June 23 - The Enchanted Tiki Room

On this day, in 1963, the Enchanted Tiki Room began serenading guests in Disneyland's Adventureland. As WED Enterprises (today's Imagineering Department) was working on attractions for the 1964 World's Fair, they were also looking for ways to improve Disneyland. One of the technologies they were developing was a kind of robotics eventually trademarked as Audio-Animatronics (we'll see why they got that name in a bit). The first dive into that pool came when Walt brought a mechanical bird back from a trip to New Orleans and set his Imagineers to trying to upgrade its movements. The team then moved on to a figurine that tap danced like Buddy Epsen. They continued to expand their knowledge, making more and more complex figures and systems. Eventually they would wow audiences with a likeness of Abraham Lincoln at the Fair, but first Walt had his whiz kids work up a little something for Disneyland.



Originally, the Enchanted Tiki Room was going to be a Polynesian themed restaurant, filled with birds and flowers that would sing to guests as they ate. The large fountain in the middle of the theater was supposedly going to be a coffee service station. That plan was quickly abandoned in favor of more Audio-Animatronic figures appearing in a full blown show. Underneath the theater, was an enormous room filled floor to ceiling with all the computers necessary to run all the figures. Because of the enormous amount of heat generated by those computers, the Tiki Room became the first building in Disneyland to include air conditioning. While that might entice guests into the show today, it actually wasn't as much of a selling point in 1963; the technology itself was impressive enough to fill the seats.

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By today's standards, the birds, flowers and totems of the Tiki Room are so basic they aren't even sophisticated enough to be considered quaint. But for guests of the time, watching an entire room seemingly come alive by itself was amazing. How did they do that? was a question pretty much on everyone's lips. A lot of folks today probably think they know how they did that, but most of them would only be partially right at best. The clue comes from how the technology was named, Audio-Animatronics. Yes there an electrical impulse that moved something mechanical, but that impulse was actually initiated by sound.

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Each individual movement requires its own channel and each channel requires its own reel of magnetic tape, that's why figures in the Tiki Room are so simple. Less movements means less reels which means less computers that need to stay synched up. Every movement has two positions, a resting place and a moved place. In other words the movement is either on (moved) or it is off (resting). Each reel of magnetic tape has a certain tone recorded on it that, when played, vibrates a metal reed, closing a circuit, sending a pulse of electricity to a pneumatic (or air driven) valve that causes whatever movement it’s connected to (eye blink, wing flap, mouth opening, etc). When the electrical pulse is spent, the movement returns to its resting position and waits for the next one. The tones are laid out on the tape at precise intervals to make, in the Tiki Room’s case, it appear that all the figures are dancing and singing in time with a recorded soundtrack. That’s why it took an entire room of computers, running hundreds of reels of tape to make the whole thing work. Nowadays, of course, we have fancy computing systems with enough power that you could probably run a set up like the Tiki Room from a couple of laptops (and hardly anyone even knows what magnetic tape is), but in 1963 this was top of the line stuff.

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As mind boggling as the technology was, Walt didn’t rely solely on gizmo’s to make the show work. He got the Sherman Brothers to write another earworm, The Tiki Tiki Tiki Room (they were writing their slightly more famous earworm, It’s a Small World, around the same time). He got the best voices he could find for his four macaw stars, half of which actually came from in-house. Wally Boag and Fulton Burley, who played the Mexican bird, Jose, and the Irish bird, Michael, respectively, were regular cast members across the park at the Golden Horseshoe Revue in Frontierland for decades. The quartet is rounded out by Thurl Ravenscroft (who also appears in The Haunted Mansion) as Fritz, the German parrot, and Ernie Newton (who was also the singing voice of Boo-Boo Bear) as Pierre, the French parrot. Walt also had some of his best Imagineers working on how the figures looked, Legends like Harriet Burns and Joyce Carlson. The attention to detail paid off.

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The Enchanted Tiki Room was a hit from the beginning. An extra Audio-Animatronic bird, placed near the entrance in an effort to get people to come see the show, caused traffic jams of guests trying to see just what this new thing was. Interestingly, entrance to the Tiki Room cost an extra 75 cents, supposedly because technically WED Enterprises owned it, not Disneyland, and it was therefore a separate attraction from the rest of the park. The popularity of the show saw an identical version installed in the Magic Kingdom in Walt Disney World right on time for opening day and Tokyo Disneyland was also Enchanted at its opening. The first two Tiki Rooms are still running just as they did back in the day (we won’t talk about the couple of years that Florida’s version was “Under New Management”), albeit with upgrades in the technology that run them, but Tokyo’s has undergone a complete revision. It’s now a Stitch themed Hawaiian show and no longer uses the original theme song. Speaking of which, you know you’re dying to sing a few verses of it, so All together now, in the tiki, tiki, tiki, tiki, tiki room, in the tiki, tiki, tiki…

June 3 - Wally Boag and Betty Taylor

On this day, in 2011, Wallace Vincent Boag passed away in Santa Monica, California. Born on September 13, 1920 in Portland, Oregon, Wally was a professional dancer by the age of nine. By the time he was 16, he ran his own dance school. When he turned 19, Wally added comedy to his resume and his career was off and running. Like many performers of the time, he became part of the vaudeville circuit, honing his act on the tough crowds of Poughkeepsie and other Peoria. But Wally had that certain something that tends to be elusive in show business (I like to call it talent) and he not only played the smaller venues of America but he was invited to places like Radio City Music Hall in New York City and the Palladium in London, England. During a show at the London Hippodrome, Starlight Roof, he brought a 12 year old girl onstage to assist with his balloon act. Part of the act involved a little singing and the young lady’s voice wowed the audience so much she became a regular part of the show (her name, by the way, was Julie Andrews).

