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Letter written by Eleonore (www.flickr.com/photos/palmeir/14989906346/) to her 9 years old daughter »Liebes Töchterchen!« Bertha E. (www.flickr.com/photos/palmeir/15127683912/) in »Hamburg am 7ten Aprill 1837«. – There exist all together still 46 letters to Bertha E. This one is the oldest; size of the letter: 131 mm [×2] × 162 mm.
TEXT of the letter:
[recto]
Hamburg am 7ten Aprill 1837
Liebes Töchterchen!
Deine liebe Tante meldete mir im vorigen Jahr
daß Du von einer schweren Krankheit heimgesucht worden
wärest, dieses hat mir sehr wehe gethan, zumal da ich
nicht bei Dir sein konte. Ich dachte darüber nach daß
auch Du, obgleich noch jung und klein doch auch schon viel
zu leiden und zu dulden hast – und da kam mir aber
auch in den Sinn daß der liebe Gott doch alles wohl
macht und Niemand, also auch Dich mein liebes Kind,
nicht über Vermögen versucht. Ich hoffe also daß Du
darüber nicht ungeduldig geworden bist sondern die
Krankheit mit Geduld und Ergebung in Gottes Will=
en getragen hast. Ja halte Du nur fein stille mein
Liebchen und weigere Dich der Züchtigungen des Höchsten
nicht! Denn denen die Gott lieben müßen alle
Dinge zum Besten dienen. Und Du hast doch den
Herrn recht lieb?
Ich wünschte mein liebes Berthachen, daß ich statt
dieses Briefes selbst bei Dir sein könte, wie woll=
te ich mich freuen wenn ich Dich erst wieder hätte nach
[verso]
so langer Trennung; Dich mein liebstes auf dieser
argen armen Erde! Nun, vieleicht dauert es nicht
lange mehr daß ich Dich wieder sehe und Dich immer
bei mir haben kann.
Du mußt nun schon groß sein liebe Tochter, bist Du
aber auch Deinen lieben Großeltern recht gehorsam, und
gehst gerne in die Schule? Hast Du die Bibel reht
lieb und ließt Du gerne darinn? Dies wolte ich
Dir ganz besonders anempfehlen, und ich gebe Dir
das 53ste Capittel in Jesaias zum auswendig
lernen auf, und dazu aus evangelium Johannes
das 1 Capittel vom 1–17ten vers.
Anbei liebes Berthachen sende ich Dir ein kleines
Nadelbuch und ein gar goldenen Ohringe; ich hätte Dir
gerne längst was geschickt und wolte Dir auch mehr
schicken wenn ich nicht fürchten müßte daß es wieder
zurück käme.
Ubrigens lebe recht wohl mein theures Kind, ich küße
Dich im Geist 1000 mal und bin Deine Dich innigst
liebende
Mutter.
Eleonore E.
Bitte Deine liebe
Großmutter daß sie
Dir erlaubt mir bald
zu schreiben.
As the Grand Union Canal goes under the M4, some graffiti which expresses dismay at Donald Trump but then also has "God bless the hippies" as well.
NEAL ADAMS
Justice League Of America 66
Neal Adams (American, b.1941): was one of the first new Silver Age artists to break into a stable of DC artists that had remained virtually a closed shop for a decade or more prior to his arrival. Adams revamped the look of superhero icons Superman, Batman, and Green Arrow, at DC, and later, the X-Men and Avengers at Marvel. He ushered in a dynamic photorealistic style of illustration that revolutionized comic book art for the modern era. He is also the co-founder of the graphic design studio Continuity Associates, and took an important stand alongside Jerry Robinson as a creators-rights advocate who helped secure a pension and recognition for Superman creators Jerry Siegel and Joe Shuster.
Biography
Early life and career
Strange Adventures #207 (Dec. 1967): One of Adams's earliest DC Comics covers, and his first for his signature character Deadman, already shows a mature style and a boundary-pushing innovation for the time.
