“It’s a Small World”—More than Just a (Temporarily Closed) Disney Ride

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While practicing physical distancing and social friendliness in our front yard, I found out that one of our neighbors has her own travel blog. Small world, huh?

Kate’s blog is All Kids Can Travel, and in it she shares how to make the most of trips with little ones (she and her husband have four) and how to learn about the world from the comfort of your home. A few years ago, when they had three children in diapers, they decided to forego the plane rides and created their own “home travel adventures.”

After selecting a country, the trip began. “The kids had a blast packing their roller carry-ons with their favorite things,” Kate writes. “While that country’s music played in the background, we would pretend to be border agents,” speaking with foreign accents and inspecting pretend passports. Later, as their children grew older, their in-home treks developed into real-life excursions, in-state, out-of-state, and abroad.

It will be a while before families will be able to get out and about, so until then, you might want to download some activity packets and pages from All Kids Can Travel. Or if you’d like to dream about your next outing, how about taking a look at Kate’s “Do’s and Don’ts of Walt Disney World“?

Just imagine your crew in a newly reopened Disney park climbing into an It’s-a-Small-World boat with the It’s-a-Small-World tune working its way into your subconscious . . . on repeat.

It’s a small world, after all
It’s a small world, after all
It’s a small world, after all
It’s a small world, after all
It’s a small world, after all

Oops, got carried away there.

It’s a small, small world

So where did this catchy song, and the catchy phrase behind it, come from?

First, let’s look at the song.

When Walt Disney was tasked with creating an attraction for the Pepsi/UNICEF pavilion at the 1964 New York World’s Fair, he in turn tasked brothers Robert and Richard Sherman to create a theme song. Disney wanted a simple song that could be translated into multiple languages and sung in overlapping rounds. What he got was “It’s a Small World.” The boat ride, with its music, debuted at Disneyland two years later.

But Disney’s musical rendition wasn’t the first “It’s a Small World” . . . after all. No, that would be 1920’s “It’s a Small World after All,” with words by Andrew Sterling and music by Harry Von Tilzer. Sterling had earlier written the lyrics for “Meet Me in St. Louis” (for the 1904 World’s Fair), and Von Tilzer was the composer of 1911’s “I Want a Girl (Just like the Girl That Married Dear Old Dad).”

Did you give it a listen? It’s not quite as catchy, but somewhat memorable in it’s own way.

To find the ancestry of the phrase It’s a small world, we’ll have to go back even further.

In 1882, Walter Bicknell put the words in the mouth of Iphigenia, servant of the eccentric Edgar Chatterton, in “The Player’s Child.” Chatterton finds Iphigenia looking at one of his books by Shakespeare:

“Have I not told you never to touch those sacred tomes, girl?” said her master, picking up the  book himself and touching with some care of manner.

“Well, I’m sure! I never went for to touch it! But there’s more dust in them nasty tombs—”

“Hence, Maiden, hence! I blush for the man or woman who applies the epithet ‘nasty’ to anything pertaining to the Bard of Stratford, Nature’s child.”

Iphigenia paused in silent reflection for a moment, and then said with a triumphant air:

“Out Stratford way, sir? Lor, then my mother must have known Mrs. Nature and them little Natures. She took in washing at Bow, and had a long circulation of shirts and handkerchiefs out by Stratford. It’s a small world, sir”

Iphigenia uses the phrase as we often do today, as in “Who would have thought that we’d know the same people?”

In 1875, Samuel James’ usage, though, has him talking about the physical size of the planet:

God cares about earth, and does not bound His love by the boundary line of heaven. Some people say, He is too great and glorious to care for such a little world as this of ours. It is, indeed, a small world compared with some of those twinkling star which we see in the midnight sky. But it is, for all that, an important world.

And in 1873, British author and army general George Chesney wrote A True Reformer, from the viewpoint of the character Mr. West. West and his wife, Eva, are traveling to Leatherwood to visit her aunts, and a Mr. Patterson sees them off:

This is a small world we live in,” said the old gentleman, as he bid us good-bye. “Only think that Mrs West should have been brought up at Leatherby, a place I know so well. The fact is that one of the members, Mr Sheepshanks, is a very old friend. A most truly excellent man he is, indeed, and owns half the town. I wish you could know him. I would send an introduction and ask him to call and see you, but that I know it would be of no use. He never visits anywhere.”

That brings us back to today’s meaning, if not the exact wording, and it’s the oldest such phrase that I, and others around the internet, have found.

