EarzUp! | Walt Disney Goes to South America

[00:00:00] Hey, it's Ryan Reynolds and I'm here with Keith, co-star of my upcoming film, If.

[00:00:03] Only in theaters May 17th.

[00:00:05] Do you want to tell people the big news?

[00:00:07] Alright, I'll do.

[00:00:07] Sign up now and you'll get unlimited for $15 a month in six months of Paramount Plus essential plan on us.

[00:00:30] It's time for the show that brings the magic right to your speakers.

[00:00:38] Eeeeeeers up!

[00:00:41] Hey, what's happening everybody?

[00:00:44] Man, I'm excited for the show.

[00:00:46] You know, I know I said that all the time, but I really am for this one because I did a lot of work on it.

[00:00:50] And it sounds like it.

[00:00:52] I haven't done that in a while.

[00:00:53] I mean, I guess I have.

[00:00:54] I don't know, maybe just a liar tonight.

[00:00:55] But I've done a ton of work on this.

[00:00:57] This show is a lot.

[00:01:00] I'm excited about it and I'm also really nervous because these shows don't.

[00:01:06] I have a hard time putting stuff together.

[00:01:09] Eric, I was messaging you the other day.

[00:01:11] It's like I'm good at research.

[00:01:13] I can research.

[00:01:14] I can do all that.

[00:01:15] I can compile information, but it's getting a thread together of said information

[00:01:20] and putting in a coherent way to tell a good story.

[00:01:24] As Bev would say, nay, nay, nay.

[00:01:25] I am not very good at that.

[00:01:27] At least I don't think I'm ever confident in my skills or my ability to do so.

[00:01:32] I think you just fine.

[00:01:34] I think you're you're a little, little less confident in yourself than you should be.

[00:01:40] Well, I mean, just listened to the pyramid, the eye and the ears.

[00:01:44] Oh, yes, you heard that one.

[00:01:45] The latest patron only conspiracy theory.

[00:01:50] What one was that about Walt and the FBI?

[00:01:54] Yeah, the Walt's FBI file.

[00:01:55] We dug into that a little bit where you said it was the all true conspiracy.

[00:02:00] Yes, it's there's not a conspiracy theory.

[00:02:02] It's exactly true.

[00:02:03] It happened is a thing you and Dan had a great time.

[00:02:07] I enjoyed it very much.

[00:02:08] It was a good time.

[00:02:09] I like Dan on the shows.

[00:02:11] You know, we both sort of like show our cards politically, but it's all in good fun.

[00:02:16] So hopefully no one's offended.

[00:02:17] And if you are, let me know.

[00:02:19] I don't know.

[00:02:19] I'm going to do anything with it.

[00:02:22] If you are offended, please increase your patron level.

[00:02:27] That'll bet it's like carbon credits.

[00:02:29] Right. Yeah, that's how it goes.

[00:02:30] Yeah, to make up for it.

[00:02:31] Yeah, anyway.

[00:02:32] Yeah, it's a good time.

[00:02:34] I do appreciate Dan's work on that show and basically just, you know,

[00:02:38] jokes and that's always fun.

[00:02:41] Yeah, this show is good.

[00:02:42] We are going to excuse me.

[00:02:43] We're going to be talking about Walt Disney and his trip

[00:02:47] to South America.

[00:02:50] To talk about basically as part of the good neighbor program

[00:02:55] that the United States instilled to kind of get to know our Latin neighbors

[00:02:58] a little bit better.

[00:02:59] And by that, I mean, what resources could did they have that we could then take?

[00:03:05] But that's a different story.

[00:03:07] We'll maybe get into a little bit of that too.

[00:03:09] But I'm telling Taryn like my problem with these shows

[00:03:13] is that anything in Walt's life, I just I want to know

[00:03:16] the context in because we already know the stuff that he did,

[00:03:19] but I want to know why it happened.

[00:03:21] And that's where I go down the rabbit hole.

[00:03:23] That's why I go a little bit deeper into some research about like

[00:03:27] so for Walt's journey, there's a lot of political context with regards to that.

[00:03:32] And then what happened afterwards?

[00:03:34] And so there's a lot of so I discuss a lot of that.

[00:03:36] So in the trip itself, there's not a whole lot

[00:03:39] because there's like books written about it.

[00:03:41] And so you can't you can't get everything

[00:03:43] because at some point it's basically a trip report on what he did.

[00:03:48] And that's not very interesting.

[00:03:49] So I kind of highlighted a lot of the interesting stuff.

[00:03:52] There is there's a great movie on Disney Plus called Walt and El Grupo,

[00:03:58] which I definitely recommend people watch.

[00:04:00] If you are into Walt Disney history, not the company,

[00:04:06] but the man, watch them, watch it.

[00:04:08] It's a travel log.

[00:04:10] It's almost two hours.

[00:04:11] And it's a lot of people just going around having fun.

[00:04:14] But there are people that you've heard about on this show for years,

[00:04:18] people you've read about works of theirs that you've seen in the parks.

[00:04:21] Mary Blair is in there.

[00:04:23] Walt Disney's there doing dances and eating barbecue with a knife

[00:04:27] and getting like having a knife fight and like he just all this stuff.

[00:04:30] Right? It's these are the things you never really see.

[00:04:33] And it's really great.

[00:04:34] It's it's who came with him.

[00:04:36] That's interesting.

[00:04:37] Like what which people did he bring with

[00:04:40] and what did that mean for for their overall relationship?

[00:04:44] I'm sure you'll you'll have plenty to say about her.

[00:04:46] It was her.

[00:04:46] Bram and that was one of the people. Yeah.

[00:04:49] Yeah, like him and his wife.

[00:04:51] Like that's that's a big deal to be invited to go along with Walt

[00:04:54] and the Lee and and the whole crew for like 12 weeks or something like that.

[00:04:58] It was some it's some people stayed longer like Lee and Mary Blair.

[00:05:03] They stayed longer and they went into different parts of South America,

[00:05:08] Latin America. So anyway, blah, blah, blah.

[00:05:11] The point is there's a lot going on and there's a lot to even dive deeper into.

[00:05:15] But

[00:05:17] it all culminated with two movies, Saludos, Amigos and the Three Cubba Yarrows

[00:05:22] and a bunch of different shorts that we'll talk about as well.

[00:05:25] But there was a lot of context, a lot of content to be mind.

[00:05:28] And it's great. It's going to be a good time.

[00:05:31] But before we jump into that, if you're planning a trip to the parks,

[00:05:34] you know, much like Walt was planning a trip to South America.

[00:05:37] If you want to go and see some of the some of the things that came out of this

[00:05:40] trip in the parks, then you go book a trip to Walt Disney World through

[00:05:45] concierge. You've got a concierge.com.

[00:05:48] They will fly you right into the World Pavilion in Epcot.

[00:05:52] They'll allow you to land on the top of that pyramid in the Mexico Pavilion,

[00:05:55] which there's a ride in there narrated, hosted by one of the characters

[00:06:00] we'll be talking about Jose Carroca, who was generated from this trip

[00:06:04] to Brazil. And you can go see him and concierge will parachute you in.

[00:06:08] They won't even land the plane.

[00:06:10] Is your comfortable? Great.

[00:06:11] They kick you out.

[00:06:13] I really should do an episode about the alternative

[00:06:17] ways to get to Disneyland and Walt Disney World.

[00:06:20] Should helicopter plane.

[00:06:22] Oh, man, that'd be fun for both. Yeah.

[00:06:25] Yeah. I want to take a helicopter.

[00:06:27] I'll add that to the list.

[00:06:28] Yeah, you could take a helicopter from LAX to Disneyland Hotel

[00:06:32] who can still currently to this day. No, no, you could.

[00:06:35] You could. OK, you could.

[00:06:37] I was going to say I'm disappointed that I didn't know that.

[00:06:43] Yeah, but that'd be great.

[00:06:44] So anyway, go to concierge.com.

[00:06:45] Let them help you book your next trip to one of the Disney parks

[00:06:49] or just kind of anywhere really hit them up.

[00:06:51] They're good people.

[00:06:52] Even if you want to book hotel room somewhere else

[00:06:54] and you don't really know what to do, just have them do it.

[00:06:57] It'll be fine. It'll be great.

[00:06:58] And they don't charge you anything else but what the parks charge you.

[00:07:01] And you get a whole bunch of different stuff to go along with that.

[00:07:04] Complementary services like, you know, reservation confirmation

[00:07:09] and restaurant bookings and free advice, stuff like that.

[00:07:14] So it's a good service to have in your back pocket,

[00:07:16] especially the mess that is Disney G plus.

[00:07:20] And I tell you, speaking of pluses, speaking of Disney plus,

[00:07:23] I had a hell of a time with that technology, man.

[00:07:27] I don't know what happened.

[00:07:28] It was like down or something.

[00:07:30] But I tried to watch El Grupo.

[00:07:32] Try to watch Walt and El Grupo, man.

[00:07:34] And you know, so we have the shield Android shield streamer box thing.

[00:07:38] It's like a Roku, but whatever.

[00:07:40] And I can get on Disney plus just fine.

[00:07:43] Look for the thing. See the little thumbnail there. Great.

[00:07:45] Click on it and it's just a wheel.

[00:07:47] Oh, no. Spiny for like five to 10 minutes.

[00:07:49] Like what the hell is going on?

[00:07:50] I try to reset my password.

[00:07:52] I couldn't do it because it gives you like a code,

[00:07:55] but I put the code in and then the thing says, oh, the code is not right.

[00:07:58] And I'm like, what's going on?

[00:08:01] How do I fix this?

[00:08:03] You have to send an email.

[00:08:05] There was no easy access today.

[00:08:07] I found out there's a chat, but I sent an email.

[00:08:09] I was like, well, this is stupid.

[00:08:11] And now I don't want to get rid of it for four dollars.

[00:08:13] You know, I'm already paying for this 1998.

[00:08:15] It was grown.

[00:08:16] So I find there's a chat today.

[00:08:18] I go, OK, fill out the form in the chat or whatever.

[00:08:22] Wheel spinning.

[00:08:24] Never connects me to the chat.

[00:08:26] Five minutes sitting there watching the wheel spin.

[00:08:28] And it's not even like you have reached the chat assistant.

[00:08:31] My name is, you know, Ralph and I, whatever.

[00:08:34] Right? There's none of that.

[00:08:36] No typing.

[00:08:37] There's a phone number.

[00:08:38] I'm like, I'm really it's 2004.

[00:08:41] OK, I'm going to call.

[00:08:42] I'm going to call.

[00:08:44] I'll be damned, Eric, if they didn't pick right up.

[00:08:48] Oh, there was no waiting.

[00:08:50] My phone said like five minutes as you know, to Google services

[00:08:53] where it's like, you approximate wait time.

[00:08:55] There's no wait time.

[00:08:56] Technical issues, boom, got me up and running and everything just

[00:09:00] started to work.

[00:09:01] We was like, yeah, you're not the only one who has this problem right now.

[00:09:04] But I was really impressed with the way that and also disappointed

[00:09:07] the chat wouldn't work because I don't want to talk on the phone.

[00:09:10] I do enough talking.

[00:09:12] I just thought the phone doesn't interest me anymore.

[00:09:15] So but there was a person on the other there was a person on the other.

[00:09:18] Oh, thank goodness.

[00:09:19] If I didn't answer a call today, they were going to fire me.

[00:09:22] Oh, thank you.

[00:09:23] Probably.

[00:09:23] Yeah, this guy's like unplugging.

[00:09:26] He's like next to him.

[00:09:27] There's a computer tower with that's unplugged and that just says chat bot.

[00:09:31] He's like, I'm going to earn my money today.

[00:09:33] That AI machine is going down.

[00:09:36] Yeah.

[00:09:37] It's it's John Henry versus the the the locomotive.

[00:09:41] You know, I read an article.

[00:09:43] I didn't read an article.

[00:09:44] I read about an article.

[00:09:46] You've read about.

[00:09:47] I read about it.

[00:09:47] Yeah, that's a good way to do it.

[00:09:49] This dude, I forget what platform he's writing for.

[00:09:51] But he basically tried out a bunch of these dating chat bots.

[00:09:56] You can get a chat bot to be like your girlfriend or your boyfriend

[00:09:59] or your partner or whatever.

[00:10:00] Right.

[00:10:01] And you can you feed it a bunch of information about yourself

[00:10:05] and it has different personalities you can pick and whatever.

[00:10:08] And he's like, I tried like 10 or 15 of these,

[00:10:11] which I didn't even really know there was a thing much less 10 or 15 of them.

[00:10:14] And he goes, it's weird.

[00:10:16] But eventually they all just devolved into really horny talk

[00:10:19] and it was just weird.

[00:10:21] He's like, I could see this being the future for like

[00:10:24] people who are very lonely and that's understandable.

[00:10:27] But the bugs in the system are

[00:10:30] that it just sort of gets horny fast.

[00:10:32] And I can just imagine that chat bot at Disney Plus.

[00:10:35] Like, well, I got something for you to stream.

[00:10:38] I don't know.

[00:10:40] I know what you're really calling for.

[00:10:42] Yeah, right.

[00:10:44] Anyway, Terran's going to be joining us here in a second.

[00:10:47] Eric, don't worry about that. Oh, good.

[00:10:50] She's right here. There's no one really watching.

[00:10:51] Hi, Terran. Hi.

[00:10:52] There you go. Hi, Terran. Hi.

[00:10:54] There she is.