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In 1945, Wally’s talents brought him to the attention of Messrs. Metro, Goldwyn and Mayer. They offered him a contract and he began a brief career in movies. He appeared in exactly two for MGM and went uncredited in both: as a soldier in Without Love with Katherine Hepburn and Spencer Tracy and as a Canadian flier in Thrill of a Romance with Esther Williams. While his turn on the Silver Screen didn’t exactly pan out, Wally didn’t stop performing. He continued to appear on stages across America and around the world. In the early Fifties, Wally was in a musical revue in Australia when he met a tenor by the name of Donald Novis. A couple of years later, Donald convinced Walt Disney to give Wally an audition for a new show that was being developed for his soon to be open theme park. Walt loved him and that’s how Wally signed a two week contract to open The Golden Horseshoe Revue at the Golden Horseshoe Saloon in Frontierland of Disneyland.

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I think it’s probably unnecessary to say that Wally’s Horseshoe contract was renewed and for a little bit longer than just two weeks at a time. Wally’s character of a travelling salesman eventually morphed into Pecos Bill which he would perform three times a day. Over the course of the next 27 years, Wally logged almost 40,000 performances. His routines included songs, dancing, the ability to spit out a seemingly endless amount of teeth, rapid fire jokes and balloon creations he called Boagaloons. In 1963, he was joined onstage by an old co-star, Julie Andrews, for a press event for Mary Poppins. The duo recreated their first meeting by singing By the Light of the Silvery Moon together.

In 1971, Wally travelled to Central Florida to help get the Diamond Horseshoe Saloon up and running for the opening of the Magic Kingdom. He spent three years performing Pecos Bill for Walt Disney World guests before returning to California to finish out his career. He finally retired in 1982, quipping that before his contract with Disney, the longest he’d ever worked a gig was 54 weeks, who knew two weeks was going to last so long?

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In the Sixties, while Walt was still alive, Wally also did a handful of other projects for the company. He had small roles in The Absent Minded Professor (as a television newsman), Son of Flubber (the father in a television commercial) and The Love Bug (a flabbergasted driver). His second biggest contribution to Disneyana (yet, ironically, his longest lasting) is as the voice of Jose in The Enchanted Tiki Room, for which he also wrote a big chunk of the script. Walt was reportedly considering Wally for the voice of Tigger in the Winnie the Pooh shorts, but the role ultimately went to Paul Winchell. After Walt’s death, with his biggest cheerleader no longer championing him, Wally’s involvement outside of the Saloon dried up. Until 1981, that is, when he was the special guest star on an episode of The Muppet Show, bringing bits from his Pecos Bill persona to a worldwide audience.

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In 1995, Wally was declared an official Disney Legend for his decades of thrilling audiences in the Horseshoe Saloons and leading the show in the Tiki Room. As a deeper honor, he also received his own window on Main Street USA in Disneyland that reads “Theatrical Agency – Golden Vaudeville Routines – Wally Boag, Prop.” In 2009, he published his autobiography, Wally Boag, Clown Prince of Disneyland and lived out the rest of his life in Santa Monica with Ellen, his wife of 68 years, until he succumbed to Alzheimer’s in June of 2011. He was 90.

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Coincidentally, on June 4, 2011, the day after Wally died, his longtime costar at the Diamond Horseshoe Revue, Betty Taylor, also passed away in Coupesville, Washington. Born in Seattle, Washington on October 7, 1919, Betty began her professional singing career at the age of 12. Over the first twenty four years of her career, she shared the stage with folks like Les Brown, Red Nichols and Frank Sinatra. In 1956, a year after the Golden Horseshoe Revue opened, it became necessary to recast the Saloon’s feisty female proprietor (and Pecos Bill’s sweetheart), Sluefoot Sue. Betty auditioned for and got a four week contract to play the character (twice as long as Wally’s); she spent the next thirty years working through it.

One of the highlights of Betty’s years with the Golden Horseshoe came in the mid Sixties. Walt had decided to mark the 10,000 performance of the Revue as an episode of The Wonderful World of Color and asked Betty to not only play Sue but to emcee the program as well. She initially demurred but Walt insisted and the episode remains one of the classics. Betty remained with the Revue all the way until it closed on October 12, 1986, making her the longest continuous cast member (beating out Wally by a little more than three years) and logging in over 45,000 performances. She was declared an official Disney Legend right along with her perennial beau in 1995. She continued to enjoy singing for the rest of her days and would frequently serenade visitors, even after she moved into a nursing home. When her last note finally faded away, she was 91.