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September 2021 Hiatus

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muse-letter \’myüz-‘le-tər  noun

1: a personal  message, inspired by a muse of one's own creation,  addressed to a person or organization, in the course of which, the sender becomes absorbed in thought; especially turning something over in the mind meditatively and often inconclusively.

2: a letter from a poet, or one who envisions oneself as such, in which he or she “muses” on that which is perceived to be news, or newsworthy, usually in some ironic or absurd way.  

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pre November 2018

Featuring...

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“I’m going to Disneyland!”

 

First uttered in 1987 by the Super Bowl winning quarterback for the New York Giants, Phil Simms, he actually went. He had to. He was paid to make that proclamation in a national TV ad.  

 

Not being forced or paid to do so,  I’ve gone to Disneyland, I’d guess, over twenty times? If you count the visit to the one in Paris in 2001 (“We’ll always have Disneyland Paris”), and throw in a Disney World Orlando.

 

Why have I done this!? For my two kids, is the short answer. Living in LA for over thirty years, the “Magic Kingdom,” was readily accessible by way of a one hour drive (“Are we there yet?”). More or less, an annual ritual. Though truth be told, beginning with a 1978 visit, I’ve been there on a few other “kidless” occasions including a couple that were business related. But no need to feel chagrined. There usually are more adults there than kids. Kinfolk tagging along with mom and dad and the little ones, jumping at a chance and excuse to visit. Lots of Gen X and Yer’s going solo, as well these days.

 

Though my “kids” are now in their thirties, when I’m in LA,  as I was on my summer vacation this past August while detoxing from another birthday passing, we go. In my own 1950’s childhood, I was enamored with all things Disney. The movies (especially Snow White and the Seven Dwarfs... which if ever remade in today’s climate, would need to be retitled Snow White Privilege and the Seven Vertically-challenged), the cartoon shorts, and especially the TV programs. Beginning in 1954 each Wednesday night, Walt would appear in essentially a one-hour infomercial for the forthcoming Disneyland, in the process of construction. A story soon being told through the added "magic" of color.

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After much anticipation, it would open on July 17, 1955. Only a year after construction began! 90 million of the 169 million American population at the time, tuned in to the ABC Network coverage of that historic day.

Like every boy in America, I also got caught up in the Davy Crockett craze, that coincided with the park’s opening. But it was the Mickey Mouse Club at 5 o’clock each day, that veritably glued me to the TV set; the high tech miracle of its day.  And seemingly, every prepubescent boy had a crush on Annette Funicello. Who you couldn’t help but notice was, er, more developed than all the other girl Mouseketeers. But, boy do I digress. 

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Meanwhile back at the the self-proclaimed “Happiest Place on Earth,” the park did not get the happiest reviews on earth. In fact following its opening, some were rather scathing. Even the esteemed evangelist Billy Graham, a man of highly otherworld notions himself, couldn’t help getting his licks in. He dismissed it as a “nice fantasy.” Almost suggesting in his tone, that there might even be something sinful about fantasy. Disney tersely responded:

“You know, the fantasy isn’t here. This is very real…The people are natural here; they’re having a good time; they’re a community. This is what people really are. The fantasy is out there. Outside the gates of Disneyland, where people have hatreds and prejudices.”

Touché. I have to side with Walt on this. In all my visits, I’ve never seen anything resembling the slightest hint of discord among the guests (we’re not customers!). Nor even a sign of rudeness among the throngs of people of every shape, out of shape, size, color and creed. The same could not be said for, what I'll call, Road Rage & Middle Fingerland. Better known as the LA Freeways, that I would experience daily.

 

Yet there'd be a time when I too had become a Disney apostate. It was the ‘60’s when we all, seemingly overnight, became so hip and full of ourselves. And I was no longer taken with that "Fascist Disney and his concentration camp" park. (Ouch). The new theme of Sex, Drugs and Rock ‘n Roll had emerged and ruled the day. And Mickey Mouse now seemed so… Mickey Mouse. But that phase passed. And even before the arrival of the kids, I returned to the fold. Again. Why?

 

I like to think that the answer lies somewhere in an appreciation for virtuosity, creativity and a sense of aesthetics. And an obsession with process ("How do they do that?"). And at Disneyland, you see it every turn. Walt and his people have tapped into every discipline that it takes to create the “Wow!” factor. Art, design,  architecture, engineering, "imagineering" (first coined by Alcoa Corporation, as " letting your imagination soar, then engineering it down to earth"). Which spawned "Animatronics," a multidisciplinary field integrating puppetry, anatomy and mechatronics. Its first usage  produced Great Moments with Mr. Lincoln.  

