“The Disneyland Show & Live Entertainment”

The Walt Disney Productions had become an organized business the created happy moments for people. That was “the tradition of Walt Disney and his organization… a tradition of humor, music, beauty, adventure, fantasy, and fun.” On July 17th, 1955, Disneyland, a Magic Kingdom for the young at heart, became the newest addition to this ever growing tradition.

Since the beginning Disneyland® Park has been a miracle of showmanship, offering a variety of shows to entertain Guests throughout the day. In addition, music is a basic ingredient of showmanship, and has been all-important, covering the Park, and live musicians have always had a role in the Disneyland show.

According to “THE DISNEY THEME SHOW - an introduction to the art of Disney outdoor entertainment”: “Important are the sounds which permeate the scene, for without them, the theme show is a silent movie . . . but with them it is a symphony of music, effects, and natural sounds that the finest stereo system in the world can't duplicate. These sights and sounds are provided not only through Imagineered attractions and shows, but also through the multi-talented efforts of live entertainers . . . in special musical groups . . . in parades and pageants . . . providing an everchanging backdrop to virtually every area in the theme show.”

During the first year, it was decided to retain the Disneyland Band and the cast of Slue Foot Golden Horseshoe on a two-week contract. The Entertainment Department began to cast popular entertainers, and those representing organizations and schools to perform from the Disneyland stage. Large crowds were regularly drawn by events scheduled around musical acts - Dixieland at Disneyland, Big Band Night, Spring Fling, New Year’s Eve Parties, and all-night graduation parties.

“Work Experience Program and College Performers”

Walt Disney once said: “A lot of young people think the future is closed to them, that everything has been done. This is not so. There are still plenty of avenues to be explored.“ About 1962, the DISNEY WORK EXPERIENCE PROGRAM was born. Hosted by Disneyland, college musicians and dancers had a unique opportunity for to gain valuable experience preparing them for entertainment careers.

During the 1960s (before 1967 had arrived), Walt Disney Productions suggested the “General Electric College Music Bowl,” described as “a national music competition on America’s college campuses designed to win new friends for General Electric among leaders and key employees of Tomorrow… in cooperation with Disneyland and the Walt Disney Music Company.” This proposed program would have coincided with the debut of Progressland at Disneyland during the summer of 1967. It was designed to reach a major audience - “the young people of America - and specifically, the students of our major colleges and universities.” The idea was that the sophisticated and personable public relations of Disneyland, Inc. and Walt Disney Productions would team with General Electric to “augment and enlarge” the process of recruiting from the country’s top-ranking colleges, through the “universal… song and sound of music.” General Electric was to sponsor an annual competition to select the best music groups in several categories, with the national finalists in the smaller group subcategories receiving an all-expense paid tour to Disneyland for the national finals. It was proposed that the winners would receive “a guaranteed Disneyland contract to perform for several weeks during the summer months,” a “guaranteed record contract with the Walt Disney Music Company,” and a televised special direct from Disneyland.”

Within the pages of the c.1960s “General Electric College Music Bowl” prospectus, were the results of a study performed at UCLA (allegedly representing national statistics), wherein it was divulged that among its 148 trumpeters and trombonists and drummers were students majoring in engineering, business, political science, mathematics, zoology, medicine physics, and chemistry. Only “one in six” majoring in music.

“All-American Atmosphere Entertainment”

By 1972, numerous programs were created to showcase music and musicians from various Youth Groups and organizations at Disneyland. The All-American College Workshop was one such workshop. “American Music on Parade” debuted Memorial day, Monday, May 29. 1972 at 2:00 P.M. The show lineup included outstanding bands, drum & bugle Corps. and Dixieland bands from all over California. Among this lineup was the Whittier Cavaliers Youth Band (winner of 20 first-place awards), Al Malaikah Shrine Band (under Douglas Scott; representing the largest temple in Los Angeles), Ozzie’s Marching Band (under the direction of Ozzie Wissel, Karl Finch, and Bart Hazlett; recent half-time band for the San Diego Chargers), Los Angeles Police Junior Band (American Legion Junior Band Champions for 1971 & 1972), Kingsmen Drum and Bugle Corp. (five-time winners of the California Legion Drum Corp title), Anaheim South Junior High Band (sweepstakes award winners), Berkeley High School Band (for their 6th Disneyland appearance), and the Naval Training Center Drum & Bugle Corps. and 50 State Flag Unit from San Diego. This sort of showcase was common at Disneyland and yet, the presentation of the All American College Band show on the vast DISNEYLAND “stage” became a distinct part of the Disneyland theater concept. It was created (as part of the Disney Entertainment Work Experience Program) in 1972, by both Bob Jani (V.P. of Entertainment for Disneyland and Disney World) and assistant Jim Christensen.

By 1974, the “All-American College Marching Band was featured throughout the Park on Thursdays through Mondays,” according to a 1974 Press Release document.

Imagine a daily scene during the American Bicentennial celebration at Disneyland Park! The Omnibus (decorated with red, white, and blue ribbons and bunting for the American Bicentennial celebration) carries the All-American College Singers down Main Street U.S.A.! The All American Marching Band Dancers and All American College Singers prove that a smile was essential, and a genial and friendly personality was the Disney style, and mostly that the product of Disneyland is happiness.

At that time, “The All- American Marching Show Band and the Kids of the Kingdom are a ten-week summer workshop course of the California Institute of the Arts in Valencia,” according to Disneyland LINE (published August 6, 1975). According to the same Disneyland LINE article, that same year (of 1975),Ellen Lem had been coordinating the program for both Disneyland and Walt Disney World for two years (from 1973 to 1975). Efforts were made to cast talented performers from every state, with Art Bartner traveling to 13 major cities and personally auditioning 650 talented entertainers. The year 1975 saw the first three performers from the state of Hawaii join the All-American musicians. “A refreshing change is the appearance of four girls, two in each of the marching bands. Art Bartner, Ron Logan [from Long Beach City College] and Jim Christensen selected the musicians for both bands, resulting in 23 for each Park plus an additional seven for the Bahamian Band in Florida.” After the total of 56 performers were chosen, Larry Billman taught the dance routines to the three dancers added to each band for 1975. John Howell (who was recently appointed as the Disney College Workshop All-American College Singers Choral Director) would provide entertainment education.

After their nationwide auditions were reviewed by the head of Show Development, Dean of the College Program, and Park Music Director hopefuls had the opportunity to meet and work with players their own age from universities all over the country. According to Backstage magazine (summer of 1977), the students would participate in “Show Production” - “an 11-week summer program that may well influence the rest of their lives…working in a professional capacity concurrent to cultivating their talents in workshops conducted by top-of-the-field guess entertainer/instructors. Workshops [were]…conducted not only in such areas as stage acting, conducting, composing, choreography and voice, but also in show business-related fields such as publicity, advertising, career opportunities, make-up, style, lighting, recording, television variety shows and costuming.” After completion, students were sent to the theme park of their choice. In addition, The All American College Band was under the direction of the notable Doctor Art Bartner (a University of Michigan Alumni and former USC Marching Band Director).

By 1976, the College Program consisted of “80 students, ranging from 18 - 20”, according to Disneyland LINE (August 19, 1976). During that year the American College Singers consisted of two groups of 12 vocalists (six men and six women) and eight backup musicians, embodying “the Disney Touch” of teamwork. At this time, a “Music Education Program” was also instituted, on October 4th, 1976. By the summer of 1977, the Disney Entertainment Work Experience Program starred “42 musically talented students from all over the country”.

“All-American College Street Theatre Players”

In 1978, the All-American College Street Theatre Players debuted, alongside the All-American College Band and the All-American College Singers. Today at Disneyland described them as a “13-member troupe” which “mixes mime and dance with comedy and drama to the delight of Disneyland visitors, bringing back the days of the Keystone Kops on Main Street and adding to the whimsy and magic of Fantasyland.”

According to Disneyland LINE (June 21, 1979), “Two special groups, the All-American College Singers, and the All-American College Marching Band, will showcase 44 singers, dancers and musicians taken from a nation-wide Disney audition of college talent.”

During an unknown year of the 1980s, the All-American College Marching Band performed during 1980, from Tuesday thru Thursday, 4:00pm-9:00pm. The All-American College band marches through Tomorrowland, led by Art Bartner (Director of the Trojan Marching Band of the University of Southern California).

“‘What’s more American than hotdogs…baseball…and ice cream? I am!’ Each one whirls around and introduces his or herself and sings a popular song about his or her home state. Cheers of recognition burst forth from the Guests,” according to Backstage (summer of 1977).

Trombone Section - Jim Boltinghouse (left), unidentified (right)

Farewell Banquets became a tradition - celebrating the talented Disneyland Cast Members of the All-American College Band.

During the Sumer of 1983, the All-American College Band performed a concert (on July 23) and another concert featuring Bobby Shew (July 30).

By the time Disneyland celebrated “35 Years of Magic,” about 75 percent of the Park's summer employees were college students and teachers from Southern California. In fact by July 17, 1990, it was reported that well over 50,000 men and women had added to their college funds with Disneyland jobs during the past 35 years.

The All American College Band celebrated 25 years with Disneyland (1971 - 1996) in 1996! During their 45th anniversary with Disneyland (on Saturday, August 1, 2015), some of the All-American College Band alumni were invited back to Disneyland to form a band of more than 100 members that would help celebrate the milestone year. The then-current band director Doctor Ron McCurdy, invited Doctor Art Bartner to direct the first song - “Bubbles Was A Cheerleader”! In addition, the Director of The Walt Disney World All-American College Band was invited to direct a medley of Earth, Wind, and Fire songs.

Backstage magazine (published summer of 1977) best summed how the program is an example of “the principles under which Walt Disney and his Imagineers worked in creating Disneyland” when they quoted the words of Walt : “Disneyland is a work of love ; we didn’t go into Disneyland just with the idea of making money. When I make a profit I don’t squander or hide to away ; I immediately plow it back into a fresh project . . . and having spent most of my life observing their potential, I feel convinced that a full-time education for our youth is our best investment for the future.”

“Other Visiting Bands”

Many other Guest Bands were part of the Entertainment Show Schedule, participating in the Parade March and performing concerts in Tomorrowland.

1981 - Steamboat High School Band (March 26), Sheridan High School Band (March 25), Elobigoke Youth Band of Salvation Army from Canada and Agua Fria Union High School Band (March 27) performed.

1986 - Holdridge High School Marching Band and E.L Meyers Jr/Sr High School Marching Band (April 14), Grey High School Marching Band (April 17), Calaveras High School (April 18), Cupertino High School Pioneer Marching Band and Kingsburg High School Marching Band (April 19), Mayfield High School Marching Band (April 20).

In the present, Magic Music Days/MMD is a program that offers performance and educational workshop opportunities at the Disneyland Resort to vocal and dance groups all over the world.

*Master Script display the dates “June 14, 1975 - September 6, 1976.”

“I get red, white and blue at times.”
Walt Disney was always a notable patriot! In an interview he once said: “If you could see in my eyes, the American flag is waving in both of them and my spine is growing this red, white, and blue stripe.” According to one newspaper insert published July of 1955: “When World War II broke out, scores of highly trained Disney technicians streamed into every branch of the armed service, and the studio turned unreservedly to the service of Uncle Sam.”

Naturally, a portion of Disneyland was dedicated to Main Street, U.S.A. It was there that Disneyland has held Flag Retreat ceremonies since 1955. A decade after the first Flag Retreat Ceremony, Walt and company created the Great Moments with Mr. Lincoln for the New York World’s Fair and soon brought the show to Disneyland. Disneyland has always hosted patriotic holidays. Most recent (in 1971), the “I Am An American” Ceremony in Town Square commemorated both Lincoln’s and Washington’s birthdays over a four-day weekend owing to the newly passed Uniform Monday Holiday Act.

Then, when Walt Disney’s Magic Kingdom was finally realized at Walt Disney World in Florida, the Hall of Presidents and Flag Retreats kept the patriotic flame lit.

“A salute…a celebration…of our nation’s 200th birthday year at both Disneyland and Walt Disney World.”

Two-hundred years after thirteen British colonies “engaged in revolutionary battle with England,” which led to their Declaration of Independence (on July 4th, 1776), Disneyland and its affiliates would commemorate this historic event by celebrating the largest American Bicentennial in the United States of America! In twenty years Disneyland had hosted some 135 million people. By the time the United States celebrated the Bicentennial of its Declaration of Independence, Disneyland would boast its second highest peak attendance for one day - 79,680 guests - during the Park’s “Celebration Summer,” on July 4, 1975!

Disneyland Ambassador Kathy Smith and Walt Disney World Ambassador Suzy O'Hara became VISIT USA Ambassadors, “visiting major cities around the globe, conveying their message of goodwill with numerous foreign dignitaries and encouraging travel to the United States. Upon their return to the continental United States, the two ambassadors” began their U.S. itinerary, during which time they called on the 50 governors, offering a personal invitation to them, and all the residents of their state, to visit either of the Parks and hopefully join in celebration.

Now, everyone loves a parade, and a week later, Disneyland (the “national treasure”) commemorated the American Bicentennial when the three-quarters-of-a-mile-long “America on Parade” stepped off in a Press Preview performance held Thursday, June 12th, 1975, from 6p.m to 10p.m. Encore performances were held twice daily (at 3pm and 10pm), starting with a public debut performance on June 14th, 1975 (a week after Walt Disney World’s version began, on June 7, 1975)!

PRE- PRODUCTION : The parade actually began development nearly two years before the pageant’s scheduled debut. American history, people, achievements, and life styles was researched for at least a year and then concepts of floats were drawn. Models and blueprints of the parade units were soon created with maneuverability and flexibility in mind. The floats also needed to be sturdy to last 15 months of operation.

The idea of People of America - “an entire new family of Disney characters was created to… make park guests, old and young alike, see the pageant as through the eyes of a child.”

Production continued under Tom Tancredi (Project Coordinator) and Jan Slezak (Parade Coordinator). Bob Jani (known for his later work on Fantasmic) directed. Peter Larkin provided float design. Barnette Ricci, Bonnie Cox, and Marilyn Magness choreographed the action.