[00:10:55] Oh, that's bright. Yeah.

[00:10:56] You fix all that.

[00:10:57] You should really do something about that.

[00:10:59] All right. We're let's let's get it started here, you guys,

[00:11:02] with a quote from Walt Disney

[00:11:05] about his little journey, his little trip down to to Latin America.

[00:11:09] Away. Here we go.

[00:11:10] I was asked by the government to go to South America

[00:11:13] and kind of a cultural thing, you know, before the

[00:11:17] oh, you know, those pre those Nazi days. Yes.

[00:11:21] And I was with the staff to see if I couldn't make some films

[00:11:24] about the ABC countries down there.

[00:11:26] You know, there's Argentina, Brazil and Chile.

[00:11:29] Yes.

[00:11:31] And they first wanted me to go on a handshaking Goodwill tour.

[00:11:33] And I said, I don't I don't go for it.

[00:11:35] I'm not a good handshaker and everything.

[00:11:37] And then they came back and said, well, you go down

[00:11:39] and make some films about these countries.

[00:11:41] I said, well, that's that's my business.

[00:11:42] I can do that. Take a pencil in your head.

[00:11:44] That's right.

[00:11:45] Why is it willing to fall interviewing about it?

[00:11:47] Quarters in in

[00:11:50] oh, in Rio.

[00:11:51] We also went and set up a studio in the Argentine.

[00:11:55] We went over to Chile and some of my artists,

[00:11:57] we'd provided a party.

[00:11:58] Some of them went up through Peru.

[00:12:00] And when it came back, I made these four short subjects.

[00:12:04] We brought back the Tico-Tico tune

[00:12:07] when it was being played down there.

[00:12:09] And I brought that back and put it in, brought back Brazil.

[00:12:12] And both of them became standard tunes here.

[00:12:15] And we out of it, we developed this little Brazilian parrot,

[00:12:19] Jose Carioca, who played with Donald Duck.

[00:12:22] Anyways, these four films were

[00:12:25] put more or less put together and they went out in the theater.

[00:12:28] And of course, it was one of those things

[00:12:30] that they thought Disney need to subsidy.

[00:12:32] But you know, fortunately, that little thing went out

[00:12:34] and it did a heck of a business

[00:12:36] and the United States government didn't have to put up one nickel.

[00:12:39] Wonderful.

[00:12:40] It was actually a good will tour for the government.

[00:12:42] It does sound like it was later about about two years later

[00:12:45] that the three Caballeros then became the new president.

[00:12:48] That was a follow-up. Yeah.

[00:12:49] Combining live action.

[00:12:50] Yeah, I almost need the subsidy on that one.

[00:12:54] I was I was needed to help with that one.

[00:12:56] It does sound like Willem Dafoe, doesn't it?

[00:12:58] One and Walt sounds more like my grandpa than ever.

[00:13:01] Oh, well.

[00:13:04] Oh, sure.

[00:13:06] You know, back in the day.

[00:13:10] Don't worry, everything's fine.

[00:13:11] Definitely. Yeah.

[00:13:13] I love that I was listening to that.

[00:13:14] I was like, oh, man, Willem Dafoe rules right now.

[00:13:17] We're in a Wes Anderson film now.

[00:13:19] Here we go. My grandpa and Willem Dafoe having a conversation.

[00:13:23] Wonderful.

[00:13:24] So as my friend Walt was saying in 1941, as part of Goodwill

[00:13:28] gesture, the US government sent Walt Disney

[00:13:31] and 18 of his animators down to South America.

[00:13:34] I should qualify that it's not just animators.

[00:13:37] They're really like two real animators.

[00:13:40] There were story guys and conductors or composers

[00:13:44] and there was a PR person.

[00:13:46] You know, there's like a lot of other people.

[00:13:47] So it was it was a group of people that's not just animators.

[00:13:51] OK. The point was to further solidify

[00:13:54] Pan American relations, at least on the government side.

[00:13:57] Disney just wanted to mine the trip for content.

[00:14:00] As with most things I read about with regard to Walt,

[00:14:02] I wanted to know what the context of this trip was.

[00:14:06] And that really came about when I was researching

[00:14:08] Walt's involvement with the FBI for the most recent

[00:14:10] Patreon only show the pyramid eyes of the ears.

[00:14:13] In there, I read that Roy was the one who sent him

[00:14:16] to South America to relax and to more importantly,

[00:14:20] get him away from the animators strike that he was completely borking.

[00:14:25] But the truth happens to be more coincidental than that.

[00:14:29] In the early 20th century, the United States periodically

[00:14:33] intervened militarily in Latin American nations

[00:14:36] to protect its interests.

[00:14:38] After the well known Roosevelt Corollary of 1904,

[00:14:42] I don't even have to tell you guys about that.

[00:14:44] No, not at all.

[00:14:45] Whenever the United States felt its debts

[00:14:47] were not being repaid in a prompt fashion,

[00:14:50] its citizens business interests were being threatened

[00:14:52] or its access to natural resources was being impeded.

[00:14:56] Military intervention or threats were often used

[00:14:59] to convince the local government to see things our way.

[00:15:02] Of course, this made many Latin Americans

[00:15:04] wary of US presence in their region

[00:15:06] and hostilities grew towards the United States.

[00:15:10] Odd and weird.

[00:15:11] Right. It's weird how that would happen.

[00:15:13] It's also weird how history just repeats itself over and over again.

[00:15:18] We don't learn anything.

[00:15:19] And we I mean people.

[00:15:21] President Wilson landed troops in Mexico in 1914

[00:15:24] and Haiti in 1915

[00:15:26] in the Dominican Republic in 1916

[00:15:29] in Mexico for a second time in 1916

[00:15:32] and then in Mexico several times additional before he left office

[00:15:36] in Cuba in 1917 and in Panama in 1918.

[00:15:40] So have you ever wondered why why we were in all these places?

[00:15:44] You know, the early teens there that happened.

[00:15:46] Also, for most of the Wilson administration,

[00:15:49] the US military occupied Nicaragua,

[00:15:52] installed the Nicaraguan president that the US preferred

[00:15:55] and ensured that the country signed treaties favorable to the US.

[00:16:00] I don't know, I just I read that and think of that scene

[00:16:02] in Blazing Saddles where they're just, you know, we're

[00:16:05] assigning the governor is like, oh, do I have to sign this?

[00:16:09] OK, and then you like guide his hand towards the fence.

[00:16:12] OK.

[00:16:14] Then in 1929, President Hoover came to power.

[00:16:17] I came to power. He was elected.

[00:16:18] Geez, when am I writing?

[00:16:20] And it was he who decided that it was time for a new approach

[00:16:23] to Latin America and enacted the so-called good neighbor policy.

[00:16:28] Now, this government program aimed to rely on goodwill

[00:16:31] and a fair amount of new trading possibilities

[00:16:33] to repair the trust of the various South American countries

[00:16:37] the US had kicked in the shins over the years

[00:16:39] rather than continue using the military as a cudgel.

[00:16:43] This was a pretty big change from his previous belief system,

[00:16:46] which he went public with like a couple of years before being elected.

[00:16:51] That Latin American countries were just unable to govern themselves.

[00:16:56] They needed the US.

[00:16:57] Yeah, so it's very like racially, you know, kind of like a stinging thing.

[00:17:01] And suddenly he was like, oh, wait a minute, maybe I don't think that

[00:17:04] I'm going to run for president.

[00:17:06] It's like, never mind.

[00:17:08] Yeah. So pretty big about face there.

[00:17:12] He gave an address stating that, quote,

[00:17:14] it has never been an ought not to be the policy of the United States

[00:17:18] to intervene by force to secure or maintain contracts

[00:17:22] between our citizens and foreign states or their citizens.

[00:17:26] I don't know if you can say it never has been because

[00:17:28] after that time that I did say that, you know, well, except the time

[00:17:31] that it happened. But I guess I guess what he means is like policy

[00:17:34] versus like unofficial policy where unofficially we're going

[00:17:38] we're going to put a base in Nicaragua.

[00:17:39] We're going to install governments or whatever.

[00:17:41] It's not official policy.

[00:17:42] Yeah, it happened.

[00:17:45] Just just, you know, sorry.

[00:17:46] Oops, yeah. It fell off the table.

[00:17:49] I don't know.

[00:17:50] Hoover's Secretary of State, Henry Stimson,

[00:17:53] observed in a 1931 radio broadcast that certain, quote,

[00:17:56] sore spots in inter-American affairs,

[00:17:59] quote, have damaged our good name,

[00:18:01] our credit and our trade far beyond the apprehension of our own people.

[00:18:05] So basically we don't even understand how much people hate us.

[00:18:09] This is basically what he's saying

[00:18:11] and stated faith in the U.S.

[00:18:12] effort to, quote, eradicate the sore spots of Latin American diplomacy.

[00:18:17] Now, the good neighbor policies main principle was that of nonintervention

[00:18:21] and noninterference in the domestic affairs of Latin America.

[00:18:24] In late 1933, the good neighbor policy was confirmed as official U.S.

[00:18:29] policy was on the books. It's official.

[00:18:31] That's what it is.

[00:18:32] They had funding, everything.

[00:18:34] The following year, 1934, it saw the withdrawal of troops from Haiti

[00:18:38] and new trade routes were opened over the next few years

[00:18:41] between the U.S. and Latin America.

[00:18:43] So I get some new trade going in, there's some money flowing down south.

[00:18:47] You know, we got, hey, you guys like us, right?

[00:18:49] For your friends.

[00:18:50] Yeah. Have some jeans.

[00:18:53] Have some American jeans, man.

[00:18:56] But more effort was needed.

[00:18:58] And I don't know how they know that, but it just was.

[00:19:03] In 1940, then President Roosevelt created the Office

[00:19:07] of the Coordinator of Inter-American Affairs

[00:19:09] or the OCIAA and appointed Nelson Rockefeller

[00:19:14] to head the organization of the Rockefeller family.

[00:19:17] You know what I mean?

[00:19:18] Guess how old Nelson Rockefeller was at this time?

[00:19:22] No, 81. 20.

[00:19:25] I think he was 28.

[00:19:26] Wow. 27 or something like that.

[00:19:30] Oh, that rock.

[00:19:30] A little off.

[00:19:32] Yeah. But also you're in you're not you're in your late 20s

[00:19:36] and you are the head of the Office of the Coordinator

[00:19:40] of Inter-American Affairs.

[00:19:43] It's been saying to me, but but doesn't I don't understand

[00:19:47] how a government can run using people that have

[00:19:49] that don't have many, many decades of experience behind them?

[00:19:54] Yeah. Well, you know what?

[00:19:55] You could argue that it doesn't either way.

[00:19:59] One division within the OCIAA, which was the Motion Picture Division.

[00:20:03] So it was this division of Coordinator of Inter-American Affairs.

[00:20:07] So it's basically the the arm of improving Latin American

[00:20:13] efforts, right? Or or improving our standing within Latin America.

[00:20:17] Right. So within that agency, there's different programs.

[00:20:21] One was Motion Picture Division.

[00:20:22] One was like arts in general and music or whatever. Right.

[00:20:25] The trade. There's a lot of trade things going on.

[00:20:27] But this specifically, the Motion Picture Division is what we're

[00:20:30] we're focused on right here.

[00:20:32] That was headed by a man named John Hay Whitney, with the main intent

[00:20:36] to abolish preexisting stereotypes of Latin Americans that were prevalent

[00:20:40] throughout American society.

[00:20:42] Whitney was convinced of the quote power that Hollywood films

[00:20:45] could exert in the two pronged campaign to win the hearts and minds

[00:20:49] of Latin Americans and to convince Americans of the benefit

[00:20:53] of Pan American friendship.

[00:20:55] The two pronged campaign was change the way Latin Americans

[00:20:59] were perceived in movies and TV and then send our stars down there

[00:21:02] to meet everybody.

[00:21:04] Right. A little glad handing.

[00:21:06] In order to accomplish this, Whitney urged film studios to hire

[00:21:10] Latin Americans and to produce movies that placed Latin America

[00:21:13] in a favorable light.

[00:21:15] Further, he urged filmmakers to refrain from producing movies

[00:21:18] that perpetuated negative stereotypes.

[00:21:21] Historically, Latin Americans were portrayed as lazy,

[00:21:24] backwards and suspicious.

[00:21:26] One film star who merged in was Carmen Miranda,

[00:21:30] used as a product to promote positive hemispheric relations.

[00:21:34] You can tell I copied this.

[00:21:36] Her films explicitly promoted the good neighbor policy.

[00:21:38] You know Carmen Miranda's name familiar?

[00:21:41] Oh, yeah. I have no idea.

[00:21:43] She was very famous dancer.

[00:21:46] She the fruit lady, but fruit on her head.

[00:21:47] Oh, OK. Yeah. Yeah.

[00:21:49] OK. Got it.

[00:21:50] US ambassadors were largely ineffective at garnering favor.

[00:21:53] So prominent Hollywood figures were asked to infuse Latin American

[00:21:57] themes into their films to gain the proper sympathy down in South America.

[00:22:02] People like Orson Welles, Bob Hope and the American Ballet Company

[00:22:06] had been going down to Latin America as part of this good neighbor campaign

[00:22:09] for almost a decade.

[00:22:10] But this stream of Hollywood began to do more harm than good,

[00:22:13] as most everyone there was to party glad hand and generally not care

[00:22:18] about the culture.

