July 26 - Buddy Baker

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On this day, in 2002, Norman Dale Baker passed away in Hollywood, California. Born in Springfield, Missouri on January 4, 1918, Buddy, as most people called him, learned to read music before he could read lyrics. He began playing the piano at the age of 4, learned the trumpet at 11 and had formed his own band by his teen years. He studied music at Southwest Baptist University, eventually earning his doctorate in it before moving to Los Angeles in 1938.

Buddy began his professional career as a trumpet player and musical arranger on the radio programs of the day. He started on The Bob Hope Show before moving on to Jacky Benny and Eddie Cantor's shows. When World War II started, he returned to Bob Hope and became his show's musical director. Buddy brought big band leader Stan Kenton to the show and arranged Ken's first big hit, And Her Tears Flowed Like Wine. Following the war, he added Professor to his resume taking a job at Los Angeles City College in their school of music. He wasn't above helping out his students though. In 1954, he composed the hit jazz song Journey into Love with drummer Louis Bellson. And then one day later that same year, he got a call from another former student, George Bruns, who worked over at the Walt Disney Studio.

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George was looking for someone to compose some music for a couple of episodes of the Disneyland television series and he thought of his former professor. Buddy agreed to spend a couple of weeks at the studio coming up with something for Davy Crockett and the River Pirates. It ended up being a really long two weeks as Buddy wouldn't retire from Disney until 29 years later. In those three decades, he became the studio's musical director and one of the most prolific composers Disney ever had.

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Buddy wasn't as flashy as his contemporaries at the studio. Most people have at least heard of the Sherman Brothers, and don't get me wrong, Robert and Richard Sherman produced some fantastic work over the years, but even though you might not know Buddy's name, a walk through any of Disney's theme parks would be awfully quiet if none of his work existed. The first category we'll talk about is movie scores. He did dozens of them for Disney but a short list of his live action work would have to include Summer Magic, The Monkey's Uncle, The Gnome-Mobile, The Million Dollar Duck, The Apple Dumpling Gang, The Shaggy D.A. and Hot Lead Cold Feet. In 1972, he earned an Oscar nomination for Napoleon and Samantha, which also happened to be Jodie Foster's screen debut. On the animated side of things, Buddy scored several shorts including the classic Donald in Mathmagicland and all three of the original Winnie the Pooh shorts (including additional material for the 1977 Winnie the Pooh feature). In 1981, he made his second foray into animated features providing the score for The Fox and the Hound.

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As impressive as Buddy's film work is, it's in the category of music written for theme parks that some of his most recognizable tunes occur. His most famous song has to be Grim Grinning Ghosts which he wrote with fellow Legend Xavier Atencio for the Haunted Mansion. He also scored the eerie music that can be heard throughout that same attraction. Buddy and Xavier also wrote the original music that is used in the classic Country Bear Jamboree show and the song It's Fun to Be Free for the World of Motion pavilion at EPCOT. Buddy's other music written and arranged for attractions includes The Universe of Energy, America Sings, If You Had Wings, Kitchen Kabaret, Impressions de France, the American Adventure and Tokyo Disneyland's Journey to the Center of the Earth and Sinbad's Seven Voyages. Buddy also came out of retirement briefly in the nineties to arrange his own music for the various Winnie the Pooh rides that popped up in Disney theme parks at that time.

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By the time Buddy retired in 1983, he had over 200 Disney credits to his name. Much of the background music you hear just walking through areas of parks like the Mexican Pavilion at Epcot or Tomorrowland in Disneyland is arrangements of his compositions. When he left Disney, Buddy also had the distinction of being the last composer at a major Hollywood studio. They literally don't make them like him anymore. Buddy didn't stay retired for very long, though. In 1987 he became the director of the University of Southern California's Scoring for Motion Pictures and Television program and taught courses there for the remainder of his life. He received the ASCAP Foundation Life Time Achievement Award in 1999 and having already been declared an official Disney Legend the year before. Three years later, Buddy would pass away from natural causes at the age of 84.

July 15 - Al Bertino

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On this day, in 1912, Albert Bertino was born in California. And that statement is literally as close as I have been able to pinpoint his place of birth. Somewhere in the vast swathe of area known as California. Needless to say, there's a reason we pick up Al's story in 1934 when he began working for the Charles Mintz Studio (for those of you who think that name might sound familiar, it is the same studio that screwed Walt out of Oswald the Lucky Rabbit six years earlier). After some time there, Al moved over to the Harman-Ising Studio, thinking that he was moving to a better outfit. Unfortunately, Harman-Ising was soon going to lose their distribution deal with MGM and would cease to exist. That's how Al ended up as an assistant animator at the Walt Disney Studio in 1939.