For Iphigenia and Mr. Patterson, it’s enough to refer to the residents of nearby towns to show how small the world is. But today, our internet-linked world is even smaller, as we can find connections to people all over the globe, with, in theory, no more than six degrees of separation between any two of us.

We may be isolating ourselves at home right now, but some of us are out walking more and having more conversations with our neighbors. And social distancing is increasing our penchant for social networking online, which, in turn, is diminishing the gaps in our world, which truly is becoming

Smaller
Smaller
Smaller, after all

Walter Bicknell, “The Player’s Child,” The Theatre: A Monthly Review of the Drama, Music, and the Fine Arts, January to June, Clement Scott, ed., Charles Dickens and Evans, 1882; Samuel James, “Church Proverbs,”  The Headington Magazine, vol. 7, Oxford, 1875; George Chesney, A True Reformer, vol. 1, William Blackwood and Sons, 1873

[photo: “It’s a small world,” by tsukikageyuu, used under a Creative Commons license]

Tyrus Wong, 1910-2016: From Inbetweener to Disney Legend

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At the age of nine, in 1920, Tyrus Wong left Guangdong Province in China, boarding a ship bound for San Francisco with his father. To get around restrictive American immigration policies, the pair used fake identities to gain entrance to the US. Wong later attended art school and as an adult joined Disney as an inbetweener, drawing fill-in artwork between main animation frames. Then, when the studio was creating Bambi, Wong’s landscape paintings, influenced by the style of the Song Dynasty, became the driving force for the film’s breakthrough look. Though not given much credit at the time for his contributions, in 2001 he was officially named a Disney Legend. Wong died last Saturday, at the age of 106.

Below are four short videos, piecing together aspects of Wong’s life. The first is a trailer for the 2015 documentary Tyrus. The second tells about Wong’s ordeal at the Angel Island Immigration Station in San Francisco Bay. The third details his work on Bambi. And the last shares the story behind his art.

[photo: “Tyrus Wong,” by KCET Departures, used under a Creative Commons license]

“Let It Go”: Dubbing Disney’s Oscar-Nominated Toe Tapper in 25 Languages

Speaking of films, there is that Academy Awards thing tomorrow night. I’m predicting a sweep for Frozen in its nominated categories: best animated feature and best original song.

If you haven’t heard “Let It Go,” the nominated song from the Disney film, then you 1) haven’t seen the movie, 2) don’t spend much time on YouTube, and 3) don’t live with a seven-year-old who’s memorized all the lyrics.

And if you haven’t heard the original, then you probably haven’t heard the version dubbed into 25 languages. Even if you have heard it, it’s worth another listen.

The English version of “Let It Go” is sung by the Tony Award winning singer and actress Idina Menzel, who voices the movie’s character Elsa. She’s the one singing the English at the beginning of the multi-language video. But even though the rest of the song sounds as if it is sung by her, believe it or not, it isn’t.

So who in the world was tasked with finding all those talented songstresses? Look no further than Rick Dempsey, senior vice president of creative for Disney Character Voices International.

“In a lot of cases I think we fooled some people into thinking that it’s Idina in all those languages,” Dempsey told NPR. “And that, of course, is the goal, to ensure there is character consistency and the voices are all very similar around the world.”

But all that work isn’t a one-man show. Dempsey told The Hollywood Reporter, “We have 76 people around the world in 19 offices that oversee films in 55 languages. Our goal is to make every audience feel like Frozen was made in their country for their people.”

10152920204_d766fbe52c_qThe Los Angeles Times reports that the array of voice talents in “Let It Go” include Gisela (Castilian and Catalan), Serena Autieri (Italian), Willemijn Verkaik (German, Dutch), Takako Matsu (Japanese), Carmen Sarahi (Latin American Spanish), Marsha Milan Londoh (Malay), and Anna Buturlina (Russian).

And the impressive work of Dempsey’s crew on Frozen didn’t end with the only 25 versions of the feature song. While most stories report that Frozen has been dubbed into 41 languages, a Disney UK tweet puts the total at 43.

(“Let It Go’: A Global Hit in Any Language,” NPR, February 24, 2014; Tim Appelo, “‘Frozen’ Composer Robert Lopez on the Perils of Translating ‘Let It Go,’” February 25, 2014; Rebecca Keegan, “‘Frozen’: Finding a Diva in 41 Languages,” Los Angeles Times, January 24, 2014)

[photo: “Snowflake Macro: Silverware,” by Alexey Kljatov, used under a Creative Commons license]