[00:22:20] So Latin Americans, I think people who have a stronger culture

[00:22:25] than the US, right?

[00:22:26] Because we're more of a melting pot and we're basically new.

[00:22:29] You know, we're still babies.

[00:22:31] They're a protective of the culture.

[00:22:32] And so if you come down and you want to take their time or whatever,

[00:22:36] that you they want to see you as being interested in what they have

[00:22:40] to say, their history, where they're going, be interested in them,

[00:22:43] not just a place to party.

[00:22:45] And I think a lot of Hollywood elite would go down there and do just that.

[00:22:48] And they would go and they would leave, you know, Argentina or Brazil

[00:22:51] or, you know, the Copacabana or whatever.

[00:22:53] And people were going like, what cares?

[00:22:55] You don't care about us.

[00:22:56] We're going to care about you. Yeah. Yeah.

[00:22:58] By the spring of 1941, these ambassadors had become an active

[00:23:02] irritant in South American culture.

[00:23:05] This is a quote.

[00:23:07] The next Goodwill mission that arrives in Rio says Oswaldo Aranda,

[00:23:11] who was Brazil's foreign minister.

[00:23:13] Brazil will declare war on the United States.

[00:23:17] Oh, dear.

[00:23:18] Which I'm sure was very, you know, very funny, but also like, I'm tired of this.

[00:23:21] You just you can read all that right there.

[00:23:23] Yeah.

[00:23:24] The OCIAA needed to change things up and fast.

[00:23:28] Early attempts at gaining favor in Latin America were often failures

[00:23:31] all around. For example, a film made at the time, inspired by

[00:23:35] the CIA's policy called Argentine Knights caused a riot

[00:23:40] when it opened in Argentina.

[00:23:42] Locals took offense at the Cuban style songs and clothing

[00:23:44] featured in the film claiming they reflected nothing of Argentine culture.

[00:23:49] Oh, so it's just like today.

[00:23:50] Yeah. So if you're going to make a film about our culture, get it right.

[00:23:53] Or we're going to be mad.

[00:23:55] And that's the same thing they did with Moana and the same thing

[00:23:57] they did within Kanto.

[00:23:58] It's kind of like it's it's that history repeating itself.

[00:24:02] We'll bring those up later.

[00:24:04] Remind me, there was another perhaps secondary motive

[00:24:08] for a more friendly approach to Latin American diplomatic relations.

[00:24:11] And that was the growing threat of fascism and the Nazi movement in Europe.

[00:24:16] In 1933, as Nazis rose to power in Germany, 10 percent of the German

[00:24:21] Jewish population, which is about 53,000 people,

[00:24:24] as well as about 10,000 non-Jewish Germans,

[00:24:27] fled the country for South America.

[00:24:30] By 1941, it was estimated that half a million Jews

[00:24:33] had managed to arrive looking for safety and as many as 9000

[00:24:38] Nazi officers and collaborators from other countries escaped from Europe

[00:24:43] to find sanctuary sanctuary sanctuary

[00:24:47] to find sanctuary

[00:24:50] to find a place to hang out in South American countries.

[00:24:54] Brazil took in between 1500 and 2000 Nazi war criminals.

[00:24:58] This is, of course, after the war, while between 500 and 1000 settled in Chile.

[00:25:03] However, by far the largest number, as many as 5000

[00:25:07] relocated to Argentina in the years after the end of the war,

[00:25:11] Argentine President Juan Perón secretly ordered diplomats and intelligent

[00:25:15] office intelligence officers to establish escape routes, so called rat lines

[00:25:20] through ports in Spain and Italy to smuggle thousands of former SS

[00:25:24] officers and Nazi party members out of Europe into Argentina,

[00:25:28] which is wild. And that's a whole this a whole arm of history.

[00:25:31] It's just bizarre to me.

[00:25:32] So the US is worried about this. Please come here.

[00:25:36] Come to beautiful Argentina.

[00:25:39] Yeah, well, and they were already like, you know, actively sort of.

[00:25:42] And I don't I can't remember if I get into this or if I read this,

[00:25:45] but it was basically at this time South America had a bunch of resources

[00:25:49] for the war, for the building war, right?

[00:25:51] And the Axis powers were actively courting

[00:25:57] a lot of the countries in South America and the US knew that.

[00:26:00] So they wanted to come in here and just improve diplomatic relations,

[00:26:04] friendship relations and try to counter that narrative

[00:26:07] that the Axis powers were kind of bringing in. Oh, yeah. Yeah.

[00:26:10] This worry came due to the large presence of Italian and German

[00:26:13] communities in Latin America, specifically in Argentina and Brazil,

[00:26:17] even before the war.

[00:26:18] Some reports state that during the peak period of the world's

[00:26:21] overseas migration, which was between 1821 to 1932,

[00:26:25] six countries absorbed 90 percent of the total immigrants, right?

[00:26:31] And among these six countries, Argentina.

[00:26:36] Accounted for 46 percent of wait, hold on.

[00:26:40] Argentina received 6,405,000 people in a what 90 year period.

[00:26:46] Wow. Italians accounted for 46 percent

[00:26:50] of the total immigration to Argentina in that 90 years.

[00:26:54] So it's a lot of those kind of like that's schistic, you know,

[00:26:59] stereotypically racist kind of viewpoints

[00:27:02] that were already starting to seed that the local politics.

[00:27:07] Wow. Yeah.

[00:27:08] German and Italian communities also flurried across the southern

[00:27:11] and southeastern regions of Brazil.

[00:27:14] The country was also home to the largest Japanese community

[00:27:16] outside of Japan, the first group of which consisting of seven hundred

[00:27:20] eighty one people embarked aboard the Katsumaru,

[00:27:23] which sailed from Kobe on April 19 eight.

[00:27:27] I just think it's really neat by the 1920s, the Japanese were the

[00:27:33] the Japanese headed the entry lists of immigrants by nationality at San Paolo.

[00:27:37] So by the 1920s, more Japanese were coming through as immigrants

[00:27:41] and then anywhere else. Oh, wow. Weird, right?

[00:27:44] Never heard that. Yeah.

[00:27:45] Yeah. It's like no relevance at all.

[00:27:47] But I thought it was a neat point, which is part of my problem.

[00:27:50] And I do this like, oh, this is cool.

[00:27:51] And so they have too much background.

[00:27:53] It's like, come on, dude.

[00:27:54] How many of them are Nazis or Walt Disney?

[00:27:57] Right. None, hopefully.

[00:27:59] Unfortunately, anti-Semitism also followed the Germans over

[00:28:03] and soon was ignited in Latin America, giving rise to many sympathetic Nazi groups.

[00:28:08] In 1941, on the eve of America's entry to World War Two,

[00:28:12] President Franklin Roosevelt wanted to find someone to really move

[00:28:15] the needle in Latin America.

[00:28:17] So he reached out to someone who embodied the American spirit

[00:28:21] that the US was wanting to promote down there, Walt Disney.

[00:28:25] At first, Walt declined, stating he wasn't great with shaking hands and being a diplomat.

[00:28:30] Not to mention the studio was on strike and Walt wasn't really handling that well.

[00:28:35] It wasn't until the government came back

[00:28:37] and commissioned him to make a few cartoons about the region

[00:28:39] that Walt seemed interested like our friend Walt was saying at the beginning.

[00:28:43] Roy encouraged Walt to take this offer, get some rest

[00:28:46] and go out and get some content out of it.

[00:28:49] The war in Europe had cut off an entire market for the studio

[00:28:52] and the animators strike threatened the Walt Disney Company's survival in general.

[00:28:57] Like there was a there was a moment where nobody really knew

[00:29:01] if the studio would make it, the studio would survive.

[00:29:03] And some people are saying without this once again,

[00:29:07] without the government stepping in and saying, hey, let's subsidize your trip.

[00:29:11] Let's get you out there.

[00:29:13] He came out, he made these films, made some money,

[00:29:16] was able to pour that back in whatever, right?

[00:29:17] Like all this kind of stuff that kept the studio going.

[00:29:20] I don't know that the studio would have made it through to when Pearl Harbor hit

[00:29:25] and the military came in and took over and whatever, right?

[00:29:28] Like, I don't know that that would have happened.

[00:29:29] It like help keep them afloat for that.

[00:29:31] I think so, yeah.

[00:29:33] With the promise of new material and perhaps a way to get back

[00:29:36] to his roots of sketching and generating ideas, not just running a studio.

[00:29:40] Disney was on board.

[00:29:42] Even though funds were tight or non-existent,

[00:29:44] the banks took a gamble on Walt and agreed to fund the trip.

[00:29:49] Now, the US government said they would reimburse Walt after the fact.

[00:29:52] So why not?

[00:29:54] Basically, as I read this, the government backed the trip

[00:29:57] saying we will pay you later, right?

[00:30:01] And in case the films that were made didn't make money,

[00:30:03] the government would pay the bank off.

[00:30:05] So the wall goes to the bank and goes, hey, I need a loan.

[00:30:09] The bank goes, why should we do this for you?

[00:30:11] And he goes, well, because I'm Walt Disney and I do this and whatever.

[00:30:14] And they go, yeah, let's try it.

[00:30:15] You're Walt Disney. Let's maybe because they knew

[00:30:19] that even if the films didn't make any money,

[00:30:21] the government's check would clear what would pay the bank off of the note.

[00:30:24] So either way, the banks win and it's like, OK, let's just do it.

[00:30:26] Yeah. OK. At least that's how I understand.

[00:30:29] How? Yeah, I'm not smart.

[00:30:31] So I could not be right.

[00:30:33] Hey, it makes sense to me. It sounds good.

[00:30:35] Although the contract was smart.

[00:30:37] Although the contract for the trip itself was not signed until August 1941.

[00:30:42] Disney had already handpicked the people who would accompany him by the end of July.

[00:30:47] So pretty excited.

[00:30:49] Yeah, he's pretty excited to get on the road, man.

[00:30:52] He also had a good group of people to choose from at that point.

[00:30:54] Yeah, well, yeah.

[00:30:55] Yeah, I mean, international travel at the time, like that's a big deal.

[00:30:59] Dude, it's huge. Yeah.

[00:31:03] So Disney, along with 18 of his artists,

[00:31:06] went on an extended trip to Brazil, Argentina and Chile and, you know,

[00:31:11] Uruguay and all these places.

[00:31:13] The only question was how would this cultural delegation and the subsequent

[00:31:17] content be received in South America?

[00:31:20] Even Carmen Miranda, the famed Brazilian who we talked about just a bit ago,

[00:31:24] was lauded by her countrymen when in 1940 she came to Rio and

[00:31:28] promote and performed for the country's elite, like, you know,

[00:31:31] businessmen and political leaders or whatever.

[00:31:34] She was considered more of an Americanization of their own culture

[00:31:38] rather than an example of it.

[00:31:40] So people were like upset about her.

[00:31:42] They didn't think that she was truly Brazilian.

[00:31:44] She was just sort of just American, American version of that.

[00:31:47] OK. So you kind of felt that Walt might have been in for a skewering

[00:31:52] at some point either way, you know, if you can't take Carmen Miranda

[00:31:56] dancing very well, you probably aren't going to take Goofy as a goucho.

[00:31:59] You know?

[00:32:01] So who were members of El Grupo?

[00:32:04] And we'll get to the name in a second.

[00:32:05] But who did Walt even bring?

[00:32:07] They were some of the most well-known artists in Walt Disney studios at the time.

[00:32:12] First, you had Norm Ferguson, who had started out as an animator at the studio,

[00:32:15] but had been chosen to produce and direct all of the films based on the South America trip.

[00:32:21] He was a favorite of many of the children in South America

[00:32:23] because he was famous for his working, his work on animating Pluto.

[00:32:27] So everywhere he went on this trip,

[00:32:30] he would sit down and he was asked to sketch

[00:32:32] different versions of Pluto for local children over and over

[00:32:37] again. I mean, this man in the movie,

[00:32:41] there's one I think it's called South of the Border.

[00:32:44] It's on YouTube.

[00:32:45] It's basically like just a collection of these videos.

[00:32:48] It's narrated by the company.

[00:32:49] It's a company produced thing.

[00:32:51] But you see you see Norm just like sitting down.

[00:32:53] There's like eight or ten kids and he's drawn Pluto

[00:32:56] over and over and over again.

[00:32:58] So pretty nice.

[00:32:59] You know, I don't know that anybody would really do that these days.

[00:33:02] Another animator went along on the trip whose name was Frank Thomas,

[00:33:05] one of the famous nine old men.

[00:33:08] Although like everyone else, Frank Thomas was there to do research for the new film.

[00:33:12] Walt had an ulterior motive for asking him on the trip, supposedly

[00:33:16] with World War Two approaching.

[00:33:18] Walt was starting to worry that his animators would get drafted,

[00:33:21] at least the ones that weren't on strike.

[00:33:23] Since Frank was one of his top animators and one of the youngest,

[00:33:26] Walt figured that if he went along with them, he could avoid the draft.

[00:33:30] OK, I mean, wow.

[00:33:32] And in the movie, Walton, the Grupo,

[00:33:34] I think it was Diane Miller was like or someone was like, you know what?

[00:33:39] I don't know that that's real.

[00:33:40] They had a tendency to over exaggerate, but

[00:33:44] you never really know, I guess.

[00:33:46] Also on the present or excuse me, also present on the trip

[00:33:49] was layout man Herb Reiman.

[00:33:52] He started to make cartoonish versions of all the parrots

[00:33:54] the group encountered in Rio, putting them in human clothes and poses.

