the bump

Before Disneyland and Disney World and even Great Adventure (and before they were absorbed under the Six Flags masthead), amusement parks with rides were exclusive to the seashore resorts... as far as I was concerned. Look, I lived a sheltered life, I suppose. I only got to see amusement park rides at temporary school fairs or on those dangerous-looking trucks that would roam my neighborhood on weekends and summer afternoons. But, if I wanted to experience real, live amusement park rides, I would have to wait for a day trip or an extended weekend stay in Atlantic City. My father, not one to travel, would occasionally (and often begrudgingly) take our family to Atlantic City. My mom, my brother and I would love to go. My dad didn't care what his family wanted and when he finally relented, he acted as though he had just donated a kidney.

I loved going to Atlantic City, specifically for the famous Boardwalk. There were games of chance and soft-serve ice cream cones and salt water taffy and arcades. Yeah, there was the beach and the ocean, but those I could have done without. The real draw was the (now long-gone) Million Dollar Pier, jam packed with rides set up much too close to each other, damning all fire safety precautions. Walkways between rides were strewn with a tangled mess of heavy electrical cables. This was long before the days of "lawsuits at the drop of a hat." You tripped and your kneecap became embedded with a zillion splinters? Get up and keep walking... and be careful next time! 

My brother loved the bumper cars. As an adolescent, he honed his future driving abilities on those compact, exposed electricity-powered little death traps. Being too small to ride, as determined by an official-looking sign at the entrance to the ride, I was relegated to watch through a chain-link fence as my brother deftly guided his vehicle through the clumps of other cars, avoiding bumps while delivering same to defenseless fellow riders. With my fingers curled around the fencing, I'd marvel as my brother would weave around the slick floor, slamming randomly into other cars, only to make a clean getaway before a retaliatory blow could be received. It was all in fun, though, and riders would laugh as they exited at the ride's conclusion.

If you've ever ridden the bumper cars, you always remember that one guy, right? The guy who gets stuck in a corner, next to some non-operating vehicles, unable to free himself. While other riders race and bump and laugh, this poor guy just rumbles back and forth for most of the ride's allotted time, until he is finally spotted by the ride operator who frees him and, while standing on the rear bumper, guides him back to the entrance, arriving just as the power shuts off and the ride is over. Three tickets! Wasted!

My brother and a couple of his friends devised a plan when they rode the bumper cars. A plan to enhance their own fun. Once situated in their cars, my brother and his friends would select a rider and target him to ruin his ride. They'd chase after him and taking turns pinning him in a corner, trapping him for the entire ride, denying him the fun of racing around the floor and bumping into other riders. One evening, after picking their cars, my brother and three of his friends pointed to one guy and pegged him as their victim. They didn't know him. They had no connection to him. They just looked around and pointed. The power surged through the vehicles and the ride began. The plan was enacted. The ride floor was dimly lit, bathed in blacklight, distorting any details of other rider's faces. But they zeroed in on their target and they pinned this guy in a corner. My brother first, then each of his friends — one at a time. Their "victim" said nothing, but his anger was apparent from his body language. He was hunched over the steering wheel and bobbed his shoulders each time his vehicle was rammed with a confining bump. My brother and his friends were giddy and gleeful as their underhanded plan unfolded. In the darkness, they could hear a few frustrated exhales, but most were drowned out by the loud Top 40 hits that were piped in through the tinny speakers mounted at the floor's corners. The ride ended. The power stopped, bright lights came up and my brother and his friends got out of their vehicles and made their way to the exit. Their chests were puffed out and they laughed in their achievement.

Until, they saw the guy they pinned.

He rose from his tiny car.... and he kept on rising. With the bright lights on, they saw this guy stood well over six feet tall. He was wearing a tank top and he had muscles. Big muscles. His muscles had muscles. And he was not happy. Not. At. All. He pointed an angry finger at my brother and his friends and hollered "YOU!" and the look on his face revealed his displeasure with three little punks ruining his ride and making him waste three tickets.

This happened easily fifty years ago. I think they are still running.

www.joshpincusiscrying.com

dig a little deeper

When my son was little, I would read to him every night before bedtime. I was a big fan of introducing him to classic children's stories and even those that were geared toward those a bit beyond his age group. But, — and this is not a brag — he was way more "on the ball" than a lot of his peers. I read Roald Dahl's lesser known works, as well as the original, non-Disney-fied, versions of the Winnie-the-Pooh stories. I also read the original Tales of Uncle Remus that white author Joel Chandler Harris collected and compiled in 1881. These are the stories upon which Disney based its notorious 1946 animated/live action musical amalgam Song of the South. However, in the version we had, the stories were ultra-sanitized versions of the post-Civil War folk tales. For most of the stories I read to my son, I made up and "performed" a number of funny voices for each character in the books. He loved those books and we read them often throughout his early years. Were they problematic? In hindsight, I suppose they were. 

If you are a regular reader of this stupid blog (and why would you be?), you know that I am an avid Disney fan. I have written about various trips to Disney theme parks and other Disney related anecdotes. I went to Walt Disney World for the first time with my friends just after I graduated from high school. We had such a good time that we returned again the next summer. (Actually, we were so drunk during our first trip, we went back to see what we missed the first time.) My wife and I went on our honeymoon in 1984. We went back again in '85 and ventured back one more time at the end of 1986, when Mrs. Pincus was pregnant with our son. After he was born, we put our Disney trips "on hold" for a while. Once we could no longer convince my son that The Disney Store in a nearby mall was "Disney World," we had no choice but to plan a family vacation to the central Florida resort... which we did in the summer of 1995. My son was so familiar with all things Disney that he was more prepared to experience the magic of Disney than any other guest — child or adult. Of course, everything was new to him, but there were plenty of attractions that had popped up since my wife and I were there almost a decade before. One of those was the elaborate "E-Ticket" experience called "Splash Mountain."