Adams attended the High School of Industrial Art in Manhattan, and shortly after graduation began working in the advertising industry. Interested in comic books, he unsuccessfully submitted art samples to DC Comics, but did find uncredited freelance work drawing Bat Masterson and Archie Comics.In 1962, Adams began his comics career in earnest at the NEA newspaper syndicated, working as an anonymous assistant on such comic strips as Peter Scratch, Rip Kirby, and The Heart of Juliet Jones before being given his own strip, Ben Casey, based on the medical drama TV series. This comic strip ran from 1962 through 1965.
After Archie Goodwin, editor of Warren Publishing's black-and-white horror-comics magazines began running his work, Adams reapproached DC in 1967. In 1968, nearing the end of what historians call the Silver Age of comic books, but an exciting time for the industry, Adams made an immediate splash with the feature "Deadman" in Strange Adventures, and quickly became the company's premiere cover artist.
This led to a stint at Marvel Comics, where Adams teamed with writer Roy Thomas on X-Men, then on the verge of cancellation. Though the duo failed to save the title (which ended its initial run with #66), their collaboration on issues #56-63 (May-Dec. 1969) — and on the "Kree-Skrull War" arc of The Avengers #93-97 (Nov. 1971 - May 1972) — produced what comics historians regard as some of Marvel's creative highlights of the era.[citation needed] He also collaborated with Stan Lee on two issues of The Mighty Thor.
Continuity and creators' rights
In the early 1970s, Adams and frequent writing collaborator Dennis O'Neil did a celebrated and, for the time, controversial revamping of the longstanding DC characters Green Lantern and Green Arrow, teaming them in a long story arc in the former's title in which the two undertook a social-commentary journey across America. Adams and O'Neil revitalized Batman with a series of noteworthy stories reestablishing the character's dark, brooding nature and taking the books away from the campy look and feel of the 1966-68 TV series. Adams' pencil drawings were frequently inked by artist Dick Giordano, with whom Adams formed Continuity Associates, a company that primarily supplied storyboards for motion pictures. In the early 1970s, Adams was the art director, costume designer, as well as the poster/Playbill illustrator for Warp, a science fiction stage play by Bury St. Edmund and Stuart Gordon that had had some cult success in Chicago, and which played on Broadway from Feb. 14-18, 1973, at the original Ambassador Theatre.
During the 1970s, Adams was politically active in the industry, and attempted to unionize its creative community. His efforts, along with precedents set by Atlas/Seaboard Comics' creator-friendly policies and other factors, helped lead to the modern industry's standard practice of returning original artwork to the artist, who can earn additional income from art sales to collectors. Adams notably and vocally helped lead the lobbying efforts that resulted in Superman creators Jerry Siegel and Joe Shuster receiving decades-overdue credit and some financial remuneration from DC.
Also during the 1970s, Adams illustrated paperback novels in the Tarzan series and did some film work. With the independent-comic publishing boom of the early 1980s, he began working for Pacific Comics (where he produced the poorly-received Skateman) and other publishers, and founded his own Continuity Comics as an off-shoot of Continuity Associates. His comic-book company's characters include Megalith, Bucky O'Hare, Skeleton Warriors, CyberRad, and Ms. Mystic.
In collaboration with Rafael Medoff, director of the David S. Wyman Institute for Holocaust Studies, Adams has championed an effort to get the Auschwitz-Birkenau Memorial and Museum, which is operated by the government of Poland, to return the original artwork of Dina Babbitt. In exchange for his sparing her mother and herself from the gas chambers, Babbitt worked as an illustrator for Nazi death camp doctor Josef Mengele who wanted detailed paintings to demonstrate his pseudoscientific theories about Gypsy racial inferiority.Using text from Medoff, Adams illustrated a six-page graphic documentary about Babbitt that was inked by Joe Kubert and contains an introduction by Stan Lee.[3] However, Adams deemphasizes any comparison between the Babbitt case and his struggle for creator rights, saying that her situation was "tragic" and "an atrocity."
