Whether you approach The Magic Kingdom by monorail, boat, bus, or on foot, the sight of the train station and what waits just beyond it always brings a smile to even the most seasoned of park travelers. Part of the magic (and genius) to the design of the Magic Kingdom, as well each of the parks, is the amount of detail that is given to each and every object. Nothing was put there by accident, but is part of a very well thought out plan to create the most immersive and realistic experience for every guest; even those who have been there many times.
If you have taken “Disney’s Keys to the Kingdom” or “Backstage Magic” Tours you learned about how and why the Magic Kingdom is laid out the way that it is (If you have never taken either one of these tours – you should make a point of doing so on your next trip). According to the tour guides, the Magic Kingdom is laid out very similar to the way a movie is constructed, with the train station acting as the entrance of a movie theatre or the curtain on the screen. As you walk through the breezeway tunnels to Main Street, there are posters on the walls acting as the “coming attractions.” Then as you exit the tunnel, Main Street unfolds before you as the opening sequence of the movie with Cinderella’s Castle becoming the “start” of the movie.
One of the things that is in the opening credits of every film is the title of the movie, the name of the producer, and the key people who were involved in bringing the movie to life. This is the same layout for The Magic Kingdom.
The “title” for the park is found on the front of the Main Street train station, The Magic Kingdom – Walt Disney World. And if you look up above the sign you will find the name of the “producer” on the window, “Walter E. Disney – Chief Engineer – Keeping Dreams on Track”.
Walking down Main Street USA, when guests look at the second and third floors, they will see names of various people accompanied by their “titles” and “business” on the windows. These are the other production credits to The Magic Kingdom “show”.
Each of these names are the names of real people who were actually involved in the creating of the Walt Disney World Resort. Everyone recognizes Walt’s name and most people recognize Roy’s name, and some people recognize quite a few other names, but many people don’t know who all these people are. However, each and every one of these people was instrumental in the resort’s birth and success.
What most people don’t realize is that since there are a very limited amount of windows and space available – it’s not only a huge honor to have your name on a window, but the requirements that an individual must meet in order to have their name added is of the highest level. One requirement is not that the person be deceased. The windows on Main Street have a mix of living and deceased Cast Members. The “businesses” that each of the windows represents typically reflects what that person actually did for the Walt Disney Company and in some cases there are also references to their hobbies or passions.
The tradition of putting Cast Members names on Main Street windows started in 1955 when Walt Disney wanted to honor those who were instrumental in the creation of Anaheim’s Disneyland. According to Marty Sklar, Walt “…personally selected the names that would be revealed on the Main Street windows on Opening Day, July 17, 1955.” With the exception of a few outsiders that Walt personally chose to honor, the names are chosen are those who were Cast Members. Roy O. Disney kept this tradition alive with the construction of Walt Disney World.
There are three requirements to adding a name to a window on Main Street USA:
1. The Cast Member can only be added only on retirement,
2. Cast Members are considered based on the highest level of service, respect, and/or achievement,
3. Agreement between top individual park management and Walt Disney Imagineering (which creates the design and copy concepts)
EXPLORING THE WINDOWS ON HISTORY
Before going in order of each window as it appears on Main Street, we need to discuss the two most important windows. When people walk down Main Street the most recognizable names are that of Walt and Roy O. Disney.
Walt Disney has three windows: at the Train Station, the Casting Agency Door, and the final window at the end of Main Street facing in the direction of the castle. Again, following the movie format – the producer gets the opening and closing credits.
Roy O. Disney has two windows on Main Street: a sole window on the southeast corner at the beginning of Main Street and then a shared window. Roy’s sole window says, “If We Can Dream It – We Can Do It!” – Dreamers & Doers – Roy O. Disney, Chairman. Walt gets a lot of credit for the building of everything Disney, but his brother Roy deserves just as much credit. Roy was always the biggest cheerleader for Walt and always found ways to make realities out of his baby brother’s big dreams. It was Roy who came out of retirement to make’s Walt’s dream of Walt Disney World a reality. Thus the window.
