Disneyland Sayings And Quotes

I'm going to talk to her." "And how's that going to go? You're just going to walk up to her and say, 'Hey, I know you've never seen me before, but I'm your dad. Oh, and guess what? You've won the evolutionary lottery: You're a vampire. Let's go to Disneyland!

When I started on Disneyland, my wife used to say, 'But why do you want to build an amusement park? They're so dirty.' I told her that was just the point--mine wouldn't be.

I straighten and stretch my neck side to side. ‘I really need to hit something.’ Rafa’s mouth quirks. ‘I know what you need.’ ‘In your dreams.’ I know where this is going: it’s been the same banter for about five decades now. Usually he saves it for an audience. ‘In my dreams, Gabe, you end up slick with sweat and moaning.’ ‘I have food poisoning?’ He laughs, a beer halfway to his lips. Condensation drips from the bottle. He’s completely at ease here: three-quarter cargoes, frayed t-shirt, bare feet. ‘I’m just saying that if you need distracting, I’m your man.’ ‘If I wanted to go places everyone else has been, Rafa, I’d take a trip to Disneyland.’ He leans in closer. ‘Yeah, but don’t you want to know why everyone loves Space Mountain?

I hate to say it, but Mom is right. You can’t stay mad in Disneyland.

Do you know what you do with that level of trust? When someone says, 'I trust you so much I can tolerate you having secrets?' You cherish it. You remind yourself how lucky you are to have been given that trust every day. And when you have moments where you think 'I wanna do something that would break that trust', whatever that is--loving a woman you shouldn't be loving, drinking a beer you shouldn't be drinking--do you know what you do? You get your ass up onto your two feet and your take your kids to Disneyland with their mother.

After Game Six of the Finals, as Paxson's shot went through the net, Michael Jordan raced to the basket to get the ball. He held it up high above his head, and his teammates thought he was going to say something about a prospective trip to Disneyland. Instead, he yelled out, "Thunder Dan Majerle-my fucking ass!

DISNEYLAND isn’t designed just for children. When does a person stop being a child? Can you say that a child is ever entirely eliminated from an adult? I believe that the right kind of entertainment can appeal to all persons, young or old. I want Disneyland to be a place where parents can bring their children—or come by themselves and still have a good time.

To paraphrase the famous Walt saying, Cast Members are there to work so Guests can play.

Walt Disney wasn't afraid of risk and failure. 'You do big things, you make big mistakes.' he says in Van Frances's Window on Main Street.

You sayin' you want to go?" "Don't you?" "Hell no!" "Okay,I'll tell Matt and Jared that they can go to Paris without us." The only response was stunned silence, and I finally turned to smile at him. "Do you want to reconsider?" I asked. "The wedding's in Paris?" "Yep." His dark eyes were huge, and I could see so much in them. He was excited, almost giddy. I could see it bubbling up in him, but he was trying t stay calm and not get his hopes up. "Can we afford Paris?" "No," I said, "but it doesn't matter. Cole's footing the bill." He grabbed my shirt and pushed me back against the countertop, almost as if he was going to kiss me, but stopped short, looking into my eyes. "Are you serious?" "Would I lie to you about something like this?" "No." "Do you think I'd make it up just to tease you?" "No." "Yes." He backed up a step. "Yes what?" he asked. I could hardly keep from laughing that I'd finally managed to turn the tables on him with his own backward form of communication. "Yes, I'm absolutely serious. Cole offered to fly us all to Paris." ... His expression was so full of hope, I thought it was a good thing I hadn't tried to say no. He put his hand against my cheek and looked into my eyes. "Tell me what you want to do." All I had to do was tell him the truth. I brushed his hair out of his eyes and said, "I want to do whatever will make you happy." He smiled at me, the huge, excited smile of a child who woke up from his nap to find himself in Disneyland. "I want to go to Paris." "Okay," I said as I leaned down to kiss him. "Then you will.