Awards
Adams won Alley Awards in 1967 for Best Cover (Strange Adventures #207); in 1968 for Best Full-Length Story ("Track of the Hook" in The Brave and the Bold #79, with writer Bob Haney); and in 1969 for Best Pencil Artist. He was inducted into the Alley Award Hall of Fame in 1969.
He also won Shazam Awards in 1970 for Best Individual Story ("No Evil Shall Escape My Sight" in Green Lantern (vol. 2) #76, with writer Dennis O'Neil), and Best Pencil Artist (Dramatic Division); and in 1971 for Best Individual Story ("Snowbirds Don't Fly" in Green Lantern (vol. 2) #85, with O'Neil).
He won an Inkpot Award in 1976, and was voted the "Favourite Comicbook Artist" at the 1977 and the 1978 Eagle Awards.
Adams was inducted into the Harvey Awards' Jack Kirby Hall of Fame in 1999.
Quotes
Harlan Ellison:
There are artists who come along who do wonderful work, innovative work, even stylistically seminal or germinal work, but they don't change the face of the craft or the social conscience of the industry. Neal did that.
Bob McLeod on breaking into comics in 1973:
Pat [Broderick] told me I really ought to meet Neal Adams, whom he had met at DC. . . . At that time, Neal held a position of respect in the industry that no one in comics since then has achieved. He was the single most respected artist in the business. . . . Neal looked at one of my samples and asked me what kind of work I was looking for. I said 'Anything that pays.' (By that time, I was down to my last $10. . . .) He just picked up the phone and called the production manager at Marvel and said, 'I've got a guy here who has some potential as, well, some potential as an artist, but I think he has a lot of potential as a letterer.' I was immediately hired at Marvel in the production department on Neal's recommendation, and they still didn't even want to see my portfolio. If I was good enough for Neal, I was good enough for them.
Jim Shooter:
Frank Miller was a kid from Vermont who wanted to be a comics artist. He came to New York in 1977, I think, showed samples to his idol, Neal Adams, and got a world-record savage critique. He quit drawing for a while, sucked it up and tried again. Neal savaged him again, but this time he sought a second opinion and actually ended up getting a small job from Western Publishing, I think. Thus emboldened, he went to DC, and after getting savaged by Joe Orlando, got in to see art director Vinnie Colletta, who recognized talent and arranged for him to get a one-page war comic job
This autograph album belonged to Ollie Hubbard. I uploaded 50 of the 100 autographs that I liked the best. I am not sure if Ollie was a boy or a girl. (Ollie short for Oliver or Ollie short for Olivia, Olive, Olwen). The dates range from 1879 to 1889. Most of the names are from Trenton or Princeton, New Jersey. This may be Princeton University. There are references to the following names:
Model School
State Normal School
Trenton College
Princeton College
C. C. C. C.
A complete list of all the names is in the "set" description here.
Maker: Jean-Baptiste Sabatier-Blot (1801-1881)
Born: France
Active: France
Medium: studio label
Size: 6" x 8"
Location: France
Object No. 2013.823b
Shelf: A-59
Publication:
Other Collections: The Netherlands Institute for Art History has two similar hand painted paper print portraits by Sabatier-Blot in their collection
Provenance: Kapandji Morhange, Photographies XIXe-XXe 11/14/13
Notes: Signature of photographer at the bottom left of the image. Label on the back of the frame: Sabatier-Blot. Miniature Painter & Photography, 25 rue Neuve des bonsenfants, Ci devant Palais Royal, 129, with handwritten "Chosen by Mr Goupil". Sabatier-Blot's studio was located at 25 rue Nve-des Bons-Enfants from 1858 to 1860. Though better known for his earlier daguerreotype portraits, including several of Daguerre himself, Sabatier-Blot began as a miniaturist portrait painter in the early 1830s.