Roy’s other window – the shared window – is located about halfway down Main Street on the eastern side street. However if you look at the window you won’t recognize 2 of the 3 names – Roy Davis and Bob Price. The other name, Robert Foster, is the real name of a real person. The window is listed as “Pseudonym Real Estate Development Company – Roy Davis – President, Bob Price – Vice President, Robert Foster – Travelling Representative.” This window pays tribute to the secretive process that took place as land for the ‘Florida Project’ was acquired. Roy Davis is the pseudonym used by Roy O. Disney when visiting the various plots of land and their respective Florida real estate agents. Bob Price was the name used by Robert “Bob” Price Foster in his dealings with landowners and agents in the Lake Buena Vista and Bay Lake municipalities. To avoid suspicion, Foster used Kansas City as his home base (since he stopped there to visit his mother as he travelled back to California) with the Florida landowners and real estate agents.
THE MAIN STREET WINDOWS
Making a left after entering through the train station tunnels, past City Hall and the Fire Station you start to come across the first windows. On the Car Barn southern wall is the window dedicated to Roger Broggie.
Roger Broggie window states “Champion Cyclery / Broggie’s Buggies / “Hand Made” / Wagons-Surreys-Sleighs / Roger Broggie, Wheelwright” Roger also has a window at Disneyland. Roger’s many contributions were essential to making the Walt Disney Company what it is today. His first assignment in 1939, as a precision machinist, was installing the multi-plane camera. He then worked closely with Ub Iwerks on developing rear-screen special effects, camera cranes and high-speed optical printers. The steam engines that circle both parks can be traced back to Roger. When Walt was told he needed a break and take up a hobby, it was Roger who helped Walt indulge his passion for trains by helping him set up a workshop in one of the studio machine shops and building miniature trains. Roger also helped Walt build his scale train in his Holmby Hills home backyard and eventually the railroads at Disneyland and Walt Disney World. Roger was also instrumental in conceptualizing and creating the now popular Circle-Vision 360.
It would be hard to pinpoint one achievement Roger has made as his most “important,” but one of his most significant and most popular was the birth of “Project Little Man.” In 1951, Walt asked him to work on this with another imagineer, Wathel Rogers. They constructed a nine-inch tall figure of a moving, talking man, which became the prototype of Audio-Animatronics technology and eventually evolved into Great Moments with Mr. Lincoln, the first Audio-Animatronics, life-sized human figure, premiering at the 1964-65 New York World’s Fair. On October 21, 2003, Walt Disney World Railroad Steam Engine #3, the Roger E. Broggie was re-dedicated in his honor.
Next to Roger’s window is Owen Pope’s window.
Owen’s window says “Owen Pope / Harness Maker / Feed & Grain Supplies / Leather Goods / Saddles A Specialty.” In addition to being the animal caretakers at Disneyland, Owen, along with his wife, hold the distinction of being the only people to live at Disneyland. When Walt Disney World was being constructed, Owen and his wife moved to Florida to help open the Magic Kingdom. They created the Tri Circle D Ranch at Fort Wilderness.
The first set of windows above the Emporium – closest to the Harmony Barber Shop – are the the Plaza School of Music. These three windows credit three men who influenced the music of Walt Disney World: Buddy Baker, Bob Jackman and George Bruns.
BUDDY BAKER, BOB JACKMAN, and GEORGE BRUNS
Buddy Baker’s window says, “Sheet Music / B. Baker.” Buddy was a composer who composed over 200 scores for Disney television, films, and theme parks. Like Roger Broggie, Baker had a hand with a number of the 1964-65 World’s Fair attractions by scoring Great Moments with Mr. Lincoln and the Carousel of Progress. Buddy later wrote “Grim Grinning Ghosts” with X. Atencio for the Haunted Mansion. He also composed music for the Eastern Airlines attraction – If You Had Wings.
Buddy came out of retirement to act as the musical director for EPCOT Center. He supervised and composed music for the Future World pavilions and World Showcase including Universe of Energy, the American Adventure, The American Adventure, World of Motion, Kitchen Kabaret, Listen to The Land, and pavilion films: Wonders of China, and Impressions de France.
Bob Jackman’s window is next and is the anchor window for Baker and Bruns. Bob’s window says, “Plaza School of Music / Band Uniforms / B. Jackman.” Bob was the manager of the Disney music department starting in 1955. He wrote a number of songs including co-writing the opening theme to The Mickey Mouse Club and The Adventures of Spin and Marty. He also co-wrote the song Swisskapolka, heard as you explore the Swiss Family Robinson Treehouse. Jackman was also the voice of Goofy in a number of cartoons in the 1950s.