But suppose my daughters had approached me as we often approach God. “Hey, Dad, glad you’re home. Here is what I want. More toys. More candy. And can we go to Disneyland this summer?” “Whoa,” I would have wanted to say. “I’m not a waiter, and this isn’t a restaurant. I’m your father, and this is our house. Why don’t you just climb up on Daddy’s lap and let me tell you how much I love you?” Ever thought God might want to do the same with you? Oh, he wouldn’t say that to me. He wouldn’t? Then to whom was he speaking when he said, “I have loved you with an everlasting love” (Jer. 31:3 NIV)? Was he playing games when he said, “Nothing . . . will ever be able to separate us from the love of God that is in Christ” (Rom. 8:39)? Buried in the seldom-quarried mines of the minor prophets is this jewel: The LORD your God is with you; the mighty One will save you. He will rejoice over you. You will rest in his love; he will sing and be joyful about you. (Zeph. 3:17) Don’t move too quickly through that verse. Read it again and prepare yourself for a surprise. The LORD your God is with you; the mighty One will save you. He will rejoice over you. You will rest in his love; he will sing and be joyful about you. (Zeph. 3:17) Note who is active and who is passive. Who is singing, and who is resting? Who is rejoicing over his loved one, and who is being rejoiced over? We tend to think we are the singers and God is the “singee.” Most certainly that is often the case. But apparently there are times when God wishes we would just be still and (what a stunning thought!) let him sing over us. I can see you squirming. You say you aren’t worthy of such affection? Neither was Judas, but Jesus washed his feet. Neither was Peter, but Jesus fixed him breakfast. Neither were the Emmaus-bound disciples, but Jesus took time to sit at their table. Besides, who are we to determine if we are worthy? Our job is simply to be still long enough to let him have us and let him love us.

Do you know what you do with that level of trust? When someone says, “I trust you so much I can tolerate you having secrets”? You cherish it. You remind yourself how lucky you are to have been given that trust every day. And when you have moments when you think, I want to do something that would break that trust, whatever that is—loving a woman you shouldn’t be loving, drinking a beer you shouldn’t be drinking—do you know what you do? You get your ass up onto your two feet, and you take your kids to Disneyland with their mother.

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

Well this wasn’t Vegas, and this wasn’t Disneyland, this was ‘Erotica- The Theme Park – featuring Femdom World, Slave World, Bondage World, Spanking World – and so much more!’ -according to the brochure Jillian and Rebecca handed me with great fanfare the next day. -This is a beautiful brochure, I said – very- -Glossy , said Rebecca. -Right, I studied it some more – so is this…I mean – legal? I mean, is it for real? -O yes, they said. -Well. Wow, I guess. -Wow is right, they said. Jillian had been on some trip with one of her many very rich and very ugly men friends, and they had shown her the place. (no she didn’t say to what extent she was ’shown’ the place. She was very tight lipped about it, -wanted everything to be a surprise, she said) To be aware of Erotica-The Theme Park, and its Hotel Ecstasy you need money, connections, and more. In fact you need at least a 100 ft yacht to dock at its private Marina. And no I can’t tell you where it is, otherwise they will revoke my membership pass and kill my first born. But let’s say - it’s on an island, with warm water ,pure white sand beaches, it’s for the very rich, and it’s not far , by private helicopter from certain well known islands in let’s say, the Caribbean.

In his book, Nothing Ever Dies: Vietnam and the Memory of War, Viet Thanh Nguyen writes that immigrant communities like San Jose or Little Saigon in Orange County are examples of purposeful forgetting through the promise of capitalism: “The more wealth minorities amass, the more property they buy, the more clout they accumulate, and the more visible they become, the more other Americans will positively recognize and remember them. Belonging would substitute for longing; membership would make up for disremembering.” One literal example of this lies in the very existence of San Francisco’s Chinatown. Chinese immigrants in California had battled severe anti-Chinese sentiment in the late 1800s. In 1871, eighteen Chinese immigrants were murdered and lynched in Los Angeles. In 1877, an “anti-Coolie” mob burned and ransacked San Francisco’s Chinatown, and murdered four Chinese men. SF’s Chinatown was dealt its final blow during the 1906 earthquake, when San Francisco fire departments dedicated their resources to wealthier areas and dynamited Chinatown in order to stop the fire’s spread. When it came time to rebuild, a local businessman named Look Tin Eli hired T. Paterson Ross, a Scottish architect who had never been to China, to rebuild the neighborhood. Ross drew inspiration from centuries-old photographs of China and ancient religious motifs. Fancy restaurants were built with elaborate teak furniture and ivory carvings, complete with burlesque shows with beautiful Asian women that were later depicted in the musical Flower Drum Song. The idea was to create an exoticized “Oriental Disneyland” which would draw in tourists, elevating the image of Chinese people in America. It worked. Celebrities like Humphrey Bogart, Lauren Bacall, Ronald Reagan and Bing Crosby started frequenting Chinatown’s restaurants and nightclubs. People went from seeing Chinese people as coolies who stole jobs to fetishizing them as alluring, mysterious foreigners. We paid a price for this safety, though—somewhere along the way, Chinese Americans’ self-identity was colored by this fetishized view. San Francisco’s Chinatown was the only image of China I had growing up. I was surprised to learn, in my early twenties, that roofs in China were not, in fact, covered with thick green tiles and dragons. I felt betrayed—as if I was tricked into forgetting myself. Which is why Do asks his students to collect family histories from their parents, in an effort to remember. His methodology is a clever one. “I encourage them and say, look, if you tell your parents that this is an academic project, you have to do it or you’re going to fail my class—then they’re more likely to cooperate. But simultaneously, also know that there are certain things they won’t talk about. But nevertheless, you can fill in the gaps.” He’ll even teach his students to ask distanced questions such as “How many people were on your boat when you left Vietnam? How many made it?” If there were one hundred and fifty at the beginning of the journey and fifty at the end, students may never fully know the specifics of their parents’ trauma but they can infer shadows of the grief they must hold.