[00:33:58] And from these sketches, the character of Jose Carocca

[00:34:01] was born in three cuba euros and the parent, the Brazilian parent.

[00:34:04] Right? Also present was the musician Charles Wolcott,

[00:34:08] who got several Academy Award nominations for the songs he wrote while on the trip.

[00:34:12] There were also storyman William Cotrell, Jr., Ted Sears and Web Smith

[00:34:17] and story sketch artists James Baudero and John Miller.

[00:34:21] Finally, the lead artist Lee Blair came along with his wife, Mary Blair.

[00:34:25] And that

[00:34:27] Walton, a group of tell a story.

[00:34:29] I believe they speak with Lee and Mary's son

[00:34:33] and he calls the story of Lee getting tapped to come on this trip.

[00:34:37] And Mary wasn't and Mary was pissed.

[00:34:39] Oh, she thought she deserved to go.

[00:34:41] Absolutely. To go. Yeah.

[00:34:43] So he goes, you know what?

[00:34:45] Go make your case.

[00:34:46] Go pitch it. Go pitch it to Walt.

[00:34:48] So she put on like her best dress, got all her makeup on,

[00:34:51] all her good perfume and went in and pitch Walt on the idea of her going.

[00:34:55] And he's he agreed.

[00:34:57] Kind of neat. Good.

[00:34:58] She's like, I deserve to be here.

[00:34:59] And he's like, well, yeah, OK, great.

[00:35:00] You smell good enough. Let's go.

[00:35:03] I don't know.

[00:35:04] This trip was a particularly significant part of Mary Blair's life

[00:35:07] that basically changed the course of her career.

[00:35:10] Mary Blair and her husband eventually split off from the rest of the group

[00:35:14] and took some time to explore further in South America,

[00:35:17] like Peru, Bolivia, Guatemala and Mexico.

[00:35:20] And as she continued to travel,

[00:35:21] she increasingly developed her bold, simplified and colorful art style.

[00:35:26] So in this movie, again, go watch this movie.

[00:35:28] It's a fantastic movie.

[00:35:29] Mary Blair's son shows some of her watercolors

[00:35:33] before the trip and they're just kind of standard.

[00:35:35] He's like, you put him next to my dad's and you can't really tell him apart.

[00:35:39] The colors aren't bold.

[00:35:41] There's design is just everything sort of like flat.

[00:35:43] They look like which comes back from this trip.

[00:35:46] And suddenly she has pallets of pallets of colors that don't go together.

[00:35:48] It suddenly go together in these bold shapes and these cool designs.

[00:35:52] She really expanded her mind.

[00:35:54] And that's style.

[00:35:55] That's her.

[00:35:56] Mary Blair style.

[00:35:57] Yeah, absolutely.

[00:35:59] It seemed Peru really sparked her imagination and two paintings

[00:36:03] she created of Peruvian children became particular favorites of Waltz,

[00:36:07] becoming the only artwork by a studio artist

[00:36:10] that he had ever hung up in his apartment.

[00:36:13] Wow. Supposedly.

[00:36:14] I mean, I can't prove that, but that's what it is.

[00:36:17] So not only did the timing of this trip work out well

[00:36:20] with regards to Waltz getting out,

[00:36:22] Waltz getting out of the animator strike.

[00:36:24] Out of negotiations of the animator strike.

[00:36:27] It offered the studio another way to solidify their relationship

[00:36:30] with film audiences in Latin America,

[00:36:33] since Germany, one of the top markets for Disney films at the time,

[00:36:35] was pretty much cut off.

[00:36:37] It also happened to correspond with the release of Fantasia in South America.

[00:36:41] So while Walt was in a few of these countries like Brazil,

[00:36:43] he would leave the group and go off to attend premieres of the movie.

[00:36:48] So you're doing triple duty, which is kind of sounds like Walt.

[00:36:53] Yeah. What else can I do?

[00:36:54] How else can I work on this?

[00:36:56] Yeah, you know, I'm basically on the hook from the government to

[00:37:00] make movies, go to my own film premiere in, you know, tropical country.

[00:37:05] Like, why not? Yeah, sounds great to me, man.

[00:37:08] The group left Miami on August 15th, 1941, and landed in Rio three days

[00:37:13] later, which can't be right, but maybe it is. Who knows?

[00:37:15] Like you were saying, Eric, international travel was not

[00:37:20] not easy back then. Yeah.

[00:37:21] With Rio being Rio, the hotels were all booked up.

[00:37:25] So the group had to split up.

[00:37:27] Of course, Walt stayed at the luxurious Copacabana

[00:37:30] while he attended PR events and such, which left most of the other

[00:37:34] animators to venture out and collect stuff.

[00:37:37] This splinter group stayed at the Hotel Gloria

[00:37:40] and in the mornings, they would have to wait in the lobby

[00:37:43] for their marching orders.

[00:37:44] So Walt or someone else from the Copacabana

[00:37:47] would have to call Hotel Gloria and be like, hey, this is what we're doing for the day.

[00:37:52] So one of the one of the one of the one of the wives of the men

[00:37:55] who went along had a background in PR, so she basically was like the PR person.

[00:38:00] And I would imagine that's her going, OK, here's the itinerary.

[00:38:03] So in this Walt and all group of movie, you see a lot of the

[00:38:05] the timed out itineraries of what's going on for the day.

[00:38:08] So this group of the Hotel Gloria, they just had to go and kick it

[00:38:11] and hang out, right? And then so someone from the other hotel

[00:38:15] would call each morning what events they had to attend to, if any,

[00:38:19] or they were free to do whatever.

[00:38:20] I don't know. Right.

[00:38:21] So the call would come through the desk and the bell hop

[00:38:24] would have to walk through the lobby calling for El Grupo Disney.

[00:38:28] El Grupo Disney and the name stuck.

[00:38:31] So they liked it.

[00:38:32] So they started calling themselves El Grupo. OK.

[00:38:37] Now in Brazil, Disney and his artists took note of the cultural

[00:38:41] significance of the Brazilian parrot and studied it extensively.

[00:38:45] This research resulted in the character Jose Carocca that her

[00:38:48] bramond developed, who would appear with Donald Duck and Goofy in Disney's

[00:38:51] 1942 film, Saludos amigos.

[00:38:55] In Brazil, they toured local landmarks like the giant statue of Jesus and Rio,

[00:39:00] the botanical gardens and went to the zoos and wherever they went,

[00:39:04] they sat and sketched and watercoloured and painted and drew

[00:39:08] wild varieties of tropical plants and orchids that never have been

[00:39:12] seen before in America at the zoo.

[00:39:14] They did animals and armadillos and all this stuff, right?

[00:39:18] They've never they don't know.

[00:39:19] They're just drawn stuff, you know, from city streets to giant hills.

[00:39:23] The content mill had started to spin by the time they got to Chile,

[00:39:27] which I think was their next trip.

[00:39:29] Walt had made it clear to anybody moving forward that he only wanted

[00:39:33] to meet with fellow artists who had enough of handshaking

[00:39:36] elected officials and doing the whole diplomat thing,

[00:39:40] which he never wanted to do in the first place.

[00:39:41] He wanted to experience the culture,

[00:39:44] which putting all the other stuff in context of how pissed off

[00:39:48] people in Latin America were getting like people like Orson Welles

[00:39:50] or Bing Crosby wanted to come through and just play golf.

[00:39:52] He doesn't want to. He didn't care about anything.

[00:39:54] Yeah. Walt's driving two hours away

[00:39:57] to a farm to learn how to dance.

[00:39:59] Like he this is the stuff that he's into.

[00:40:01] And so people gravitated towards that

[00:40:03] and they could they could feel the respect for that.

[00:40:05] And they appreciated it.

[00:40:06] And I think that really kind of made everything, you know, blossom.

[00:40:09] Yeah. Well, right.

[00:40:11] And what's getting stuff out of it, too?

[00:40:12] Like this is movement. This is culture.

[00:40:15] This is something that he can bring to the Americas.

[00:40:18] This isn't just let's find animation that

[00:40:21] that South America would find interesting.

[00:40:24] We can bring things back to North America and other markets

[00:40:27] where like this is a culture

[00:40:29] that that a lot of people don't know a lot about at the time.

[00:40:33] Yeah. And I think it's fascinating because like

[00:40:36] thinking about Walt and Roy's trip to Germany in the early 30s.

[00:40:42] They just got books.

[00:40:44] They bought a bunch of about 300 bucks.

[00:40:46] Right. This was different.

[00:40:47] And I think based and I'm just putting this together now,

[00:40:49] but I think based off of that trip, Walt's like, all right,

[00:40:51] I need I need a storyboard artist.

[00:40:55] Yeah. I need a composer

[00:40:57] because there's a ton of music we don't even know about.

[00:41:00] You know, I need colorists.

[00:41:01] I need these people.

[00:41:02] I need a sound man.

[00:41:04] Yeah.

[00:41:04] To really absorb the culture.

[00:41:06] He went ready for it.

[00:41:08] It's not just it's very different than just farming for stories.

[00:41:12] Right.

[00:41:13] Because you knew that you go by books and whatever,

[00:41:14] but this was like he wanted to really know

[00:41:16] he wanted to do it justice and he took this role very seriously.

[00:41:19] Yeah.

[00:41:21] I'll tell you what, let's take a break.

[00:41:22] OK. We're we're in Chile.

[00:41:24] We're taking a break.

[00:41:25] We're going to come back and we're going to learn

[00:41:27] a little bit more about what happened

[00:41:29] and all that kind of good stuff.

[00:41:30] So hang on everyone.

[00:41:31] It's years up. We'll be right back.

[00:41:37] And now back to the show

[00:41:38] that ignites your dream wish of imaginations

[00:41:41] and magical color, wonderment of forever.

[00:41:45] Years up.

[00:41:49] All right, thanks for sticking around, everybody.

[00:41:53] They're going to grab me a brew free or die cold IPA

[00:41:57] 21st Amendment.

[00:41:58] Yeah, I should play their commercial later.

[00:42:00] But Texas only the other day because, you know,

[00:42:04] Greek Easter was this last Sunday.

[00:42:06] I don't know if you knew that or not.

[00:42:08] I didn't know it was greaster.

[00:42:09] I'm sorry. Yeah, well, it's fine.

[00:42:11] I felt I felt you heathens mocking us.

[00:42:15] It was also single to mile, but you know whatever.

[00:42:18] And so I was in a different church going

[00:42:21] all those people that think it's Easter today.

[00:42:26] I texted Sally.

[00:42:27] I was like I was buying some beer and I saw that

[00:42:31] two and a has a variety pack.

[00:42:32] They do a lot of variety packs

[00:42:33] and I never really look at them

[00:42:36] because they're usually beers I don't want to drink

[00:42:39] just from any, any brewery because it's a lot of IPA.

[00:42:42] It's a lot of stuff.

[00:42:42] I'm not interested in sure, but I saw in this variety pack

[00:42:46] specifically, there was a paleo on it.

[00:42:48] And I'm like, oh, you

[00:42:51] because that's how you get me.

[00:42:52] Yeah, a paleo or a logger.

[00:42:54] And I was like, OK, so I look closely.

[00:42:56] Oh God, I thought that was the full can.

[00:42:58] No, Dottie, come away, dude.

[00:43:00] Nobody likes you.

[00:43:02] I look, there's the cold IPA, which is pretty good.

[00:43:05] For an IPA, it's pretty good.

[00:43:06] There's the back in black, which is a black IPA,

[00:43:09] which I do like.

[00:43:09] It's one of the few black IPAs I'll drink.

[00:43:13] And then this paleo and then like another IPA, I was like,

[00:43:16] I had to buy it. So I texted him.

[00:43:17] I was like, you got mostly got me with it,

[00:43:20] with a frigging variety pack.

[00:43:22] He goes, you're welcome to get three pills

[00:43:24] to get to get three paleo.

[00:43:27] But that's all right.

[00:43:27] I'll drink it because everything else is good.

[00:43:30] Anyway, all right, where were we?

[00:43:32] Chile. All right.

[00:43:34] So what the group would do whenever they went into a hotel

[00:43:36] in a new country, they would set up shop.

[00:43:39] They would post up in hotel lobbies, pouring over materials,

[00:43:43] musical instruments of the region that they would go out and gather.

[00:43:46] And they would stay there for like four or five days

[00:43:47] so they would really get entrenched with everything.

[00:43:49] And of course, they would be giving interviews to the press whenever they could.

[00:43:53] In Buenos Aires, they took over the penthouse of the hotel

[00:43:57] they were staying at and they constructed their makeshift studio

[00:43:59] where they would assemble the basic artwork, stories and music

[00:44:03] that will come together once they arrived back home.

[00:44:06] In Argentina, dancing expositions were given on the roof of the hotel

[00:44:10] the group was staying at and as artists sketched the dancers

[00:44:14] and the musicians of the group did their best to transcribe

[00:44:17] the notes they were hearing into sheet music.

[00:44:20] Now these were traditional dances and songs

[00:44:22] and these new rhythms would add that bit of authenticity

[00:44:25] and flair to these future projects that Walt had in mind.

[00:44:29] Now in Walt and El Grupo, you see footage of this

[00:44:32] and so this specifically at this hotel in Argentina in Buenos Aires.

[00:44:36] It's like the garden patio off of the penthouse.

[00:44:39] So the penthouse, there was this big long

[00:44:43] basically a tiny ballroom that they would use it.