The Matterhorn  for  example, with  the                     architectural and engineering complexities in building it, and having  “bobsleds” careen through                     it, came about on a whim of Walt's. Inspired by the Alps he saw  while  working  on  a  film  in                                 Switzerland,  he  sent  a note  to  one of  his  Imagineers back  home:  “Bill, build this!”                                             (No, he didn’t follow it up with ”If you build it, they will come.” But they did).

Other inspirations came                                                                out of  Griffith Park in LA, where he might take his little daughter  on a                                                                  Saturday.  And  as  that  park had a train, so too

would his one day.  And...                                                             a whole railroad! For kids and adults.

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But while the park is a wonder in its use of polyurethane and other synthetics, so too does it extend into the organic,  with its extensive and beautiful landscaping. Meticulously planned down to every shrub. Beginning at the entrance with that iconic "St. Mickey of the Flowers," as I call it.

And if they could have a carousel,  so could he. But more of it. 76 white horses. And he’d insist that they all must be in full gallop and leaping. Call it the King Arthur’s Carrousell (with the French spelling). And put the Arturian legend of “The Sword in the Stone” in the vicinity. To “plus” the experience.

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It is the only route that can be taken upon entering the park. And once you’re in, as Walt once put it: “I don’t want the public to see the world we live in while they’re in the park. I want them to feel they’re in another world.”

 

A light in perpetuity shines as a memorial in the front window of his private apartment, built above the “fire house” on Main Street. It following his passing in December 1966. On the park's 30th anniversary in 1995, a bronzed statue honoring him (and Mickey), would be 

unveiled. Call it "plussing" the remembrance.

Walt once had a crew move a fifteen-ton tree, 10 feet to the right, because it looked a little too close to a walkway. Disneyland is a marvel in that way.  Be it relocating a humongous tree, or adding at least a thousand more subtle things. Disney is in the details.

Main Street is where it all begins.  It was  built at the outset; a recreation of Walt’s re- membrance of life in his small hometown of Marceline, Missouri.  Circa 1901.

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Rides have always been subordinate to story and setting.  Both are an attraction in themselves as are the rides. In this way, it is not an amusement park. (Calling it such, could induce Walt's ire). Disneyland treats a ride as though it were a scene in a movie. Never is this more in evidence by the newest attraction, the Rise of the Resistance in the new 14-acre land dubbed Star Wars: Galaxy's Edge. An immersive experience that puts you front and center, in a 20 minute Stars Wars adventure. Dubbed... “the most complex and technologically advanced attraction that Disney has ever created.” Hands—with four fingers—down, I might add!

 

Genius by definition,  is “exceptional intellectual or creative power or other natural ability.” I don’t know that he was an intellectual, but he obviously was uber creative.  Which beyond any personal observations, is further re-enforced by the backstory of it all; culled from a bevy of books I’ve read on the man and his park.*

 

He not only had the ability to create something, in effect, out of nothing, but also the ability to observe, absorb and adapt from that which had come before. And in the process, making it exponentially better. Evidenced by his body of work throughout the 45 years of his professional life—pre and post park.  

 

He certainly was not the first person to draw cartoons or animate them. But he took the whole art—and it is an art—to previously unimagined levels.  Snow White and the Seven Dwarfs, which premiered in 1937 is the first full-length animated feature ever, and in the process, used his innovative technique of cel-animation. It was a box office smash and received  critical acclaim.  And he brought this sort of innovation to the park.

 

Themed rides had been done before, here and there.  At fairs and low-brow events. But only Disney had the vision to create the first of its kind: an entire and extensive park—160 acres—of themed attractions.  A concept that everyone, even his brother Roy (the financial keeper of the Disney flame), told him could never succeed. And none of them succeeded in deterring him from his success. 

 

To think, as Walt once said, “It all started with a mouse.” Though technically, it didn’t. It started with a rabbit. Oswald the Lucky Rabbit. A cartoon character he created in 1927 for Universal Pictures, but lost the rights to in a contract dispute with the studio. Replaced by Mortimer, which he created on a sullen train ride home that day. And because his wife thought that Mortimer was no name for a mouse, he renamed him Mickey.