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الشيخ الروحاني لجلب الحبيب
جلب - محبة - تهييج - مخطوطات - علاج روحاني - كشف روحاني - تسخير علاج السحر - علاج المس - علاج العين -جن-خواتم مروحنة خاصة0020125888487
Postmarked: Myersville, MD, Jun 26, 2 PM, 1908
Address: Mrs. N. B. Weaver, Ellett, Montgomery Co., Va.
Reverse: “Mrs. Weaver, Douglas rec’d your lovely card & was delighted with it, so I thought I would like to send you one. This time we never have had any with reading one like you sent him and was pleased with it. Mama is anxiously looking for a letter from you. She thinks you have forgotten her. Did you get hers? Please answer soon lovingly. Mama says write soon. I would like to see you. Edward. Douglas will answer yours when I hear from you. He was pleased very much. From Edward McDonough. By by. How is Miss Mary? Tell her to write.”
This slightly inchoate message appears to come from a member of the family of Myersville, Maryland, native George David Routzahn (4 June, 1842, Middletown Valley, MD – 4 March, 1917, Myersville, MD). The sender was his son-in-law John Edward McDonough, Sr. (22 Dec, 1864, New York – 3 Nov., 1923, Enterprise, West Virginia), who was the son of Irish immigrants and a railroad worker. Routzahn’s daughter Lettie (or Letta) May (25 Nov., 1882, Frederick Co., MD – 16 Dec., 1954, Myersville, MD) was McDonough’s wife, whom he married at the Evangelical Reformed United Church of Christ in Frederick on 7 February, 1900, when she was 17 and he was 36. The McDonoughs had three sons: John Edward, Jr. (26 March, 1900, Myersville, MD – 7 Feb., 1971, Myersville, MD); David Floyd (27 Jan., 1905, Myersville, MD – 21 Nov., 1974, Myersville, MD); and Burnard (or Bernard) Douglas (12 Aug., 1901, Myersville, MD – 29 Jan., 1918, Enterprise, West Virginia), who is the “Douglas” mentioned in this postcard.
Two years later, the family was enumerated on the 1910 census of Myersville. Edward, Sr., was not there, but Lettie, Douglas, Floyd, and Edward, Jr., were at the home of George and Mary Elizabeth Routzhan, nee Cost (b. 3 April, 1842, Washington, Co., MD - 23 Jan., 1916, Myersville, MD). At that time, the Routzahns had been married for 48 years, placing their wedding in 1862, during the Civil War, when they were both in their early 20s. On 1 July, 1863, George registered for the draft. He eventually enlisted as a private on 23 February, 1865, and was mustered out on 8 April of that same year, transferring to Company I, MD 13th Infantry Regiment. George was mustered out for the final time on 29 May, 1865, at Baltimore.
George was the son of Middletown Valley farmer Enos Routzahn (1801 – 1850) and Lydia Schlosser (1805 – 1882). After his father’s death, his mother, Lydia, took over the farm and George labored on it as a career. Mary Elizabeth was the daughter of Ezra Cost (1816 – 1902) and Caroline Doub (1821 – 1891). After Mary married George Routzahn, the couple produced seven children (Harry and William—who appear to be twins who died in infancy or at birth), Amanda (1863 -1935), Emma (1865 – 1960), Louella (1869 – 1943), Jennie (1870 – 1930), and Lettie.
In 1920, the McDonough family lived in Enterprise, Harrison County, West Virginia, and were enumerated on the census there. John Edward, Sr., died before the next census in Enterprise.
George and Mary Elizabeth Routzahn and John Edward and Lettie McDonough and their sons are buried in St. Paul’s Evangelical Lutheran Church Yard, which is directly across the street from my home.