When you go from the fake New Orleans of Disneyland to the real one, where the captain of the paddle-wheel steamer says it is possible to see alligators on the banks of the river, and then you don't see any, you risk feeling homesick for Disneyland. -'City of Robots',1986

Focus is about saying no” — Steve Jobs

In that moment Paulette stepped outside anything that had ever hurt her before. Harve needed her more than she needed herself. But she had nothing to say. Nothing to offer him. She came up empty. “I may not have shot any of those babies in safety seats, but I took out my share o’ guys in a country I started thinking we had no right bein’ in. I could tell myself they’d signed up for it, knowing they might not go home, but that just didn’t cut it after a while.” … … “Oh, they were scumbags, alright. Other guys in my unit’d be ready to just level the kids too, cause they were getting in our way, but I said, Wait. Let me try goin’ in first. Let me come at ’em from the rear. “Other times I just lost myself in the righteous glory of cluster bombing the hell outa those bastards. “And for that one moment, in all the cheering and explosions it’s like all was right with the world. It was John Phillip Sousa at Disneyland. “But then you wake up a little. You just snuffed out future generations. Maybe bad guys can have good kids if you let ’em. We’ll never know now.” He was coming close to crying. “And then you see all those pieces; kid parts lying everywhere. “And their little faces. “If they even still had faces. “Once you finish throwing up, and then toss back a few at camp pub, your next job is to find something inside you that you can bury that under. “And then … what? Just go on living?” - From “The Gardens of Ailana

Quinn is somehow balancing all three Dole Whip floats in her hands. 'Should we eat these in the Tiki Room? Or just sit out here?' 'You can't not eat these in the Tiki Room,' Kat says. 'I can only enjoy pinapple soft serve when I'm being serenaded by animatronic parrots.

Lilian felt a fire burning in her soul, which manifested into ethereal flames that burned around her like an aura. She was so pumped up. They were going to do this! They had to do this! Then, once they started protesting, their sheer awesomeness would make everyone else snap to their senses and join them—just like in a shōnen manga! Yes, she could see it all now: Lilian stood in front of the camera, Kevin by her side, holding her hand. In front of them was a woman with a microphone and a cameraman stood behind her, filming their triumphant moment. “Ms. Pnév̱ma, you and your mate have just brought peace between humans and yōkai. What are you going to do next?” asked the woman with the microphone. “We’re going to celebrate by having sex!” Lilian declared. “Lots and lots of sex,” Kevin added. “Uh huh…” “And then we’re going to Disneyland!” The newscaster stared at her oddly, and even Kevin was looking at her like she’d said something strange. In response to their expressions, Lilian covered her mouth with her hand in a very Kotohime-esque manner. “Ufufufu, sorry. I’ve always wanted to say that at least once.

