on early WDW promotional materials...
Meanwhile, At Disney World, In The 70s… | Progress City, U.S.A. I ranted the following in a comment:
The more I’ve been watching old 70s Disney parks promotional materials (lots are on youtube these days), the more I think their entire marketing team at the time should have been shot.
Any time you watch 50s or 60s footage of the parks (well, Disneyland), there’s an excitement mixed with an eloquence to it. For some reason, all of the early WDW promotional materials are just slow and sluggish, and totally uninspiring. It starts with the dull-as-hell Glen Campbell song at the premiere and pretty much goes all the way through to the opening of EPCOT (Danny Kaye was ok, but again the rest of the special was otherwise 2 hours of doldrums). Worst offense through those years is the background music that sounded like a contemporary breakfast commercial for shredded wheat, and is heartbreaking when one compares it to the wonderful materials that Buddy Baker and George Bruns were producing the decade before.
Eisner & Wells were a sorely needed shot in the arm, not just for helping to improve the movies (though I do have nostalgia for some of the 70s live-action works like Hot Lead Cold Feet, Apple Dumpling Gang, and Candleshoe), but improving how the parks were perceived even by those who never went, restoring the anticipation that one should get when looking at promotional videos of the parks rather than the laid-back impression that WDW was solely for relaxing in to the point of falling asleep watching them.
The more I’ve been watching old 70s Disney parks promotional materials (lots are on youtube these days), the more I think their entire marketing team at the time should have been shot.
Any time you watch 50s or 60s footage of the parks (well, Disneyland), there’s an excitement mixed with an eloquence to it. For some reason, all of the early WDW promotional materials are just slow and sluggish, and totally uninspiring. It starts with the dull-as-hell Glen Campbell song at the premiere and pretty much goes all the way through to the opening of EPCOT (Danny Kaye was ok, but again the rest of the special was otherwise 2 hours of doldrums). Worst offense through those years is the background music that sounded like a contemporary breakfast commercial for shredded wheat, and is heartbreaking when one compares it to the wonderful materials that Buddy Baker and George Bruns were producing the decade before.
Eisner & Wells were a sorely needed shot in the arm, not just for helping to improve the movies (though I do have nostalgia for some of the 70s live-action works like Hot Lead Cold Feet, Apple Dumpling Gang, and Candleshoe), but improving how the parks were perceived even by those who never went, restoring the anticipation that one should get when looking at promotional videos of the parks rather than the laid-back impression that WDW was solely for relaxing in to the point of falling asleep watching them.