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And the rest as they say, is history.  And his story.  Which was no walk-in-the-park.

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* Walt Disney: The Triumph of the American Imagination by Neal Gabler, Imagineering: A Behind the Dreams Look at Making Magic Real by The Imagineers, Walt Disney’s Disneyland, a Taschen publication by Chris Nichols, and a most recently published, Disney’s Land by Richard Snow.

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Quote of the Month

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finito

jury duty

the wide net cast

a fisherman’s catch

humankind dragged in

 

the shelled and unshelled

the finned and un-finned

flapping and inert

 

the eels that tried to slip through

now sit on ice

awaiting

 

sorting and shipping

stopping their slithering

to unspecific oceans

 

deep dank seas

an invisible horizon

even the clock here is doing time

     .          .          .

 

names come and go

in the gene pool tide

trade winds of pleasantries in passing

 

while the Starbucks mermaids

keep smiling despite

their tepid remains

 

felons pile up on the floors below

cooking up

a paella of alibis

 

awaiting lawyers

hook, line and sinker 

to arrive when they may 

                                       

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Meanwhile, Back in the Car

 

After driving daily for 31 years through the highways and byways of LA and parts far beyond, I have not driven but two or three times in the last 10 ½ years since moving back to New York City. Which sort of explains it right there. Owning and operating a car in New York City is a career in itself. And I prefer merely musing mostly, on many matters monthly.

 

When a car is called for, I call a car service. And I’ve actually learned how to “app” Uber and Lyft (though only when a greater travel distance is required, and they are the only option).  But best of all,  I hail cabs. In both senses of the word. I love cabs. No longer the design of them, nor the drivers—none who speak Brooklynese—but the accessibility of them. Stick up a right arm… they magically appear! (Most times sooner than later).  

 

At this point, it seems time to reprise the short poem I once wrote (and illustrated) and taken from my book Shots from a Passing Car. It acknowledges an indebtedness one might have for cabs, stemming perhaps from an earlier time.

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When it's not feasible in utilizing a cab or car service, I sometimes get a ride from a friend or family member. (“I’ve never depended on the kindness of strangers”). Such was the case a couple of weeks ago, when a cousin did the honors.

 

He drives a Maxima, 2020 year model, and spoke glowingly of it.  It has all the bells and whistles anyone could want in a car. Although one of those whistles, apparently only a dog could hear. Because soon after buying the car, as he related...." I couldn’t open my trunk. I asked SIRI how to open it, and she recommended a YOU TUBE tutelage! Which I had to go back inside the house to take." 

 

Yes, this is the world in which we live. We now have artificial intelligence passing the buck back to human intelligence, virtually explaining a virtual device. And then of course I couldn't help thinking of an old New Yorker cartoon, and adding a line to the caption. 

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“And notice, gentlemen, this year’s model has twenty percent

more trunk space. And, it is accessible by remote.”

As I suppose all new cars now are similarly "fully loaded" (a loaded car dealership phrase), I realized that if I were ever to rent such a vehicle going forward, I might not even know how to unlock the door to get in or out of it. Let alone figure out how to open the trunk. Nor even how to start it for that matter. The ignition key has apparently gone the way of a hotel one. A key. What a concept. And even Sirius Radio would befuddle me. Which takes me  back to when, where, how and why, the whole car driving experience first got started for me. 

Cut to this essay from about 25 years ago which I submitted to the New York Times Magazine for the weekly life experience end piece they used to do. For which, they requested submissions for consideration. For which, they didn’t consider mine. Effete intellectual snob of a publication that it is. Still, I offer it here. Perhaps it’s something to which someone can relate in some way. Be it in matters of “The Car,” or some other comparable late-blooming  life experience.

Ego, Id and Car

 

The car has never played a meaningful role in my life. Though I now own one, it is a possession devoid of passion. The extent of expectations from the arrangement, is that it get me from point “A” to point “B” in reasonable comfort and safety.

 

This aloofness is actually a marked improvement over my previous position in the matter. In the 60’s, I was almost militantly “anti-car.” Being a native New Yorker who watched his city become increasingly noisy, dirty, overcrowded and unaffordable, the carto my Age-of-Aquarius sensibilitieswas just one more blight on the scene. Though in retrospect, my stance was not simply a product of ecological or sociological convictions. It was at least in part, a residue of regret for the absence of a common rite of passage from my life.