The house pictured on the postcard—known as the Hildebrandt House—still stands today—and is, in fact, across the street and three houses down from my own home. According to historian Robert P. Savitt, “John T. Hildebrand was a leading carriage maker in the northern Middletown Valley. He acquired the property for the home… on the south end of Main Street from his father-in-law, Joseph Brown, who operated Myersville’s first post office in his downtown store. Soon after it was built, this handsome home was featured in Ira Moser’s 1905 ‘History of Myersville.’”
Ellett, Montgomery County, Virginia, where this postcard was sent is an unincorporated community located at the junction of State Routes 603 and 723, about 4 miles southeast of Blacksburg. Montgomery County is rife with Weavers, but I cannot match any I have yet found to this missive.
Front with message: www.flickr.com/photos/60861613@N00/11595778084/in/photost...
This autograph album belonged to Ollie Hubbard. I uploaded 50 of the 100 autographs that I liked the best. I am not sure if Ollie was a boy or a girl. (Ollie short for Oliver or Ollie short for Olivia, Olive, Olwen). The dates range from 1879 to 1889. Most of the names are from Trenton or Princeton, New Jersey. This may be Princeton University. There are references to the following names:
Model School
State Normal School
Trenton College
Princeton College
C. C. C. C.
A complete list of all the names is in the "set" description here.
Content Writing,offers content writing services such as,article writing,website content writing,technical
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and copywriters can generate a good piece of content.
104 Cheyne Walk, Chelsea SW10. Along with GK Chesterton, he was one of the great Roman Catholic philosophers of his day.
Taken from www.catholicauthors.com/belloc.html
JOSEPH HILAIRE PIERRE BELLOC, ONE OF THE TRUE LORDS of the English language, was not an Englishman by birth. His father was French, his mother was Irish; and when he married, his bride was an American. But he looked more like the traditional figure of John Bull than any Englishman could. He wore a stand-up collar several sizes too large for him. His rotund head was crowned with a black hat-sometimes tall, sometimes of the pancake variety. He was big and stocky and red of face, and a typically British great-coat draped his beefy form except in the warmest weather.
Hilaire Belloc-he dropped the other appendages at an early age-was born at La Celle, near Paris, on July 20, 1870. His father, Louis Swanton Belloc, was well known as a barrister throughout France. Bessie Rayner Belloc, his mother, was of Irish extraction. Somewhere in his immediate background was an infusion of Pennsylvania Dutch blood. His mother, who lived into her nineties and died in 1914, was a remarkably intellectual woman, noted as one of the signers of the first petition ever presented for women's suffrage.
Her son studied at the Oratory School at Edgebaston, England, and at Balliol College, Oxford, where he matriculated in 1893. In his third year he was Blackenbury History Scholar and an honor student in the history schools.
Between Oratory School and his matriculation at Oxford, Belloc served in the French Army, where as a driver in the Eighth Regiment of Artillery, he was stationed at Toul. It was from this spot that, years later, he was to set forth on the pilgrimage afoot to St. Peter's that furnished material for the book that many critics consider his best,- The Path to Rome.
In 1903 Belloc became a British subject and in 1906 was returned to Parliament by the South Salford constituency. He was a member of the Liberal party in the brilliant House of Commons created by the Tory debacle of the preceding year. He made his maiden speech in the House early in 1906 and it won him an immediate reputation as a brilliant orator. He had already attracted considerable attention during his campaign. In the year of his return to Parliament he was also the nominee of the British Bishops to the Catholic Education Council.
Belloc's literary career began immediately after Balliol. He rapidly achieved success as a newspaper and magazine writer and as a light versifier. His first book, published in the year of his graduation, was Verses and Sonnets, and this was followed within a year by The Bad Child's Book of Beasts, in which his reputation as a master of whimsy was fully established. One of the most famous in this category starts out thus:
The nicest child I ever knew
Was Charles Augustus Fortesque;
He never lost his cap or tore
His stockings or his pinafore;
In eating bread he made no crumbs.
He was extremely fond of sums.