Within the pages of “55ers: The Pioneers,” Ray Schwartz shared : “I'm helping to coordinate the Bi-Centennial 'America On Parade! The parts are coming in from coast to coast... Florida... California…New York...Las Vegas. I have to see that it gets assembled and operating. This is the biggest project that I've ever been involved in! We have quite a lot of modifications to do...for instance, most of the floats come separately from their drive units, which we must install. Then there is quite a lot of mechanical and electrical work to do in tuning up the units. There is painting and repair work to be done to floats that were damaged en route to the Park. In particular, an airplane on a float came in, that looked like it had made a crash landing, with the undercarriage pushed up into the fuselage... fortunately, the wings were not attached! The rehearsals are going on now and the routines and costumes are something to behold! People are going to be amazed!…..the SPLENDOR...the IMAGINATION and the UNENDING hours of painstaking work to make it all work. It gives us all such a sense of accomplishment to see the parade go down the street...even in rehearsal!”

Music, as a basic ingredient of showman-ship, covers the Park. Personnel of the Walt Disney Music Library searched for tunes that would translate well through the music box or band organ blended with a Moog Synthesizer. In his Disneyland debut, Don Dorsey provided the musical arrangement of “The Glorious Fourth” by The Sherman Brothers, as well as traditional favorites like “Yankee Doodle” “Battle Hymn of the Republic”, “Good Old Summertime”, “There Is No Business Like Show Business”, “This Land Is Your Land”, “Take Me Out To The Ballgame”, and “God Bless America”.

This Don accomplished in noticeably new and different styles, with custom-made punched-hole piano books (in Antwerp, Belgium), played on antique carousel organs (like the restored 1890 “Loudmouth Sadie Mae” found in the private collection of Paul Eakins, of Sikeston, Missouri). Don then superimposed synthesized effects and sounds over the arrangement. Don also developed “Mickey Track” - a computer-controlled system which controls the parade’s music along the route. This method of broadcasting taped music to separate parade units was developed just three years prior.

The result was a 30-minute limited parade, which ran twice daily (once at 3 pm in the afternoon, and once at 9 pm, before Fantasy In the Sky fireworks). Vacationland magazine (Summer, 1975) describes America on Parade as “a musical pageant…honoring America’s history, heritage, food, symbols, entertainment, recreation, and hair styles.”

A New York Times article by James T. Wooten (published February 19, 1975) elaborated on some of the specific American history showcased among the 50 parade units and their 150 eight-foot-tall “People of America”, this way :

”Included among the characters and the floats will be Columbus's discovery of the continent, the Pilgrims’ celebration of the first Thanksgiving, Benjamin Franklin, the Liberty Bell, a flat boat and a show boat, Betsy Ross and the first flag, a stagecoach and a Western town, suffragettes, schoolmarms, athletes, cheerleaders and cleaning ladies. Not incidental to the parades. according to Donald Taylor, chairman of the board of Walt. Disney Productions, will be a “salute to the great and memorable characters of the Disney imagination” namely, Dumbo, Goofy, Donald Duck and Mickey Mouse.”

The 50 moving stages were built by different professional theatrical builders with a talent for constructing massive set pieces and floats. These firms were located “from sea to shining sea” - from “Pacoima, California to New York City. Other stages and settings were built in Las Vegas, Nevada and cities in Florida…Orlando, Deland, and Grant”. Some of the massive floats were too large that they required the assistance of a crane for their assembly. Two of every stage was constructed. Once completed, the stages needed to be shipped up to 3,000 miles away!

Pictured Above: ”The creation of America's 13-star red, white and blue flag is honored by Mickey and Minnie Mouse as part of Walt Disney's special salute to the nation's bicentennial celebration. Appearing as George Washington and Betsy Ross, the beloved Disney characters pay warm tribute to the 200-year-old symbol of America.”

TODAY at DISNEYLAND : Even before the United States celebrated it’s Bicentennial, Disneyland boasted its second highest peak attendance for one day - 79,680 guests, on July 4, 1975! Now, everyone loves a parade, so a week later, Disneyland commemorated the American Bicentennial with the three-quarters-of-a-mile-long America on Parade twice daily (at 3pm and 10pm), starting on June 14th, 1975 (a week after Walt Disney World’s version began)! The parade ran most days except for days of inclement weather, when it was (like some attractions) cancelled.

Guests were given a complimentary admission to The Walt Disney Story featuring Great Moments With Mr. Lincoln, and also encouraged to visit America the Beautiful (through the magic of Circle-Vision 360). During the spring, South America was saluted, when vocalist Juan Mendoza also known as “El Tariacuri” appeared during Disneyland’s Viva Mexico Celebration from May 1st to 2nd. That very month, dress rehearsals were held daily (from May 27th-May 31st, June 1st, and June 7th-12th). The premier was held June 12th and June 13th, according to the “Master Event Script, Procedures and Itinerary” prepared by the Disneyland Entertainment Division.

The bigger than life panorama inspired “Disneyland’s Celebration Summer” from (July 22nd - August 2nd, 1975). American themed attractions were given special attention in the guide books and maps, and special stage shows and parades were scheduled. The thirteen original colonies were saluted by a variety of high school and college bands during the date of their admission into the union. These celebrations lasted for week-long periods, from July 6th to October 11th, 1975. The states included Washington D.C., Delaware, Pennsylvania, New Jersey, Georgia, Connecticut, Massachusetts, Maryland, South Carolina, New Hampshire, Virginia, New York, North Carolina, and finally Rhode Island. Celebrity guests and performers made appearances when appropriate.

America on Parade was also the highlight of a 1976 television special entitled “Walt Disney’s America on Parade”, which was filmed partially in Disneyland and partially in Walt Disney’s Magic Kingdom. The television special starred Red Skelton as “Freddie the Freeloader,” and featured the Kids of the Kingdom in many musical sequences and shows created just for this television special. During the summer of 1976, special performances helped to “Celebrate America during summer nights” including The Miracles, Louie Bellson & The Big Band Explosion, Tavares, Lionel Hampton & His Big Band, Bloodstone, Dorothy Moore, Buddy Rich & The Big Band Machine, and Papa Doo Run Run up to the final days of America on Parade, 1976!

America on Parade also featured a variety of marching bands from a high schools and colleges - representatives of states holding the original 13 colonies! The Fontana Junior High School Marching Band performed in America on Parade, and the Fontana Community Youth Band was present on July 4th, 1976. San Marcos High School (Santa Barbara, California) opened and closed the 1975 and 1976 Disneyland Bicentennial “America on Parade,” A standard group of performers during this event was the All-American College Singers! A special section of the parade (and its units) also paid tribute to Disneyland’s “20 Years of Happiness,” inviting guests to “come love it again”!

Disneyland press releases advertised “the British are coming,” on June 24th, 1976! Yes, it was “a real Brithish Celebration in a special salute to America’s Bicentennial …complete with authentic Highland Dancers, Piper Shows, and a special parade!” The last parade was scheduled to occur on September 6th, but actually occurred on Sunday, September 12, 1976, at 6:00 p.m. After the parade ended, a battalion of wooden soldiers marched with a special Christmas Unit of the holiday parade from December 13 to December 31 (of 1976).

According to Vacationland (Summer, 1975), it was predicted that there would be 1,200 performances of the parade. It was also predicted that “over 25-million people are expected to view the live production during the 15 months to September 6, 1976. (A Broadway show would have to play every night for 300 years to accommodate the same number of people.)”

Now, “let’s step back into history and take a look at the first 200 years with this musical celebration.”

According to The Disneyland Dictionary (printed October of 1959): “There are many flags flown in Disneyland - atop buildings, flag poles and many of Disneyland's boats. There are American flags of today and flags of our nation's historical growth, and flags of other countries. There are also Mickey Mouse flags and the official Disneyland flag.”

FACTS ON PARADE : “A gala Independence Day celebration at the turn-of-the century perhaps best typifies the spirit in which this colorful pageant should be enjoyed.” I would like to direct your attention to the bunting on the lamp posts in the Esplanade before the Main Street Station. These represent the 4,000 American flags which were flown at both parks - Disneyland and the Magic Kingdom at Walt Disney World included. At Disneyland, signs were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage. More than 7,000 yards of bunting material had been created for the event, featuring star fields prominent during c. 1900.

The shields were made by staff shops - the department and group of departments that specialized in the fabrication of ornamental decoration (fiberglass, wood, plaster, metal). These decorations were placed on more than 130 lamp posts on Main Street U.S.A. (in both parks) to contribute toward a feeling of carefree delight and unbounded patriotism.

From the heights of the Main Street Station Esplanade, Disneyland was all decked out for the American Bicentennial!

Red, white, and blue American bunting and drapery added color to the Double Decked Omnibus of Main Street U.S.A.!

Back in 1974, the Grand Canyon Car sat in the Backstage area, but thanks to the efforts of Disneyland Transportation Head Ken Kohler and Bill Cottrel it was transformed and rebranded. Soon, the car had been given a new paint scheme and interior décor, and Disneyland Railroad No. 1 was renamed the Bicentennial Special celebrating 200 years of American freedom, from 1776 to 1976. Its Lilly Belle observation car (or, Presidential Parlour Car) became one of the most sought after VIP attractions inside Disneyland, first experienced by Japanese Emperor Hirohito. Meanwhile Guests commemorated the magic through souvenir Fun Photos in costume.

Crowds of spectators arrive at Disneyland’s Plaza, securing a place where spectators achieve a panoramic (and unobstructed) view the passing pageantry of America on Parade.

The first float not only represents the Disneyland show, but the United States of America.

FACTS ON PARADE : This Opening Unit float is based on an illustration of Mickey, Goofy, and Donald, that was first featured on a July 1939 issue of “Mickey Mouse Magazine,” (a forerunner of the popular Walt Disney’s comic books and stories)! Mickey Mouse, Goofy, and Donald Duck ride atop three giant drums (this isn’t the first time Mickey Mouse has rode atop a big bass drum at the lead of a Disneyland parade). Mickey Mouse bears the 13-star flag of the United States, while Goofy beats “Yankee Doodle” on an old washtub, and Donald joins him on the fife. All three wear traditional drum and fife uniforms, beneath a giant eagle (with its wings spread wide). The cover was 36 years old by the time it was referenced for the America on Parade opening unit float.

“Early one dawn in 1492, Christoper Columbus daringly set sail on unknown seas to find a new passage to the East Indies. This courageous voyage brought him to the shores of the New World!”

Everything about America On Parade (from the backdrops to the “People of America”) were created to tower over guests and Main Street.

DEBBIE REMEMBERS DRIVING THOSE CUSTOM FLOATS :

“I was hired as a float driver for America on Parade. Originally I was hired for the radio, part of the inventions section, but we ended up switching around a lot. I drove the Discovery ship, the 2nd one in the parade (a lot). I had to lie on my stomach on something like a padded slanted board and steer with handle bars that were underneath me. There was a throttle on the handlebar…just like a motorcycle… I looked out the portholes in the bow…Brakes were at the bottom of the ramp…To brake, I had to slide down the board, because I was really to short to reach.

It was my first job and the people I worked with were wonderful. Even though most of us were pretty young, it did feel like we were part of something unique and special. It was a fun work environment, so I remember it fondly.

Many others (like Debbie) would submit written or typed inquiries about employment, swiftly receiving letters similar to the following.

Below is one Inter-Office Communication announcing the addition of new Division Captains among the Summer staff. The Summer staff was largely comprised of Seasonal Employees who were employed for a specific period of expanded activity at Disneyland (such as the summer, Christmas and Easter seasons). Seasonal employees would not become permanent employees unless transferred to the permanent employee group by the supervisor in charge of the activity in which they are working.

FACTS ON PARADE : These massive toylike structures were more than twenty feet in height on average,so each one had to be flexible in order to maneuver down the parade route.

“When the pilgrims first settled in the ‘New World’, only aid from the Native American Indians helped them survive, and in gratitude, they set aside a day of Thanks Giving.”

“Starting a new life wasn’t all fun. Hard work and discipline were required…and being locked all day in the stocks,…”

“…or plunged into chilly water on the dunking stool served as discipline for those who were ‘mischievous’.”

According to “THE DISNEY THEME SHOW: an introduction to the art of Disney outdoor entertainment; Volume 2”: “What we create here is a storybook realism… an essence of realism and authenticity... more utopian in nature, more romanticized, more like what guests imagined it would be. All the negative, unwanted elements are carefully programmed out, while the positive elements are not only retained but in some cases even embellished for better entertainment.” This guiding principle has affected Disneyland Show since the beginning and can be seen in this colorful America on Parade float.

“One man who played a part in the development of these soon-to-be-called ‘United States’ was Benjamin Franklin. This man carried the word from the colonies to the King of England, that this new land - America - wanted its independence!”

“When he returned from England with the King’s denial, the colonists knew that they would have to fight for their independence.”

“Let freedom be heard…”

“…and let the Liberty Bell ring out across the land!”

Each performance of America on Parade features some Anaheim high school or college band as part of the finale. The participants received academic credits and work-experience payments for complimenting the parade’s “People of America” cast. Here the flag bearers carry the United States flag (right), the American Revolution Bicentennial flag (center), and another flag (left).

On the “note” of Independence Day, let’s take a moment to remember July 4th, 1976 at Disneyland!  As mentioned above, the parade’s patriotic theme (“The Glorious Fourth”) was written by The Sherman Brothers. An adapted musical arrangement was then provided by Don Dorsey. Finally, these were memorialized in souvenir “songbooks” which were distributed to guests on the final day (July 4th, 1976), so that they could share in the festivities along the parade’s route!

The cover featured an illustration of Mickey, Goofy, and Donald, similar to one that was first featured on a July 1939 issue of “Mickey Mouse Magazine”, (a forerunner of the popular Walt Disney’s comic books and stories). It also referenced to design America on Parade’s opening float. As such, this same iconic illustration was utilized on a variety of packaging - saltwater taffy boxes, popcorn boxes, hotdog wrappers, as well as wax and styrofoam cups to name a few.

The back of the songbook also featured a special quote from Walt Disney, memorializing his own patriotic sentiments!

“A woman patriot - Betsy Ross - hand-sewed the first American flag in June of 1776 in Philadelphia at the request of America’s first general George Washington.”