 

At age 16, when most kids first experience that heady feeling of a freedom that comes from  getting a license and borrowing the “old man’s wheels,” economics, and indeed the very absence of an old man on the premises (let alone a car), tended to dampen any hopes I might have had on this front. And as my high school did not include a hands-on Drivers Ed program (hell, it wasn’t even coed), my first associations with the car, were never naturally rooted, so to speak.

 

At some point, well after my seventeenth birthday, a sympathetic uncle did step in to try to fill the void. His heart was in the right place…his car wasn’t. He lived somewhere in the wilds of New Jersey, and the distance between us proved insurmountable in trying to schedule lessons. And as my permit expired, so too did my desire to learn how to drive.

 

This in turn, not only cut me off from a de rigueur adolescent experience, but was a hindrance to enjoyment of related pastimes as well (wink, wink). It is not difficult to surmise that the sexual awakenings that often occurred in that den of iniquity, The Back Seat, were experiences lost to me during the formative years. Lost too, though hardly on a par with back-seat bliss, was the visceral pleasure that guys seem to get from being hip to the minutia of car stats and data. To this day, I could not tell you the make, model and year of an approaching car, if it ran me over. Save for obvious differences in color, they all tend to look alike to me.

 

Five years would pass, as my disenfranchisement with “the car” would continue.

 

Then at the urging of a girlfriend from “The Island” with access to her father’s grungy car, I agreed to take a second stab at trying to overcome, what had now developed into almost an obstinacy about getting a license. But this effort too, was doomed to failure. I cannot think of anything more ill-conceived than a man, having a woman with whom he is intimately involved, try to teach him how to drive. Freud would have had a field day with this one.

 

The particulars are unimportant, other than to say it was a contest marked by name calling, pettiness, defensiveness and sexual tension. Not surprisingly, I came away from the experience without a license. And…without a girl.

 

This estrangement between man and machine would last for another decade.

 

As a sidebar to all of this, when put under the gun as to why I didn’t drive, I would offer a smattering of celebrities in my defense, who were similarly “afflicted”: Alfred Hitchcock, Tony Bennett, Jimmy Breslin, Gloria Steinem and Father O’Brien, the parish priest. Empirical evidence that I was not some sort of social misfit or total loser.

 

But finally, at the advanced age of 32, almost by accident (no pun intended), I made peace with this…thing, and got a license.

 

I was stage managing a play in Greenwich Village, during which in the course of its run, the cast and crew would go out afterwards each night for a bite and a drink. Then a good friend in the group, would drive me home. One evening, though fully aware of my “affliction,” he offhandedly asked if I would like to drive. Without hesitationand perhaps filled with the bravado and good cheer that comes from theater lifeI said “sure.”

 

After about five minutes of navigating his Cadillac, the size of a gondola, throughout the Venetian streets of the villagein the darkand without incident, I rhetorically asked aloud: “Why don’t I don’t this?” To my surprise, there was no longer an answer.

 

After a few weeks of post-midnight driving lessons, in a big car on small streets, it came to pass that I had finally joined the ranks of Driverhood. All that was missing was a tap on each shoulder with a sword.

 

A recounting of this story over the years, has invariably elicited expressions of disbelief. Especially here in L.A., a city whose unbridled love for the automobile is legendary, if not fetishistic. The male psyche, in particular, cannot comprehend how one could willingly practice vehicular celibacy for so long. Especially as the car has so permeated our culture and way of life: “See the USA, in your Chevrolet…” once sang Dinah Shore.

 

I remember soon after the start of the War in the Gulf (aka “Desert Storm”), USA Today, in profiling the suddenly famous Patriot missile, stated that at 17 feet 5 inches long, it was three inches longer than a Cadillac Sedan de Ville. As though this was the most universal and illuminating context in which to put this sort of data. Naturally, this presumed illumination left me in the dark.

 

And perhaps in the dark is where I’ll stay. In the final analysis, it is unlikely that I’ll do anything dramatic to ever get up to speed (again, no pun intended) on this car stuff. It’s not just the implicit futility of teaching an old dog new tricks. My personal history has shown me to be, if nothing else, a late bloomer. It’s just that there always seems to be a more pressing matter. To wit: I’m currently more interested in the motor skills of my children than those of my engine. Although, don’t I owe it to myself one of these days, to at least find out just how many miles to the gallon I’m getting?

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