Rounding out the trio is George Bruns. His window says, “Music Rolls / G. Bruns.” George, like Buddy Baker, contributed to over 200 musical compositions for the Walt Disney Company. He composed some of the most famous pieces of music for Disney’s film and television projects including “The Ballad of Davy Crockett” and one of three Academy Award nominations for Sleeping Beauty.
Bruns contributed to such hit films as The Absent-Minded Professor, 101 Dalmatians, The Jungle Book, Robin Hood, The Love Bug, The Sword in the Stone, as well as receiving an Oscar® nomination for his work on Disney’s first live-action musical Babes in Toyland.
George also contributed to the television series Disneyland, The Mickey Mouse Club, and Walt Disney’s Wonderful World of Color. In addition to Davy Crockett, his theme song for the Zorro series sold another one million records. He was also responsible for composing the memorable “Yo-Ho (A Pirate’s Life for Me)” from Pirates of the Caribbean and a significant amount of area music around the parks.
Heading east of the music trio’s windows and located above the Emporium’s Books, Records, Toys sign are three separate windows – one for Ron Logan, Lonnie Lindley, and Ed Bullard.
Ron Logan’s honorary window states, “Main Street Music Co. / Ron Logan, Conductor / Leading the Band into a New Century.” In 1978, Ron was the music director for the Walt Disney World Resort. He later became Vice President of Creative Show Development, and eventually Executive Vice President of Disney Entertainment.
After returning from Disneyland to Walt Disney World in 1987, Ron served as vice president of Creative Show Development for all of Walt Disney Attractions.
As executive vice president of Walt Disney Entertainment and executive producer for Walt Disney Entertainment (now Walt Disney Creative Entertainment), Ron was responsible for creating, casting, and producing all live entertainment for The Walt Disney Company including the Grand Opening Ceremonies for Epcot, Disney-MGM Studios (now Disney’s Hollywood Studios, and Disney’s Animal Kingdom. He was also responsible for numerous other park shows including: SpectroMagic, Beauty and the Beast Live on Stage!, Fantasmic!, Festival of the Lion King at Disney’s Animal Kingdom, Lights, Motors, Action! Extreme Stunt Show, Voyage of the Little Mermaid, IllumiNations: Reflections of Earth at Epcot, Tapestry of Nations (Epcot & the Super Bowl XXXIV Halftime Show), and others.
Ron was also executive vice president of the Walt Disney Special Events Group, executive vice president of Disney Special Programs, as well as the founder and first president of Disney Theatrical Productions, which produced Beauty and the Beast on Broadway and later, around the world.
Lonnie Lindley’s window reads, “Rainbow Paint Co. / Polychromatists / Lonnie R. Lindley / World’s Largest Collection of Color Samples.”
Lonnie first began his career selling guidebooks at Disneyland then in 1963 he joined the parts warehouse crew. Not long after Lonnie began work as a painter trainee and it was at this point that he met Walt. For the next few years they got to know each other more and more and because of his vision, attention to detail, and keen eye for color, Walt continued to put more and more projects in Lonnie’s hands. Lonnie transferred to Florida in 1970 to join the Magic Kingdom Construction team.
Lonnie came to Florida and was responsible for the material end of the business for all paint work on the construction of the Magic Kingdom. Lonnie worked with the Buena Vista Construction paint team and helped coordinate all the colors and prep materials. John Hench was Lonnie’s primary source for the exterior color palette. With 1980 closing in, Lonnie was running all of the paint operations on property. In 1981 he was Superintendent for both the Paint and Sign Shops at the Central Shops.
In 1998 Lonnie moved over to the Ride and Show Engineering group and eventually became part of the Architecture and Facilities Engineering as resident coatings specialist.
The last window in this set is for Ed Bullard. His window: “Project Detective Agency / Private Investigations / We Never Sleep / Ed Bullard Investigator.” There isn’t much info out there about Ed except that he was the head of Walt Disney World Security.
Following Ed is the windows of Robert F. Jani and Charles Corson.
ROBERT F. JANI
Robert Jani’s window reads: “New Era Band & Choir Studio / Instructions / Robert Jani, Bandmaster.”
Robert Jani, who was the head of Disneyland Guest Relations from 1955-57 (He left in ’57 for 10 years, returning to Disney in 1967 as director of entertainment and eventually named VP of entertainment for both Disneyland & Walt Disney World) oversaw the events for WDW’s grand opening, one of which was the Electric Water Pageant.
