Popular Disney Quotes

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They were unironic enthusiasts for all the mass pleasures the culture offered: television, NASCAR, cruises, Disney World, sports, celebrity gossip, and local politics. Szabo often wished that he could be as well adjusted as Melinda's family, but he would have had to be medicated to pursue her list of pleasures.
Thomas McGuane
According to Zagat Disneyland Insider's Guide (2010), the Candy Palace is the fifth most popular store in the entire resort, and the third most popular in the park. Perhaps one reason is the shop's intoxicating candy scent; it vents onto Main Street, an elixir of vanilla and molten chocolate that entices Guests to enter the premises and then entices then to remain. pouring over the bins, shelves, and racks of traditional and unique candies.
Leslie Le Mon (The Disneyland Book of Secrets 2014 - Disneyland: One Local's Unauthorized, Rapturous and Indispensable Guide to the Happiest Place on Earth)
To most people today, the name Snow White evokes visions of dwarfs whistling as they work, and a wide–eyed, fluttery princess singing, "Some day my prince will come." (A friend of mine claims this song is responsible for the problems of a whole generation of American women.) Yet the Snow White theme is one of the darkest and strangest to be found in the fairy tale canon — a chilling tale of murderous rivalry, adolescent sexual ripening, poisoned gifts, blood on snow, witchcraft, and ritual cannibalism. . .in short, not a tale originally intended for children's tender ears. Disney's well–known film version of the story, released in 1937, was ostensibly based on the German tale popularized by the Brothers Grimm. Originally titled "Snow–drop" and published in Kinder–und Hausmarchen in 1812, the Grimms' "Snow White" is a darker, chillier story than the musical Disney cartoon, yet it too had been cleaned up for publication, edited to emphasize the good Protestant values held by Jacob and Wilhelm Grimm. (...) Variants of Snow White were popular around the world long before the Grimms claimed it for Germany, but their version of the story (along with Walt Disney's) is the one that most people know today. Elements from the story can be traced back to the oldest oral tales of antiquity, but the earliest known written version was published in Italy in 1634.
Terri Windling (White as Snow)
In England in the 19th century, advances in printing methods, combined with the rise of a prosperous middle class, engendered a booming new industry of books published just for children. Casting about for cheap story material, English publishers laid hands on the subtle, sensual adult fairy tales of the Continental tradition and revised them into simpler stories instilled with Victorian values. Although these simplified versions retained much of the violence of the older stories, elements of sexuality and moral complexity were carefully scrubbed away — along with the fiesty heroines who appeared everywhere in the older tales, tamed now into models of Victorian propiety and passivity. In the 20th century, the Walt Disney Studios watered down the tales further still in popular animated films like Sleeping Beauty and Snow White, continuing the trend of turning active heroines into powerless damsels in distress. Walt Disney considered even the Victorian versions of the tales too dark for 20th century audiences. "It's just that people now don't want fairy stories the way they were written," Disney commented. "They were too rough."
Terri Windling (Black Swan, White Raven)
Disney now unofficially tolerates hundreds of small online shops run by die-hard fans selling T-shirts, buttons, pins, patches, jewelry, and thousands more items that leverage Disney characters. These stores don’t pay Disney a dime in licensing fees. Why the pivot to tolerating knockoffs? Because Disney learned that fan-made, unlicensed twenty-five-dollar T-shirts drive their wearers to Disney parks, where they buy expensive entrance tickets and pass the day spending even more money. Another reason for Disney’s newfound tolerance: it has discovered the marketing research value from the hundreds of small knockoff shops. These shops turn out to be a vibrant source of ideas for new official Disney merchandise. In 2016 the online vendor Bibbidi Bobbidi Brooke came out with a hugely popular line of rose-gold sequined Mickey ears, something that had not occurred to the Disney licensors. So Disney copied the design, which sold out immediately in its official stores. Bibbidi Bobbidi Brooke was gracious, posting “always excited to see new merch offerings.” Her fans replied, “Yours will always be the original!!!” Everyone wins.
Michael A. Heller (Mine!: How the Hidden Rules of Ownership Control Our Lives)
evidence suggests that its popularity spread from Disney’s 1958 Academy Award–winning documentary White Wilderness, which highlighted this unusual and unnatural behavior. Although it was later discovered that the filmmakers had flown in the featured lemmings from Canada and had actually tossed them off the cliffs by hand, it was too late to reverse this morbid misconception.