Al started on features like Pinocchio and Fantasia before moving up to animator in the Shorts Department and eventually landing in the Story Department. His name actually appears as part of the 1945 Goofy short Hockey Homicide. All the players in the short are named after real people at the studio and Ice Box Bertino keeps getting into fights with Fearless Ferguson, named after fellow animator Norm Ferguson (the real irony here is that by all accounts Al was a sweetheart of a guy and wouldn't fight anyone).

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When the medium of television came along, Al began writing episodes of the Disneyland anthology series. One of his favorite stories to tell was about a show they wrote for the Christmas season that included a segment on the birth of Christ. Walt sent Al to the church down the street to get the nuns approval on his script. The Mother Superior read it over, declared it good and asked where Al got his good ideas. Al, mindful of who he was talking to, look upwards and said he wasn't shy about getting "help from the man upstairs." The Mother Superior immediately agree that Mr. Disney was indeed a wonderful man, Al was too flustered to correct her and took his leave before he burst out laughing.

When Disney dissolved its Shorts Department in the late Fifties, Al became a victim of downsizing as most of his story work had been with that group. He then began doing freelance work with whatever studio needed him, a time he once described as one of the happiest of his life (mainly because he got paid more for contract work). He spent the next several years working for UPA on Dick Tracy and Mr. Magoo, Terrytoons on Hashimoto and Hector Heathcote, Bob Clampett on Benny and Cecil, and the Walter Lantz Studio.

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In the mid Sixties, Al returned to Disney, this time as an Imagineer with WED Enterprises. He became part of the teams that created such classic attractions as Pirates of the Caribbean, Mr. Toad's Wild Ride, America Sings and the Country Bear Jamboree. Big Al, the large Country Bear that keeps trying to sing Blood on the Saddle during the show, is not only named after Al, but he considers it a bit of a self portrait in the medium of Audio-Animatronic bear. Call it the perks of being an Imagineer.

Al retired from Disney in 1977, but he did one more freelance project before actually finishing his career. He was co-designer of the Monster Plantation (now called the Monster Mansion) dark ride that opened in 1981 at the Six Flags Over Georgia theme park. Al continued to reside in Los Angeles, California until his death on August 18, 1996. He was 94.

June 29 - America Sings

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On this day, in 1974, Disneyland’s salute to the United States’ 200^th birthday, America Sings, opened in Tomorrowland. As Bicentennial Fever began sweeping the nation in the early Seventies, Disneyland naturally wanted to get in on the action. It was decided to create a new show to go in the space occupied by the Carousel of Progress. That classic show, one of the holdovers from the 1964 World’s Fair, was packed up and, in 1973, relocated to the Magic Kingdom in Walt Disney World, where it still runs today. Imagineers, led by the Legendary Marc Davis, then got to work on an all new attraction.

America Sings was structured similar to Carousel of Progress (kind of a necessity since it used the same space). A total of six theatres rotated around a central cluster of stages, each theater moving to the next stage every four minutes. Guests entered the show in stage one, saw a brief introduction, rotated through four eras of American musical history, then saw a brief conclusion and exited from stage six. For the show’s narrators, Marc created Eagle Sam, voiced by Burl Ives, and Ollie Owl, voiced by Sam Edwards. While Eagle Sam is sometimes referred to as Sam the Eagle, he shouldn’t be confused with our Muppet friend of the same name or the 1984 Olympic Mascot, Sam the Olympic Eagle; those are three distinct characters. In a nod to taking over Carousel’s space, Rex Allen, who played the narrator of Carousel, has a small part in America Sings as Sombrero, a dog.

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On a tragic note, America Sings was responsible for the death of a cast member shortly after it opened. On July 8, 1974, just nine days after its debut, Deborah Stone was caught between the stationary outer wall of the attraction and one of the inner moving walls. The 18 year old was crushed to death but her body wasn't discovered for nearly twenty minutes. Guests had actually heard her screams but thought it was part of the show. As a result of the accident, America Sings was closed for three days while safety lights were installed and the moving walls were redesigned to include breakaway panels. Thankfully, no further incidents were recorded.

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It might seem ridiculously out of place to plunk a historical show down in Tomorrowland, but Bicentennial Fever was a powerful thing in the mid Seventies and no one really minded. Until after the reasonable time that bicentennial celebrations could go on, of course. By the early Eighties, America Sings not only didn’t fit into a land that claimed to have its eyes set on the future, but it was getting long in the tooth as a concept as well. The show persisted almost to the end of the decade, however. In 1986, it was slight victim of recycling when two geese Audio-Animatronics were removed, stripped of their skin and installed as baggage droids in the queue of Star Tours. The rest of America Sings kept on singing until April 10, 1988. At that point, most of the remaining 113 Audio-Animatronic figures found a new home in Splash Mountain, which opened the following year. The Stork figure from the show’s finale is used as a training tool to teach and test new Imagineers on how to program Animatronics.