Both on his own and with Disney, Bob created most of the live entertainment at both parks. In addition to The Main Street Electrical Parade and the Electrical Water Pageant, one of Bob’s other well-received and popular parades were in honor of America’s Bicentennial – America on Parade. He was also the master plan consultant for Disneyland Paris and Disney-MGM Studios at Walt Disney World.
One of Robert’s other skills was being able to get great ideas to the Walt Disney Company and getting the funding for them.
Charles’ window reads: “If It’s New, It’s The Latest / Talent Agents / Charles Corson, Casting Director.” There isn’t much on Charles other than he was an executive in the Walt Disney Entertainment Division.
Turing the corner from Charles Corson’s window, on Main Street proper is the window of Emile Kuri.
“Home Sweet Home / Interior Decorators / Emile Kuri, Proprietor” is how Emile is described.
Emile was an Academy Award winning set decorator for the Walt Disney Studios and went on to not only design sets for Disneyland, but also served as design consultant for Walt Disney World. Emile won an Oscar for his designs of Captain Nemo’s submarine headquarters in 20,000 Leagues Under The Sea. He was also nominated for an Academy Award for his work on Mary Poppins, Bedknobs & Broomsticks, and The Absent- Minded Professor.
Neighboring Emile Kuri is the window of Charlie Ridgway.
Charlie’s window says, “Ridgway and Company / Public Relations / Charles Ridgway, Press Agent / “No Event Too Small.”
Journalist turned publicist, Charlie Ridgway began his publicity career at Disneyland. When Walt Disney World started construction, Charlie relocated to Florida as publicity manager. He was eventually promoted to director of press and publicity. He helped with the opening of Walt Disney World in 1971, EPCOT Center (as it was known then), and Disney-MGM Studios. He also launched Disneyland Paris in 1992 and a number of special projects including Donald Duck’s 50th Birthday. Even after retirement, Charlie remained active with Disney Parks and consulted on a number of special projects including the opening of Disney’s Animal Kingdom and Disney’s Cruise Line. Charlie wrote an autobiography about his career at the Disney Company called, Spinning Disney’s World. Definitely worth a read.
Next to Charlie’s window is Joyce Carlson.
Her window says, “Dolls by Miss Joyce / Dollmaker for the World / Shops in New York, California, Florida, Japan & Paris / Owner and Founder Joyce Carlson.”
The first Cast Member to not only achieve 50-year status, but also 55-year status with the company, Joyce started her career with Disney in 1944 in the “traffic” department… delivering pens, pencils, paints, and brushes to Disney animators. Shortly after she joined the Ink and Paint department and worked for 16 years there painting and inking such classics as The Three Caballeros, Cinderella, Peter Pan, Sleeping Beauty, and many others.
In 1960 when her type of position was being automated, Joyce utilized her talents and joined WED Enterprises. She worked alongside Mary Blair and Marc Davis creating miniature prototypes for the 1964 World’s Fair including the dolls for it’s a small world. Naturally she was the logical choice to translate the attraction to Disneyland. She has the distinction of touching every one of the it’s a small world attraction from Florida to Tokyo and every park in-between. At Walt Disney World, Joyce also maintained many other attractions and their Audio-Animatronics characters including another World’s Fair exhibit – Carousel of Progress.
The next pair of windows honors the MAPO Group (much of its funding came from the success of Mary Poppins, the acronym stood for Manufacturing and Production Organization) – Imagineers responsible for many of Disney’s attractions. They are: Bob Booth, Roger Broggie Jr., John Franke, Neil Gallagher, John Gladish, Rudy Pena, Dave Schweninger, Dick Van Every, and Jim Verity.
This group’s window says: “Little Gremlins Mechanical Toys / Toy Makers & Associates / We build ’em – You run ’em / Bob Booth, Roger Broggie Jr., John Franke, Neil Gallagher, John Gladish, Rudy Pena, Dave Schweninger, Dick Van Every, Jim Verity.”
According to his tribute as a Disney Legend, “Booth was the unwavering, steady-as-she-goes mechanical master whose work made practical all the dreams of the Disney Imagineers.”
Bob joined Disney as a precision machinist and worked in the Studio’s Camera Service department until another Disney Legend and window “owner,” Roger Broggie Sr. He made Booth supervisor of the Studio Machine Shop.
