Did you know? 90s Disney Voice-Over Edition

Voice acting is a great gig. Compared to having a major role in a live-action feature film, working as a voice actor allows a far more relaxed and simple commitment. In other words? It's an easy gig. You provide the vocals, and some artsy animator types provide all the rest. Not too shabby.

To draw in audiences, animation studios will often seek out big-name actors whose names they can shamelessly splash across promotional posters. In the case of Disney, this sometimes meant they had to cast a second actor for the singing parts, but all in all, it was worth it to boast the headliner.

Early in animation history, voice actors were typically low-profile highly specialized individuals without existing careers in live action film or television. These skilled voice actors were capable of producing a range of voices, so studios often cut down on costs by hiring few actors to play several roles. As time went on, however, animation studios were eager to replace these multitalented no-names with a bunch of expensive live action actors who could only speak in their own street voices. Sounds like a good deal, right?

Love it or hate it, celebrity voice actors certainly help put butts in the theater seats. In the 90s, Disney pulled in a wealth of big-name stars to offer the voice tracks to their animated features. The quantity of celebrities who lent their voices to Disney films is far too abundant to fully catalog here, so let's take a look at a selected few of the most famous and/or surprising voice actor selections:


Timon: Nathan Lane


My favorite part of this clip is the line, "What do you want me to do? Dress in drag and do the hula?" As if Nathan Lane dressing up in drag was a shocking revelation. I think we've all seen that before in The Birdcage...and, if we can be candid here, he looks way more like Margaret Thatcher than a hula aficionado.


Simba: Jonathan Taylor Thomas/Matthew Broderick




Disney offered us a great one-two punch with the child and adult versions of The Lion King's Simba: Randy from Home Improvement and Ferris Bueller. As a child, I was really excited about the prospect of JTT, but in retrospect Broderick is likely the bigger name. Neither actually provided the singing voices for the character, but they both lent their voices to create a believably lovable lion.


Aladdin: Scott Weinger



You know, Steve from Full House? DJ's endlessly food-consuming letter jacket-wearing boyfriend? He's not necessarily a huge name celebrity, but most of us children of the 90s are more than familiar with him.


Oliver: Joey Lawrence



Whoa! Who knew? Joey from Blossom is Oliver. I certainly had no idea. Now that I think of it, though, it's completely adorable.


Lumiere: Jerry Orbach



That's right, the man also known as Detective Briscoe from Law and Order and Baby's father from Dirty Dancing is the voice of our smooth-talking French candelabra. I may be being a bit facetious; Jerry Orbach has a long resume of stage, film, and television credentials that I'm totally overlooking here. That said, I'll always think of him as Dorothy's boyfriend Glen from Golden Girls.


Genie: Robin Williams



Ladies and gentlemen, Robin Williams as...Robin Williams. In fact, in most 90s movies Robin Williams played some version of himself, but possibly none quite as pronounced as this one.


Mrs Potts: Angela Lansbury



Jessica Lansbury from Murder, She Wrote as a singing teapot? No wonder old people love this song so much.


Esmerelda: Demi Moore



They sort of look alike, don't they? Demi Moore and Esmerelda have a certain resemblance, though their choice of mate varies pretty significantly. As far as I know, Quasimodo never punk'd anyone.


Mufasa: James Earl Jones



That's right, Mufasa is Darth Vader. They're not that different really; one's a masked intergalactic hero-fathering villain and the other's a pride-leading Lion who dies prematurely. Wait, where was I going with this? They're pretty damn different,


John Smith: Mel Gibson



Mel Gibson, wary of cultures other than his own? Never! It's a bit of a stretch, don't you think?


Thomas: Christian Bale



Yes, Batman is John Smith's settler friend. For some reason, even though all of these settlers are supposed to be English, only some of them actually sound British; Bale and Gibson have American accents. I guess they adapted quickly to life in the New World.


Woody and Buzz Lightyear: Tom Hanks and Tim Allen



In 1995, Toy Story impressed us with more than just its innovative computer animation technology; it also boasted two very big-name celebrity voice actors for its principal roles. Tom Hanks plays Woody, a displaced favorite cowboy whose moment in the toybox sun is waning. Tim Allen is Buzz Lightyear, a new and flashier astronaut action figure who is completely unaware that he's a toy and not an actual intergalactic voyager. The two actors play well off of one another, sparring convincingly with strong comedic energy.