Blake J. Harris (Console Wars: Sega, Nintendo, and the Battle that Defined a Generation)
Până când într-o seară - în Piaţa Republicii, îmi amintesc, ploua - mi se agăţă de braţ şi cu o voce ciudată la el, speriată, ca de copil, spuse: — Mi s-a întâmplat o nenorocire. Oh, înţelesesem eu, dar mă prefăcui că nu bănuiam nimic. — Ce este? El mă privi rugător, aşteptând parcă o iertare preventivă. — O femeie, bâlbâi. — Ştiam. Omul în floarea vârstei, sigur pe sine, plin de energie şi idei, măreţ prin impetuozitatea şi hotărârea faţă de obstacolele care-i ieşeau în cale şi față de pericole, era un biet vierme care tremura. — Şi te iubeşte? — Nu. — Atunci? — Tocmai de-asta. Îmi povesti, cu o sumedenie de amănunte inutile şi plicticoase, cine era, cum îl chinuia şi cum el nu mai putea să trăiască fără ea; una din multele poveşti triste de pe lumea aceasta imperfectă, asemănătoare cu atâtea altele. Numai că Umberto pricepea absurdul situaţiei: el îndrăgostit şi ea nepăsătoare. Şi spunea că era frumoasă, fireşte, dar nu încerca, cum fac bărbaţii în asemenea ocazii, s-o transforme într-o zeiţă. Ba o descria chiar cu cruzime calculată: vicleană, avidă de bani, o inimă de ciment nesimţitor. Dar el nu putea renunţa. II întrebai: — Şi chiar crezi că n-ai putea-o lăsa? — Acum nu. — Dar pricepi bine, că o femeie ca asta te... — Mă duce de râpă, vrei să zici? Sigur că pricep. Totuşi... După două zile am cunoscut-o şi eu. Era la el în birou, aşezată pe divan. Foarte tânără, o faţă isteaţă de fetiţă, cu pielea întinsă de inexprimabila frăgezime a vârstei, cu părul negru şi lung, prins într-o ciudată pieptănătură ottocentescă, cu trupul încă adolescentin. Frumoasă? Nu ştiu. Desigur un tip neobişnuit, popular şi totodată chic. Dar era, între aspectul ei şi lucrurile pe care mi le povestise Umberto, o contradicţie de netrecut. Totul în ea era voioşie, lipsă de griji, bucurie de viaţă, ingenuă abandonare la solicitările vieţii ; sau aşa părea cel puţin. Se purtă foarte drăguţ cu mine. Ciripea, privindu-mă, şi buzele ei se deschideau în zâmbete maliţioase. Ba chiar exagera, în acest sens, ca pentru o declarată intenţie de cucerire. Şi pe Umberto nici nu-l băga în seamă, ca şi când n-ar fi existat. Umberto, în picioare, cu un zâmbet forţat pe buze, o contempla, stupid. Cu un gest de minunată neruşinare, Lunella îşi potrivi fusta lăsând să se zărească mai mult decât se cuvenea. Apoi lăsa capul în jos, provocatoare, ca o şcolăriţă impertinentă: — Ştiţi cine sunt? Eu sunt ciclonul, îmi spuse, eu sunt tromba marină, eu sunt curcubeul. Eu sunt... eu sunt o fetiţă delicioasă. Şi râdea de-a dreptul fericită. Chiar în clipa aceea descoperii, în spatele pălăvrăgelilor copilăreşti, o neţărmurită şi foarte controlată capacitate de a minţi. N-aş putea spune de ce. Ca o senzaţie fizică. Dar ea, în cele din urmă, se întoarse spre Umberto. — Mocci, îi ceru ea cu cel mai viclean dintre surâsuri, hai spune-mi: veveriţica mea! Umberto scutură din cap, între satisfacţie şi nehotărâre. — Hai, Mocci, spune-mi: veveriţica mea! Îl privi. Cu o expresie idioată murmură: — Veveriţica... — Mea! îl incită ea. — Mea, confirmă bărbatul, învins. Şi atunci Lunella, încreţindu-şi graţioasele buze, mimetizându-se poate în vreun erou necuvântător de-al lui Walt Disney: — Chiţ! chiţ! făcu ea copilăreşte. Era atâta ironie în privirile sale, era o atât de rece satisfacţie a posesiunii, că-mi trecu un fior pe şira spinării.