Another, more dire, ballad about an untruthful maiden named Mathilde was a famous forerunner to the Ogden Nash style of rhyming:
It happened that a few weeks later
Her aunt was off to the theatre
To see that entertaining play
The Second Mrs. Tanqueray.
Belloc sat in the House of Commons from 1906 to 1910, but refused to serve a second term because, in his own words, he was "weary of the party system," and thought he could attack politics better from without Parliament than from within. From that time on he devoted his entire efforts to writing and lecturing.
Belloc's wife, the former Elodie Agnes Hogan of Napa, California, whom he married in 1896, died in 1914. He never remarried. His eldest son, Louis, was killed while serving as a flier in World War I, and his youngest, Peter, a captain of the Royal Marines, died during World War-II. Belloc made his home with his elder daughter, Mrs. Eleanor Jebb, wife of a member of Parliament, in Horsham, Sussex. Besides Eleanor, he had another daughter, Elizabeth, a poet, as-well as another son, Hilary, who lives in Canada. Belloc's sister, Mrs. Marie Belloc Lowndes, also a noted British writer, died in 1947.
By Pope Pius XI, Belloc was decorated with the Grand Cross of the Order of St. Gregory the Great in 1934 for his services to Catholicism as a writer. In the same year, his alma- mater, Oxford, conferred upon him the honorary degree of Master of Arts. He shared with the then British Prime Minister, Sir Winston Churchill, the distinction of being the only persons to have their portraits hung in the National Portrait Gallery while they were alive.
Mr. Belloc visited the United States on many occasions. In 1937 he served as a visiting Professor of History at the Graduate School of Fordham University in New York. From the matter of these lectures came his book, The Crisis of Civilization.
A prolific writer, he was the author of 153 books of essays, fiction, history, biography, poetry and light verse as well as a vast amount of periodical literature. He was largely responsible for G. K. Chesterton's conversion to Catholicism, and the two of them became ranked as not only among England's greatest writers but as the most brilliant lay expounders of Catholic doctrine. The two were also close friends and frequent collaborators, especially on the magazine which came to be known as G. K's. Weekly, and in which they came to wage many a valiant crusade together. As a critic noted: "To Hilaire Belloc this generation owes big glimpses of the Homeric spirit. His mission is to flay alive the humbugs and hypocrites and the pedants and to chant robust folk-songs to the naked stars of the English world to a rousing obligato of clinking flagons."
Because of his antagonism to many British sacred cows and his free and caustic criticism of them, he was not a wholly popular man in England. Nor did his espousal of the Franco cause against the Communists during the Spanish civil war add to his popularity there. But Belloc had never been a man to purchase popularity at the price of integrity.
Just four days before his eighty-third birthday, while dozing before the fireplace in his daughter's home, he fell into the flames and was so badly burned that he died in hospital at Guildford, Surrey, soon afterward on July 16, 1953.
Despite his own prediction to the contrary, his place in English letters is forever secure, primarily as a poet and as the author of The Path to Rome.
mal ein bisschen sport nach weihnachten :)
www.youtube.com/watch?v=rj9KyVpCfYg
GRÖSSER IST IN DIESEM FALL BESSER !!!
www.flickr.com/photos/lookbook/11602351985/sizes/o/in/pho...
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If you really want to have a great look at my portfolio please use Fluidr
Polished, nickel-plated trim. Smooth plastic for smooth handling. Really. Make a gun out of the things, just like in 4th grade. Square deal.(From Field Notes Website)
This is part of my 'issues set'. i will be taking pictures of the issues i have had to watch people go through!
DISRUPT J20 THIS INAUGURATION RESIST TRUMP sticker at escalator construction site at the WMATA Shaw - Howard University Station on 7th at S Street, NW, Washington DC on Thursday afternoon, 5 January 2017 by Elvert Barnes Photography
Follow DISRUPT J20 at www.facebook.com/disruptj20
Visit DISRUPT J20 THIS INAUGURATION RESIST TRUMP website at www.disruptj20.org/
Published at rightsanddissent.org/news/disruptj20-website-warrant/
Published at popularresistance.org/press-freedom-groups-join-defending...