Hanks and Allen returned in 1999 for a sequel and again in the upcoming summer 2010 Toy Story 3. It's a rare event when a Disney film produces a theatrical sequel instead of a subpar straight-to-video installment, and even rarer to see a third theatrical feature. The return of the celebrity voice actors--Hanks, Allen, and the rest of the gang--is a testament to their faith in the quality of the film; in a lot of these sequels, the original actors want nothing to do with the sinking ship of a straight-to-DVD franchise. We've got high hopes for the final film in the trilogy. Hopefully our veteran voice actors will not disappoint.

Professional voice actors may have multifaceted skills that far exceed the capability of celebrity voice actors, but there is a certain appeal to attaching big name voices to your animated feature. If nothing else, it's fun to spend the movie trying to figure out where you've heard that voice before. These actors may not have the range of specialized cartoon voice actors, but they do have the power to amuse and entertain us. Plus, it makes for some entertaining behind-the-scenes with the voice actors DVD special features. Isn't that really what it's all about?

American Girl

I'm still moderately crushed that they didn't unleash the glory of the respective downtown-based American Girl Places until I was far past the acceptable American Girl consuming age. I would have been all over that. I mean, tea parties? With your doll? Is there some sort of a sign up list somewhere? Because I would like to enlist myself immediately.

Just the other day, I was at the home of a family with young girls and found each one proudly toting a bona-fide American Girl doll. The jealousy reflex in me sprang forth, strong as ever. As much as I begged, my parents would never cave and purchase me a wildly expensive Samantha doll per my requests...er, demands. My friend had one complete with it's own turn-of-the-century style miniature version of the rich person wire bed on which she slept. Granted, these young girls I encountered this week had the far inferior "Just Like Me" My Twinn-knockoff dolls complete with eerily identical features and customizations, but the jealousy reflex enacted nonetheless.

While American Girl may have started with the noblest of literacy and girl pride-minded intentions, the brand morphed into a major franchise of merchandise and self-proclaimed collectibles. I was an avid reader of the books, so imagine my delight as a child when the mailman saw fit to bring me my very own American Girl merchan dise catalog. If I had known what crack was at the time, this catalog would have become its mildly less addictive equivalent for my 10-year old self. I spent hours meticulously marking pages, indicating not only which dolls and accessories I preferred but also which me-sized American Girl-style clothing options I would hopefully someday wear with false-modest pride. Who doesn't want colonial frock or a shirt whose collar suffocates me with its early 1900s high buttonedness? These things are relatively irresistible. Well, to girls in the target 8-12 demographic, that is.



This effort-laden catalog scouring turned out to be for naught, but it did teach me a valuable lesson about coveting and consumerism. That is, that I really, really like it. Thank you, American Girl. You've served me well in my path to shopping addiction.

The spark of the American Girl concept was born in the mid-80s when creator Pleasant Rowland visited colonial Williamsburg, enjoying the impact of the fully immersive experience. Later, when shopping for gifts for her tween-aged nieces, Rowland realized that the range of dolls available to preteens was highly limited. The focus of these dolls, she observed, seemed to be on either mothering (baby dolls) or aspiring to teenagehood (Barbie-type fashion dolls). No dolls were specifically geared toward the interests of then generally underserved preteen demographic.

Initially launching the line as a mail-order enterprise, Rowland created the fledgling American Girl franchise in 1986. American Girl originally featured three historical girls: Kirsten Larson, Samantha Parkington, and Molly McIntre. Each doll came with three books about her life in her respective historical setting and optional clothing and accessories based on the character. American Girl was born.

American Girl quickly grew into a veritable operation, releasing birthday books, seasonal books, and my personal favorite in 1988: life-size matching clothing for the doll owner. The line veered into some alternate territories, but for the most part its focus was on the historically relevant doll line with its corresponding books. The original characters released in 1986 were:

Kirsten Larson (1850s)Kirsten is a Swedish American living in Minnesota in the mid 19th-century. Kirsten is a kind, sensitive girl open to new experiences in her new country. She was an avid sewer and had an adventurous spirit. Plus, she wore her hair in an awesome braid/Princess Leia Cinna-bun hybrid. I liked the idea that she was Minnesotan like me, but I could never seem to get my hair to stay in those braid loops like hers.