Dino Buzzati
Misplaced belief in the Miller-Urey experiment continues. A 2011 study of twenty-two high school textbooks found that nineteen discuss the Miller-Urey experiment as a possible explanation of the origin of life.4 I have met many people who think life began simply because lightning struck some primeval pond billions of years ago. The Disney movie Fantasia contains such a scene, set to the music of Stravinsky’s “Rite of Spring.” Despite this popular perception, the Miller-Urey experiment is no longer considered good science. We
Douglas Ell (Counting To God: A Personal Journey Through Science to Belief)
Michael’s biggest stroke of genius, though, might have been his recognition that Disney was sitting on tremendously valuable assets that they hadn’t yet leveraged. One was the popularity of the parks. If they raised ticket prices even slightly, they would raise revenue significantly, without any noticeable impact on the number of visitors. Building new hotels at Walt Disney World was another untapped opportunity,
Robert Iger (The Ride of a Lifetime: Lessons Learned from 15 Years as CEO of the Walt Disney Company)
Come to All About Fun Inflatables for all of your inflatable needs in Georgia! We offer a variety of different rentals like bounce houses, amusement rides, inflatable games and more. We also have many popular characters like Disney princesses and superheroes. Our inflatables are always clean from top to bottom so you can enjoy without worry!
All About Fun Inflatables
The first known published text of the classic fairy tale "Beauty and the Beast" was written by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and collected in her compilation La Jeune Américaine et les contes marins. To say that the story met with favor is an understatement. By 1756, "Beauty and the Beast" was so well known that Jeanne-Marie Leprince de Beaumont wrote an abridged edition of it that would become the popular version included in collections of fairy tales throughout the nineteenth century (although Andrew Lang went back to de Villeneuve's original for his groundbreaking anthology The Blue Fairy Book, first published in 1891 as the beginning of a twelve-book series that would revolutionize the anthologizing of fairy tales for young read ers). Fifteen years later. Jean-François Marmontel and André Ernest Modeste Grétry adapted de Villeneuve's story as the book for the opera Zémire et Azor. the start of more than two centuries of extraliterary treatments that now include Jean Cocteau's famous 1946 film La Belle et la Bête, Walt Disney's 1991 animated feature Beauty and the Beast, and countless other cinematic, televi sion, stage, and musical variations on the story's theme. More than 4,000 years after it became part of the oral storytelling tradi tion, it is easy to understand why "Beauty and the Beast" continues to be one of the most popular fairy tales of all time, and a seemingly inexhaustible source of inspiration for artists working in all mediums. Its theme of the power of unconditional love is one that never grows old.
Various (Beauty and the Beast and Other Classic Fairy Tales)
ANYONE WRITING ABOUT Francis Marion immediately confronts the task of sifting fact from folklore. The mythmaking began with the first and highly embellished biography of him, written in 1809 by Mason L. “Parson” Weems, the same man who fabricated the famous story of George Washington chopping down the cherry tree. The romantic tradition continued with the Walt Disney television series that ran from 1959 to 1961, starring Leslie Nielsen as the Swamp Fox, and took another turn in 2000 with the popular film The Patriot, in which Mel Gibson portrayed a Rambo-like action figure loosely, if inaccurately, based on Marion. As stated on an interpretive marker at Marion’s gravesite in Pineville, South Carolina, much about the Swamp Fox remains obscured by legend, even though his achievements are “significant and real.
John Oller (The Swamp Fox: How Francis Marion Saved the American Revolution)
The world is full of misconceptions, but perhaps none more fatally fantastical than those involving the lemming. As legend has it, these feisty creatures are prone to combating periods of overpopulation by blindly marching one by one off tall cliffs and unceremoniously plummeting to their deaths. It’s unclear where this global rumor began, but evidence suggests that its popularity spread from Disney’s 1958 Academy Award–winning documentary White Wilderness, which highlighted this unusual and unnatural behavior. Although it was later discovered that the filmmakers had flown in the featured lemmings from Canada and had actually tossed them off the cliffs by hand, it was too late to reverse this morbid misconception.
Blake J. Harris (Console Wars: Sega, Nintendo, and the Battle that Defined a Generation)
Besides convincing readers of The Mars Project that such an undertaking was possible, it also attracted a major magazine to do a splashy series of articles based on von Braun's ideas, and brought him to the attention of Walt Disney, who engaged von Braun to work with his studio on a series of extremely popular TV shows and educational films about spaceflight (see chapter 6).
Rod Pyle (Amazing Stories of the Space Age)
Stroll around Liberty Square taking note of the doors, which all have a two-digit number on them. They are designed to look like a street address, but if you put “18” in front of the number, you have the year that style of house would have been popular. The date over the entry door to the Hall of Presidents is the year the United States Constitution was ratified.
Susan Veness (The Hidden Magic of Walt Disney World: Over 600 Secrets of the Magic Kingdom, Epcot, Disney's Hollywood Studios, and Animal Kingdom)