Facts On Parade : Betsy Ross’ rocking chair is a towering twenty feet high!

“Pushing across the frontiers into the west, pioneers made their way in covered wagons. New land was being explored. America was expanding.”

“The great Mississippi River - commercial highway, romantic waterway, inspired many legends in American history. Tom Sawyer and Huck Finn lived and played along the mighty river banks.”

“Along the shores of this great river, carefree tunes could be heard from the colorful showboats filled with people enjoying the festivities of a romantic Mississippi!”

While we wait for the steamship stage to approach, we are serenaded by the familiar tune of “Waitin’ For The Robert E. Lee”!

Some of the overhead props for the “Mississippi Steamboat Unit” (or “Showboat” Unit) were repurposed from the “Cinderella’s Ball Unit” of the “Main Street Electrical Parade”.

“America began moving faster, and faster!…More rails were being laid.”

“Thousands of people surged westward, hoping to carve their fortunes from the dusty hills!”

“Men and women together, would shape the nation’s destiny.”

“Phonographs brought the symphony orchestra into every home.”

FACTS ON PARADE :  More than 100 musical moving stages were created for the pageant!

“Not to be outdone by television, the movie industry has created even wider screens and bigger sounds for movie fans who flock to the neighborhood theatres to see the latest in extravagant productions as well as old favorites like The Three Little Pigs!”

“The Circus comes to town, still dazzling spectators from coast to coast, giving us all a chance to step into a world of fantasy. America loves to be entertained, and America knows how to please her audiences.”

“The United States of America - from the beginning, discovery, contribution, achievements, to this very moment of the 200-year celebration of our independence!”

A parade unit representing a local Yorba Linda school helps Celebrate America!

The narrator of the 1976 souvenir Walt Disney Production concludes : “God bless America! May Liberty’s flaming torch, and our great symbols of freedom shine like beacons, and inspire all mankind to live together in peace and harmony!”

FINALE : “In the Spirit of ‘76, Walt Disney Productions proudly presented America on Parade - a salute to America’s 200th birthday - Two centuries filled with challenges, achievements, and world contributions.“ In the end, Disneyland’s America on Parade would feature 50 floats, more than 200 performers (150 of which performed as eight foot tall “People of America”), augmented by high school and college marching bands, parading a total of 603 times.

Roy Williams (the “Big Mooseketeer”) previously made an appearances drawing funny faces and signing his autograph for fans of both the Mickey Mouse Club and Walt Disney’s cast of licensed characters. Now, one of the last Press photos taken of Roy at Disneyland, is this photograph taken during Disneyland’s salute to America’s Bicentennial Celebration (pictured above). Roy’s appearance coincided with the Disneyland’s America on Parade American Bicentennial celebration. You may recollect that the Fantasyland Theater was concurrently running a Cartoon Festival of classic Mickey Mouse short films at this time, in an effort to acquaint a whole new generation with the timeless characters. Roy Williams continued to make artistic contributions toward employee publications, and quick drawings for guests, until his passing on November 7, 1976.

The America on Parade Float “Spirit of ‘76” Driver prepares his float to “step off” and head down the route.

Pictured : Far away from “step off,” a procession of floats from the “Phonograph,” “Radio,” and “Transportation” units await showtime, in a Backstage area near the Parade Float Warehouse and Distribution Center!

America on Parade Float Driver Debbie remembers : “The parade went from [its a] Small World to Main Street [U.S.A.] in the afternoon, parked in the back and went the other direction for the evening parade. Days when there was only one parade we had to wait until closing to get the floats back to the warehouse. We always worked a split shift.”

Among the guests to enjoy America on Parade were attendees of Family Fun Nights at Disneyland.

There were quite a few V.I.P. guests of note, including the historical visit of their majesties Emperor Hirohito and the Empress of Japan, who visited Disneyland on Wednesday, October 8th, 1975.

Robert F. Jani (America on Parade Director) personally thanked all participating Cast Members for their individual and group efforts and involvement in this lively representation of America’s national history. His sincerest gratitude was partially expressed through these special personally signed message cards, in addition to Certificates of Appreciation! Many of the “people” on parade were local high school students!

Presented in celebration of our nation's 200th birthday year at both Disneyland and Walt Disney World (from June of 1975 to September of 1976), America on Parade has been preserved in this publication produced for Cast Members. According to the introduction: ”The following information on America on Parade and related topics has been compiled by Walt Disney Productions as a quick reference index to facts, figures and other valuable information pertaining to the Disney organization's Bicentennial activities.”

America on Parade was a Good Show - supporting a positive Disney image! Naturally, “Celebrate America ‘76” immediately followed Disneyland’s celebration of the American Bicentennial. Since then the patriotic celebration would become a tradition for a few years.

The Double Decked Omnibus (decorated with red, white, and blue ribbons and bunting) carries the All-American College Singers down Main Street U.S.A. to “Celebrate America”!

The Celebrate America event and Celebrate America Parade returned February 10, 11 & 12, 1979. It was heralded as the “red, white, and blue Parade of American Music” with “a rousing grand finale, including daytime fireworks”. Disneyland’s Celebrate America Parade starred the Walt Disney’s Cast of Characters, Disneyland’s Cast of entertainers, in addition to school marching bands and representatives of other organizations. Another monumental lineup of performances were arranged - The Miracles (June 19 - 25), Louie Bellson & His Big Band Explosion (June 19 - 26), Tavares (August 1-6), Lionel Hampton & His Big Band (August 1 - 7), and Papa Doo Run Run (July 31st - August 1 ; September 4th and 5th), Bloodstone with Dorothy Moore (August 29 - September 3rd), and Buddy Rich & The Big Band Machine (August 29 - September 4).

“You Deserve a Medal Too” - Disneyland’s Celebrate America Parade returned again over the next few years, even saluting the U.S. Olympic Team for four consecutive weekends (during February 19, & 20, 26 & 27, and March 5 & 6, and 12 & 13, of 1983), from 9a.m. to midnight. During these dates, Disneyland donated $1.00 per ticket sold to the U.S. Olympic Training Fund. The “Discover America” promotional contest offered each guest the opportunity to win prizes - Disneyland Passports (no expiration date) or Olympics pins, redeemed at the Carefree Corner on Main Street U.S.A.! This was dome through the use of rub-off game pieces, and prizes were redeemed at Carefree Corner!

The year 1984 C. Robert Moore (former of the Disneyland Paint Department) who was previously chosen to officially sign, Walt Disney’s signature, and had designed the Walt Disney commemorative stamp in 1968, now created the Sam the Eagle mascot for the 1984 Summer Olympics.

This Disneyland “Celebration U.S.A.” Parade Miniature Model auctioned through “Celebrating 50 Years of Magical Memories” of Disneyland.

Chip ‘n Dale lead the head of Disneyland’s Celebrate America Parade down Matterhorn Road!

Grand Marshall Mickey Mouse rides aboard one of four Disneyland Horseless Carriages with curved-dashes, built especially for V.I.P. guests! Behind Mickey Mouse, marches the Cavaliers - a Youth Organization affiliated with the local Elks Lodge of Whittier!

Mariachi San Marcos (appeared continuously in Frontierland, Thursday thru Monday) and also marched in the Celebrate America Parade alongside the Three Caballeros!

A marathon of Walt Disney’s cast of characters March today, wearing medals in honor of the visiting United States Olympians!

The parade would return again during 1984, in the form of Olympic Spirit Weekends (March 3 & 4, 1984). United States Olympians (and medallists) from various years, were on hand to meet and greet guests (and autograph photos) at several locations around Disneyland (including the Small World Mall). Special photo and autographed sessions with U.S. Olympic athletes. “We the People Ceremony” (narrated by a famous U.S. Olympian) took place twice daily at the Main Street Train Station, both the Flag Raising Ceremony and a Flag Retreat Ceremony occurred once a day at 9:30a.m. and 5:15p.m., and the American Gazette Parade ran twice a day (at 12:00 and 5:30p.m.).

All guests were eligible to win an all-expense paid trip for two to the 1984 Winter Olympics in Sarajevo, Yugoslavia. Three other First Prizes included a trip to Boston, Philadelphia, and Washington D.C. As the slogan “You Deserve a Medal, Too” declared, guests were awarded limited commemorative solid bronze medals (one-of-a-kind Disney collectables) with their Olympic Spirit Passport purchases during this event! The admission tickets were attached to the backs of Adult Passports ($10.00) and Child Passports ($7.00). Other merchandise (like Olympics pins featuring Walt Disney’s characters, and a limited lithograph by Charles Boyer) commemorated the event!

“School Marching Bands on Parade” - Though it was Disneyland’s most well known salute to America, America on Parade was not the first patriotic celebration produced for Disneyland (e.g. the “I Am An American Ceremony,” February 19, 1972, starring high student trumpeters, flag girls, choruses and bands performing patriotic songs as America the Beautiful, God Bless America, I Am An American, Battle Hymn of the Republic, and the Star Spangled Banner). Over the next few years, the tradition of exclusive patriotic parades and shows continued.

“Honor America” (on February 9 & 10, 1980) was celebrated during the 25th anniversary year. The American Gazette Parade (pictured above) also featured a variety of marching bands from a high schools and colleges. This American Gazette Parade was held twice daily - at 1:00 p.m. and 6:00 p.m. during 1983, and later during Disneyland’s 30th year celebration in 1985!

“The Walt Disney (and Bank of America) Story”

The story of Walt Disney and Bank of America dates back to the 1930s. “Bank of America helped launch… [the] fledgling industry called ‘movies.’ It backed such luminaries as Charlie Chaplin, Cecil B. DeMille, Douglas Fairbanks, Samuel Goldwyn and Frank Capra. It financed hundreds of films including classics like West Side Story, Lawrence of Arabia, and It’s a Wonderful Life. It provided critical funding to finish Gone With the Wind. When Walt Disney couldn’t get money to complete his dream - to make the first full-length animated film - Bank of America stepped in. Walt was able to finish Snow White and the Seven Dwarfs and it became an instant success. The bank financed many other later films - fantasia, Pinocchio, Peter Pan, Cinderella, Bambi,” according to “Bank of America - A Heritage of Service,” (published c. 1997).

For now, to meet Walt Disney Productions stepped up production program, arrangements were completed for a line of bank credit through December 31, 1955, with the Bank of America, Los Angeles, and the Bankers Trust Company New York.

“Blue Sky and Development”

Similar to Walt Disney’s Productions shown on the “silver screen,” Disneyland® Park was just another stage and theater concept. The presentation of the Bank of America show on the vast DISNEYLAND “stage” was a distinct part of the Disneyland theater concept. Since Disneyland’s earliest stages of development, the model for the Park has included a bank.

“Initial Concepts by Disneyland, Inc.”

The earliest plot plans (as the schematic pictured above) included a bank. Herb Ryman completed the iconic “Aerial Over Disneyland” concept drawing (depicting a bank building), originally produced over the weekend of September 26 & 27, 1953. A year later, “The Disneyland Story” (produced on September 3, 1954), told the story of what guests would experience once entering Disneyland. The opening page states : “You find yourself in a Civic Center or Town Square at the turn-of-the-century, any time from 1890 to 1910. Here you will see…the Bank.”

“Bank of America Invests in Walt Disney’s Disneyland”

During 1954, Walt was searching for Participants to lease shop and restaurant spaces at Disneyland, and help generate the necessary capital to fund construction of Disneyland. In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names in the Park. Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities.

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. By July 1, 1954, Russel Tippett of Advertising oversaw Exhibitor’s Space Sales and Lease Agreements. Individuals like Nat Wyncoff provided the essential orientation for curious lessees, selling them on the idea of Disneyland using various visual aids like sketches and one of Herb Ryman’s oil paintings of Disneyland. Soon, “a cross-section of American industry…[was] represented in Disneyland. Each of these companies… [would expose] its institutional advertising and public relations message to Disneyland guests through various forms of participating exhibits and displays. In each case, the exhibit… [was be] related to the theme of the ‘land’ in which it is located, and is woven into the overall concepts and themes of Disneyland,” according to “Disneyland, U.S.A.,” published 1958.

Now by that time, Bank of America was one of those turn-of-the-century pioneers, a trusted old firms which personally boasted “550 conveniently located branches,” (as testified to in “Your Guide to Disneyland,” a c. 1955 complimentary souvenir brochure, published by Disneyland, Inc.) Considering the bank’s long-time and trusted relationship with Walt Disney (and the very fact that by 1954, he still performed much of his personal banking with the Toluca Lake Branch of Bank of America), it was appropriate, that Bank of America now help finance a certain “special dream called Disneyland!” One morning in May of 1955, the Vice President of Bank of America met for a presentation at the West Street Training Office (which Van Arsdale France and Dick Nunis had decorated with fan cards and Disneyland renderings from the Walt Disney Studios). Walt was not present. However, Roy Disney, Card Walker, Dorthy Manes, and some executives from Eastman Kodak and Swift & Company were present. After introductions, Van France introduced the theme stating: “You are here NOT to make money. You are here because... ‘You’ll create happiness!’” Next, creative "pitch cards" by Ned Jacobi were placed on a flannel board and Dick Nunis operated a projector and described the slides. Van France and Dick Nunis were nervous, but when it was over, “Roy Disney, a financial genius, and the President of Walt Disney Productions gave his approval and blessing,” according to France’s account.

“The Bank of America was one of the first institutional lessees to become part of the Disneyland Main Street show… One day Roy received a telephone call from a banker friend:

‘Walt was in my office today,’ the banker said.

‘Oh?’ replied Roy.

‘It’s about the Park. We went over the plans he showed me. You know, Roy, that Park is a wonderful idea.’

Did Walt try to borrow from you?’

‘Yes, he did. And you know what? I loaned it to him.’

With that boost, Walt was able to cover some of the research and design costs, but an enormous amount of money was still needed to finance the reality of ground breaking and construction.” [“The Spirit of Disneyland”]

“Architectural Designs by Lessees”

Disneyland, Inc. printed materials for Lessees detailing specifications for architectural designs of exhibit spaces. These were revised by March 16, 1955 and issued to Lessees.