Samantha Parkington (1900s)

Samantha Parkington is a turn-of-the-century orphan living with her rich Grandmary. Yep, Grandymary. I guess that's Edwardian rich-speak for Grandmother. Samantha is curious and progressive, excited in new prospects and ideas. She taught me that you can be both rich and kind. Plus that it's totally awesome to have a slew of servants at your disposal. I don't think that was the point, of course, but I definitely picked up on it.

Molly McIntire (1940s)
Until the line expanded into more ethnically diverse characters, Molly is the original line's token "girl with the glasses." Molly is lively and scheming, with a father abroad fighting in World War II. She has a taste for glamour and excitement and has vivid imagination.

The line quickly expanded to include more characters based in different historical periods. In 1991:

Felicity Merriman (1770s)

It's surprising Felicity wasn't in the original release group, considering creator Pleasant Rowland's claim that a visit to colonial Williamsburg inspired the series. Felicity is coming of age during the Revolutionary War. She is highly independent and spunky and rejects many of the feminine ideals assigned to her my her time period.

In 1993:
Addy Walker (1860s)
The series' first African American character, Addy's books explore more complex societal issues, depicting her life as an escaped slave. Addy doesn't believe slavery is fair and is a proponent of racial equality, finding the North to be similarly prejudiced to the South from which she escaped.

In 1997:
Josefina Montoya (1820s)
Josefina is a girl growing up in New Mexico before the Mexican-American war, when the period was still under Mexican control. Her books integrate some Spanish terms and examine Josefina's life following the death of her mother. She is shy, thoughtful, and caring. Plus, we get to pronounce her name "HO-se-fina", which is totally awesome.

In the 2000s, the company later added post-white settlement Native American Kaya'aton'my,first-generation American Russian Jewish Rebecca Rubin, spunky tomboy Kit Kittredge, and civil-rights minded Julie Albright. The diversity of character and ethnic background grew significantly over the years since the original 1986 release, but the general guiding principles remain the same.

The books had their flaws, but they fulfilled Rowland's original vision of interesting young girls in history and lives unlike their own. Rowland introduced girls to disparate historical periods through the lens of girls who were their own age, with similar hopes and ideals. It was an innovative idea, and kids bought into it with great fervency. Bought into it so much, of course, that they begged their parents for books, dolls, magazine subscriptions, costumes, accessories, and everything else that turned this educational premise into a lucrative financial enterprise. It may have worked too well on me; I'm still putting that Samantha doll on my birthday list. It's worth a try. If you're interested in fulfilling my decades-long dream, don't forget to throw in the wire-frame bed too.

Children of the 90s One-Hit Wonder Mash-Up: 1996 Edition

It's about that time again, folks. Time to delve into the magical world of bygone one-time chart topping artists, that is. The one-hit wonder retrospective is always a bit surprising. In some cases, we may have once thought these artists to be poised for greatness and industry longevity, only to have since forgotten about them entirely. Whatever the explanation, these artists hit it big in mainstream markets with an appealing single and failed to deliver on the much-hyped follow-up.

The outlook's not all bad for our one-hit wonder makers, though. If you ever go to the dentist, you're pretty likely to hear their former hit cropping up on the inoffensive LITE FM radio station being piped into your examination room. With enough laughing gas, you can probably even transport yourself right back to where you were when you enjoyed the song the first time around. Really, with enough laughing gas, anything is possible.

Though they may not have stood the public opinion-administered test of sophomore CD success, in 1996 these songs were among the most-played on the airwaves and in Discmans (Discmen?) everywhere. Considering they don't even make Discmans anymore, these songs aren't the only thing that failed to live up to their initial fanfare and promise. Tough break all around.


Peaches (Presidents of the United States of America)

For the record, this is clearly not the video, just the song set to a bunch of peach-related images. It is sort of amusing though, right?

We just can't leave well enough alone in this country, can we? We're so full of repressed latent sexual content that we keep projecting it onto innocent songs. At least that's what PotUSA claim. The song is really just about peaches. Get over it, people. It's offensive music at its best, so please stop trying to assign it some dark deeper meaning.