[00:44:45] They would use it literally for ballroom in like the colder months.

[00:44:47] OK.

[00:44:48] But then they would rent it out for like a penthouse or so.

[00:44:50] It's not really like a traditional suite,

[00:44:52] but it's just like a rectangular room.

[00:44:54] And then, you know, there's no couches,

[00:44:56] but it's like dining or whatever.

[00:44:57] OK, OK.

[00:44:58] And then you open these double doors in this movie.

[00:45:00] You see it and still there or whatever.

[00:45:02] And you get a tour of its knee and there's this garden loft patio.

[00:45:08] And then it transitions to all of this footage.

[00:45:10] It feels like five or ten minutes of all the super eight film

[00:45:14] of Walt and all of these people just getting these dances.

[00:45:18] And you're in people actually interview

[00:45:22] one of the guys who taught Walt these dances,

[00:45:25] really old things in his 80s or whatever.

[00:45:27] It's kind of neat that they tracked them down

[00:45:29] and apparently this is this guy had gone out

[00:45:31] and he was collecting all of these really old, authentic,

[00:45:36] a little known dances that have been you basically just passed.

[00:45:40] You know, like in America, like Native American dances

[00:45:42] would be the only thing I could really contribute that to or compare that to

[00:45:45] or it's just passed passed down orally throughout generations.

[00:45:48] That's so he went out and learned all of these. Oh, wow.

[00:45:50] And so he happened to move to Buenos Aires

[00:45:52] and Walt somehow knew that he was there or whatever they connected.

[00:45:56] And so this guy was like teaching Walt

[00:45:57] all these like cool traditional Argentinian moves.

[00:46:01] Really neat. Wow.

[00:46:02] And so you see a bunch of footage about that. Wow.

[00:46:05] See, Walt doing you see all these people dancing

[00:46:07] and they're just really kind of getting down.

[00:46:09] And it's cool. It's it's funky.

[00:46:10] It's wild for a number of reasons.

[00:46:14] And I can't help but look at it a bit

[00:46:15] like some sort of weird conquistador sort of flashback into the past

[00:46:19] where instead of gold, the visitors are mining for vibes.

[00:46:23] But you watch these people on both sides of the groups, right?

[00:46:28] The natives natives, you know what I mean?

[00:46:30] The native peoples and and and Walt's group

[00:46:32] and the joy that is shared here is a very, very palpable.

[00:46:36] When artists get together, it's about sharing the love of the thing,

[00:46:39] whatever it is, be it music or art or whatever.

[00:46:42] And politics and language to a certain extent kind of disappear

[00:46:46] only to reappear when haters like me tried to find a narrative

[00:46:49] to like not like something.

[00:46:51] But trying to think if I talk about this.

[00:46:53] Yes, I did talk about this later.

[00:46:55] The other thing that struck me while watching this

[00:46:57] is all of these men are in wool suits constantly.

[00:47:03] That sounds terrible in the sun in South America

[00:47:08] in the summer. Not good.

[00:47:11] No, not good.

[00:47:12] And I mean full on three piece numbers, ties, loafers,

[00:47:17] like high button collar, tie pin.

[00:47:20] It's just no air circulation at all.

[00:47:24] They must have been so smelly.

[00:47:25] That's exactly my first thought is the B.O.

[00:47:28] Oh, especially like in the in the penthouse

[00:47:31] where they're all getting together and you see the footage

[00:47:33] and they're standing over each other and oh, yeah, this looks good.

[00:47:35] And where you got a stink like crazy.

[00:47:39] I just can't imagine cigarettes.

[00:47:41] Oh my God.

[00:47:42] Well, cigarettes help.

[00:47:43] Yeah. Like how many suits do you think they brought?

[00:47:46] Like two.

[00:47:48] I know they had to have brought four or five.

[00:47:52] And then

[00:47:54] one of these things people were like, yeah,

[00:47:55] they usually had people on like the hotel floors

[00:47:58] that would press our suits every day, which is great for them.

[00:48:01] But like something about like staying in fresh linen shirts

[00:48:06] five days a week is very hard on your laundry.

[00:48:09] Can't say it's really hard to do.

[00:48:11] Yeah. So I don't know, man.

[00:48:13] And there's one of like these color photographs

[00:48:15] and you could see the wool texture in this man's pants.

[00:48:19] And he's sitting out in the sun just sketching people.

[00:48:24] God, no, no, I'm not going to do it.

[00:48:26] Yikes. Yeah.

[00:48:27] Another thing that strikes you as you watch

[00:48:29] Walt as El Grupo is the lack of a decent amount of interpreters.

[00:48:34] The dancers, the artists, what have you, they didn't really speak English

[00:48:37] and members of El Grupo didn't speak Portuguese or even Spanish,

[00:48:41] which is very closely related or anything.

[00:48:43] So you had these two factions of people that had to find a way to communicate,

[00:48:47] which is another way that art plays into culture.

[00:48:50] Right? You have two groups of artists sharing information

[00:48:52] without the complication of lengthy explanations or words taken out of context.

[00:48:57] It's just pure expression of passion in the moment

[00:49:00] and the joy of sharing each other's cultures.

[00:49:03] It was really neat to see.

[00:49:04] Like it's it's it's really you can really it's very obvious.

[00:49:06] The film was done really well in that in that regard.

[00:49:10] At one stop in Uruguay, the city schools were closed

[00:49:13] in honor of Mickey Mouse and Donald Duck.

[00:49:17] The children of the town greeted El Grupo with songs, cheers and flowers.

[00:49:22] Now, Walt said he can only stay for this particular group for about 10 minutes.

[00:49:26] And then he had to get going.

[00:49:28] But he didn't realize how many kids were going to be there.

[00:49:30] He thought it was going to like 10 or 15. There were hundreds of children.

[00:49:34] He ended up visiting for about an hour.

[00:49:37] Oh, kind of neat.

[00:49:39] This is at this time.

[00:49:40] Remember, this is the most famous man in the world.

[00:49:42] Yeah. And he's like, OK, I'm going to stay here.

[00:49:45] I'm going to stay here and want to watch this stuff.

[00:49:47] It's gonna be great. Wow.

[00:49:49] It was here in Argentina and Uruguay really where

[00:49:52] Elias Disney had passed away.

[00:49:54] Walt's Walt's dad passed away while he was on this trip.

[00:49:57] OK. Walt decided to stay on the journey,

[00:50:00] preferring to work through his grief, I imagine.

[00:50:02] I mean, he took his role of artistic ambassador very, very seriously

[00:50:07] and felt bad about possibly pulling out of the trip.

[00:50:10] Plus arranging airfare home on such short notice was not as easy as it is today

[00:50:15] and would have probably seen him missing the funeral anyway.

[00:50:19] So he thought long and hard about it

[00:50:21] and he decided I'm just going to stay on and do my thing and.

[00:50:24] Wow, stiff upper lip kind of thing.

[00:50:26] Now, Walt's trip was actually having the intended

[00:50:29] effect on local politics that the US wanted at the time.

[00:50:32] The Nazi governments as well as the US were courting Latin America,

[00:50:36] seeing it as a strategic location for future world plans.

[00:50:40] In Brazil, for example, the president was both siding quite well.

[00:50:44] So it was important that the US get on the good foot.

[00:50:48] When El Grupo hit Montevideo, the capital of Uruguay,

[00:50:51] a banner was strung up, welcoming Walt.

[00:50:54] And then underneath that was a call for the German chancellor to go home.

[00:50:59] Yeah. OK. No explanation.

[00:51:01] But that's just that's what it is.

[00:51:03] And that's what happened. It's like, OK.

[00:51:05] I think you can chalk that one up to, you know,

[00:51:08] word is traveling ahead of the group and how cool everybody is.

[00:51:11] And I mean, there's full page spreads.

[00:51:14] There's people's 500 people meeting with the airport, blah, blah, blah, blah.

[00:51:18] So kind of neat.

[00:51:19] After Argentina, El Grupo split up to cover other countries,

[00:51:22] including Bolivia and Peru before reuniting in Santiago, Chile on September 29th.

[00:51:29] Crossing the Andes Mountains in a plane

[00:51:31] required passengers to basically breathe from a tube

[00:51:35] connected to the oxygen tank in the in the plane.

[00:51:37] It's like a small plane, right?

[00:51:38] Flying at 18,000 feet, the air is thin and there's footage in this

[00:51:43] in the south of the border.

[00:51:46] I'll get the name in a second.

[00:51:49] But it's not in Walt and El Grupo, but it's in this other one

[00:51:51] of Mary Blair just snorting O2 from a hose as the plane barrels over the

[00:51:56] mountains, like everyone just has a tube and she's like, oh, my God.

[00:52:00] That's so weird.

[00:52:01] But there's no mask or anything.

[00:52:03] It's just she's holding a tube like a cigarette.

[00:52:05] It's great. Weird. Yeah.

[00:52:06] And then finally, on October 4th, they boarded the ship

[00:52:09] the Santa Clara and they sailed for home.

[00:52:14] And what's really neat about their their trip is that, of course,

[00:52:17] everywhere they went, they would draw popular Disney characters

[00:52:19] for the local children, which is very sweet.

[00:52:21] And by all accounts, Walt and El Grupo were just a tornado

[00:52:25] of welcoming energy wherever they went.

[00:52:28] They would go sketching during the day and then partying all night,

[00:52:31] sometimes quite literally.

[00:52:33] Walt and his team were always available to the press

[00:52:35] and seemed to always be smiling and welcoming.

[00:52:38] And the locals would love showering Walt and his team with attention.

[00:52:42] Even the journalists covering the trek seemed to

[00:52:45] seemed drawn to Walt, no pun intended.

[00:52:48] And in fact, when news of his father's passing hit the wires

[00:52:51] while Walt was still in Uruguay, I believe, the journalist who had met

[00:52:54] with Walt over the last two days visited him at the hotel

[00:52:57] he was staying at to offer their condolences and to sit and grieve alongside him.

[00:53:03] It's very emotional showing.

[00:53:05] So they interviewed one of the guys who one of the one of the journalists

[00:53:08] who was there and he was like, all of us got together and we talked about it.

[00:53:12] And we said, this man has shown us so much.

[00:53:16] Has been so kind and so open with us.

[00:53:18] And we just instantly felt connected to him.

[00:53:20] We thought as a group, we needed to go down and do this.

[00:53:24] We needed to go pay our respects.

[00:53:26] And he you can tell he was very touched by that.

[00:53:28] Very neat.

[00:53:30] Well, yeah. And this is I mean, like Walt felt immense guilt about this,

[00:53:35] not not just because he wasn't there for the funeral, right?

[00:53:39] Like this was

[00:53:41] if I recall from from your your your episode that you did

[00:53:45] for for the pyramid of the eye in the ears, like he he felt responsible

[00:53:49] for his parents' death because he bought them the house that they died in.

[00:53:52] Well, his mom died first. Yeah.

[00:53:55] OK. Yeah. So he felt responsible for that, for sure.

[00:53:57] And that was part of she was the one who died in.

[00:53:59] She was the one who died.

[00:54:00] Yeah. And then that was he kind of held on to that

[00:54:05] because he hired people from the studio to go fix the furnace.

[00:54:08] And that's there was a gas leak and then she passed away. Yeah.

[00:54:11] OK. And so she passed and then Elias passed much later. OK.

[00:54:15] Yeah. Yeah. Yeah. Yeah.

[00:54:16] That's a lot to hold on to though.

[00:54:17] It's a lot to hold on to which is part.

[00:54:19] Some people are like, that's probably why he was such a jerk about the strike

[00:54:23] because he was sort of taking it out.

[00:54:24] But yeah, I don't know who knows who can say.

[00:54:26] Wow. In the film, Walt and El Grupo, many of the wives and children of the group

[00:54:31] read letters at home from this trip.

[00:54:33] And you can tell them in absolutely loved the culture they interacted with down there.

[00:54:38] We can look back at this time and go, oh, Walt was just there to siphon

[00:54:41] content and it's all a job.

[00:54:43] But that would do a great disservice to what really happened.

[00:54:47] The fact is that El Grupo discovered a whole new way of life.

[00:54:50] They were constantly being surprised by Brazil, specifically in Latin America

[00:54:55] in general and wrote about it in great detail back to their family at home.

[00:54:59] I suppose it helped that these people were artists, composers,

[00:55:02] storytellers, colorists, so they are more tuned up for an excursion like this.

[00:55:07] But the way these men tell it, they were totally swept up

[00:55:11] in the sombra rhythms, the nightlife and the vibrancy of the areas they went to.

[00:55:16] The Goodwill trip yielded suitcases of material and mean hundreds

[00:55:20] and hundreds of children happy in doing so.

[00:55:23] But of course, it was not without its critics.

[00:55:26] We'll get to that in a little bit.

[00:55:28] OK. Now, when I think I might have this out of order.

[00:55:32] Hold on a second everybody.

[00:55:38] Yeah. They come home from the trip.

[00:55:41] They assemble all their content.

[00:55:43] They put it all together.

[00:55:45] They choose the four shorts that they were going to release together

[00:55:48] as a package for Saludos amigos, right?

[00:55:52] And all along the way, they're they're like creating characters.

[00:55:55] Some characters got cut, but they ended up solidifying the four characters.

[00:56:00] They solidified the four stories, all the music that got everything together.

[00:56:05] And they put it together and it was like 40 minutes or 30 minutes or whatever.

[00:56:08] It was not enough.

