya. Although best known as a movie star, Holden along with some friends in the 1960s bought some land and established a location to help educate people about the value of wildlife and how to conserve it while actively protecting endangered species, philosophies echoed in the development of Disney’s Animal Kingdom.

  The director of the school is Dr. K. Kulunda who states: “We do not inherit the earth from our parents—we only borrow it from our children.”

  Dr. Kulunda, whose first name is never revealed, is another fictional creation of Imagineering. Disney historian Shawn Slater believes it was meant as a subtle tribute to Kevin Brown, the lead Imagineering concept writer for Disney’s Animal Kingdom. The post-office box at Gorilla Falls is actually the number of Brown’s phone extension during his time at Imagineering.

  According to the Imagineering back story, Pangani was originally a hunting trail when Harambe was a Dutch colony. When Harambe achieved its independence, it was converted into awildlife preserve.

  When the park opened, the five-acre Pangani Forest was entitled Gorilla Falls Exploration Trail. The trail itself is approximately three-eighths of a mile. That original name encouraged guests to ignore all the other exhibits to hurry to see the gorillas since they were apparently the purpose of the attraction.

  With the name change in July 1998 (just three months after the park’s debut), guests then were more prone to stop at a series of observation blinds, outposts, and overlooks for the study of the native wildlife.

  The animals include black and white colobus monkeys, okapi, naked mole rats, gerenuks, hippos, meerkats, and others, including an extensive aviary. In May 2016, it rev
erted back to the name Gorilla Falls Exploration Trail.

  Some of the information about the animals is posted on cards, chalk boards, boards that display newspaper clippings, hand-written notes, announcements, and letters.

  To create a sense of reality, and perhaps a little danger, signs along the way strongly advise guests to stay on the marked paths since this is indeed a wild habitat as evidenced by the animal tracks on the ground and sounds coming from the forest.

  Dr. Kulunda warns:

  Do not wander into the deep brush or forest—this area has leopards, Cape buffalo, and other dangerous animals. Do not remove any plants or animal material such as horns, bones, or feathers—they are all part of the natural eco-system.

  The first gorilla birth at Disney’s Animal Kingdom as part of the Association of Zoos and Aquariums (AZA) Species Survival Plan occurred in 1997 before the park opened; the second baby was born in 1999, the third in 2010, and the fourth in 2014.

  According to Disney’s official description, guests on this self-guided tour:

  Meander along winding paths amid a lush forest trail of African flora and fauna. Spot an adorable meerkat on a rocky perch or an impressive Grevy’s zebra on the savanna—before coming face to face with a gentle troop of western lowland gorillas on a grassy hillside—who are just as curious to see you as you are to see them!

  PART TWO

  The Walt Disney World Resorts

  In 1969, Roy O. Disney addressed a group of developers in Orlando:

  One thing I learned from the Disneyland project is to control the environment. Without that, we get blamed for things someone else does.

  Little hotels on the fringe of the park would jump their rates three times. I’ve seen it happen and I just can’t take it because it reflects on us. If they don’t run a good hotel operation for the Florida project, and those little honky-tonks come in there, we’re blamed.

  However, as costs continued to escalate for Walt Disney World, there seemed to be little left financially for the creation of the necessary resorts. Roy held discussions with executives of major hotel chains that had an interest in building hotels. Marriott and Western International (Westin Hotels & Resorts) were the front runners, but Roy was troubled by the fact that the chains wanted to operate the hotels independently without Disney’s direct control.

  Eventually, Hotel Plaza Boulevard was organized under that arrangement, whereby Disney leased the grounds to the chains and the chains provided the management teams to operate them.

  Finally, Roy went with United States Steel and its newly formed USS Realty Development Division for the Contemporary and the Polynesian resorts. That company entered into a partnership with the Disney company to form Walt Disney Hotel Company, a totally separate and distinct subsidiary of Walt Disney Productions.

  USS Realty Development was introducing its then-new “unitized modular” form of construction. It went into partnership with Disney because it realized that the much-anticipated Walt Disney World would be the premier showcase for what they considered an innovative building technique and would spark others to want to use its services.

  The company was also allowed to participate in the design and development as well as the actual construction. The design work was done by WED Enterprises (Imagineering) and Welton Becket and Associates of Santa Monica, California.

  Five different resorts were designed, but it was decided to concentrate on just two for the first phase of the property. The Contemporary was to serve as the flagship resort and also provide convention and banquet facilities.

  A superstructure of thirteen steel-trussed A-frames resembling a honeycomb was assembled. After the rooms were installed, the structure was covered by a specially designed sun-resistant glass called “Solarbronze.”

  The Polynesian was selected because it would best represent a Disney immersive themed experience.

  To add to the authenticity, the pitched roofs were covered with a special tin covering called “CorTen” which weathered to a rich, natural, earth-toned patina. All the steel structures were covered with wood.

  The new method of construction was basically building a bracketed concrete and steel structure for each resort and then building the rooms separately. In so doing, it would supposedly cut in half, at least, the amount of time to complete the buildings.