1940, 2 cents Mufti tied by FPO Canada Militia Petawawa Camp Ont cds on exaggerated postcard ‘’this is the life – Petawawa Camp’’
Postcard sent from: / FIELD POST OFFICE / CANADA MILITIA / PETAWAWA CAMP - ONT. / 13 / JUL 19 / 40 / - cds cancel (Toop # M3-42 - Hammer # 2 / 29.0 mm)
Robert James Maveety writes: Hello Pal / See how big the Flies are up here / Dad / xx
Sent to his son: Edward Maveety / Laurentian View P.O. / Via Ottawa, Ontario.
After his training at Camp Petawawa Robert Maveety spent time at Debert, Nova Scotia (MPO / Military Post Office 604) and was the postmaster there from 3 September 1941 to the 25 September 1941 before going overseas.
Here is the link to his WWI CEF Attestation papers: www.bac-lac.gc.ca/eng/discover/military-heritage/first-wo...
Robert James Maveety, Veteran of Two World Wars, (b: 1898 - Ottawa, Ontario, Canada - d: August 1959 - Rockland, Ontario, Canada, 61 years old, a veteran of two world wars, died of a heart attack at his home in Rockland. He had lived in Rockland since he retired eight years ago from the Army Postal Corps.
Born in Ottawa, he was the son of the late Robert Henry Maveety and the former Sarah Keegan, who came here from Ireland.
At the outbreak of the First World War he enlisted as a sapper in the Canadian Engineers, serving in England and France. Between the wars he served 14 years in the militia with the Third Divisional Signals.
He joined the Post Office Department as a letter carrier in 1937, and soon after the start of the Second World War he enlisted in the Postal Corps. He was discharged with the rank of sergeant.
After the war he returned to his letter carrier's job with the Post Office Department, but was transferred back to the Postal Corps in 1946.
He was married in Chicago in 1926 to the former Bertha Taylor.
Fantasia 1985 Press Release Kit . Fantasia 45th Anniversary . The press kit cover is in good shape some wrinkles and creases . The press kit itself inside is in like new condition .
About Fantasia:
Fantasia is a 1940 American animated film produced by Walt Disney and released by Walt Disney Productions. With story direction by Joe Grant and Dick Huemer, and production supervision by Ben Sharpsteen, it is the third feature in the Disney animated features canon. The film consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the film's Master of Ceremonies, providing a live-action introduction to each animated segment.
Disney settled on the film's concept as work neared completion on The Sorcerer's Apprentice, an elaborate Silly Symphonies short designed as a comeback role for Mickey Mouse, who had declined in popularity. As production costs grew higher than what it could earn, he decided to include the short in a feature-length film with other segments set to classical pieces. The soundtrack was recorded using multiple audio channels and reproduced with Fantasound, a pioneering sound reproduction system that made Fantasia the first commercial film shown in stereophonic sound.
Fantasia was first released in theatrical roadshow engagements held in thirteen U.S. cities from November 13, 1940. It received mixed critical reaction and was unable to make a profit due to World War II cutting off the profitable European market, the film's high production costs, and the expense of leasing theatres and installing the Fantasound equipment for the roadshow presentations. The film was subsequently reissued multiple times with its original footage and audio being deleted, modified, or restored in each version. As of 2012, Fantasia has grossed $76.4 million in domestic revenue and is the 22nd highest-grossing film of all time in the U.S. when adjusted for inflation. Fantasia, as a franchise, has grown to include video games, Disneyland attractions, a live concert, and a theatrically released sequel (Fantasia 2000) co-produced by Walt's nephew Roy E. Disney in 1999. Fantasia is widely acclaimed, and in 1998 the American Film Institute ranked it as the 58th greatest American film in their 100 Years...100 Movies and the fifth greatest animated film in their 10 Top 10 list.