Booth was the guy who was selected to set up an innovative new multi-craft research and development and manufacturing subsidiary for Walt Disney Productions – otherwise known as MAPO (much of funding came from the success of Mary Poppins, but the acronym stands for Manufacturing and Production Organization). Booth was the guy leading all the productions at MAPO. If it wasn’t for him and others many of the attractions that became part of Walt Disney World and ones that followed after opening (and will come to fruition) would never become reality.
ROGER BROGGIE JR.
Roger Broggie Jr., is the son of Disney Legend Roger Broggie Sr. He worked for Disney Imagineering for 25 years. He worked on not only a number of Audio-Animatronics and attractions including the Lincoln figure for the ’64 World’s Fair and Walt Disney World’s Country Bear Jamboree, but he was also commissioned through Retlaw Enterprises to build another Lilly Belle. Using parts that his father originally created for a ten-wheeled locomotive to be added to Carolwood, Roger fashioned a duplicate engine down to the smallest detail.
Among his many contributions was that John was one of the primary guys responsible for the Tiki Birds and the Walt Disney’s Enchanted Tiki Room attractions.
Neil also worked on developing and manufacturing of the mechanical animation needed for Walt Disney’s Enchanted Tiki Room. According to his Disney Legends’ bio, Neil built the flower boats with singing orchids, tiki drummers and rotating birdcages.
Walt also enlisted Neil’s help in working on the Lincoln figure for the New York World’s Fair. While in New York, Neil also led the show and animation maintenance of all four of Walt’s showcase presentations. Afterwards, he returned to California and led show and animation teams at MAPO in the development of new shows and attractions for Disneyland and Walt Disney World in Florida.
He then moved to Florida to set up various show installations for Walt Disney World and shortly after the resort’s opening, Neil as promoted to Director of Maintenance for Walt Disney World.
He continued to be promoted throughout his career as he helped with the opening of Epcot, Tokyo Disneyland, Disney’s Hollywood Studios, and Euro Disney (Disneyland Paris). Many people believed that without people like Neil and others these parks never would have made it. After 23 years in Florida and 37 years in total with The Walt Disney Company, Neil retired as Walt Disney World’s Vice President of Engineering, Construction and Central Shops.
Another Audio-Animatronics designer who had his hand in Great Moments with Mr. Lincoln and the 20,000 Leagues Under the Sea.
There is not a lot of information on Rudy other than he was a mechanical engineer with MAPO.
Dave was responsible for many of the design and implementation of many aspects of Disney’s Audio-Animatronics for various attractions in both parks. One of his bigger projects was that of the Haunted Mansion’s Audio-Animatronic figures, and animation. Additionally, he also ran the animation shop at MAPO. In the late ’60s, David Schweninger worked closely with Marc Davis to bring his characters to mechanical life. Schweninger was involved with the development of many of the animatronic and mechanical effects found in both the Disneyland and Walt Disney World Haunted Mansions.
DICK VAN EVERY
There is not a lot of information on Dick other than he was a mechanical engineer with MAPO.
Also worked on a number of projects in the Audio-Animatronics department and at the end of his career retired as the Manager of Show Quality Standards.
Proceeding the MAPO Imagineers are a series of three windows: Super Structures, Inc., Engineers and Associates, Don Edgren / John Wise Partners / Associates Morrie Houser, Lou Jennings, John Joyce, Ken Klug, Stan Maslak, John Zovich
The first set of windows belongs to Morrie Houser, Lou Jennings, and John Joyce. The second set belong to Don Edgren and John Wise, and the final in this trio belong to Ken Klug, Stan Maslak, and John Zovich.
A Disney Imagineer since 1954, Morrie worked on – and was instrumental in – developing and bringing to fruition many of the most popular and famous attractions in both parks. One of his specialties was the Disney Railroad. At the time of his death, he was building – for the past 40 years – from scratch a scale model of Walt Disney’s Central Pacific No. 173, Lily Belle. The model is displayed at “Walt’s Barn” and there is a sign below it saying that it’s still considered “a work in progress.”
Lou was an engineer with WED (Imagineering)
John was an engineer with WED (Imagineering)
Engineer Don Edgren worked for Wheeler & Gray, Structural Engineers which were hired by The Walt Disney Studios to work on the structural design and detail of Disneyland from late 1954 until the Park opened on July 17, 1955. When the Matterhorn was proposed many of engineers said that the creation of this complex structure was impossible – Don figured it all out. As with many other imagineers mentioned in this story, Don also worked on the New York World’s Fair project as a project engineer on the Ford Motor Company exhibit.