The archives acquired the original 1967 letter from then-California Governor Ronald Reagan, written to the postmaster general, suggesting that a stamp be issued for Walt Disney. Reagan wrote, "I hesitate to even mention California's pride in his vast accomplishments for fear of detracting from his true image as a world-renowned and world-beloved figure. There is no necessity for me to itemize his contributions to humanity; they can be summed up by simply saying that because of him the world is a richer, better place,

I’m going to talk to her.” “And how’s that going to go? You’re just going to walk up to her and say, ‘Hey, I know you’ve never seen me before, but I’m your dad. Oh, and guess what? You’ve won the evolutionary lottery: You’re a vampire. Let’s go to Disneyland!’” “I hate you right now.” -Darius & Tohrment

When we focus, we are saying “Yes” to what we think is important and “No” to what we choose to make irrelevant.

Focus is about saying no.” — Steve Jobs

Walt explained his reason for going to Latin America this way: 'While half of this world is being forced to shout 'Heil Hitler,' our answer is to say, 'Saludos Amigos.

Few investors have the disposition to say, “I’m actually fine if I lose 20% of my money.” This is doubly true for new investors who have never experienced a 20% decline. But if you view volatility as a fee, things look different. Disneyland tickets cost $100. But you get an awesome day with your kids you’ll never forget. Last year more than 18 million people thought that fee was worth paying. Few felt the $100 was a punishment or a fine. The worthwhile tradeoff of fees is obvious when it’s clear you’re paying one. Same with investing, where volatility is almost always a fee, not a fine. Market returns are never free and never will be. They demand you pay a price, like any other product. You’re not forced to pay this fee, just like you’re not forced to go to Disneyland. You can go to the local county fair where tickets might be $10, or stay home for free. You might still have a good time. But you’ll usually get what you pay for. Same with markets. The volatility/uncertainty fee—the price of returns—is the cost of admission to get returns greater than low-fee parks like cash and bonds. The trick is convincing yourself that the market’s fee is worth it. That’s the only way to properly deal with volatility and uncertainty—not just putting up with it, but realizing that it’s an admission fee worth paying. There’s no guarantee that it will be. Sometimes it rains at Disneyland. But if you view the admission fee as a fine, you’ll never enjoy the magic. Find the price, then pay it.

He snatches the mask off completely and says, “We came all the way up from Santa Ana to see this shithole and we’re not leaving without having a drink.” “Santa Ana? Why don’t you go back down south and sneak a pint in Disneyland? That’ll make you feel edgy too, Beaver Cleaver.

So Disney merely has to stoop down to pick up reality as it is. 'Built-in spectacle', as Guy Debord would say. But we are no longer in the society of the spectacle, which has itself become a spectacular concept. It is no longer the contagion of spectacle which alters reality, it is the contagion of the virtual which obliterates the spectacle. With its diverting, distancing effects, Disneyland still represented spectacle and folklore, but with Disneyworld and its tentacular extension, we are dealing with a generalized metastasis, with a cloning of the world and of our mental universe, not in the imaginary register, but in the viral and the virtual. We are becoming not alienated, passive spectators, but interactive extras, the meek, freeze-dried extras in this immense reality show. This is no longer the spectacular logic of alienation, but a spectral logic of disembodiment; not a fantastic logic of diversion, but a corpuscular logic of transfusion, transubstantiation of each of our cells. An undertaking of radical deterrence of the world, then, but from the inside this time, not from outside, as we saw in what is now the almost nostalgic world of capitalist reality. In virtual reality the extra is no longer either an actor or a spectator; he is off-stage, he is a transparent operator. And Disney wins on yet another level. Not content with obliterating the real by turning it into a 3-D, but depthless, virtual image, it obliterates time by synchronizing all periods, all cultures in the same tracking shot, by setting them alongside each other in the same scenario. In this way, it inaugurates real time — time as a single point, one-dimensional time, a thing which is also without depth: neither present, past nor future, but the immediate synchrony of all places and all times in the same timeless virtuality. The lapsing or collapsing of time: this is the real fourth dimension . The dimension of the virtual, of real time, the dimension which, far from superadding itself to the three dimensions of real space, obliterates them all. So it has been suggested that in a century or a millennium, the old 'swords and sandals' epics will be seen as actual Roman films, dating from the Roman period, as true documentaries on Antiquity; that the Paul Getty Museum at Malibu, a pastiche of a villa from Pompeii, will be confused anachronistically with a villa from the third century B.C. (as will the works inside: Rembrandt and Fra Angelico will all be jumbled together in the same flattening of time); and that the commemoration of the French Revolution at Los Angeles in 1989 will be confused retrospectively with the real event. Disney achieves the de facto realization of this timeless Utopia by producing all events, past or future, on simultaneous screens, remorselessly mixing all the sequences as they would — or will — appear to a civilization other than our own. But this is already our civilization. It is already increasingly difficult for us to imagine the real, to imagine History, the depth of time, three-dimensional space - just as difficult as it once was, starting out from the real world, to imagine the virtual one or the fourth dimension.

