
Contents
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Introduction Introduction
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Disney Singing in the 1950s Disney Singing in the 1950s
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Davy Crockett and Fakesong Davy Crockett and Fakesong
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Sing Along with Mickey Sing Along with Mickey
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That’s What Uncle Remus Said That’s What Uncle Remus Said
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Fakedance Fakedance
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Singing in the Theme Parks and at Home Singing in the Theme Parks and at Home
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For the First Time in Forever For the First Time in Forever
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Singing with the Disney Family Singing with the Disney Family
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Conclusion Conclusion
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Notes Notes
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References References
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45 Community Singing, the Church of England, and Spirituality: The Singer, the Song, and the Singing
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28 The Disney Chorus: Singing Along to the Studio’s Forging of American Musical Identity
Get accessGregory Camp is Senior Lecturer in Music Studies at the University of Auckland. His research focuses on American music of the 1950s. On Disney, he has published the article “Mickey Mouse Muzak: Shaping Experience Musically in Walt Disney World” (Journal of the Society for American Music 11, no. 1) and a chapter on Disney’s musical representations of the South Pacific (Music, Society, Agency, Academic Studies Press, 2024). He has recently published two monographs on 1950s film music with Routledge: Howard Hawks: Music as Communication in Film (2020) and Scoring the Hollywood Actor in the 1950s (2021).
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Published:22 May 2024
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Abstract
Throughout its history, the Walt Disney Company has foregrounded community singing as part of its construction of American cultural identity across its film, television, and theme park texts, while at the same time acting as an important disseminator of music for community consumption. The studio’s 1950s films and television shows, such as Davy Crockett, The Mickey Mouse Club, and The Light in the Forest, present community singing, often of simulated folksongs (or “fakesongs”), as an important part of American life in both the idealized present and the constructed past. The Mickey Mouse Club even encouraged children to sing along from their own homes. From the founding of Disneyland in 1955 to the present international expansion of the theme parks, Disney’s attractions, shows, and parades have asked park-goers to join with each other and with professional performers, real and audio-animatronic, in singing traditional American songs as well as newly composed music. By enabling and encouraging community singing based on its own musical products, Disney has since the 1950s cemented its centrality in American cultural life. The company has long given its consumers a literal voice in their use of its products as it taps into their desire for nostalgia, tradition, and shared identity.
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