All of the interior architectural drawings were done by competent registered architects or an approved display house of the lessee's choice. All of the designs submitted by the lessee's architect, whether for buildings or construction of interiors in DISNEYLAND, were approved as to the theme and general plan of DISNEYLAND as established by WED Enterprises, Inc.

Three sets of preliminary drawings were furnished DISNEYLAND, Inc. as soon as possible after signing of the lease. Two sets were retained by DISNEYLAND and one set was returned to the lessee’s architect with any revisions noted thereon and stamped “APPROVAL TO PROCEED TO FINAL DESIGN.” This stamp when properly signed and dated constituted the lessee’s authority to proceed with the final drawings.

The Lessees revised their final drawings to incorporate any revisions noted on the approved preliminary drawings, and submitted three sets of the revised drawings to DISNEYLAND. One set was returned to the lessee’s architect and any revisions noted thereon are to be incorporated on the original drawings. When the lessee had incorporated the final revisions on the drawings, two sets of transparent ozalids were forwarded to DISNEYLAND for approval. DISNEYLAND would stamp both sets “FINAL DESIGN APPROVED” and “LESSEE’S CONTRACT DRAWINGS”, and return one set to the lessee who could then release drawings for bid and/or construction.

“Construction”

“Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ F. M. Franz, manager of operations for McNeil Construction expressed: "We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.” Forced perspective would make the buildings on Main Street appear taller than actually are. On Main Street the buildings would not be full scale. Ground floors were built about 9/10ths scale. Second floors measured up to 7/10ths scale. The scale on the uppermost floors would be smaller still.

Things did come together and construction began on the most outstanding of Bank of America’s contemporary 550 branches. First, a concrete foundation and slab floors were prepared, followed by wood frame construction (while store units would have a combination wood and rigid steel frame). The buildings of Main Street U.S.A. were all constructed to be very ornate, with variable embellishments.

According to inserts published in area newspapers during July of 1955, Disney buildings were roofed by Pioneer Roof & Shingle Company (then located at 608 Mateo Street, Los Angeles, California; 7522 Westminster Avenue, Westminster, California). The roof covering was a variable, dependent on the architectural design.

The 1,082 square foot space of Main Street Building #700 (as each on Main Street U.S.A.) possessed complete fire sprinkling systems. By June 30, 1955, related Disneyland Site Work Fire Protection Utilities Plot Plans were prepared for Disneyland Inc., by J.E. Thomasson of WED Enterprises Inc.

“Newbery Electric Corp. took the rapid electrical construction of Disneyland in stride. The electrical installations were supervised by Roy J. Gruendler, manager of Newbery's Orange County district office located at 1335 Santiago Ave, Santa Ana.”

Larson Brothers Plastering Company of San Diego was a proud part of Disneyland. The company crafted the ornamental plastering and all brick used at Disneyland (including their amazing new plastered brick veneer).

The versatile Quikbrick (real colorful and textural brick applied like plaster) was about half the price of ordinary brick. It insulated, beautified, and was meant to “last a lifetime.” It was used on the facade.

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “Building #708 - Bank of America: This one will be very difficult to complete by opening day. We will take another reading in about three weeks to decide what actually we should take regarding dressing.”

By July 2, 1955, shadow gags were ordered. Painted signs, window, curtains, and shades were projected to be completed on time. The sound equipment was be installed, with completion of the tape recordings appearing to be fairly tight. The electric signs were “in work,” with the exception of two shops (the shoe store and the Bank of America), all would be completed.”

“Casting”

Walt (and company) always recognized that casting was essential to the success of any story being told whether in feature-length and short film format, or at Walt Disney’s Disneyland. As far as those Disneylanders representing both Walt Disney Productions and lessees on a person-to-person basis, Walt later expressed the following confidence: “What you do here and how you act is very important to our entire organization and the many famous names of American business represented among our exhibitors… Your every action (and mine also) is a direct reflection of our entire organization… For our guests from around the world the curtain goes up on an all new show at Disneyland everyday and you, as a host or hostess, are truly ‘on stage.’ I know you will give a courteous and friendly performance.” Now, as with all Disneyland Hosts and Hostesses hired during 1955, each aforementioned employee of the Bank of America Disneyland Branch was “hand-picked by Disneyland officials with qualifications including disposition, general attitude and appearance. Each new Disneyland employee was required to attend ‘orientation classes,’ part of a training course in Disneyland policies, to become acquainted with the Disneyland way of life,” according to “Building A Dream,” prepared by Disneyland, Inc. Public Relations Department, c. June of 1955. Five months before the premier opening of Disneyland, Hal Hensley (of the Disney University Orientation Program) held classes to instruct some outgoing and friendly 1,200 Disneylanders (including those fulfilling roles at Bank of America) in some of Walt’s personal philosophies, as well as the policies which would “create happiness” for visitors! Despite their 1890 On Stage setting, Hal wanted Disneylanders to “get a ‘new world’ feel about this place.” The result was that even at its foundation in 1955, Disney University was investing in the “skills bank” and producing specialists in the field of outdoor theme entertainment.

“Grand Opening”

A contributing writer of The Daily Oklahoman (who visited Disneyland on July 17, 1955) noted: “The guests walked into a city square of the 1900 era, bounded by an old time railroad station, city hall and fire station, opera house and other vintage merchant houses.”

Bank of America was situated next door to Town Square Realty (under the Disneyland PBX officers), on the 600 block of Main Street U.S.A., Disneyland. But this 1,082 square foot Bank of America would be unlike any other, for “it must be in keeping with the era,” according to Walt to Bob Thomas (of Associated Press) in one pre-Opening Day interview. Soon newspaper readers (e.g. those of July 15, 1955, advertisement supplements of the “Register” of Santa Ana, California) were treated to a preview of this particular facility, as it’s character design was fashioned after an 1890-era Bank of America branch! One article promised “Except for escrow service and safe deposit boxes all the services of the statewide banking firm are to be offered. Most popular should be the brightly colored souvenir money orders, which visitors can send home to family and friends. Issued without a service charge in denominations of S1, $5, and $10, they are imprinted with pictures Disneyland Mark Twain river. boat, the Santa Fe-Disneyland railroad, and the bank itself. They are as cashable in the ‘outside world’ as other money orders.”

Opening Day festivities were led by Leo Wagman (Assistant Cashier), and three male tellers - Dick Sanderson, Dick Wright, and Keith Laing. One of the few resources (about opening day) which we discovered was an article entitled “Banking in Magicland.” This article preserves two fantastic photographic memories - one of Dick Wright helping one of the first customers “David Beltz, 5-year-old son of Anaheim Pro AC [Assistant Cashier] Howard Beltz,” standing next to “Buddy Baer, posing as sheriff, while Kit Fox, chief of the Comanches, stands behind David.” The other photographic memory is that of the “first shipment of silver dollars… unloaded from coach in front of our Disneyland branch with ‘Sheriff’ Buddy Baer and under the watchful can-can girls from nearby Golden Horseshoe.”

“Bank of America - The ‘Showpiece’ & The True-Life ‘Institution’”

As Van Arsdale France (founder of the University of Disneyland) explained in that presentation for potential Disneyland Participant sponsors (in May of 1955): These top executives of major American corporations were “here not to make money” but because they were to “create happiness!”

While the Disneyland, Inc. Public Relations Department reports referred to the “Banking Operation” (located on the 700 block of Town Square), the 1,082 square-foot “exhibit” was still reckoned among “Disneyland rides and amusements”that would “delight the very young, the teen-ager, young married couples, the middle-aged, and grandparents alike.” Some of our Vintage Views would testify to this fact [e.g. the excerpt from the Anaheim Bulletin “Premier Souvenir Edition - Walt Disney’s Magic Kingdom - Disneyland” Insert ; Friday, July 15th, 1955].

As was the case with the local Upjohn Pharmacy exhibit, the Disneyland Bank of America Branch was a “showpiece” with a“unique, old-fashioned atmosphere.” Stepping through the doors, one would notice that all fixtures were placed in their correct motif and many light fixtures were authentic antiques. The furniture and banking facilities matched those of the 1900’s. Owing to Imagineers knowledge of their guests, Grandmother or grandfather would have recollections of the chandeliers, teller’s cages, the interest calculator, the old-fashioned adding machines, old-time telephone, the antique 1890-period Remington typewriters, and the huge vault door (“taken from a 1911 Monrovia, California bank,” according to Vacationland magazine, Winter/Spring of 1965). Even Roy Disney (who once worked eight years for First National Bank of Kansas City) may have felt a little nostalgic over what he saw.

A few months later the Disneyland Bank of America Branch was a well-established and fully-staffed branch. Western Banker magazine Vol. XCV, No. 3 (published September of 1955) featured the Bank of America lobby on the cover, along with it’s “Pro-Assistant Cashier (Harry Kenawell) and perhaps some of it’s earliest tellers (Dick Sanderson, one of two female tellers Anne Richmire, and Keith Laing). In 1955, these were now led by Les Wagman, Assistant Cashier, Disneyland Bank of America Office manager, and first president of the Disneyland Merchant's Association. In this “last-century atmosphere,” some of these wore “shirt-sleeved tellers wearing vests, string ties and eye shades,” and worked “among old-style adding machines, typewriters of 1880 vintage, high stools and bookkeeping desks while supplying up-to-date banking service to visitors, the Disneyland owners, the business houses, concessionaires and their employees,” according to the very same article. Les Wagner’s position was truly unique, as he was “the only officer heading a Bank of America branch who is supervising modern banking service amidst surroundings of 60 years ago. It is all part of the schema of things carried out in the Magic Kingdom of Disneyland.”

“The True-Life Institution”

This Bank of America Branch was “a real institution,” “fully equipped, completely modern.” Disneyland planned for a 7-day schedule, 10 a.m. to 10 p.m., through summer, closing Mondays as fall approached. But ultimately the branch would open daily (from 10 a.m. to 4 p.m.) for Disneyland guests to perform business or explore.

In exploring the “free exhibit” - this authentic recreation of a “pony-sized” bank (complete with antique safe) - guests may perform their business! Guests could open a savings account or commercial account, take out a loan, make change, cash checks or take home a Special Souvenir Bank of America Money Order (featuring artwork of the Disneyland bank of America Branch facade, the Mark Twain, or the C.K. Holiday engine)! One, five, and ten dollar money orders (for use at “stores, shops, banks, or anywhere in the nation”) were available without charge at your Disneyland Bank of AmericaBranch! The latter were so popular that they “passed the 1,500 mark on the fourth day of business,” according to “Western Banker” (Vol. XCV, No. 3). Guests may also remember receiving their official Disneyland Bank of America photo checks if they banked here during this historic time. Now, the adults typically performed the family’s banking. So, for the kids, there was “a special ‘small fry’ window where the bank passes out foil-wrapped chocolate ‘gold pieces’” which attracted many young “bankers.” After business was performed, guests would often sign “an old cash book ‘guest register’ inscribed ‘Our Greatest Assets Are Our Friends.’”

All of this would create tangible memories Guests through it’s merchandise and show!

“Service à la Disneyland”

As for “Disneylanders,” you may recollect once using this bank to do your personal banking, long before there was a credit union. In fact, Disneyland Employee Paychecks of the era even bore the Disneyland Branch of Bank of America logo under The Walt Disney Productions logo. An issue of “The Disneylander” (1957; Vol.1, No.5) ran an ad and short article offering the Employee Savings Plan financial product, stating:

“The Company recognizes the value of a systematic savings plan for its employees, therefore, in conjuntion with the Bank of America, has worked out a program whereby each employees may save through the medium of automatic payroll deductions. In order to participate in this plan, all you have to do is stop at the Bank of America and fill out a card (like the one shown below) authorizing the Disneyland Payroll Department to withhold from your paycheck, the amount you wish to save each week. The amount that vou authorize will be deposited to your account and a Savings Pass Book will be mailed to you after the initial deposit is received at the Bank. Your savings will continue to accumulate without any further action on vour part and will earn the regular 3% interest rate.”

The synergistic relationship between the institutional lessee and Disneyland was beneficial. Bank of America yielded some revenue for Disneyland Inc. - $21,512 for the fiscal year ending September 29, 1957 and $21,520 for the fiscal year ending September 28, 1958. By 1958, the Bank of America Disneyland Branch was considered one of 15 free educational shows and exhibits at Disneyland.

By 1958, Bank of America appraisers figured of the total income received from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food. As much of the income was acquired by Disneyland, Inc., it is clear that Participant sponsors were still here to create happiness!

In fact, by October of 1959, there were over sixty-eight other firms playing a vital part in the team effort to bring happiness to Disneyland’s Guests. Some were small, specialized individual operators; some were huge companies such as Swift & Co. - the Bank of America - United Paramount Theaters (which you hear as UPT) - Carnation - Richfield - General Dynamics - Crane - and many others. These companies used the park to publicize their wares, leased space in the Park to sell their wares, and Disneyland collected advertising fees from them.

During 1959, Bank of America was open from 10 a.m. to 4 p.m. every day the Park was open, Selling Disneyland Money Orders and offering free Disneyland maps for Guests.

The previously stated unique hours of this Bank of America Disneyland Branch continued in the 1960s. According to the Guided Tour Script of 1962 : “Across the street is our Bank of America, open for your convenience until 4 o’clock this afternoon. This bank is unique in that you may do your banking on Saturday, Sunday, or Holidays…anytime the park is open.” By this time, Bank of America boasted “more than 600 branches,” some in “more than 330 other communities throughout the state.”

By 1965, Bank of America was accounted among Disneyland's 29 Institutional Lessees.

During the late 1960’s, BankAmericards could “be used to purchase Disneyland admission and ticket books at any branch of the bank and may also be used to purchase food and merchandise at any shops in Disneyland,” according to the “Disneyland Dictionary” (compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968).

Check Cashing Bank of America Hours were 10:00 A.M. to 4:00 P.M. After Bank hours, guests were directed to the "Great Moments With Mr. Lincoln” Ticket Booth.

Out-of-state visitors on a holiday would have especially appreciated the convenience owing to these previously stated features and accommodations of the Disneyland Bank of America branch. In fact, It seems that escrow and safe deposits were the only products or services that were not offered through the Disneyland Bank of America branch.