Well, at least I will have time to say goodbye to my customers." Ramón gave Julieta a quizzical look. "I get they will be upset with the changes, but they will still be glad that you are the chef." "You still don't get it Ramón, do you? Yes, I will be here. But many of my customers will no longer support the place if it's a corporate chain. Of course, you will get new customers, tourists from out of state and residents of the beach towns who think coming to Barrio Logan is some type of Mexican Disneyland, where they can buy churros and take selfies in front of Chicano murals. But many locals will avoid us like ICE. And there will be protesters, including members of my own family and my friends. I can guarantee that." Ramón's throat tightened. "Julieta, you are from the community. And I'm no gringo---I'm Mexican, too." "You're a coconut, Ramón. You may be technically Mexican, but you are not part of this community.

This coming week we’re taking the whole Pixel Ate Family to DISNEYLAND! We’ll all be wearing our bright green Accidental Minecraft Family t-shirts, so if you happen to be there and see us, come say hi! We

I would say that Mickey Mouse has a greater influence on the American public than Shakespeare, Milton, Dante, Rabelais, Shostakovich, Lenin, and/or Van Gogh. Which says 'What?' about the American Public. Disneyland remains the central attraction of Southern California, but the graveyard remains our reality.

Deep Fathom, this is NUMA. Our position is just south of the Magic Castle between Jungleland and the Pirates of the Caribbean." "Please repeat your position," came the voice of the flustered mercenary who had broken in on Pitt's call to Stucky. "What's this, a radio commercial for Disneyland?" Stucky's familiar voice popped over the speaker. "Well, well, the genuine article. What took you so long to answer, Stucky?" "I was listening to what my alter ego had to say. You guys landed in Chiclayo yet?" "We were sidetracked and decided to head home," said Pitt. "Is the skipper handy?" "He's on the bridge playing Captain Bligh, lashing the crew in an attempt to set a speed record. Another knot and our rivets will start falling out.

The year was 1968, and Susan was sixteen years old. She’d come to Disneyland with her family, but as soon as they’d entered the gates, she waved goodbye to her mother, brother, and grandparents, saying she’d meet up with them later at the ice cream parlor on Main Street. She hurried down the street and across the bridge to the Sleeping Beauty Castle before her mother had a chance to protest. She knew she’d later be in trouble for running off but didn’t care; she wanted to be alone and away from her family for at least part of the day.

Mom calls it the “curse of minimum wage.” Grandpa works as a ticket-taker at Disneyland, Grandma works as a receptionist at a retirement home, Dad makes cardboard cutouts for Hollywood Video and works in the kitchen design department at Home Depot, and Mom went to beauty school but says having babies sidetracked

Mom calls it the “curse of minimum wage.” Grandpa works as a ticket-taker at Disneyland, Grandma works as a receptionist at a retirement home, Dad makes cardboard cutouts for Hollywood Video and works in the kitchen design department at Home Depot, and Mom went to beauty school but says having babies sidetracked her career—“plus the hair bleaching fumes are toxic”—so she picks up shifts at Target around the holidays but says her main job is ensuring I make it in Hollywood.