[00:56:09] It was too short to qualify as a feature length film.

[00:56:13] So they had to figure out how to add

[00:56:14] footage to reach that necessary 40 minute mark and, you know, whatever.

[00:56:18] Luckily, a solution was found in the form of all the 16 millimeter

[00:56:22] home footage that was taken by Walt and others during the trip.

[00:56:25] I thought it was eight millimeter.

[00:56:26] But who cares? What's a millimeter or two here and there?

[00:56:28] You know what I mean?

[00:56:29] Walt was admittedly reluctant to add his own footage into the film,

[00:56:33] as he felt he was a horrible cinematographer

[00:56:35] and that his hands often shook the camera.

[00:56:38] Yet he determined it was necessary in order to release the film.

[00:56:41] So they took the best parts of the footage and used it as a way to transition

[00:56:45] from each short and each country represented in Saludos Amigos.

[00:56:50] There was also some buzz about the US government having complained

[00:56:54] that each cartoon would only be valid in the country at hand.

[00:56:57] And they wanted Walt to solve this issue, which he did.

[00:56:59] He sort of used the real footage of them traveling around

[00:57:04] to tell the story to make it a little more interesting where it's not like,

[00:57:07] oh, I'm only Brazilian.

[00:57:08] I don't really care about what happens in the Andes Mountains.

[00:57:11] You know, I mean, in an attempt to make Saludos Amigos as inclusive

[00:57:15] of multiple Latin American countries as possible,

[00:57:18] the Disney Studios actively chose to have Donald Duck visit Lake Titicaca,

[00:57:22] which is on the Peruvian-Bolivian border

[00:57:26] and claimed that he was visiting the, quote, land of the Incas

[00:57:29] rather than any particular country.

[00:57:31] And of course this upset more than a few people who felt slighted

[00:57:34] at the combining of cultures into a melting pot

[00:57:37] rather than each standing on their own the way Brazil did

[00:57:41] with the Jose Carroca thing.

[00:57:43] So that brings us back to Moana, where even though you can get people

[00:57:48] from the different Polynesian cultures together,

[00:57:50] you're making a film about just broad strokes,

[00:57:54] but you're making it based on the fact that you want better relations

[00:57:58] with these people in Latin America, but you focus on Brazil in one

[00:58:03] and then just general everybody else in the other.

[00:58:06] Yeah, right. It's hard.

[00:58:07] I guess it is. Yeah.

[00:58:09] Bolivia and Peru are represented by Lake Titicaca, Chile by an airplane

[00:58:13] in Argentina by Goofy in the role of a gaucho,

[00:58:16] which is a South American cowboy basically.

[00:58:19] OK, a fully developed character, one that would outlive

[00:58:22] the film's original production, which is Jose Caracco on the other hand,

[00:58:25] portrays Brazil.

[00:58:27] So there's the slight, right?

[00:58:28] OK, you gave a brand new character to Brazil,

[00:58:30] but we have an airplane for Chile, like really who just delivers mail

[00:58:34] in the movie. Like it's all he does.

[00:58:35] He like fights the weather and delivers mail.

[00:58:37] It's like, yay. Yeah.

[00:58:39] Fine. In the next movie, they got a rooster for Mexico.

[00:58:44] Panchito Pistoles.

[00:58:46] Again, a new character.

[00:58:48] This special attention given to Brazil also had slight

[00:58:51] political ramifications because retaining Brazil as an ally

[00:58:55] would sort of counter Argentina's Germanic political leanings,

[00:58:59] to say the least.

[00:59:01] Any move by the United States to help Argentina

[00:59:03] was viewed with deep suspicion by the government in Brazil,

[00:59:06] which assumed that American aid to the Argentines

[00:59:09] was detrimental to Brazilian interests.

[00:59:11] So a lot of in fighting going on.

[00:59:13] There's a lot of politics at play.

[00:59:15] Needless to say, the Argentine government harbored

[00:59:17] the same assumptions about the Brazilian interest.

[00:59:20] Thus, giving preferential treatment to Brazil

[00:59:22] was in the United States government and Disney's best interest.

[00:59:27] So I wonder if that was why Brazil got the good, the good stuff

[00:59:32] because it was more interest, more top of mind to the government

[00:59:35] and what we needed out of out of these Latin American tours.

[00:59:39] OK, all this goodwill.

[00:59:41] A little. Yeah. OK. Yeah.

[00:59:43] By the way, we talked about the age of Nelson Rockefeller.

[00:59:46] How old do you think Walt Disney was when they embarked on this trip?

[00:59:50] Oh, uh.

[00:59:52] Thirty five, thirty nine.

[00:59:55] Oh, can you imagine? Wow.

[00:59:58] Can you imagine me seven years ago touring Latin America?

[01:00:02] With 18 of my closest friends and you be crazy.

[01:00:05] Not even your friends, but like people who work for you.

[01:00:09] Yeah. Yeah. Wild.

[01:00:12] Your closest employees.

[01:00:14] Yeah. OK, now let's get to the film.

[01:00:16] Saludos amigos, which is Spanish for greetings, friends.

[01:00:19] Is a 1942 American live action animated propaganda and

[01:00:24] mythology films is from Wikipedia.

[01:00:26] They've sent in Latin Americans made up of four different segments.

[01:00:29] Donald Duck stars in two of them and Goofy in one.

[01:00:32] It also features the first appearance of Jose Carroca,

[01:00:35] the Brazilian cigar smoking parrot.

[01:00:38] Saludos amigos premiered in Rio de Janeiro on August 24th, 1942.

[01:00:43] It was released in the United States on February 6th, 1943.

[01:00:47] That's a long. Long difference there.

[01:00:51] Hmm. Hmm.

[01:00:52] It was theatrically reissued in 1949 when it was shown

[01:00:56] on a double bill with the first reissue of Dumbo.

[01:01:00] Thought it was interesting.

[01:01:01] The film's original score was composed by Edward H. Plum,

[01:01:05] Paul J. Smith and Charles Wolcott, who went on the trip.

[01:01:08] The title song Saludos amigos was written for the film

[01:01:11] by Charles Wolcott and Ned Washington.

[01:01:13] The film also featured the song Aquilera do Brazil,

[01:01:17] written by the popular Brazilian songwriter Ari Barso.

[01:01:21] And performed by Aliso de Alibera and an instrumental version

[01:01:25] of Tico Tico no Fuba written by Zacuina de Abre.

[01:01:29] So Walt talked about Tico Tico in the in the interview I played

[01:01:35] in the beginning.

[01:01:35] He's like we brought that Tico Tico number.

[01:01:37] Oh, yeah. Here's what this is.

[01:01:53] Very jazzy.

[01:02:02] I like it. Right?

[01:02:04] Yeah, let's see where did I leave off?

[01:02:06] Okay, so Aquilera de Brazil was written in first performed

[01:02:10] in 1939 but did not achieve much initial initial success.

[01:02:14] However, after appearing in this film Saludos amigos,

[01:02:17] it became an international hit becoming the first Brazilian

[01:02:20] song to be played over a million times on American radio.

[01:02:24] So here's a little bit of that.

[01:02:54] Senior.

[01:03:22] That's fun. Yeah.

[01:03:24] It was nominated for the film was a nominated for Academy Award

[01:03:27] in 1944 for best scoring of a musical picture, best original

[01:03:31] score in the title song.

[01:03:33] Saludos amigos, of course, and best sound recording.

[01:03:36] And I think I do have Saludos amigos.

[01:03:38] Wait, not slews me as well as I got ahead of myself.

[01:03:41] Yes, lose me goes.

[01:03:42] I get that and three Caballeros can get here.

[01:03:45] Saludos amigos.

[01:03:58] A fun reading to you.

[01:04:08] Disney sound.

[01:04:24] At Texas Jeremy, I was like, dude, there's so much

[01:04:26] musical history in this trip.

[01:04:29] And these two films, you got to you got to do something about it.

[01:04:33] And he hasn't responded.

[01:04:36] Uh, let's see.

[01:04:37] And, uh, so got nominated for a bunch of stuff and best sound recording.

[01:04:40] But over at the National Board of Review Awards, this movie won for best documentary.

[01:04:46] Film historian Alfred Charles, Richard Jr.

[01:04:49] Has commented that Saludos amigos quote did morph to cement

[01:04:53] a community of interest between peoples of the Americas in a few months.

[01:04:56] Then the State Department had in 50 years.

[01:05:00] Yeah, quite a quite a reception.

[01:05:03] So two years after there was a second film that was that had resulted

[01:05:09] from this trip, the three Caballeros released in 1944,

[01:05:14] premiered in Mexico City on December 21st, 1944 is released in the U.S.

[01:05:19] on February 3rd, 1945 and in the UK in March of 1945.

[01:05:24] The film stars Donald Duck, who in the course of the film is joined

[01:05:27] by his old friend Jose Coroca, who represents Brazil and later becomes

[01:05:32] friends with a pistol packing rooster named Panchito Pistoles, who represents Mexico.

[01:05:38] The finale with the words, the end exploding from the fireworks first

[01:05:42] in Spanish in the colors of the flag of Mexico, then the second in

[01:05:46] Portuguese in the colors of the flag of Brazil.

[01:05:48] And finally in English in the colors of the flag of the United States.

[01:05:53] Can you be obvious about it?

[01:05:56] You know, it was released.

[01:05:57] What's the difference?

[01:05:58] But what what's the end in Spanish and Portuguese Spanish is fiend

[01:06:04] and this is his theme.

[01:06:06] Yeah, yeah, yeah, yeah.

[01:06:08] Okay.

[01:06:11] Yeah, okay, whatever the three Cubby airs was re-released to theaters

[01:06:14] April 15th, 1977.

[01:06:17] But for this reissue, the film was edited significantly and re-released

[01:06:21] in a feature at format 41 minutes to accompany a reissue of never a dull

[01:06:26] moment because I guess of the smoking.

[01:06:30] They added some of the smoking out okay for the film's television premiere.

[01:06:34] Now, I didn't know that Salud was amigos was on TV, but three Cubby

[01:06:37] airs was it was aired as the ninth episode of the first season

[01:06:42] of ABC's Disneyland television series.

[01:06:44] It was edited shortened and retitled a present for Donald for December

[01:06:49] 22nd, 1954 broadcast and subsequent reruns because in the movie,

[01:06:54] he's like opening gifts, three gifts in each one.

[01:06:57] He's like whatever.

[01:06:58] Okay.

[01:06:58] Donald received gifts from his friends for Christmas instead of

[01:07:00] for his birthday as in the original movie.

[01:07:03] In April 2007, the film became the basis for a ride at the Mexican

[01:07:06] Pavilion at Walt Disney World's Epcot named Grand Fiesta Tour starring

[01:07:10] the three Cubby airs.

[01:07:12] The 2011 Mickey's sound sational parade at Disneyland features all

[01:07:16] three cubby arrows and the arachn bird in one parade unit,

[01:07:20] which is a whole character in the thing.

[01:07:24] Along with many other Disney characters, Panchito, Jose and

[01:07:26] Donald appear in the updated.

[01:07:28] It's a small world ride at Disneyland during the section

[01:07:31] portraying Mexico.

[01:07:32] The film was nominated for an Academy Award in 1946 for best

[01:07:36] scoring of a musical picture and best sound recording.

[01:07:40] So a lot of these are nominated but they never won.

[01:07:42] So whatever.

[01:07:43] In addition to the two feature films produced from this trip,

[01:07:46] Disney Studios produced several health and public safety

[01:07:49] shorts that were meant to be distributed through Latin American

[01:07:51] countries.

[01:07:52] Oh, before I get to that, I wanted to point out.

[01:07:55] So you know we're listening to here's like, you know, Brazil,

[01:07:58] Brazil, Brazil, right?

[01:07:59] Like or Brazil.

[01:08:01] Forget the name.

[01:08:04] Aquilero do Brazil.

[01:08:06] And you watch this movie and the way that the animators

[01:08:12] are dancing.

[01:08:14] They are into it and the way that they're right home, they're

[01:08:16] like I it's like a they catch a wave and they can't get it out

[01:08:20] and they're like I hear every time I hear this soundbar.

[01:08:23] I have to dance.

[01:08:24] It's like a thing.

[01:08:25] That's so cool.

[01:08:26] This is this is like the music right?

[01:08:31] Very sweeping but also kind of a thumping rhythm.

[01:08:36] So what I did is I looked up actually here's here's the

[01:08:39] three Caballeros theme song.

[01:08:40] I forgot to play this too.

[01:08:41] Now we're three gay Caballeros.

[01:08:44] Okay, hold on.

[01:08:49] We're three Caballeros three gay Caballeros.

[01:08:52] They say we are birds of a feather.

[01:08:57] You kind of hear that like thumping rhythm.

[01:08:59] We're that's kind of like the Aquilero de Brazil, right?

[01:09:01] Like, but they want to.

[01:09:03] Oh yeah, yeah, yeah.

[01:09:04] The way together.

[01:09:09] Okay, so what I did is I just looked up what was on the

[01:09:12] billboard number one chart in 1941 and I just picked three

[01:09:16] at random.

[01:09:17] Okay.

[01:09:18] And here they are and tell me how soon you fall asleep.

[01:09:22] Now we're three.

[01:09:23] Nope.

[01:09:26] Oh,

[01:09:27] Oh,

[01:09:32] this is Sammy Kay with his song.

[01:09:49] This is Jimmy Dorsey with my sister and I think

[01:09:54] just bored city dude.