Splash Mountain has an interesting genesis. It started life as part of a massive project that never made it past the planning stages. When Walt Disney World opened in 1971, Imagineers (the guys who conceive and design the rides) decided not to build an east-coast version of the Pirates of the Caribbean ride, so popular in California's Disneyland. They didn't think a pirate-themed ride would interest Floridians, since so much "pirate lore" exists in and around Florida. Instead, they planned a sprawling experience that featured a cowboy-and-Indian themed boat ride (to pacify the "Pirates" fans) and a wild Western-themed roller coaster through a prairie town. The ride, christened "Thunder Mesa," was troublesome from the start. While still on the drawing board, its size and proposed technology was a logistic nightmare. It also promised to send its budget far beyond original limits. When guests started asking: "Hey! Where are the pirates?," Disney rethought their decision and scrapped the "Thunder Mesa" project. They turned to Imagineer Tony Baxter, who was brainstorming an attraction to fill out Disneyland's fairly sparse Critter Country. He came up with a variation of the standard "flume ride," so popular in other amusement parks. Tony's vision was to incorporate some of the Audio-Animatronic figures from the recently-shuttered America Sings and theme the whole thing to the film Song of the South. Although the Oscar-winning song from the film, "Zip-A-Dee-Doo-Dah," was a Disney staple, Song of the South was a strange choice on which to base a ride in the 1980s. It was not particularly popular and had only been re-released four times to lukewarm reception since its initial run in 1946. By the time construction on Splash Mountain began, Song of the South had completed what would be its final theatrical release three years earlier, amid growing controversy over the depiction of racial stereotypes. Nevertheless, Splash Mountain opened in Disneyland in 1989 and its Florida counterpart followed in 1992. From the very beginning, the ride was one of the most popular in its respective park. The Florida version clocks in a nearly 12 minutes as it takes guests on a whirlwind — and often wet — journey through the world of the villainous Brer Fox in his pursuit of the happy-go-lucky, mischievous Brer Rabbit. Hulking hapless Brer Bear, along with a cheerful menagerie of anthropomorphic swamp critters, entertain riders with a selection of tunes woven around the main "Zip-A-Dee-Doo-Dah" theme. At the ride's conclusion, riders often discuss their unfamiliarity with the songs and the characters, as the overwhelming majority of Disney guests have never seen Song of the South. Yet, for nearly thirty years, Splash Mountain boasts long lines and wait times upwards of an hour on any given day.

The first time I rode Splash Mountain, I loved it. It was both exciting and charming. I remember wishing that the ride moved a bit slower, because I think I missed a lot of the subtleties scattered throughout individual tableaus as the story unfolded. I even felt the same excitement the first time I conquered the smaller. leaner, slightly altered Disneyland version of the attraction. However, after riding both versions, I was uncomfortable in spending the rest of my day in damp clothes. Oh yes... you may get wet. Getting wet should only be the biggest issue with the ride. The hard truth is, just like the film that is its basis, Splash Mountain is fraught with derogatory imagery and mocking dialects that really have no business being glorified in a family-friendly theme park.

Just this week, in the wake of a long overdue awakening to racial injustice, racial inequality and old-fashioned prejudice, Disney has announced plans to re-theme Splash Mountain — ditching the racially-insensitive characters from Song of the South. The curently-unnamed attraction will feature characters and a story line from Disney's 49th animated full-length feature The Princess and the Frog, a 2009 release that was (mostly) praised for spotlighting Disney's first (and so far, only) African-American princess. Disney made the announcement on various social media and news outlets. Being the greatest marketers on the planet, Disney made no mention of reasons for the change and made no mention of the characters from the current Splash Mountain ride. The press release was purely forward-thinking, excitedly written and enthusiastic in its descriptive vision.

Disney has made numerous changes to their theme parks over the years. Some rides were changed or removed so quickly, you probably forgot they ever existed (The Tomorrowland Phantom Boats, a Disneyland "Opening Day" attraction, wasn't around to see its one year anniversary.) But die-hard Disney fans get very protective and very defensive when it comes to their most beloved rides at their theme park. And a ride being changed based on hurtful racial issues — acknowledged or not — does not sit well with a contingency of spoiled-rotten, uninformed, oblivious, insensitive, elitist, privileged white people that, unfortunately, make up a good chunk of Disney's fan base. 

I first saw the announcement on the official Disney Parks Blog, where the new, reimagined ride was lovingly described. It was accompanied by an artist's rendering, approximating a still-unrealized scene from the ride. The timeline for construction was vague, as Disney parks are currently closed due to the global COVID-19 pandemic, with tentative opening dates still "iffy" as new cases spring up every day. Disney's goal in making this announcement was two-fold. First, it needed to address the "elephant in the room," righting a wrong that should have been addressed years ago, but also to inject a bit of optimism into its current stagnating situation. The company hoped to evoke visions of bright, shiny new enticements on the sketchy horizon. The news was met with reaction, both favorable and disappointed. The favorable ones offered praise and excitement. The disappointed reactions were vicious, filled with selfish complaints, racist sentiment and indifference to the fact that more that just you visit Disney theme parks. Some cite their own love of the ride as a valid reason not to change it. Others dismiss any notion of offensiveness because it doesn't offend them. What these narrow-minded, self-appointed defenders of Disney forget is what Walt Disney, the man himself, said: "Disneyland will never be completed. It will continue to grow as long as there is imagination left in the world." He also said: "Times and conditions change so rapidly that we must keep our aim constantly focused on the future."

They also forget the current philosophy of the Disney Company — and that's the "cha-CHING!" of a cash register.

www.joshpincusiscrying.com