By 1975, Bank of America was open when the Park was open; 10 - 3 daily. This was perhaps the only bank in America open on Saturdays. Sundays and Holidays. Disneyland Guests who wished to cash checks when the bank was closed were directed to the Main Street Railroad Station Ticket Booth and the Penny Arcade.

There are many stories to tell about the construction period, like the time that Mill workers had to be safe crackers when the Bank of America vault was stuck. Another story includes laying the structural foundation.

“RHONDA RECOLLECTS A.E. FOWLER AND SONS INVESTMENT - IN LAYING THE FOUNDATION”

“Father worked for A.E. Fowler and Sons as a construction worker and crane operator. They did work all over Orange County. After laying a bank building foundation, Father would throw a penny in the wet cement. Later, he liked to humorously tell people, ‘I have money in THAT bank, and THAT bank, and THAT bank.” We wonder if Crane Operator Ron Vasey STILL has money in Disneyland’s Bank of America today!

“MARY REMEMBERS THE BANK OF AMERICA VAULT INSTALLATION”

“My dad was part of the crew that installed the vault door…Dad worked for the Bank of America. That was the original purpose of the building, a real bank.

I was not present at the time. I would have been 12 years old. I feel some pride about it now, but back then, I didn’t give it much thought. I am not aware of any other things he did for Disney. He did act as technical adviser for a couple of movies regarding vaults and safe deposit boxes.

Many years later, my daughter worked the part of the Queen of Hearts character in a parade. I took my parents over to see her and my Dad went to the old Bank [of America] building. He was looking at the vault and the young woman who worked there came over and asked him if he had installed it. I thought it strange that she would ask that.”

Mickey Mouse greets guests in Town Square, in front of Bank of America.

Here’s the Disneyland Branch of Bank of America, all decked out in red, white, and blue bunting for the American Bicentennial celebration held in Disneyland!

“A ‘Bank Note’ on Mickey’s Mint & The Versateller”

According to Disneyland LINE (August 5, 1976), “the Main Street branch outgrew its facilities as it strived to take care of both guest and employee needs, so in 1974, Mickey’s Mint, the only bank branch in California exclusively established to serve the employees of one company was opened”. By 1976, there were 27 Bank of America employees (working various hours, seven days a week) at both “Mickey’s Mint” - the newest Full-service Disneyland Park Bank of America Branch, and the Federal Credit Union branch (adjacent to the old Pony Farm).

The following year (of 1977), the Bank of America’s hours of operation were adjusted to 10a.m. to 3p.m. However, (by a special arrangement) check cashing with proper identification (up to $10 cash) was a service made available at select ticket booths including the Main Street Station Ticket Booth. In addition, BankAmericards were accepted at most shops, stores and restaurants at Disneyland bay this time. For Cast Members, Bank of America offered complete banking services from this fully-operating branch of the Bank of America. Located in the Backstage area between the Main Street break area and the Center, “Mickey's Mint” as the branch is nicknamed, had been serving Disneylanders since October 14, 1974. It was also the only bank of its kind in the United States that served strictly the employees of a large company. The bank’s operating hours are 10 am to 3 pm, Sun., Mon., Tues., Thurs., and Sat; 11:30 am to 6 pm on Wed.

only, 10 am to 6 pm on Fri. only. The bank is closed on holidays.

Mickey’s Mint ceased operation on September 1st, 1980, and Disneyland Cast Members soon scrambled to have their accounts transferred elsewhere to accommodate their banking needs (as the Main Street Bank of America was not a full-service branch).

By 1984 a Bank of America Versateller was conveniently located (between Group Sales and the Information Newsstand) just left (west) of the Disneyland Main Entrance. Guests who wished to cash checks when the bank is closed could be directed to the Penny Arcade on Main Street or the Starcade in Tomorrowland. There was a $20 check cashing limit.

By 1990, a Bank of America Versateller was located west of the Disneyland Main Entrance. But three years later (after some 38 years), Disneyland Participant Affairs and Participant Bank of America could not negotiate a new cooperative agreement to maintain their ongoing relationship). So, the opening-day sponsor would depart from Disneyland. Though the Disneyana Shop would swiftly move into its place, Bank of America’s years of loyal service, free exhibits, and other Disneyland investments were missed by both Disneylander and guest alike! Cast Members may recollect the TEAM Center was once located on the second floor of the old Bank of America building.

The 1990s saw a massive rehab to Main Street U.S.A.’s facades, and among them, some of the biggest changes to the Main Street fixture. With the advent of ATMs at Disneyland (in 1993), the institution of a bank became redundant. That year, the location was converted from a commercial bank, into an Annual Pass Center.

Within a few years, it was decided to add a distinguished marble facing by “aging and grain” specialist, Doug Price of Disneyland Staff Shop. By 1999, the biggest change was in store - that of sponsorship for Bank of Main Street. A deal agreed to in late March of 1999 saw Union Bank of California (a member of FDIC) become the official bank of Disneyland Park. During the era, you may recollect visiting the Bank of Main Street for a souvenir pressed penny, and a souvenir Disneyland & Union Bank of California commemorative sleeve.

“We celebrate our people for the memories they created in the past.”

There are thousands of windows at Disneyland. Most Guests strolling down Main Street, U.S.A. only notice that the fanciful window advertisements above the attractions, stores and restaurants add a nice, decorative element that completes the turn-of-the-century theme. But most Disneyland insiders know that some of the windows also serve a dual purpose of honoring Disney Cast Members who helped make Disneyland a beloved institution.

Martin Sklar once said “an individual's contribution can usually be found in the final product if one looks closely enough, but the Disney mind frame is to never point out ‘what I did’ to anyone.” However, a few outstanding individuals have been publicly recognized for their contributions and even ceremoniously honored by the Company.

“The legal profession is recognized on the windows above the Disneyana Store which read: Gunther B. Lessing, Esq., Youngman and Leopold. Gunther Lessing served as legal counsel to The Walt Disney Company for more than 30 years. Youngman and Leopold, members of the same legal firm, played important roles in early negotiations of Disneyland,” according to “Disneyland - A Treasure Chest of Trivia,” prepared by Walt Disney Productions, 1990.

Other windows (not pictured above) feature the names of William T. Wheeler & John Wise (of Wheeler & Gray Consulting Engineers). They both were instrumental in creating Disneyland, and John Wise went on to become WED’s chief engineer for future projects. As for Bill, he led design teams that were instrumental to the Disneyland we see today, and also to Disney World and Epcot Center in Florida. William and John were not the only two Wheeler & Gray engineers to join the Disneyland Team or make contributions to the magic kingdom. For instance, Don Edgren started work with Disneyland in 1954, performing “structural designs and installations at Disneyland,” according to his WED Capsule Biography. “Coordinating the engineering for Disneyland’s Matterhorn, Monorail, and general facilities, Don acted as liaison between Wheeler and Gray before he joined the WED staff of designers in 1961. His first project after coming to WED was the Swiss Family Treehouse, one of the most interesting structural engineering projects at Disneyland, basically constructed and patterned after a scale model.” Another unsung engineer was Hector Abdullah, who was contracted by Wheeler & Gray Consulting Engineers, when a pre-construction stress analysis of the Swiss Family Robinson Treehouse needed to be conducted. While Don received a window honor, Hector did not (as he was only a contractor).

J.S. Hamel, Consulting was an appointed consulting engineer for the Disneyland project in 1954.

Seven Summits Expeditions, Frank G. Wells, President - Wells, who climbed the tallest mountain on six of the seven continents, was President of The Walt Disney Company from 1984 until his death in 1994.

Richard Irvine and Marvin Davis, Architects and Associates - Irvine was chief of designing and planning for Disneyland, Walt Disney World, and the Disney shows at the 1964-65 New York World's Fair. Davis was an architect and set designer who assisted Walt Disney and Richard Irvine in the earliest layout of Disneyland.

Wilson Martin - Art director and project designer on numerous attractions including Sleeping Beauty Castle, Monorail, and Pirates of the Caribbean.

Gabriel Scognamillo - Art director who worked on Tomorrowland.

Wade B. Rubottom and George Patrick - Rubottom was an art director who worked on Main Street, U.S.A; Patrick was an art director who worked on Frontierland

Another notable Disneyland designer who has a window homage over the Bank Building is art director Gabriel Scognamillo (who contributed many Tomorrowland designs, like the yellow awnings that shaded merchandise and concessions, the maritime flags over the Tomorrowland Exhibit Halls, and even the Richfield Autopia marquee and Entrance)!

According to Disneyland LINE : Richard Irvine and Marvin Davis (whom also have “offices” above Bank of America),“are listed among the Architects and Engineers on a window above the Bank of America in Town Square. Irvine was chief designer for the Disneyland project, and is now Executive Vice-President of WED. Marvin Davis, Disneyland’s initial master planner, is a project designer at WED today.”

In 2008, WDI master plans entertained the concept of a synergistic opportunity possibly involving Visa and Chase Bank sponsorship of the Main Street Bank. This was in development. But in the end (and since its opening in 2009), The Disney Gallery has resided in the location of the original Disneyland Bank of America Branch (later expanding into the Main Street Opera House Great Moments with Mr. Lincoln Pre-Show Area).

In the “Front of House,” a few architectural elements remain to this day, including a portion of the counter and even the vault.

According to “THE DISNEY THEME SHOW - an introduction to the art of Disney outdoor entertainment: Volume II”: Of all the guests’ senses that come into play at Disneyland, the most difficult response to predict was taste. If 70,000 guests were to arrive on a single day, there would probably be 70,000 different ideas about food. Generally speaking, Disneyland food locations fall into three categories - sit-down restaurant service, “buffeteria,” and fast-food categories. The most extensive theming has always been found in the sit-down restaurant locations but all locations were housed in authentically motified facilities.

Early thumbnail sketches and other concept artwork of Mickey Mouse Park seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process. Some of the earliest concepts of a “Mickey Mouse Park” (which was to be located on a 11-acre triangular plot across from Walt Disney Studios in Burbank) featured a riverside restaurant from where one could watch the river traffic while dining (pictured above). Some of these viable project Concepts (as this), were supported by a well-developed business case and built expectation.

Early Frontierland concepts originally had a New Orleans Area in the character of New Orleans during the period up to the Civil War. Though anything resembling this concept seems to have been absent in Herb Ryman’s Aerial over Disneyland (originally produced September 26 & 27, 1953) that little “Chicken Shack” soon appeared in Marvin Davis’ c. 1954 Plot Plan (pictured above). Like some advanced “High Concept,” final designs were quickly generated and approved.

”Participant Sponsorship”

Meanwhile, Walt furthered the search for Participants who would lease shop and restaurant spaces at Disneyland. Such Disneyland Participants would help generate the necessary capital to fund construction and future growth of Disneyland. In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names in the Park. Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities.

“55er” Rima Bruce (who started with Jim D'Arcy in Food when all food was Lessee and typed memos and menus) recalled that “the phone never stopped ringing with everybody trying to get a food lease in the Park.“ Individuals like Nat Wyncoff provided the essential orientation for curious lessees, selling them on the idea of Disneyland using various visual aids like sketches and one of Herb Ryman’s oil paintings of Disneyland.

Soon, “a cross-section of American industry…[was] represented in Disneyland. Each of these companies… [would expose] its institutional advertising and public relations message to Disneyland guests through various forms of participating exhibits and displays. In each case, the exhibit… [was be] related to the theme of the ‘land’ in which it is located, and is woven into the overall concepts and themes of Disneyland”, according to “Disneyland, U.S.A.”, published 1958. Several of these “reliable old firms” sponsored the “abundance of restaurants devoted to pleasing all tastes and all budgets,” according to “The Story of Disneyland”, published 1955. A prime example was the Chicken Plantation House, operated by the Red Wagon Company!

“Design & Construction”
Next, architectural drawings helped define all designs, production and construction strategies, costs, schedule, and resource requirements. F.M. Franz, manager of operations for McNeil Construction expressed: "We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.”

The Chicken Plantation House was designed and constructed as a two story, wood frame-stucco restaurant building with a dining room, kitchen, storage room, two 2-fixture lavatories on the ground floor, a dining room, kitchenette, and a dressing room. Guest Services and Accommodations included restrooms with three lavatories with 8-fixtures in the rear of the Plantation House on the second floor, and telephones in the rear of Plantation House.

The structure was built atop a concrete foundation and floor slab, with wood shingle and roll composition roof, interior walls and ceilings of painted plaster except in the upstairs dining room which was wood paneled. The 3,492 square feet of floors were composed of asphalt tile. There was a covered 1,084 square foot balcony. About 1958, the entire facility was appraised and valued at approximately $37,250.00.

According to inserts published in area newspapers during July of 1955, Disney buildings were roofed by Pioneer Roof & Shingle Company (then located at 608 Mateo Street, Los Angeles, California; 7522 Westminster Avenue, Westminster, California).

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “Plantation Restaurant: This one will be very close. They have an excellent chance of making it if they are not held up on procurement of fixtures and equipment.”

Chicken Plantation House was predicted to serve a capacity of 450 guests per hour, contribute to accommodating“15,000 persons daily, hitting a peak of 60,000 o holidays and week-ends…” and one of “twenty restaurants and snack bars, capable of saving 8,000 hourly,” at least according to “Building A Dream” (prepared by the Disneyland, Inc. Public Relations Department). Later, in 1958, Bank of America appraisers figured of the total income of Disneyland Inc. was received from such leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food.

On July 17th, 1955 (otherwise known as Disneyland’s Press Day), the Chicken Plantation table service restaurant was draped in the same patriotic bunting and banners that decorated the Mark Twain. The reason was that the Chicken Plantation House was to first be utilized as a Stage for an elaborate New Orleans-inspired dance number (before the eyes of both guests and Staff) to the melodies of the Firehouse Five Plus Two. Some of these things are preserved through Opening Day documentation.

Then, the 1,756 square foot restaurant opened its doors, and Disneyland “made arrangements for food and refreshments” for the members of the Press (and their family) at their choice of one of three restaurants (one of which was “Swift’s Chicken Plantation in Frontierland”). After dining, Complimentary cards were presented to the Chicken Plantation cashier after their meals.