I am Sebastiano, and your name?” he asks. “Violet,” I say as we step over the threshold. “Violetta!” he says, throwing his arms wide. “English girl, Italian name!” And across the room, I see a dark head turn in our direction. That much taller than the rest of the boys, he stands out, his straight black silky hair falling over his face, his blue eyes as bright and cold as the water of the fjord next to my grandmother’s summer rental cottage. I was looking for him before and couldn’t see him anywhere; now that I’ve been distracted by dancing and a Chianti-drinking donkey, he’s spotted me. His gaze flicks like a knife between me and the boy, who’s at the gigantic wine bottle now, filling cups and handing me one. “Salute!” Sebastiano says, touching his cup to mine, and I glance up at Luca, seeing that he’s taking this in, too. A rush of confusion fills me as I toast. I’m glad that Luca’s seen me with someone else, that I haven’t been a wallflower at this party, that I’ve proved him wrong, even a little bit, because there’s a boy here who seems to like me, who’s talking to me, anyway, getting me a drink. In films, in books, flirting with a boy is a surefire way to get the one you actually like interested in you, draw him over to your side. They’re supposed to like competition, the challenge of going after a girl who’s popular. But maybe real life doesn’t quite work that way. Because Luca arches one black eyebrow, his mouth quirks up on one side in a sneer, and he turns pointedly away sliding a cigarette into his mouth, and lighting it with a flip of his Zippo. Disgusting habit, I think as firmly as I can. I’m glad he’s not coming over, smoking a nasty stinking cancer stick. It’s awful when you lie to yourself. I do think smoking is foul, but I’m also more than aware that if Luca strolled over to talk to me, with that cigarette dangling from the corner of his mouth, I wouldn’t walk away, complaining about the smoke; I’d stand there staring up at him, trying not to grin as widely as a five-year-old meeting Cinderella at Disneyland.

I say, “This Nazi Disneyland stuff, it’s too cheap and easy. It’s like something the Kissi would dream up.” That’s hitting below the belt. Calling a Hellion a Kissi is like calling Chuck Norris Joseph Stalin. Buer looks like he wants to stuff the blueprints down my throat with a road flare. Obyzuth and Semyazah look at me like they caught me eating cookies before dinner. Marchosias raises her eyebrows, which is about an inch from her challenging me to a duel at dawn.

The former medical director of Planned Parenthood, Calderone had come up with the idea for her organization, the Sex Information and Education Council of the United States, at a 1961 conference of the National Association of Churches. By the 1964–65 school year SIECUS’s “Guidelines for Sexuality Education: Kindergarten through 12th Grade” had been requested by over a thousand school districts. A typical exercise for kindergarten was watching eggs hatch in an incubator. Her supporters saw themselves as the opposite of subversives. “The churches have to take the lead,” Dr. Calderone, herself a Quaker, would say, “home, school, church, and community all working cooperatively.” The American Medical Association, the National Education Association, and the American Association of School Administrators all published resolutions in support of the vision. Her theory was that citizens would be more sexually responsible if they learned the facts of life frankly and in the open, otherwise the vacuum would be filled by the kind of talk that children picked up in the streets. An Illinois school district argued that her program would fight “‘situation ethics’ and an emerging, but not yet widely accepted standard of premarital sex.” Even Billy Graham’s magazine, Christianity Today, gave the movement a cautious seal of approval. They didn’t see it as “liberal.” But it was liberal. The SIECUS curriculum encouraged children to ask questions. In her speeches Calderone said her favorite four-letter word ended with a k: T-A-L-K. She advised ministers to tell congregants who asked them about premarital sex, “Nobody can judge that but yourself, but here are the facts about it.” She taught that people “are being moral when they are being true to themselves,” that “it’s the highest morality to live up to the best in yourself, whether you call it God or whatever.” Which, simply, was a subversive message to those who believed such judgments came from God—or at least from parental authority. The anti-sex-education movement was also intimately related to a crusade against “sensitivity training”: children talking about their feelings, about their home lives, another pollution of prerogatives that properly belonged to family and church. “SOCIALISTS USE SEX WEDGE in Public School to Separate Children from Parental Authority,” one of their pamphlets put it. Maybe not socialists, but at the very least someone was separating children from parental authority. More and more, it looked like the Establishment. And, given that the explosion issued from liberals obliviously blundering into the most explosive questions of where moral authority came from, thinking themselves advancing an unquestionable moral good, it is appropriate that the powder keg came in one of America’s most conservative suburbs: Anaheim, the home of Disneyland, in Orange County, California, where officials had, ironically enough, established a pioneering flagship sex education program four years earlier.

The window says, “Prof. Harper Goff—Banjo Lessons.” But banjo isn’t what he’ll be remembered for. You see, Harper Goff has a window at Disneyland because he helped build a kingdom there. Here’s the question I keep asking myself: What do I want my window to say? This question is worth thinking about even if you don’t know the answer. What part are you going to play in building the kind of kingdom Jesus said would outlast us all?

Then it would come time for Walt to tell his favorite joke: 'What's a four letter word for what's at the bottom of (his) bird cage?' Everyone would look at each other, wondering if Walt Disney was going to say 'that.' And just when the tension was getting thick, Walt the on-color jokester would say, 'Grit, Grit!