[01:09:57] Jimmy singing about schooners and his sister.

[01:10:04] And this is another Jimmy Dorsey tune called Blue

[01:10:07] Champagne.

[01:10:11] That's it.

[01:10:11] That's those were three of the top songs at the time when

[01:10:16] these people were like leaving to go to Brazil.

[01:10:20] Now you go, you go from that to to even just the

[01:10:25] intro to Aquilero de Brazil.

[01:10:29] Just the trail and the bounce of the voice is like enough

[01:10:33] to like, oh, this is catches.

[01:10:35] I'm bored with it, but like you can see the infectious

[01:10:39] nature of their trip.

[01:10:41] Yes.

[01:10:41] And you can see the you can you can you can understand

[01:10:44] it coming from culturally coming from big band and

[01:10:48] whatever to this beat.

[01:10:52] It gave them life.

[01:10:53] It really did.

[01:10:54] I would I would I can't blame him can't blame him

[01:10:58] for so.

[01:10:58] Yes, they did a series of shorts short cartoons entitled

[01:11:02] Health for the Americas and it featured Disney.

[01:11:06] Ask takes on public health hazards represented in cartoon

[01:11:10] shorts.

[01:11:10] The main character was careless Charlie who did

[01:11:13] everything wrong but eventually you know learned

[01:11:16] how to exist and not kill himself by being a disgusting

[01:11:19] pig.

[01:11:20] Basically he was early.

[01:11:21] Yeah, I know he was like Goblin mode maxing.

[01:11:24] So these films include a film called cleanliness brings

[01:11:29] health 1944 which is the difference between two

[01:11:31] families the clean family that cares for their food and

[01:11:35] home and they remain happy and the careless family that

[01:11:39] lives in filth and are unhealthy.

[01:11:42] I know a defense against invasion which is the

[01:11:45] human body is compared to a city and the film shows

[01:11:48] how the city or the body would react should be

[01:11:50] invaded by germs.

[01:11:52] You have environmental sanitation which is an

[01:11:54] educational film about the growth of a city and the

[01:11:57] need to build proper water and sanitation systems for

[01:12:00] a growing populace.

[01:12:02] You have a movie on hookworm.

[01:12:04] You have a movie on how disease travels the human

[01:12:07] body infant care which I feel like I don't know it's

[01:12:10] a little rude to oh we made a movie about how you

[01:12:13] should care for your kids the things you've been

[01:12:15] doing for hundreds of years.

[01:12:16] Yeah, that's planning for good eating tuberculosis

[01:12:21] water friend or enemy which is how to prevent contamination

[01:12:25] of the water supply.

[01:12:26] Okay, what is disease the unseen enemy and the wing

[01:12:31] and scourge which is the seven doors fighting malaria.

[01:12:35] I mean if you have to teach people about diseases

[01:12:39] and water cleanliness say he makes sense that you

[01:12:43] might need to tell him babies don't drop no swingy

[01:12:48] shake sometimes you know what you shouldn't shake

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[01:14:00] I'm welcome.

[01:14:01] Very good now despite the group's extensive data

[01:14:04] mining trip to the region some of these films

[01:14:06] didn't hit right with the population of course due

[01:14:09] to a few cultural translation errors.

[01:14:12] And for example in water friend or enemy which I

[01:14:15] prefer the latter really the color of the water is

[01:14:19] red to Americans this means danger or death right

[01:14:23] don't drink this don't drink the water.

[01:14:26] Exactly Dave man he said of course but to the

[01:14:29] residents in Latin America Red means life and joy

[01:14:33] the water to convey danger or death should have

[01:14:36] been black.

[01:14:38] Oh interesting stuff like that if you're like

[01:14:41] I understand these two men so here we get to like

[01:14:43] the critiques of what of the trip meant right

[01:14:46] learner and Ortiz Torres who are two visual arts

[01:14:49] professors at UC San Diego first delved into

[01:14:52] Disney's influence within Latin American culture in

[01:14:55] their 1995 movie Frontier land frontier landia

[01:14:59] more art film than documentary the film

[01:15:01] examines Disney's impact and that kind of

[01:15:05] the way that the cultural representation of Disney

[01:15:09] sort of infiltrated the art world of Latin

[01:15:14] America and sort of influenced it you know that way

[01:15:16] it's a pretty cool I haven't seen the whole film

[01:15:19] there's like an eight minute trailer of it.

[01:15:21] It's pretty neat if you like art films.

[01:15:24] Okay pretty neat when Saludos amigos debuted in

[01:15:27] Mexico the opening credits read greetings from

[01:15:30] America the time has come to become good friends

[01:15:34] greetings friends and neighbors we must now come

[01:15:37] together as one I'm sure this is in Portuguese so

[01:15:40] it makes much more sense.

[01:15:41] Yes the US version of the film sort of left this

[01:15:44] part out at the beginning which further led critics

[01:15:46] to accuse Disney of simply making propaganda for

[01:15:48] the US government which you could argue you

[01:15:51] know one way or the other really the song at

[01:15:53] least in Spanish and Portuguese versions Saludos

[01:15:56] amigos explicitly appeals to Latin American

[01:15:58] nations to enlist in the American war effort

[01:16:02] but not in our versions which is odd.

[01:16:04] That's an odd thing another criticism of the film

[01:16:06] was the blending of cultures that all group

[01:16:08] who had encountered during their trip and sort

[01:16:10] of boiling down the region into mere generalizations

[01:16:13] of Latin American life this is a quote from somewhere

[01:16:17] I apologize forget where I got it from they say by

[01:16:19] selecting the most superficial and singular traits

[01:16:22] of each people in order to differentiate them

[01:16:24] and using folklore as a means to divide and

[01:16:27] conquer nations occupying the same dependent

[01:16:29] position our Latin American countries become trash cans

[01:16:33] being consistently repainted for the voyeuristic

[01:16:35] and orgyastic pleasures of the metropolitan nations

[01:16:38] which I feel like is very heavy stuff.

[01:16:41] Yeah, but it also makes kind of sense.

[01:16:43] I mean if you if that's what you're culturally

[01:16:45] like tuned to is your art and then you get Walt Disney

[01:16:50] coming down like oh this is tight cool and then

[01:16:53] he makes a movie about you know an airplane

[01:16:57] and you're like how is that Chilean at all

[01:17:00] right he's in the ant because he's in the mountains

[01:17:02] like I don't get it.

[01:17:03] Yeah. Yeah, I could see it.

[01:17:05] I could see it. Yeah, right.

[01:17:06] Yeah, anyway.

[01:17:09] That's it.

[01:17:10] I'm kidding.

[01:17:14] And there's there's more examinations of that sort

[01:17:17] of cultural cross pollination in the controversial

[01:17:20] classic how to read Donald Duck which was first

[01:17:23] published in Chile in 1971 and this is this is

[01:17:27] not my phrase but I took this from a book

[01:17:31] description because okay I don't run in these like

[01:17:35] philosophically political world looking at popular

[01:17:39] culture through a Marxist postcolonial lens.

[01:17:43] Ariel Dofman, Dofman and Armand Matelart critique

[01:17:48] Disney comics as vehicles for American imperialism.

[01:17:51] I don't know what a Marxist postcolonial lens

[01:17:53] is.

[01:17:54] Yeah, but it sounds weird.

[01:17:58] Sounds not good.

[01:17:58] Sounds bad.

[01:18:00] It's not.

[01:18:00] Yeah.

[01:18:01] Yeah.

[01:18:01] Here's a quote from one of the pages in that book,

[01:18:04] the how to read Donald Duck.

[01:18:06] Here lies Disney's inventive product of his era,

[01:18:09] rejecting the crude and explicit scheme of adventure

[01:18:12] strips that came up at the same time.

[01:18:14] The ideological background is without any doubt the same

[01:18:18] but Disney not showing any open repressive force is

[01:18:21] much more dangerous.

[01:18:23] The division between Bruce Wayne and Batman is

[01:18:26] the projection of fantasy outside the ordinary world to save

[01:18:29] it.

[01:18:30] Disney colonizes the everyday world at hand of ordinary

[01:18:33] man in his common problems with the enogalistic of a

[01:18:36] child's imagination.

[01:18:39] I don't get it.

[01:18:40] Yeah, I don't understand it.

[01:18:43] I'm too dense.

[01:18:44] Yeah, that went over my head.

[01:18:45] It's very heady but I guess I include this because

[01:18:51] not everyone was really excited about it.

[01:18:53] But also this is all of the things that I read about that

[01:18:56] we're critiquing it were 20 or 30 years after the fact,

[01:19:00] which I feel like is very easy to look back and say that.

[01:19:04] I was really hoping how to read Donald Duck would be more

[01:19:07] about how to recreate Clarence Nash's voice,

[01:19:13] which that would be how to read like Donald Duck.

[01:19:16] Oh, how do you like Donald Duck?

[01:19:18] Okay.

[01:19:18] Yeah.

[01:19:19] Page one.

[01:19:20] Yeah.

[01:19:21] Okay.

[01:19:22] Get that out of the way.

[01:19:23] That was bad.

[01:19:24] Yeah.

[01:19:25] Outside Chile, how to read Donald Duck became the most widely

[01:19:29] printed political text in Latin America for some time where

[01:19:32] the entire third printing was dumped into the ocean by the

[01:19:36] Chilean Navy and bonfires were held to destroy earlier

[01:19:40] editions.

[01:19:41] Oh boy.

[01:19:41] In fact, it was just re-released in like 2018 with

[01:19:43] like a new intro by the authors and stuff like that.

[01:19:45] So it's a bit of like a really viable political text.

[01:19:50] Okay.

[01:19:51] I just don't understand it.

[01:19:52] Yeah.

[01:19:53] Yeah.

[01:19:55] During the Second World War, the good neighbor policy took

[01:19:57] on extra meaning after Pearl Harbor, almost all Southern

[01:20:01] Hemisphere nations declared war on Japan and Germany out

[01:20:04] of solidarity with the U.S.

[01:20:06] We were not only partners within our southern borders,

[01:20:09] but since they had resources we needed such as rubber,

[01:20:12] the good feelings benefited everyone.

[01:20:14] The era of the good neighbor policy ended with a ramp

[01:20:17] up of the Cold War in 1945 as the United States felt that

[01:20:20] there was a greater need to protect the Western hemisphere

[01:20:23] from the Soviet influence now that the Nazi influence

[01:20:25] was wiped out.

[01:20:28] The changes conflicted with the good neighbor policies

[01:20:30] stated goal of using trade and goodwill only and kind

[01:20:33] of somehow accidentally Teehee led to a new wave of

[01:20:38] U.S. involvement in Latin American affairs, which is

[01:20:40] the thing we worked really hard at not doing until the end

[01:20:45] of the Cold War.

[01:20:46] The United States directly or indirectly attacked all

[01:20:49] suspected socialist or communist movements in the hope

[01:20:52] of ending the spread of the Soviet influence.

[01:20:55] U.S. interventions and interference in this era

[01:20:57] included the CIA overthrow of Guatemala's president in

[01:21:00] 1954, the unsuccessful CIA backed Bay of Pigs invasion

[01:21:04] in Cuba in 1961 support for the 1964 Brazilian coup d'etat

[01:21:09] which helped remove the democratically elected

[01:21:11] President from power, the occupation of the Dominican

[01:21:14] Republic in response to the Dominican Civil War in 1955-56

[01:21:19] or 6566 the CIA subversion of the Chilean president in 1970

[01:21:25] and support for the 1973 coup d'etat that removed him and

[01:21:29] support for Operation Charlie in Central America and

[01:21:31] Operation Condor in South America and the CIA subversion

[01:21:34] of Nicaragua's and East government from about 1981 to

[01:21:38] 1990.

[01:21:39] But after World War II, the Organization of America States

[01:21:42] was excuse me the Organization of American States was established

[01:21:46] in 1949.

[01:21:47] However, the U.S. began to shift its focus to aid and

[01:21:49] rebuilding efforts in Europe and Japan.

[01:21:52] These efforts largely neglected the Latin American countries.

[01:21:56] So in the late 1950s, the U.S. strengthened relations with

[01:21:59] Latin America again launching the inter-American Development

[01:22:04] Bank and later the Alliance for Progress.

[01:22:06] So we kind of went back and forth.

[01:22:07] We did back in and out but we definitely sort of threw

[01:22:10] the good neighbor policy out the door.

[01:22:12] And there's a bunch of stuff about like, I lost it but one of

[01:22:16] the wars, I think it was an El Salvador between 1981-1990.

[01:22:22] Yeah, the U.S. gave the Salvadoran military an estimated

[01:22:24] $1 million a day in order to defeat what it regarded as

[01:22:28] a communist uprising.

[01:22:29] According to the U.N. Truth Commission, the new infantry

[01:22:32] battalions financed by U.S.

[01:22:33] aid became the main perpetrators of war crimes.

[01:22:36] So that's fun.

[01:22:38] The current president of Honduras had further militarized

[01:22:40] the police force when he, whatever, I'm not going to get into

[01:22:43] this. It's a whole stupid thing.

[01:22:45] Basically, I'm like going like because we failed, the gist

[01:22:49] is because we failed at our good neighbor policy because

[01:22:53] we abandoned it for what we thought was a bigger threat.

[01:22:56] You can sort of say, well, the good neighbor policy

[01:22:57] maybe just didn't even mean anything because your only

[01:23:00] good neighbor is when it suits you and then now

[01:23:03] that doesn't suit you.