Soon, the Mark Twain Steamboat would pass Swift’s Chicken Plantation House Restaurant before heading deep into “Frontier” territory. While we wait our turn at the Frontierland Dock, the sound of Dixieland and smell of Fried Chicken and Swift’s Premium Brown ‘n Serve Sausage is carried on the warm summer air, making its way across the water to our location!

“The Plantation Building does double duty. The side facing the river has the wide verandas, grille-work and graceful construction of early century New Orleans.”

According to newspaper inserts published July 15, 1955: “The side facing the river has the wide verandas, grille-work and graceful construction of early century New Orleans, But the opposite, side of the building faces a scene from the old southwest - a stage' coach and a railroad station from America's colorful ‘Iron Horse’ era. This side of the restaurant has an adobe motif.”

“Across the Bridge…”

Yes, “across a wooden footbridge at the River’s bend the visitor sees Magnolia Park, a shady restful place reminiscent of the spacious grounds of an ante-bellum south Plantation”, according to Disneyland News (June, 1956). Within this Park is found a choice place to “dine at Disneyland,” with a little Southern hospitality! You’ll note the atmosphere is delightful, provincial, and gay, while you find yourself surrounded by the French-antebellum decor of the Plantation House. The same publication continues : “The stately structure offers diners on two floors, both inside and outside on patio and balcony. Outside tables give guests at the water’s edge a closeup second deck level view of the sternwheeler Mark Twain as the giant craft churns matter-of-factly past, only yards from diners’ tables. Service here, too, is informal cafeteria style and the dinners include all the components at one price. Children’s portions are available.”

The structure was so photogenic, that it was occasionally utilized as a backdrop for photographs used for press-related materials or publication. Actress Spring Byington (of “December Bride) and child actor Bobby Diamond (of “Fury”) were photographed enjoying lunch here for their 1956 “TV Radio Mirror” photoshoot at Disneyland! During December of 1956, Swift’s Chicken Plantation Restaurant hosted the “Junior Ambassadors of the United States and Disneyland” (more than 30 boys and girls from foreign nations), providing “full-course fried chicken” meals.

The Chicken Plantation House was operated by the Red Wagon Company, which also operated the Red Wagon Inn, Swift Market House, and the Snack Bar in Holidayland ( the latter under the supervision of Myrt Westering). As for Chicken Plantation House’s cuisine - enjoy tempting tender-grown Swift’s Premium Complete Fried Chicken Dinners $1.70, and Children’s Dinners started at $1.00. Yes, guests enjoyed tempting tender-grown southern-style Swift’s Premium Chicken dinners served from Swift’s Chicken Plantation House Restaurant. Customers received “dinners at a serving counter” and could “eat at umbrella-covered tables on the river bank or at tables on a patio.”

In a move of corporate synergy, the Chicken Plantation was one of 16 Disneyland “eating places” which featured “fine food with fine coffee - Maxwell House,” from 1955 to 1957! Carnation Farms would also serve this and 14 other wholesale customers who operated restaurants and snack bars in Disneyland.

Early notable Guests include the members of the “National Association of Amusement Parks, Pools, and Beaches”, which Disneyland hosted from September 18-20 (Tuesday through Thursday), of 1956. On Wednesday (the 18th), “a welcome luncheon was given for the visitors at the Plantation in Disneyland’s Frontier,” and notable enough to be mentioned in The Billboard (of Chicago), published for September 29, 1956.

Artwork (bearing the other Swift’s Disneyland locations) could also be found on Food Service Trays. You may remember enjoying this art so much, and taking home one of the souvenir menus or paper placemats which featured the same graphics.

Other souvenirs included those complimentary toothpicks (in sealed paper packaging), and matchbooks advertising Disneyland restaurants were a common sight (especially during the years that the Tobacco Shop was a fixture on Main Street U.S.A.). This was especially commonplace during the later years that Disneyland owned and operated the Tobacco Shop.

The DIXIE CUP division of the American Can Company opened the doors of their Anaheim facility in 1952. The neighboring business came to be located at 901 E. South St., Anaheim, Cal. With a staff of nearly two hundred people under the direction of J.D. Mitchell, the center operated as a manufacturing and distribution point for their product quality paper cups to seven of the Western States.

The business partnership between Disneyland, Inc. and the Dixie Cup Company was profitable. By September of 1958, the Dixie Cup Company was contributing a routine portion of accounts receivable to Disneyland, Inc.

According to “Disneyland Attraction Posters: 40 Years of Visual Adventure” by Margaret Shumate, published in Walt Disney Collector Society “Sketches” periodical: “With his usual attention to every detail of his beloved park, Walt Disney personally reviewed and approved each finished piece of poster art until his death in 1966.”

These could be enjoyed during the daytime or even during Date Nites (perhaps beginning around the Summer of 1961) while The Arvon Dale Orchestra performed nearby!

By the summer of 1957, Complete Fried Chicken Dinners and all the southern hospitality cost $1.70 for adults and $1.00 for children. Members of Disneyland Operations regularly held meetings at the Chicken Plantation Restaurant. For instance, the Holiday Land Picnic Committee held a meeting here Wednesday, April 10th, 1957, to discuss “problems of operations and sales.” [Disneylander, May of 1957, page 8] Decades later, Dick Nunis (in response to inquiry about his favorite part of Disneyland which is no longer there) shared : “I miss the old Chicken Plantation where I spent many Sundays sitting with Walt talking about the future of Disneyland. I remember one day the Mark Twain was coming around the bend, a Keel Boat was coming in, a Keel Boat was leaving, two rafts were crossing the River, two Indian War Canoes were racing each other, and Walt said, ‘Look at that, that’s a great show. What we need is another boat. And that’s when we decided to build the Sailing Ship Columbia.” (according to Disneyland LINE, Vol.25, No.28, published July 16th, 1993)

As a sidelight, by October 1959, Jim Baker (of Merchandising) was overseeing the Disneyland Food Administration and Souvenir Sales. By October of 1959, the company was (1) of over sixty-eight other firms playing a vital part in the team effort to bring happiness to Disneyland’s Guests. Some were small, specialized individual operators; some were huge companies such as Swift & Co. - the Bank of America - United Paramount Theaters (which you hear as UPT) - Carnation - Richfield - General Dynamics - Crane - and many others. These companies used the park to publicize their wares, leased space in the Park to sell their wares, and Disneyland collected advertising fees from them.

By 1960, Disneyland wasn’t the only theme park with a Chicken Plantation Restaurant. Freedomland had a Chicken Plantation Restaurant sponsored by J. D. Jewell, Inc.

This was the view from Frontierland Station (located behind the Chicken Plantation). The park-like setting provided a picturesque slice of Frontierland for guests to relax and enjoy the tempting scent of fried chicken dinners.

The synergistic relationship between the institutional lessee and Disneyland was beneficial. Swift and Company and the Plantation House yielded some revenue for Disneyland Inc. - $24,058 for the fiscal year ending September 29, 1957 and $21,950 for the fiscal year ending September 28, 1958. By September 28, 1958, Disneyland, Inc. made approximately $114,162.00 of land improvements to the Chicken Plantation.

This was the scene as Guests awaited passage to the Grand Canyon Diorama, aboard the Santa Fe & Disneyland Railroad’s freight train. That flowering Bouganvillea (left of the Chicken Plantation entrance) was likely selected by the legendary team of landscape architects and horticulturalists - Ruth Patricia Shellhorn and Jack & Bill Evans! It seemed to be a popular attraction with Guests, because many people took pictures of it over the years!

One bougainvillea was in fact a composite “flowering tree,” located behind the Chicken Plantation. An Australian tea tree (Leptospermum laevigatum) tree became an unfortunate casualty of transplanting. The skeleton was salvaged and converted into a unique natural sculpture with the aid of a scarlet colored bougainvillea.

Cal McMurtrey recalled “The Chicken Plantation House was a great place for girl watching… I was a gardener then, and I was taking care of Magnolia Park and the grounds around the old Plantation House. I remember the good lookin’ girls that would come by..the prettiest I had ever seen. I tried to meet my fair share of them...I WAS SINGLE THEN!”

“Songs of the South”

Music, as a basic ingredient of showman-ship, covers the Park. The Dixieland Band Stand (also called Orleans Bandstand) provided live entertainment within earshot and sight of the Chicken Plantation Restaurant. Dining could be enjoyed during the daytime or even during Date Nites (perhaps beginning around the Summer of 1961) while The Arvon Dale Orchestra performed nearby! The First Frontier Nite at Disneyland offered western music behind the Plantation House, on Tuesday nights through the summer season of 1961.

Postcards would preserve the Chicken Plantation (and it’s riverfront patio) the way that it is best remembered.

At least these two cover styles were produced - one bearing a chicken and the other, a graphic of the restaurant and patio. Complimentary matchbooks (bearing the names of Disneyland and their corporate sponsored restaurants) were fantastic pieces of promotional souvenirs, allowing Guests the opportunity to “strike up” conversations about Disneyland while outside the Park!

Walt once said that “Disneyland is like a piece of clay : if there is something I don’t like, I’m not stuck with it. I can reshape and revamp.” A fantastic example is this little river side stretch of Frontierland that originally spanned Orleans Street. Some of the earliest (c.1957) artwork produced for the “Old South” area of Frontierland involved centering the “Pirate Wax Museum” and other attractions around the Chicken Plantation Restaurant. However (in 1962), developments of new Disneyland adventures along the Rivers of America would lead to the Chicken Plantation Restaurant closing for good.

During 1961, Eleanor Heldt (Magic Kingdom Club Administrator) commented that “During a major rehabilitation, it is sometimes necessary to close an attraction for several weeks. This, of course, is when the smallest details were checked, replaced or repaired as required for the maximum safety, convenience, and comfort for our guests.” The restaurant closed January 8th, 1962, but for no major rehabilitation. The Chicken Plantation would not reopen, but be razed to the ground that very month. The Chicken Plantation can readily be seen preserved on color film, in some aerial footage of “Disneyland, U.S.A.” (a “People and Places” feature film, released in the U.S. on December 20, 1956 through Buena Vista Film Distribution Company).

But, Walt Disney’s Imagineers knew their audience. For those guests who would long to sit along the romantic Rivers of America and enjoy a chicken dinner, the location’s spirit would live on (not far away) in New Orleans Square’s Blue Bayou (another river front restaurant)!

If you would like to read more about the Swift’s Chicken Plantation, it’s my pleasure to recommend adding Marcy Smothers’ “Eat Like Walt - The Wonderful World of Disney Food” to your personal Disney Home Library! Therein, Marcy has extensively researched and finely crafted a small section of a chapter dedicated to “Walt Disney’s Disneyland - Frontierland” If you would like to bring the magic of Disneyland restaurants and concessions to your dining room table, “please step this way” toward www.eatlikewalt.com where Marcy has shared a few recipes for memorable Disneyland menu options, so you too can “Eat Like Walt.”

(July, 1955 - January 3, 1967)

The presentation of the CirCARama show on the vast DISNEYLAND “stage” was a distinct part of the Disneyland theater concept. In an era when movies were typically projected on a screen before you, the Circarama Theater allowed guests to experience “movies that surround you”! By some accounts, “After seeing the Cinerama system at the Hollywood Pantages theater, Disney called Broggie and his associate Eustace Lycett, a special-effects and lens expert, to his office. ‘If they can put three screens together, why can't we do a full circle?’ Walt asked.” [“Disneyland: Inside Story” by Randy Bright, page 89] Soon Roger Broggie’s team began to work with Ub Iwerks to assemble a rig comprised of eleven 16-millimeter cameras. Soon, Peter Ellenshaw used the rig (attached to an American Motors Rambler) to create a documentary across the western United States.

“Initial Concepts by Walt Disney Productions”

Early thumbnail sketches and other concept artwork of Disneyland seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process. Like some advanced “High Concept,” final designs were quickly generated and approved. Some of these viable project Concepts (as this), were supported by a well-developed business case and built expectation.

“Architectural Designs by Lessees”

Disneyland, Inc. printed materials for Lessees detailing specifications for architectural designs of exhibit spaces. These were revised by March 16, 1955 and issued to Lessees.

All of the interior architectural drawings were done by competent registered architects or an approved display house of the lessee's choice. All of the designs submitted by the lessee's architect, whether for buildings or construction of interiors in DISNEYLAND, were approved as to the theme and general plan of DISNEYLAND as established by WED Enterprises, Inc.

Three sets of preliminary drawings were furnished DISNEYLAND, Inc. as soon as possible after signing of the lease. Two sets were retained by DISNEYLAND and one set was returned to the lessee’s architect with any revisions noted thereon and stamped “APPROVAL TO PROCEED TO FINAL DESIGN.” This stamp when properly signed and dated constituted the lessee’s authority to proceed with the final drawings.

The Lessees revised their final drawings to incorporate any revisions noted on the approved preliminary drawings, and submitted three sets of the revised drawings to DISNEYLAND. One set was returned to the lessee’s architect and any revisions noted thereon are to be incorporated on the original drawings. When the lessee had incorporated the final revisions on the drawings, two sets of transparent ozalids were forwarded to DISNEYLAND for approval. DISNEYLAND would stamp both sets “FINAL DESIGN APPROVED” and “LESSEE’S CONTRACT DRAWINGS”, and return one set to the lessee who could then release drawings for bid and/or construction.

“The Search for a Participant Sponsor”

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. At the same time during 1954, Walt was searching for industrial participants to lease shop and restaurant spaces at Disneyland, and help generate the necessary capital to fund construction and growth of Disneyland. In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names in the Park. Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities.

Some popular episodes of Walt Disney’s Disneyland (like “Davy Crockett, Indian Fighter,” airing Wednesday, December 15, 1954) presented on the ABC Television network had been sponsored by the American Motors Corporation. Soon, CirCARama (jointly presented by American Motors, Nash, Hudson, and Kelvinator) would be presented as a free attraction with its adjoining American Motors Corporation exhibit in Tomorrowland, from June 14, 1959 - March 14, 1960. In fact by the year 1958, CirCARama was one of 15 free educational shows and exhibits at Disneyland. By that same year of 1958, Bank of America appraisers figured of the total income received by Disneyland Inc. from leases at 16.02% derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food.