Guests have a number of people to thank for Pirates of the Caribbean, but especially Don and his team. Pirates was originally suppose to be a walk-through attraction, but when Walt decided it would be a dark boat ride it was Don and his engineers responsibility to figure out how to make the attraction deeper to accommodate the ride system.
Don was also involved in the initial master planning for Walt Disney World in Florida. In 1969, he was promoted to vice president – engineering and was head of the field engineering efforts there. He also led his team on creating the first Space Mountain at Walt Disney World. After a brief stint elsewhere, Don returned to Disney as the director of engineering for Tokyo Disneyland. From 1983 until his retirement in 1987, Don was responsible for the direction and supervision of all project engineers.
John was a structural engineer also with Wheeler & Gray. He eventually joined The Walt Disney Studios as an Imagineer and worked on a number of attractions throughout both parks.
Ken was an Imagineer who started his career in California working at WED and then also contributed greatly to the creation of Walt Disney World in Florida.
Stan was an Imagineer who among other projects was the project engineer for the Railway Station at Walt Disney World’s Main Street U.S.A.
John was one of Don Edgren’s chief protégées and not only instrumental in the design and construction of Walt Disney World, but John also was the Vice President of Engineering of Epcot.
In the first little alcove on this side of the street are two windows – one for David Snyder and Michael Bagnall and the other one is for Bill Walsh.
The first window for David Snyder and Michael Bagnall says “The Human Dynamo Calculating Machine Co. / Michael Bagnall, Office Manager / David Snyder, Program Supervisor”. This pairing is a bit odd because:
David was the head of DACS, the Digital Animation Control System. This is the computer system that controls all the shows at Walt Disney World and
Is the son of George Bagnall, a Disney Board Member from 1961 – 1974. Michael worked his way up through the financial ranks to eventually become the Chief Financial Officer for Walt Disney World.
Tucked in the alcove corner next to Snyder and Bagnall is Bill Walsh’s window.
His window says: “Walsh’s Chimney Sweep & Pest Control / Burbank, Calif. / Cincinnati, OH / Professor Bill Walsh, The Bug Lover”.
Bill was a film & television producer and one of Walt Disney´s top film producers and writers of all time. According to his Disney Legends bio, by 1973, Variety named seven of his feature productions all-time box office champions, including the Academy Award winning musical Mary Poppins, which he co-wrote with fellow Disney Legend Don DaGradi.
Originally starting out in publicity, Edgar Bergen, a friend of Walt Disney’s, asked him to write some jokes and gags for his ventriloquist act. Bill then went from writing gags for Charlie McCarthy and Mortimer Snerd to writing for the Mickey Mouse comic strip. Walt then asked Bill to write for television. At first apprehensive, Bill then went on to produce the Mickey Mouse Club and the Davy Crockett television mini-series, among others. He then switched to live-action features either as a writer, co-producer or full producer. Among his most famous (and popular) were The Shaggy Dog, The Absent-Minded Professor, Son of Flubber, That Darn Cat!, The Love Bug, Bedknobs and Broomsticks, and of course Mary Poppins.
The reason why he is up on a window at Walt Disney World is because the profits from Mary Poppins made purchasing all the land for Walt Disney World possible. Not to mention the creation of MAPO.
On the other side of the alcove is Cecil Robinson’s window.
His says, “Robinson’s Repairs / No job too large or too small / Restorations and Renovations / Cecil Robinson, Proprietor.”
Cecil retired from the Walt Disney Company in 1998 – he was in vice president of Facility Services. For 10 years he also worked in the finance division.
This is the end of the first part in this series of articles about the people behind the windows on Main Street U.S.A. We will continue to profile those names in future stories. It’s important to know not only who these people are up there looking down at all of us, but also why they were so important to the Walt Disney Company and the Walt Disney World Resort.
As you can see these people made significant contributions to making the Walt Disney World Resort a reality. And because of them, they have inspired – and continue to inspire – brilliant and creative people who continue to make amazing contributions to Walt Disney World. As Walt Disney said, “… It will continue to grow as long as there is imagination left in the world.”
Continued in Part II