[01:23:03] Now the war is over.

[01:23:05] The Nazi threat is gone.

[01:23:06] Now we're going to do something else, but oh, the fascist

[01:23:09] threat is here.

[01:23:09] The Soviet threat is here.

[01:23:10] So let's go back in, but let's be harder about it.

[01:23:13] And it sort of culminates and basically can you can trace

[01:23:16] it to what's happening right now like our southern

[01:23:18] borders where there's a lot of people from El Salvador

[01:23:21] and Honduras and a lot of Latin American countries coming

[01:23:23] still coming in because a lot of the military and

[01:23:25] all the government that was installed in the 80s from

[01:23:28] us is kind of either we trained them or now they're

[01:23:32] there because of us.

[01:23:32] Like a lot of these problems can be traced back to our

[01:23:35] abandonment of these policies, which I find really

[01:23:38] interesting not because like I want to get political

[01:23:40] about it because I but I think it all does tie in with

[01:23:43] the formation of the good neighbor policy and was

[01:23:45] a good idea and Walt sort of was the high watermark

[01:23:48] of what it could have been or what it was.

[01:23:51] I guess right?

[01:23:51] Like he left on a high note.

[01:23:53] Everyone loved him.

[01:23:54] I couldn't find any negative press about it at all.

[01:23:57] There were some there were some newspaper articles

[01:24:00] from fascists and whatever you saying, you know, go away

[01:24:04] or whatever.

[01:24:05] I couldn't really find him and from all accounts it was

[01:24:08] sort of just white noise.

[01:24:10] Nobody really paid much attention to it.

[01:24:11] Okay.

[01:24:12] Right?

[01:24:12] Everybody was talking about Walt like being caused he

[01:24:14] would was down there at the time and people were like

[01:24:16] as a one page on being cross we're seven pages on Walt

[01:24:19] like it's just it's nothing.

[01:24:20] No one cares.

[01:24:21] Yeah.

[01:24:22] He was the biggest star and he was the nicest.

[01:24:24] It was the best of the U.S.

[01:24:26] that we had to send down clearly.

[01:24:28] Yeah.

[01:24:29] If he wasn't, he wouldn't need to come down kind of thing.

[01:24:31] Right?

[01:24:32] He was like our last resort and we sort of abandoned that

[01:24:35] and then the next time they see us were you were overthrowing

[01:24:39] their like Beagle elections because we don't like how it

[01:24:42] came out and that's not okay.

[01:24:44] Yeah.

[01:24:44] Anyway, it's weird.

[01:24:45] Yeah.

[01:24:46] So south of the border with Disney is the film about the

[01:24:49] trip.

[01:24:49] It's like it's like in two parts 16 minutes apiece

[01:24:52] that are all over YouTube.

[01:24:53] You can find them.

[01:24:54] They're not like official Disney.

[01:24:55] It's not on the official Disney like YouTube channel.

[01:24:57] I don't know why.

[01:24:58] Okay.

[01:24:59] But they're there.

[01:25:00] It's all footage shot on the thing.

[01:25:02] It's narrated.

[01:25:03] There's a couple of Disney gags in there that are like

[01:25:06] preplanned, you know, set up but great footage really cool

[01:25:10] stuff.

[01:25:10] If you are into this history about the animators and

[01:25:14] about kind of how they were off the cuff watch this movie

[01:25:18] south of the border with Disney going YouTube and get it

[01:25:21] paired with Walt and El Grupo.

[01:25:23] You'll have all the relaxed Walt Disney you can handle.

[01:25:26] I mean the man's on the beach and shooting stuff.

[01:25:28] He's dancing.

[01:25:29] He's barbecue and he's on a horse.

[01:25:30] You they dress him up in the in the clothes.

[01:25:33] He had a great time.

[01:25:34] So yeah, so that's that's it.

[01:25:36] That is Disney's time in in South America.

[01:25:39] He basically went down there as a goodwill ambassador.

[01:25:43] Mind all the content made a couple great movies and a

[01:25:45] bunch of shorts that are weird but watch those two go

[01:25:49] check them out.

[01:25:49] I named them all.

[01:25:51] They're weird.

[01:25:52] They're weird, but they're like sort of relevant still

[01:25:55] today and it would be kind of neat to watch these in class.

[01:25:58] Yeah, because they're very much that.

[01:25:59] Oh no, you can't do that.

[01:26:02] This this is what a microscope is if you take your glass

[01:26:06] it's like a whole thing but you know it's cute cool.

[01:26:09] Yeah.

[01:26:10] Well, I think you did an excellent job that sounded

[01:26:14] like a very tough topic and just because it's so I

[01:26:17] guess what we do is histories but like that was like

[01:26:20] good.

[01:26:21] My world history not Disney history.

[01:26:24] Well, that's what I mean like it was it was hard for me

[01:26:27] because I feel like there is a lot of context.

[01:26:30] Yeah, and maybe it's not important to him being there

[01:26:34] or what he did but it's important to why he was there.

[01:26:37] Yeah, because if he you know if we weren't trying to be

[01:26:41] you know good neighbors he would never have gone down

[01:26:44] there right aside from the two movies and all the shorts

[01:26:48] like Mary Blair small world wouldn't look the way it

[01:26:51] looks now.

[01:26:52] Yeah, which is whole whole right.

[01:26:53] That's like my favorite part of the whole thing.

[01:26:56] Yeah, so cool.

[01:26:57] It like it changed her career fundamentally and and in Walt

[01:27:01] and El Grupo again on Disney plus I suggest you watch it.

[01:27:04] A lot of these animators a lot of these people that went

[01:27:06] on it changed their path for the better it enabled

[01:27:11] Alice in Wonderland and some of the other movies after

[01:27:15] were directly reflected on the the group's time and Mary

[01:27:20] Blair.

[01:27:20] Yeah, it's very very huge thing.

[01:27:22] It's a lot of touch points throughout the rest of the

[01:27:25] career of the of the studio.

[01:27:27] And so we know Walt said in the beginning of the interview

[01:27:30] that I played like it made so much money that they weren't

[01:27:33] they were able to not have the subsidy from the government.

[01:27:36] Oh yeah.

[01:27:36] Wow.

[01:27:37] Yeah, yeah, yeah.

[01:27:38] Sludos amigos made made enough money.

[01:27:40] We're like, okay, we don't need the we don't need

[01:27:42] the repayment.

[01:27:43] I appreciate it but we don't need it.

[01:27:44] Cool, which who does that?

[01:27:46] Yeah, that's another thing like who does that you

[01:27:48] would never you know they're talk about all the money

[01:27:52] that Snow White made Walt just dumped back into expansion.

[01:27:55] He dumped it back into the thing but nowadays companies

[01:27:58] won't do that they'll raise your prices so everyone still

[01:28:02] makes the same amount of money at the top but they'll

[01:28:04] raise the prices to then do the expansion.

[01:28:07] Yeah, do the thing.

[01:28:08] They won't nobody uses profits anymore.

[01:28:09] It's a PG or our power company has been doing for us

[01:28:12] for years.

[01:28:13] Yeah.

[01:28:14] Oh, we need to we need to bury the power line.

[01:28:17] So we're going to raise your prices.

[01:28:18] So you pay for the fact that we haven't done this yet

[01:28:21] but I'm not as a CEO.

[01:28:22] I'm not going to take a price cut.

[01:28:23] No, of course not.

[01:28:24] Why would you?

[01:28:25] Yeah, we're not going to use our $4 billion profits.

[01:28:27] We're not going to use our profits.

[01:28:28] No, no, no, you're going to pay for it.

[01:28:30] Absolutely.

[01:28:31] And then maybe we'll lower the prices.

[01:28:32] We don't know you.

[01:28:33] Maybe.

[01:28:34] It's kind of neat.

[01:28:35] The more I learned about Walt the more like I said

[01:28:37] at the beginning the more I want to put everything

[01:28:38] in context.

[01:28:39] Yeah.

[01:28:40] And I kind of know it's fun for me.

[01:28:41] Cool.

[01:28:43] Hopefully it's fun for you.

[01:28:44] It was good.

[01:28:45] Very good.

[01:28:46] Well done.

[01:28:47] I don't know.

[01:28:48] I don't like it.

[01:28:49] I might change it because it's something that you did.

[01:28:52] I might change it.

[01:28:53] I might go back and change it.

[01:28:55] I don't know.

[01:28:55] I'll rerecord pieces.

[01:28:57] I really don't think you should do that.

[01:28:59] You don't need to.

[01:29:00] Great.

[01:29:01] Kind of play more of the Brazilian music they found,

[01:29:03] but I think we're I mean that whole that whole idea

[01:29:06] just that I mean that's big that the Brazilian they

[01:29:10] they found this style of music that was so exciting to them

[01:29:13] that that's really interesting.

[01:29:14] But yeah, I think so too.

[01:29:17] I think I think they all came back.

[01:29:19] I do portrayed it well that they all came back with something.

[01:29:22] Well, and some of it I'm sure some of them came back

[01:29:26] with more than they bargained for.

[01:29:28] Yeah, for sure, dude.

[01:29:29] I mean like you know only I think it was only two couples.

[01:29:32] I think there's only two or three women maybe

[01:29:35] because Lily was there and obviously Mary Blair was there

[01:29:37] and then another gentleman's wife was there.

[01:29:39] And I think for the most part in those like 12 just men

[01:29:43] just hanging out you get you for weeks and weeks.

[01:29:46] Freaky things happen.

[01:29:47] Yeah, you got it.

[01:29:48] Oh, and then the best part about in Walt and El Grupo.

[01:29:52] So they they were partying at this club the orca

[01:29:54] and I want to say was in Rio and there was like footage of it

[01:29:59] and it just very crazy.

[01:30:01] That's all I'm going to say.

[01:30:02] Okay.

[01:30:03] And they would talk a lot about Rio and about the nightlife

[01:30:06] and about how they would stay up all night

[01:30:07] and this one of the people like I don't know

[01:30:09] where I get the energy from but I hear the samba

[01:30:11] and I just go like I can't help it and filmmakers find

[01:30:16] the orca it's in ruins and you can see the shot

[01:30:20] like they go into the building and you can see it now

[01:30:23] and it just obviously looks very different.

[01:30:25] It's just neat.

[01:30:25] It's very neat to come back to this places.

[01:30:27] They did a great job at it.

[01:30:29] Nice.

[01:30:29] Yeah, they did a good job.

[01:30:31] But yeah, some of the music I was checking out real fast.

[01:30:34] I mean, why not?

[01:30:35] What else are we going to do?

[01:30:36] Go home.

[01:30:37] Stop talking.

[01:30:38] Yeah, I'm surprised that you want to keep talking.

[01:30:41] Well, you know what it is?

[01:30:42] I feel I feel like I haven't done enough.

[01:30:44] Oh my God.

[01:30:45] Are you serious?

[01:30:46] This is this is like a Supreme Resort episode right now.

[01:30:49] Yeah, it's it's it's a two hour episode of you talking

[01:30:53] and you have done plenty.

[01:30:54] It's an hour and a half.

[01:30:55] Have I done enough?

[01:30:56] I can't imagine what more you can do.

[01:30:58] So I feel like let's get out of here.

[01:31:02] I think you did fantastic.

[01:31:04] I don't think I mean whatever I did it.

[01:31:09] I think the music was really cool.

[01:31:10] I think the this this the concept was fascinating.

[01:31:16] Great.

[01:31:17] You're welcome.

[01:31:19] All right, everybody, we are going to take off.

[01:31:21] I don't know what our next show is going to be because I

[01:31:24] I don't see my life as an open book.

[01:31:26] I give a show date to Stan freeze and he hasn't responded

[01:31:31] to me.

[01:31:32] My worst dream is coming true that he talked to his son

[01:31:37] and he was like, don't go on that stupid show.

[01:31:40] And so now I'm getting ghosted by Stan Stanford freeze

[01:31:42] and I feel bad.

[01:31:45] So I don't know.

[01:31:47] There he goes.

[01:31:48] There you go.

[01:31:48] So I don't know what our next show is going to be,

[01:31:50] but it's going to be something I'm going to hit stand up

[01:31:51] tomorrow and be like dog what's up.

[01:31:54] But nicely because I'm a nice sure.

[01:31:56] Tell him I'll try to finish reading his book.

[01:31:59] Well, I like I gave I gave it to him like a month

[01:32:02] out because I need to finish.

[01:32:03] I need time to finish reading his book.

[01:32:05] So I don't want to be like, oh, you know, two days before

[01:32:09] or like, hey, are you still coming on?

[01:32:11] And yeah, like, oh, I don't want to read his book.

[01:32:13] If I'm not going to get anything out of it, you know,

[01:32:18] just how I am.

[01:32:19] I don't know.

[01:32:19] All right, everybody.

[01:32:19] Thank you very much for tuning in until next time.

[01:32:23] We'll see you in the poll.

[01:32:24] By the way, hit us up on Twitch.

[01:32:25] Twitch.tv slash ears up.

[01:32:27] I'm going to be doing some more streaming over there.

[01:32:29] Mr. P and I did see of thieves the other night.

[01:32:33] We did some of the Pirates of the Caribbean pack and that was

[01:32:36] fun and working the kings out for streaming, but we'll be

[01:32:39] doing some more games and stuff over there.

[01:32:41] So check us out if you're a Twitch person.

[01:32:43] All right.

[01:32:45] Until next time, we'll see you.

[01:32:54] All right.