“Construction”

The construction crews didn't begin work on any of Tomorrowland until six months into the project. Meanwhile, the very first buildings framed at Disneyland (after the Mill), were the Main Street Complexes (on each side of the street), as well as the two Tomorrowland Exhibit Halls (known as the North Rotunda Building & South Rotunda Building).

Many of the skilled craftsmen of local businesses (under the direction of the General Contractor George Mills Sr.) had completed work on the two main Tomorrowland Rotunda Buildings. These craftsmen and construction workers likely included (but were not limited to) the crew and staff of M.A. Gentle (who performed “all brick, block and stone work at Disneyland”), the Al Sparks Electric Company, Frank Silveri (tile and marble contractor), the Kissel Refrigeration Company, ABC Roofing Company, Bailey the Plumber, Inc., Universal Homemakers, Inc. (who fabricated “all drywall interiors” of ceilings and walls at Disneyland), and perhaps Arthur Pizzinat (a Venetian terrazzo and mosaic company).

The North Rotunda Building was particularly constructed with macadam and vinyl tile floors, mainly unfinished exposed frame walls, and some drywall partitioning. The South Rotunda had plenty of approximately 16-foot ceiling heights, space heaters, a partial air conditioning system, and three restroons (15 fixtures). Considering these features, the North Rotunda would prove to be a sufficient location for the Monsanto exhibit, with some of the 21,075 square feet allocated for its use.

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “American Motors: Walls and donut tight but we should make it. Whether the film will be complete or not is still unknown.”

About the time that Nash Ramblers bearing the “Disneyland Insignia” navigated the acreage that would become Disneyland, this (construction-era) hand-drawn Disneyland map (pictured above) highlighted the proposed location of an American Motors exhibit on Main Street, before it was decided to house it inside of a more-than-3,000-square-foot exhibit hall in Tomorrowland! According to “A Complete Guide to Disneyland” (published 1956), “American Motors presents an exciting travel picture on a 360 degree movie screen.” A press release of June 27, 1955 described the experience as “an advanced motion picture development… consisting of a continuous image focused on a 360-degree screen… introduced at Disneyland Park on July 17th by American Motors Corporation, producer of Hudson, Nash, and Rambler automobiles, Kelvinator appliances.” This attraction was reckoned among “Disneyland rides and amusements” that “will delight the very young, the teen-ager, young married couples, the middle-aged, and grandparents alike,” as some of the Vintage Views testify [Anaheim Bulletin “Premier Souvenir Edition - Walt Disney’s Magic Kingdom - Disneyland” Insert ; Friday, July 15th, 1955].

George Romney (President) commented: “This combination of photographic skills and entertainment talents promises an unusual spectacle for visitors to Disneyland. We're happy to have a part to play in making Circarama possible. As it represents added pleasure and value for the public, sponsorship of the Circarama is another forward step in our program to make American Motors mean more for Americans.”

“Installation”

While Disneyland was being developed, Walt contracted Ubbe Iwwerks about building a circular theatre screen and a film which could fully surround an audience. Eustace Lycett and Ubbe’s solution was to fabricate a circular horizontal rig capable of holding eleven 16mm Kodak CineSpecial cameras to record the film, and eleven semi-circular screens arranged in a circle (with small gaps in between for projection)! This Circarama process was further developed for Disneyland by Walt Disney Studio technicians.

Air-conditioning controls dust, and a practical mechanical application of the technology was essential in the attraction where projection equipment and film was used.

Installation of the theatrical projection and sound systems was completed by William Ralke’s Ralke Company. According to “Electronics in Disneyland” published in “Radio and TV News” of 1958,"It takes the combined efforts of seven sound-maintenance men employed by the Ralke Company, plus a Projector repairman, to keep all the electronic equipment in proper working condition."

“Press Preview Day and Grand Opening”

Circarama was one of Disneyland’s free attractions on July 17th, 1955. The resultant story was told through a 360-degree circular “screen” measuring the picture eight feet high and 40 feet in diameter. In actually the screen was 11 screens blended to achieve the effect of complete circle vision) shown through 11 synchronized 16mm projectors. The audience enjoyed the feature presentation from the center of the circle inside one of Tomorrowland's “graceful and futuristic” exhibition buildings.

By 1956, it was said that “CirCARama gives the motion picture fan the last word in cinematography,” according to the “Disneyland 1st Anniversary Souvenir Pictorial,” published 1956. According to “Walt Disney Disneyland” (first published 1964), the motion picture places one in the center of the action, so that viewers can see where they are going, and where they have been, and the scenery in-between. The theatrical experience was so unique, that by 1960 it could still be said of the Circarama theater that (five years later) it was still the“only one of its kind in the United States,” according to Vacationland (Summer, 1960).

“The Main Show”

The original attraction was sponsored by American Motors and known as CirCARama U.S.A. The first film - Circarama U.S.A. (A Walt Disney Production) - was filmed in Technicolor while driving around California in a car, with an eleven 16-mm camera-system (developed by Walt’s old friend, Ubbe Iwerks) mounted on the roof of the vehicle. The original main show - “A Tour of the West” (also, more appropriately billed “Around the West”) - took audiences on a tour of western America. The film was directed by Peter Ellenshaw (whom Walt had tasked with Artistic Direction over the reshoot of the problematic squid scene featured in 20,000 Leagues Under the sea). Sights included The Grand Canyon, Las Vegas, Newport Harbor, and Monument Valley, all around a “complete 360 degree screen.” Disneyland News (August, 1955) described the show this way : “the picture - eight feet high and 40 feet in diameter - opens with a shot of a bathing beauty walking around the audience to dive into a Las Vegas pool. Cowboys ride from one screen to the next without a break in the continuity, and another portion of the viewer seemingly drives on a busy Los Angeles thoroughfare, watching the traffic both ahead and behind him.”

“Post Show”

Lastly, audiences exited through the Exhibit Hall, where the latest American Motors automobiles & Kelvinator appliances were on display! Yes, after the main show ended, guests were free to browse the displays of new Kelvinator products around the sides of the theater. Some young guests may remember the massive 166-lb. Upright Freezer and the cubic-foot Self Defrosting Refrigerator - all in one magnificent, towering unit! There was nothing like it in the world! The Kelvinator appliance came in eight designer colors. American Motors Corporation (“builders of NASH Automobiles, Kelvinator Home Appliances, and Hudson Motorcars”) had previously sponsored episodes of “Walt Disney’s Disneyland”, like “The Disneyland Story.”

“Cars of Today and Tomorrow - ‘CirCARama’” presented by American Motors Corporation.

If you look closely behind these two guests, you can see several new Hudson, Nash and Rambler automobiles lined up near the thoroughfare leading to the CirCARama theater! Nash-Kelvinator Corporation and the Hudson Motor Car Company merged (on January 14, 1954) to form the American Motors Corporation, and they would show off their new models of motor cars in Disneyland during its first few months. “The World’s Finest Travel Cars” would return to Disneyland, for an advertising campaign that was printed in numerous publications during 1956. Numerous Nash automobiles (like the Ambassador) were featured around Disneyland near the Frontierland Train Station, Main Street U.S.A.’s Plaza, and other locations. This display was contemporaneous with a (March of 1956) Hudson Automobile television commercial campaign which was partially filmed utilizing “Fantasy Land Castle” and “Tomorrowland Space Port” (1/4 and 1/2 scale) sets constructed on sound stages at Walt Disney Studios. Artistic Direction of The Rambler television commercials was performed (c. October of 1955) by Marvin A. Davis (who was previously responsible for some “Mickey Mouse Park” and Disneyland Site Plan drawings).

Now (by 1958), Disneyland Participant Affairs (or, “Industry Sales”) and the American Motors could not negotiate a cooperative agreement to maintain their ongoing relationship, so American Motors would depart from Disneyland on September 28, 1958, at a lease termination expense of $75,923. Nash would continue to have a relationship with Disneyland (even when its sponsorship era ended). As late as 1988, “The Grand Nashional” (Nash preservation and restoration Car Club of America) would hold conventions at Disneyland, featuring a “Nash Banquet” and a “Nash Display” in the Disneyland Parking Lot.

According to Vacationland (published Summer, 1960), CirCARama Theater was housed inside “the graceful and futuristic exposition building at the left of Tomorrowland’s entrance, just past the World Clock”.

The illuminated fountains above the atomic logo (on the side of the Tomorrowland Exhibit Hall housing the CirCARama Show) were a nightly attraction in themselves!

CirCARama (jointly presented by American Motors, Nash, Hudson, and Kelvinator) was presented as a free attraction with its adjoining American Motors Corporation exhibit in Tomorrowland, from June 14, 1959 - March 14, 1960. But, big changes were in store, and the theater was closed several times for remodeling.

During 1959, Disneyland, Inc. remodeled the interior of the CirCARama exhibit. Disneyland Inc. opened Job #032-50-36 and construction commenced on of 240-foot new wall, the installation of a 75 hand rails, relocate two ticket booths, remove an existing partition and remove 17 spot lights. In addition, new drapery material by the Studio (totaling $335.40) and air conditioning by subcontractor Smith Bros. (totaling $6,224) was installed. By 1959, the entire capital of the job (including the general construction overhead and subcontractor costs), totaled $12,562.88. Even after the job was closed, two new portable turnstiles were purchased at a total cost of $1,090, in October of 1959.

After the first month of operation, “institutional and product displays” were already being planned for the exhibit, according to an article published in “The Disneyland News” (Vol. 1, No. 2). These modifications (and others) also included new additions to (and versions of) the popular film which we will now examine.

The Circarama process (which was first developed for Disneyland by Disney Studio technicians), was soon to be exhibited at the 1958 Brussell's World Fair, where it would be an important part of the Ford Motor Company’s United States special exhibit in Moscow (yes, Walt had been involved in a Ford-sponsored exhibit before the 1964 New York World’s Fair)! The new film - “America the Beautiful” - was created at the request of the United States Commissioner General Howard S. Cullman, who was in charge of the exhibit. It also became the sensation of Italy’s Turin Fair, according to “Walt Disney Disneyland,” published in 1964.

After the fair ended, a “brand new” Disneyland attraction - a CirCARama film - opened to Disneyland guests on June 14th, 1959! Yes, in place of “A Tour of the West” (or, “Around the West”) was a new main Circarama show - “America the Beautiful,” developed by the Disney Studio and presented by American Motors Corporation. America's magnificent natural and man-made wonders (from East to West) were now on display for Disneyland's guests…in the unique “fast-moving” Circarama film “America the Beauitful.”

The 11 separate projectors and 11 separate screens would bring to life the following presentation : “As the lights dim and the music swells into the stirring refrain ‘Oh beautiful for spacious skies,” the circular screen comes to life with a panoramic view of Mt. Rushmore from the air… [hearlding] the beginning of one of Disneyland’s best-loved attractions, ‘America the Beautiful’,” according to Disneyland LINE (Vol. 15, No. 37). Vacationland (Winter 1961-1962) described other memorable portions of the show this way : “Among the highlights : Washington D.C. at cherry blossom time ; the colonial setting of Williamsburg, Virginia ; the skyline of New York City and the Statue of Liberty ; an aerial view of the Grand Canyon ; a visit to a copper mine ; Ford’s automobile test track ; a bustling Midwest railroad yard ; and the pleasures of sailing in California waters.” The 18-minute film was presented in regular showings throughout the day, across 11 (or “9” according to “The Disneyland Diary”) screens, in the adjacent Circarama theater, “only one of its kind in the United States”, according to Vacationland (Summer, 1960).

“55er” Jim Harman remembered “the opening of AMERICA THE BEAUTIFUL, with its… screens. We had… men up there, behind the screens, trying to keep it working. The film would break and pile up all over the place!”

In addition to a new main show (sponsored by American Motors), a brand new Bell System Exhibit was housed in the pre-show and post-show halls on May 14* or 19, 1960 (*according to “Disneyland Rides & Attractions and Attendance Report,” 1981, page 50)!

“Entering visitors are given a demonstration of cross-country Direct Distance Dialing by Bell System representatives, then invited to view the wide-ranging story of communications, told through a dimensional, curving mural that carries out the theme… from sea to shining sea.” It was so popular that Bell Telephone’s 2 millionth guest had visited by July 16th , 1961. According to Disneyland Backstage (Summer, 1965), this original exhibit held many “cold hard facts of merchandising,” but within a few years would develop to accentuate “the beauty of outer space and the fascinating look into the future of our lives of leisure and fun.”

Two years later (in 1962), Disneyland Participant Affairs and Participant American Motors could not negotiate a new cooperative agreement to maintain their ongoing relationship. New sponsor Bell Telephone Company picked up the main show’s sponsorship, inviting guests to watch the Circarama film presented in Circle Vision. Yes, just through the Avenue of Flags tribute to the states of the union sits Tomorrowland’s exhibit halls, and a tribute to “America the Beautiful”!

According to Vacationland (Fall, 1962), “The Bell System, whose 360-degree Circarama film “America the Beautiful” enjoys popularity with both adults and children, has turned its exhibit into a yesterday, today and tomorrow of the telephone world. Called ‘Family Jones and the Telephones,’ its a graphic history from the early days to the Telstar communication satellites.”

CirCARama was popular and nearly had a legacy through a new theme park that was being developed by Walt Disney Productions. By 1963, Marvin A. Davis and W.M. Tuntke had prepared drawings of a “Jean Lafitte Adventure” (with bateaux; also called the “Blue Bayou Boat Adventure”), a “Lewis and Clark Boat Adventure” (with bateaux), “New Orleans Street” (with restaurants and shops), a “Mark Twain Type Restaurant”, an Audio-Animatronics Theatre (with a 750 audience capacity), two 6-minut Darkrides, and two Circarama Theatres (a 200 degree and 360 degree theatre) were being proposed for the Walt Disney Productions St. Louis Project.