  Nearby, the rooms were each put together in an assembly-line fashion in a 150,000 square foot warehouse facility and then moved to the location on flat-bed trucks and installed using an enormous crane. The nine-ton rooms were fabricated at the average rate of fifteen per day and were complete with carpeting and bathroom plumbing, among other things.

  The concept was that the resorts would be “much like a small city in that it provides service to our guests twenty-four hours a day,” according to the training guides for cast members.

  Roy became unhappy with the work being done by his new partners and came up with a bond issue that raised enough funds for Disney to purchase U.S. Steel’s interest in the project.

  BoardWalk Inn

  Miniature Carousel

  For the BoardWalk Inn and Villas, architect Robert Stern incorporated different aspects of Atlantic City and Coney Island to capture the spirit of the early 1900s.

  In the lobby entrance to the BoardWalk Inn is a miniature carousel created by one of the acknowledged masters of carousel building. Marcus Charles Illions (1872–1949) was a master carver particularly famed for his work on carousel horses and their carousels. He worked at many of the finest and most prestigious carousel companies and finally opened his own company.

  He was an expert horseman and owned a few of his own. His knowledge of horse musculature, even their facial veins, translated into his creating legendary figures that are still revered today. His style, known as the more flamboyant “Coney Island-style” of carousels, dominated the Coney Island area with at least ten of his carousels in residence during the 1920s.

  In the 1920s, he created three grand machines as part of what he dubbed the Supreme series. There is a small flag flying from the top of this miniature proclaiming “M.C. Illions Supreme Carousel.”

  There is an existing photo (unfortunately not displayed by Disney) of Harry Illions, M.C.’s oldest son (who was only 16 years old when Illions formed his own company in 1909), with this same miniature model carousel in the shot.

  M.C. Illions would take this salesman’s sample to the conventions of the National Association of Amusement Parks, or NAAP (formed February 1920). The group is known today as the International Association of Amusement Parks and Attractions, or IAAPA.

  Disney purchased this model direct from Illions’ granddaughter at auction in 1995. It had been hidden from public view for nearly seventy-five years.

  The model featured forty-four four-inch-tall horses that were each unique. The horses even moved up and down when the machine was turned on. Illions never intended that the model would be displayed publicly. It was simply meant as a demonstration of what he could build for a client.

  When the Disney company purchased the model in 1995, it spent more than a year restoring the wood, mechanisms, flaking paint, and other elements that were in disrepair.

  The original paint colors and decorations were researched (using the still existing full-size Illions’ carousels and horses as partial reference). Brass was re-plated, gold leaf applied, and miniature leather stirrup straps were attached. Even the tiny pearl-headed pins that were to represent light bulbs were replaced.

  The Imagineers scaled the speed of the carousel to match that of the King Arthur Carrousel located at Disneyland. As a final playful touch, a hidden Mickey was added to two of the horses.

  You can find one of those horses on the outer circle about two horses up from the green-blue chariot. Approximately every twenty minutes or so, the carousel springs to life playing a medley of Disney instrumental songs.

  Another artifact from Mr. Illions exists nearby. Between the two restrooms down the hall near the Belle Vue Lounge is an
interesting artifact that looks like a face on an elaborate stick. The small sign reads:

  All manner of sculptural elements decorated the turn-of-the-century Boardwalk carousel to provide sumptuous ornament for the usual feast of the amusement business. Carved by M.C. Illions, this figurine originally surrounded mirrored panels and was accompanied by dozens of similar figures. Cast from the circa 1910 original, hand painted and gold lettered.

  BoardWalk Inn

  Hidden Treasures

  Alix Beeny was the director of Parker Blake, a Denver, Colorado, design company hired by Disney Imagineering to help explore themes and find artifacts from the glory days of both Atlantic City and Coney Island to add authentic touches to the BoardWalk Inn and Villas.

  HIPPOCAMPUS ELECTROLIER. Hanging directly above the miniature carousel is the Hippocampus Electrolier that supposedly is a one-of-a-kind original and not a reproduction.

  The classical hippocampus comes from Greek mythology and is a sea monster with a horse’s forequarters and a fish’s tail, quite literally a seahorse. Poseidon was not only the god of the sea, but also earthquakes and horses. He was often accompanied by hippocampi who pulled his chariot.

  Electrolier was the name for a chandelier powered by electric lights, rather than gas or candle, but the term never caught on in common usage. Reportedly, it was inventor Thomas Edison who coined the term.

  The Hippocampus Electrolier Chandelier at the BoardWalk Inn weighs 3,000 pounds and is finished entirely in 22-karat gold leaf, hand-cut Austrian crystal, and custom-blown glass. Underneath there is a glass globe that used to be filled with sand and a time capsule to be opened on the 50th anniversary of Walt Disney World. The globe developed a leak (or fell and cracked, depending upon who tells the story) and the sand and the time capsule were removed and are supposedly in safekeeping.