Disneyland Experience Quotes

I abandoned the assigned problems in standard calculus textbooks and followed my curiosity. Wherever I happened to be--a Vegas casino, Disneyland, surfing in Hawaii, or sweating on the elliptical in Boesel's Green Microgym--I asked myself, "Where is the calculus in this experience?

People who go to Disney who have magic in themselves experience magic there, just as people who go to the grocery store who have magic in themselves experience magic at the grocery store. The principle is simple: fun, joy, and happiness, are something we bring to life, not something life, circumstance, or situation bring to us. There are truly no magic kingdoms, only magic people. Fun, joy and happiness are choices, orientations, approaches, attitudes, a way of living in the world, not the world itself...

What Disneyland proposes is a technique of abbreviated shorthand culture for the masses, a mindless thrill, like an electric shock, that insists at the same time on the recipient's rich psychic relation to his country's history and language and literature. In a forthcoming time of highly governed masses in an overpopulated world, this technique may be extremely useful both as a substitute for education and, eventually, as a substitute for experience.

The Missouri of his childhood was theoretically the inspiration for Main Street, U.S.A., though only in its halcyon summer vacation months and stripped of any dismal memories: no blizzards, no doctor's office, and no school-house. Almost no one has a dismal experience in Walt Disney's America, as a matter of fact, at least not that Walt noticed.

So we ran the experiment. For a period of time, in our control groups of Googlers, people who were nominated for cash awards continued to receive them. In our experimental groups, nominated winners received trips, team parties, and gifts of the same value as the cash awards they would have received. Instead of making public stock awards, we sent teams to Hawaii. Instead of smaller awards, we provided trips to health resorts, blowout team dinners, or Google TVs for the home. The result was astounding. Despite telling us they would prefer cash over experiences, the experimental group was happier. Much happier. They thought their awards were 28 percent more fun, 28 percent more memorable, and 15 percent more thoughtful. This was true whether the experience was a team trip to Disneyland (it turns out most adults are still kids on the inside) or individual vouchers to do something on their own. And they stayed happier for a longer period of time than Googlers who received money. When resurveyed five months later, the cash recipients’ levels of happiness with their awards had dropped by about 25 percent. The experimental group was even happier about the award than when they received it. The joy of money is fleeting, but memories last forever.

My life written as a theater production would be considered a tragedy. My life written by the good times experienced, would be considered a fairytale.

I was reading voraciously about global issues such as clean water, community development, war, human trafficking, economics, disaster relief, the AIDS crisis, unjust systemic evil. Meanwhile, church budgets made room for a brand-new light show and a kickin' sound system or a trip to Disneyland or a video venue in a saturated upscale neighborhood—all in an effort to practice creative-experience marketing.

In a scheduled world, you are told you have half an hour to peruse an exhibit at the museum; in a programmed world, you are strapped into the ride at Disneyland and conveyed through the experience at a predetermined pace. However richly conceived, the ride’s complexity is limited because its features are built-in, appearing and unfolding in sync with the motions of your cart. The skeleton dangles, the pirate waves, and the holographic ship emerges from the cloud of smoke. In the programmed life, the lights go on and off at a specified time, the coffee pot activates, the daylight-balanced bulb in the programmable clock radio fades up. Active participation is optional, for these events will go on without us and at their own pace.

recorded his family’s experiences year after year. He did so in such an entertaining and original manner that his films have gradually become classics. In Disneyland Dream, the family – father, mother, and three children aged between four and eleven – enters a competition sponsored by the then-new Scotch tape. The winners are to be treated to a trip – by airplane! – to the recently opened Disneyland in Anaheim, California. Lo and behold the youngest child, Danny, wins first prize with the indomitable slogan: ‘I like “Scotch” brand cellophane tape because when some things tear then I can just use it.’ Excitement all round, and the Barstows’ neighbours step out into their front gardens to wave the family off. Then comes the thrilling

nine-hour flight to California aboard a TWA Super Constellation, with room for no fewer than sixty-four passengers. Next we see the simple funfair of the original Disneyland. At the hotel, the Barstows are jubilant that the chic swimming pool is open to them. Yes, the days when such luxury was reserved for the stylish elite are over. The family deals with its budgetary constraints by not eating in restaurants but picnicking outdoors. There is no hint of any doubt or cynicism. Every minute of the movie is filled with sun, innocence and boundless enthusiasm. It’s true, Barstow says at the end, Walt Disney is right: Disneyland is ‘the happiest place on earth’. The entire family is ‘forever grateful to Scotch brand cellophane tape’ for the experience. The closing chorus of this charming cantata