Counting Blue Cars (Dishwalla)



This is one of those sort of melancholy-tinged songs that can really pull your mood in the general direction of ennui. Most often, this song is referenced for its line, "Tell me all your thoughts on God/'Cause I'd really like to meet her." Yep, her. How out there is Dishwalla? Just imagine what else they could have made quietly gender-bendingly shocking if they'd churned out a few more chart-toppers.


I Love You Always Forever (Donna Lewis)



I distinctly remember listening to an end-of-year 1996 countdown and hearing this song as the year's top chart hit, so imagine my surprise at learning that this is the last well-performing song we saw from Lewis. "I Love You Always Forever" has that light, airy, sticks-in-your-head-for-all-eternity quality to it. It may not be heavy on substance, but the song makes up for it with catchiness. So much catchiness. Be warned before listening: you're going to be singing this one for the rest of the day.


That Thing You Do (The Wonders)



Okay, so this one is sort of cheating. Technically, it's a song from a movie about a band who learns firsthand what it means to be one-hit Wonders (formerly one-hit Oneders-- feel free to mistakenly pronounce it Oh-need-ers. Really, go ahead. I won't tell.) This is a great movie with an undeniably catchy title song, so it's no surprise that the music translated well to the real-life pop charts. Of course, it wasn't quite at the movie's level of Beatlemania-esque hysteria, but it performed pretty well for a song released by a fictional group.


One of Us (Joan Osbourne)



Every once in awhile, the public just yearns for a pop song that dares to ask the tough rhetorical questions. It helps, of course, if the songwriter is articulate enough to include lyrics like, "Yeah, yeah/God is good/yeah, yeah/God is great/yeah yeah yeah yeah yeah." Throw out those old hymnals, people; this girl's a theological poet.


Macarena (Los Del Rio)


I know, I know, how many times can we talk about the Macarena here at Children of the 90s? Apparently the answer is something like bi-weekly, but we'll have to chalk it up to the fact that it was just that infectious. Forget parental warnings: his single needed a CDC warning. After the song enters your ear canal and undergoes a brief incubation period, The Macarena is doomed to be contagious to others for up to a week. We still see flare-ups of spontaneous outbreaks of the dance today. I think you never really get over it; we're all carriers of the dormant Macarena, our bodies poised and waiting for the song to strike so it can break out into well-ordered group line dancing.


Jellyhead (Crush)



Jellyhead is one of those songs that you might still be sort of embarrassed if it came up on your iPod on shuffle in front of other people but that you secretly relish listening to on your own. Its techno-pop dance beat is fun and upbeat, which might sound strange for what is essentially a breakup song. Somehow, though, Crush makes it wok.


Breakfast at At Tiffany's (Deep Blue Something)



It's a sweet song, but the premise is a little thin, don't you think? If you no longer had anything in common with your significant other, would a shared reminiscence about an Audrey Hepburn movie really rekindle your relationship? Especially considering that the band's original idea for the song had featured Hepburn's Roman Holiday instead. I guess, "So I said, what about, Ro-o-man Holiday" just doesn't have the same ring to it.


Everything Falls Apart (Dog's Eye View)



This is another one of those deceptively upbeat songs, though to its credit "Everything Falls Apart" has significantly more depth than say, "Jellyhead." The music video is just so 90s, from the overacting antics of the lead singers with the brief vignette cutaways. That lead singer really rocks that grungy button-down left open over a t-shirt, too.


Closer to Free (The BoDeans)



This song was actually released in 1993, but it didn't get any chart action until 1996. It became the theme song for the TV drama Party of Five, assuring the song's quick ascendancy to popularity. The BoDeans also recorded a lesser-known theme for Jennifer Love-Hewitt's short-lived Party of Five spinoff Time of Your Life. Unfortunately, like the new show, it seemed their mass appeal was all tapped out.


Their time at the top may have been brief, but most these songs are memorable enough to spark a little nostalgia. Just because we don't have daily conversations about the rise and fall of Dog's Eye View and Dishwalla doesn't mean they're completely forgotten. If you hear one of these songs on the radio, it's more than enough to jar you back to 1996. Well, you know. Give or take some flannel and stringy hair.