In 1936, Walt Disney felt that the Disney studio's star character Mickey Mouse needed a boost in popularity. He decided to feature the mouse in The Sorcerer's Apprentice, a deluxe cartoon short based on the poem written by Johann Wolfgang von Goethe and set to the orchestral piece by Paul Dukas inspired by the original tale. The concept of matching animation to classical music was used as early as 1928 in Disney's cartoon series, the Silly Symphonies, but he wanted to go beyond the usual slapstick, and produce shorts where "sheer fantasy unfolds ... action controlled by a musical pattern has great charm in the realm of unreality." Upon receiving the rights to use the music by the end of July 1937, Disney considered using a well-known conductor to record the music for added prestige. He happened to meet Leopold Stokowski, conductor of the Philadelphia Orchestra since 1912, at Chasen's restaurant in Hollywood, and talked about his plans for the short. Stokowski recalled that he did "like the music"; was happy to collaborate on the project, and offered to conduct the piece at no cost.
Following their meeting, Disney's New York representative ran into Stokowski on a train headed for the East Coast. In writing to Disney, he reported that Stokowski was "really serious in his offer to do the music for nothing. He had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium". In his excited response dated October 26, 1937, Disney wrote that he felt "all steamed up over the idea of Stokowski working with us ... The union of Stokowski and his music, together with the best of our medium, would be the means of a success and should lead to a new style of motion picture presentation." He had already begun working on a story outline, and wished to use "the finest men ... from color ... down to animators" on the short. The Sorcerer's Apprentice was to be promoted as a "special" and rented to theatres as a unique film, outside of the Mickey Mouse cartoon series.
Deems Taylor was the film's Master of Ceremonies, who introduced each segment in live action interstitial scenes.An agreement signed by Disney and Stokowski on December 16, 1937, allowed the conductor to "select and employ a complete symphony orchestra" for the recording.Disney hired a stage at the Culver Studios in California for the session. It began at midnight on January 9, 1938, and lasted for three hours using eighty-five Hollywood musicians. As production costs of The Sorcerer's Apprentice climbed to $125,000, it became clearer to Disney and his brother Roy, who managed the studio's finances, that the short could never earn such a sum back on its own. Roy wanted his brother to keep any additional costs on the film to a minimum. He said, "because of its very experimental and unprecedented nature ... we have no idea what can be expected from such a production." Ben Sharpsteen, a production supervisor on Fantasia, noted that its budget was three to four times greater than the usual Silly Symphony, but Disney "saw this trouble in the form of an opportunity. This was the birth of a new concept, a group of separate numbers—regardless of their running time—put together in a single presentation. It turned out to be a concert—something novel and of high quality."
For the 1982 and 1985 releases Disney presented Fantasia with a completely new soundtrack recorded in Dolby Stereo. First released on April 2, 1982, this version of the film marked the first time a film's soundtrack had been digitally re-recorded in its entirety. To replace Stokowski's recordings, the noted film conductor Irwin Kostal was engaged. He directed a 121-piece orchestra and 50-voice choir for the recording that took place over eighteen sessions and cost $1 million. To maintain continuity with the animation Kostal based his performance on the tempos and pacing of the Stokowski recordings, including the cuts and revisions to The Rite of Spring. However, for Night on Bald Mountain he used Mussorgsky's original orchestration instead of Leopold Stokowski's own edition that was part of the original soundtrack. The new recording also corrected a two-frame lag in projection caused by the old recording techniques used in the 1930s. Deems Taylor's scenes were deleted and a much briefer voiceover narration was recorded by Hugh Douglas as the studio felt the modern audience "is more sophisticated and knowledgeable about music." This version returned to around 400 theaters in 1985, this time with actor Tim Matheson providing the narration.