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Plans were made to install a third show in the rotating theaters and a “coming soon” sign was placed in front of the attraction. That sign stood there for almost ten years, as the remaining sets of America Sings slowly deteriorated and the building was used as office and storage space, the new attraction a victim of Euro Disneyland’s financial shortcomings. Finally, in 1998, the building was completely renovated and became Innoventions, Disneyland’s version of the Epcot area. In 2015, the space was further updated and became the West Coast’s Star Wars Launch Bay, a walkthrough attraction highlighting all things Star Wars related.

May 26 - Sam Edwards

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On this day, in 1915, Sam Edwards was born in Macon, Georgia. Sam’s parents had met as performers on the vaudeville circuit, so it’s no surprise that his first appearance on stage was as a baby in his mother’s arms in a show called Tess of the Storm Country (a 1914 film version starred Mary Pickford). Shortly after Sam’s birth, his parent’s marriage ended in divorce and Sam, with his older sister Florida (care to guess where she was born?) stayed with their mother, Edna. He would never know who his birth father was until a chance meeting in Hollywood over thirty years later. Edna married another actor in 1917, Jack Edwards, and they would soon add a third child to the family, Jack Jr.

The Edwards relocated themselves to the Jacksonville, Florida area, started their own theater troupe and travelled around the country performing in all kinds of plays. Sometimes the kids would be cast alongside mom and dad, but not always comfortably. Sam recalled the first time he could remember being on stage, in Why Men Leave Home, as his mother’s daughter (he wasn’t apparently a very convincing actor at that age; he said most of the audience could tell he was a boy in spite of the lacy underwear that was part of his costume).

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As the Edwards children grew, the family transitioned from the stage into radio. Now based mostly in San Antonio, Texas, Jack managed a movie theater, interspersing the new fangled medium of moving pictures with short live performances done by Edna and the kids. As he moved into his teens, Sam began participating in and winning local singing contests. Jack Sr. and Edna were already performing on WOAI, one of the first radio stations in Texas, when they began producing a show starring Sam and Jack Jr. In 1933, The Adventures of Sonny and Buddy became one of the first weekly serials to ever be broadcast. Sam would enjoy a long, prolific career on the airwaves. His whole family appeared as a fictionalized version of themselves on The Edwards Family. He was part of an early soap opera, One Man's Family, and an early kid's adventure show, Speed Gibson of the International Secret Police. Over the couple of decades that radio reigned supreme, Sam had recurring roles on Father Knows Best, Guiding Light, Meet Corliss Archer, The First Hundred Years, Dragnet, Gunsmoke, This is Your FBI and several others.

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Sam broke into movies almost by accident. In 1937, He tagged along with his brother to the set of a movie Jake was in, intending to be an extra, mostly for fun. His radio expertise, however, not only got him noticed but also got him a speaking part in High Hat. While never becoming a movie star, Sam would occasionally appear in films for the next four and a half decades. He had significant parts in Twelve O'Clock High with Gregory Peck, Operation Pacific with John Wayne and The Beatniks (which was featured in an episode of Mystery Science Theater 3000). His final film role came in 1981 as a Ticket Clerk in the remake of The Postman Always Rings Twice with Jack Nicholson and Jessica Lange.

When radio transitioned into television, Sam transformed himself as well. While he would never have a starring role like he did before, he would start appearing on the small screen in the mid Fifties and add more than 60 different series to his resume over the years. He is probably most remembered as Bill Anderson, the banker on Little House on the Prairie, but he had recurring roles on Dragnet and Gunsmoke (hold overs from his radio days) and guest shots on everything from The Andy Griffith Show to Mission: Impossible to Happy Days. He even, in another throwback to his earlier career, had a stint on Days of Our Lives. 

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Sam joined the Disney family pretty early in both his career and the history of features at the studio. In the 1942 classic Bambi, he brought the adult part of Thumper to twitterpated life. A great deal of his work for Disney came through Disneyland Records. He played both the Cowardly Lion and the Tin Woodman for a series of Wizard of Oz albums. He played Tigger, Rabbit and Owl on a whole bunch of Winnie the Pooh records. He also served as the narrator for many of the Disneyland Storyteller series. Throughout the Seventies, he appeared in a string of live action films for the company, including Escape to Witch Mountain, The Biscuit Eater and two episodes of Walt Disney's Wonderful World of Color, Hog Wild and The Flight of the Grey Wolf. His final 'appearance' for the company was as the voice of Ollie Owl opposite Burl Ives' Sam the Eagle in the patriotic Disneyland attraction America Sings, that ran from 1974 until 1988.

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In the early Eighties, Sam retired from acting, mostly. He did some traveling around with his wife of three decades to old time radio conventions, meeting up with old friends and often giving live readings of favorite episodes from back in the day. But mostly he spent time with his family enjoying life. In 1992, he had bypass surgery, recovered nicely and spent another twelve years living peacefully in Durango, Colorado. Then, on July 28, 2004, three days after suffering a heart attack that revealed a hole in his heart, Sam passed away, surrounded by family. He was 89.