It is challenging to honor the descent in a culture that primary values the ascent. We like things rising—stock markets, the GDP, profit margins. We get anxious when things go down. Even within psychology, there is a premise that is biased toward improvement, always getting better, rising above our troubles. We hold dear concepts like progress and integration. These are fine in and of themselves, but it is not the way psyche works. Psyche, we must remember, was shaped by and is rooted in the foundations of nature. As such, psyche also experiences times of decay and death, of stopping, regression, and being still. Much happens in these times that deepen the soul. When all we are shown is the imagery of ascent, we are left to interpret the times of descent as pathological; we feel that we are somehow failing. As poet and author Robert Bly wryly noted, “How can we get a look at the cinders side of things when the society is determined to create a world of shopping malls and entertainment complexes in which we are made to believe that there is no death, disfigurement, illness, insanity, lethargy, or misery? Disneyland means ‘no ashes.’ 

Yet another unexpected development emerged from this bizarre duality, called the holographic principle. Holograms are two-dimensional flat sheets of plastic, containing the image of three-dimensional objects that have been specially encoded within them. By shining a laser beam at the flat screen, the three-dimensional image suddenly emerges. In other words, all the information needed to create a three-dimensional image has been encoded onto a flat two-dimensional screen using lasers, like the image of Princess Leia projected by R2-D2 or the haunted mansion at Disneyland where three-dimensional ghosts sail around us. This principle also works for black holes. As we saw earlier, if we throw an encyclopedia into a black hole, the information contained inside the books cannot disappear, according to quantum mechanics. So where does the information go? One theory posits that it is distributed onto the surface of the event horizon of the black hole. So the two-dimensional surface of a black hole contains all the information of all the three-dimensional objects that have been thrown into it. This also has implications for our conception of reality. We are convinced, of course, that we are three-dimensional objects that can move in space, defined by three numbers, length, width, and height. But perhaps this is an illusion. Perhaps we are living in a hologram. Perhaps the three-dimensional world we experience is just a shadow of the real world, which is actually ten- or eleven-dimensional. When we move in the three dimensions of space, we experience our real selves actually moving in ten or eleven dimensions. When we walk down the street, our shadow follows us and moves like us, except the shadow exists in two dimensions. Likewise, perhaps we are shadows moving in three dimensions, but our real selves are moving in ten or eleven dimensions.

For many, it's a once-in-a-lifetime, long dreamed-of and longed-saved-for trip. Pennies have been pinched and sacrifices made to make the vacation a reality. All Guests' wallets will be separated from a great deal of money, like trout expertly filleted, but it will be a curious;y painless experience, for all but a few, the trip will be transcendently and sublimely worth every sacrifice and penny.

Cash avoids group tours for a reason: they turn even the most authentic experiences into a Disneyland ride. It’s unavoidable, he

Lots To Do In Line" will help you and your child experience the Disneyland theme park queues actively,turning the wait into a game.

I wondered how I would have felt about Disney’s other line back when I worked there, before the notion of VIP treatment existed at the park. I couldn’t decide. Part of me thought I would have been perfectly fine with it, appreciating the pay-for-value proposition that now seemed to infiltrate every part of Disneyland. But I mostly felt that my eighteen-year-old self would have been shocked. Equality seemed a core tenet of the happiest place on Earth. Would Walt have approved? I wondered. Is the VIP experience consistent with the values that Disneyland was created to exemplify and promote? Would I even come to Disneyland if I had to wait in line? What is my daughter learning each time we skip a line?

If you want to experience Walt's original Disneyland, Star Tours and Indiana Jones can wait. Slow down and enjoy the sounds of America's past.

Even if it were possible to live out one’s life in Disneyland, a eudaimonic approach would surely require seeing past Disney’s consumable facades, acknowledging the struggles of the cast members who play its character roles, and engaging with the urban systems that support the experience machine. Disneyland and its visitors contribute to the traffic and urban blight that awaits beyond its walls. You cannot separate one pleasurable moment from the system that created it, or your own role in creating that system. The question then is, how can real designs in real places infuse life with the sensual and sensory pleasures we often pay to experience? Should they even try?