“Pre Show”

The Bell Systems Exhibit reopened on May 19, 1965, this time around with less “cold hard facts of advertising” and more “beauty of outer space and the fascinating look into the future of our lives of leisure and fun”, according to Backstage magazine (published Summer, 1965). In place of Shiny new Nash automobiles and Kelvinator appliances, the free exhibit now featured the latest decorator phones around CirCARama’s floor. In 1964, an AT&T Picturephone (located at the New York World’s Fair) was connected to an AT&T Picturephone located in the CirCARama free exhibit at Disneyland!

During this time, the Pre-Show Room (still sponsored by the Bell System communications network) invited guests to see the latest innovations in telephone communications, by presenting a demonstration of cross country Direct Distance Dialing, performed by Bell System representatives. The author of the “Today’s News From Tomorrowland” article published in Disneyland Backstage magazine (Summer, 1965) shares their overwhelming thoughts on some of the Pre-Show displays, “Our picture phone has been a source of many wonderful conversations plus seeing our own Disneylanders talk with us from the Bell System Exhibit at the New York Word’s Fair. I’m sure that we have talked to at least 20 or 30 of them, all having fun with one of our many thoughts for the future. As we think of space and the fascinating future it holds for all of us, we are able to show you how our electrical impulses beam to Telstar - Awe-inspiring, I must say. For another look into the the future we have our Electronic Switching Office which will enable each and every one of you to use our touchtone dialing. Just buttons to push. That’s all, bt what it will do is amazing. For example, your poor little dog has been in the house all day and needs a little exercise. Just key the abbreviated numbers and out he comes. What a life. Last, but certainly not the least, our wonderful show, ‘America the Beautiful’, still an outstanding attraction.” For a finale, above the post-“show” piece, the “wide-ranging story of communications” was explained through an expansive mural that carried out the theme - “from sea to shining sea”!

Not pictured, was the Electronic Switching Office - an amazing invention (far ahead of its time, and an early form of something that we use in the present) - “which will enable each and every one of you to use your touchtone dialing. Just buttons to push. That’s all, but what it will do is amazing. For example, your poor little dog has been in the house all day and needs a little exercise. Just key the abbreviated numbers and out he comes. What a life.”

During this era, Opal Henn (known as “Mother Henn”) made a unique contribution toward the Disneyland Show as she managed the Attractions Hostesses of the Bell Telephone Exhibit. Opal interviewed each and every one (all 245 girls from 1963 to 1966), including Joyce Williams (who served as an Assistant Manager until she was succeeded by both Barbara Steffen and Helen Brenton during the summer of 1966). Opal also oversaw such details as their performance, checking their makeup, and making sure that they were in their proper positions and smiling at guests. Opal unwittingly began a tradition of CirCARama (and Circle Vision) female Leads. She was succeeded by Mary Hanson (who managed the exhibit for 10 years during the 1970s), and then Helen Baker (who became manager in 1980, and was performing this role by 1984!

Call up Mickey Mouse, Goofy, Donald Duck, and Snow White on "Small Fry" phones! Mom and Dad can listen too. “Their portraits light up as they deliver their pre-recorded messages to callers.”

“The Bell Telephone Hour”

During Bell Telephone’s Disneyland sponsorship era, there were several corporate sponsored television shoots that took place at Disneyland! “The Sounds of America” an original musical (part of the “Bell Telephone Hour” television program) was entirely filmed at Disneyland! This was the first time that a big all musical show would originate at Disneyland and employees who worked on Mondays and Tuesdays when the Park was closed would be given a preview of sorts. According to The Disneylander VOL. 4, NO. 10; OCTOBER - NOVEMBER, 1960: “Those of you who man the fort these lonely winter Mondays and Tuesdays will have a show of your own to brighten the day because preliminary test filming for a Bell Telephone Hour TV program has begun here at the Park. In case you're interested and have the time to get a back stage glimpse of what goes on in putting a TV spectacular together, the tentative rehearsal schedule for the production is as follows: Monday, Oct. 24th- Sleeping Beauty Castle; Monday, Oct. 31st Main Street and Monday, Nov. 7th- Entire Company. On Saturday, Nov. 12th, the big TV equipment will move in and the show will be video-taped on Monday, November 14th. This Bell Telephone Hour will be the first big all musical show to originate at Disneyland and will be shown on NBC around Easter.”

“Executive Producer Barry Wood had the sounds - music and lyrics by Gordon Jenkins, and ‘film scored assays’ created by documentary-film maker Irving Jacoby - but he needed some sights to go with the sounds. He concluded that Disneyland park, with its life-size reconstructions of Americana, would provide a suitable backdrop for the show, which recalls the sound’s of America’s past. The problem. Thousands of people swarm over Disneyland all day long, five days a week. How can you make a musical there? The solution. Rehearse at night, under lights, and from sunrise to sunset Mondays and Tuesdays, when Disneyland is closed to the public. Then, finally, film and tape the show in daylight. It took six weeks of this schedule to complete ‘The Sounds of America’. The result will be seen this Friday (Feb. 17). To Hermes Pan’s choreography, four dancers - Gene Nelson, Jacques d’Amboise and identical twins Jane and Ruth Earl - will be dancing in Disneyland”, according to “Dancing in Disneyland” (an article published in TV Guide, for the week of February 11-17, 1961).

The Bell Telephone exhibit at the entrance to Tomorrowland (which closed briefly, and re-opened on May 19, 1965) also served as another filming location, this time for a Jack Denove Production (during the Fall of 1965). By 1965, Bell Telephone System was accounted among Disneyland's 29 Institutional Lessees.

A WED Enterprises meeting held four days after Walt’s passing would address the AT&T contract.

America the Beautiful (also occasionally billed as CirCARama U.S.A.) would continue to run five more years, under its new sponsorship, before the Circle - Vision Theater closed September 5, 1966 or January 3, 1967. [*according to “Disneyland Rides & Attractions and Attendance Report,” 1981, page 50]
After a short rehabilitation, the exhibit and an updated version of the film would run again, starting on June 25, 1967. Pictured above, is an America the Beautiful attraction poster, similar to those ones seen as you passed through the tunnels leading to Main Street U.S.A. (from 1967 to 1984)!

According to the “Walt Disney Productions Annual Report to Shareholders and Employees Fiscal Year Ended October 2, 1965” mentioned “three present lessees… discussing expansion of their already popular attractions.” Among these was “the Bell System’s ‘America the Beautiful.’” A new Circle Vision 360 film was being considered with “an immediate program of follow through”ready to be employed. In one Disneyland Inter-Office Communication dated November 9th, 1965, Jack Sayers informed all concerned : “We are recommending a new Circle-Vision 360 attraction for Tomorrowland and have discussed this at length with AT&T and PT&T. A preliminary budget has been submitted to them. The agreement would be for five years with an option for five additional years at a fee of $100,000 per year. Bell would assume cost of the facility, the film equipment, etc. A meeting with telephone executives from New York and San Francisco is scheduled for next week.”

Soon, during 1966, WED Enterprises, Inc. opened project (No. 0052) for Bell System “America the Beautiful.” Internal materials published 1966 described: “Bell Telephone Exhibit - A new movie, Circle Vision 360, is currently being filmed, and this time in 35 mm. The new auditorium will ‘stand’ approximately 1,000 guests as opposed to the current capacity of 250.”

As late as August 25, 1966, designs and drawings had been prepared for a Utility Tunnel that would connect the North end of Bell System Building to the General Electric exhibit, a Character Restaurant Basement, a Matterhorn pump area, and East End of Tunnel with access elevator. Work continued on this four phase project at least up to September 27, 1966.

By November 17, 1966, the WED Enterprises, Inc. Board had approved a budget of $1,732,000.00 ($798,000 for the facility; $934 for the show; including a $30,000 write-off) for project #0052 - the Bell System Exhibit in Tomorrowland. According to the Summary of Project History, the scope of this was a “Facility to house the Bell System Theatre including entrance lobby, pre-show area, and exit lobby, 360 degree ‘Circle-Vision’ Show.” Construction was to begin October 1, 1966 and completed in May 1, 1967.

Many Disney personnel who were present, remember the tragedy that occurred on Thursday, December 15, 1966, at 9:35 a.m., when their brother, their friend, and leader, Walt Disney died. Soon after, Roy O. Disney, President and Chairman of the Board of Walt Disney Productions addressed the staff with an official statement, in which it was conveyed:

“Walt Disney spent his entire life and almost every waking hour in the creative planning of…Disneyland… and the other diversified activities that have carried his name through the years. Around him Walt Disney gathered the kind of creative people who understood his ways were always unique and he built a unique organization. A team of creative people that he was justifiably proud of… Many have been with us for over thirty years. They take great pride in the organization which we helped to build. Only through the talent, labor ad dedication of this staff could any Disney project get off the ground…

Much of Walt Disney’s energies had been directed to preparing for this day. It was Walt’s wish that when the time came he would have built an organization with the creative talents to carry on as he established and directed it through the years. Today this organization has been built and we will carry out this wish.

Walt Disney’s preparation for the future has a solid, creative foundation. All of the plans for the future that Walt had begun… the expansion of Disneyland… will continue to move ahead.”

With Roy’s words of Walt’s wishes in mind, not even a week after the passing of a friend and leader, Walt Disney, the WED Enterprises, Inc. Board of Directors met for a special meeting agenda on December 19, 1966. There, the fourth subject involved advising “the Board on the status of the AT&T… contracts.” Soon, the American Telephone & Telegraph Company would invest $27, 575.74 into the new January 1967 exhibit and show for Tomorrowland! The result was that Circle Vision 360 was accounted among eight new and exciting Disneyland attractions which carried total Park investment to $95 million. The newest United States of the Union would be included in the Show - Alaska and Hawaii.

Unseen, Disneyland Sound Mechanics and Projectionists are perhaps the best hidden of the craftsmen in Maintenance. They are truly “backstage” but you'll find them above stage at the beautiful Bell show.

A person coming to Disneyland would soon be able to enjoy world renowned free shows, such as Monsanto's Hali of Chemistry and home of the future, Bell Telephone's Exhibit, “America the Beautiful,” and Pepsi-Cola's Golden Horseshoe Revue.

A real “down-to-earth” Tomorrowland Spaceman greets a couple of young future cosmonauts near the the entrance to America the Beautiful!

New scenes were shot and recorded on 35mm film : Disneyland’s Christmas Parade, Pasadena’s Tournament of Roses Parade, scenes from Sun Valley, Idaho in winter, Yosemite Valley (including Half Dome) in California, views of San Francisco (Lombard Street, Fisherman’s Wharf, Golden Gate Bridge, and Chinatown), and finally scenes from Hawaii (including Waikiki Beach, the palace, Makapuu Point, Moana Hotel University of Hawaii, a Banyan Tree, and even a pineapple harvest)! The Art of Animation Building and East wing building (containing the Art Corner), were stripped of their interior displays and utilized for the new theater and post-showroom.

The exhibit hall and show would soon re-open (on June 25th, 1967) as Circle - Vision 360, with an updated version of the film America the Beautiful. America the Beautiful Circle-Vision 360 presented by Bell System, AT&T and Associated Companies and Hosted by Pacific Telephone Company, was a free tour of the USA through the magic of Circle Vision 360. The pageantry and drama was soon projected on “a continuous, 18-foot vertical, 80-foot diameter screen.” Summertime showtimes ran from 8 am to 1 am. On one 18-foot vertical, 80-foot diameter screen, you’ll see America all around you - from New York harbor to Hawaii, from Alaska to the Florida Keys. The free post-show exhibit also featured the latest decorator phones!

According to “Disneyland Attractions Time Studies 1968”:

Theoretical Hourly Capacity - 3,000

Capacity of Theater - 1,000

Capacity of Pre-Show - 600

Capacity of Post Show - 200

Cycle Time (“fill and spill”) - 20:00

Theater Load Time - 1:00

Show Time - 18:00

Theater Unload Time - 1:00

Dispatch Interval - 20:00

Shows Per Hour - 3

The Chatter Box (the future of Main Street USA’s “party line”) was a Tomorrowland attraction present during 1967 until the actual ‘futuristic’ year 1986! Disneyland guests were able to enter one of six large telephone booths with as many friends that could squeeze inside, and call anywhere they desired using the technological marvel of ‘speakerphone’. Former Character Shop employee Desiree shares : “I remember the Photo Booths very well…when I was young …in that same room were I was young…in that same room were telephones that you could listen to the on…I loved that.”

The Swatch umbrellas on top of the Chatterboxes were Premiere Shop merchandise. The neighboring Premiere Shop sold “California souvenir merchandise, jewelry, and unique gift items.”

The Premier Shop was located next to World Premier Circle - Vision, presented by PSA (featuring American Journeys, a spectacular Circle-Vision 360 tribute to the U.S.A. As diverse as the inhabitants of the United States, was the merchandise of The Premier Shop. The merchandise is described in the Guide to Disneyland (published 1987) - “stylish Disney clothing…tech gifts… and California merchandise.” Desiree (who was part of the Premier Shop crew on opening day) remembers : “I worked the opening.”

According to former (1984-1987) Premier Shop Merchandise Hostess Desiree : “This was the kind of stuff we sold when the Premier Shop opened. They eventually took it out and went to Disney themed stuff.”

Former Premier Shop Merchandise Hostess Desiree recalls, “Michael Jackson liked that store because it had weird merchandise and he came in all the time…We sold those light up laser balls…We sold a lot of watches…all non-Disney in that store…Swatch was a big seller…and tons of Guess watches.”

The Premier Shop was popular and influenced elements of the Skyway Station Shop at Tokyo Disneyland in 1985.

By 1998, the Premiere Shop was a “vehicle warehouse” paying tribute to past Tomorrowland transportation. Guests could create their own personalized CD of of Disneyland sound tracks, past and present, at 8 kiosks.

At the free circular Telephone Theater (c. 1971), “nine projectors present a panorama of America in stereophonic sound and big-as-life grandeur!” While Bell Telephone continued to serve as a Disneyland Participant until Monday (September 12th, 1983, this “free show” (not requiring a coupon for admission) would continue to run until January 3rd, 1984. On January 3, 1984, Circle-Vision 360 closed for remodeling and the installation of a new motion picture. In its full history, the America the Beautiful film was re-photographed three times, lastly in 1974 (for a 1975 debut). During this time (c. 1973) the showroom still contained the futuristic Picturephone, “where you can see the person you are calling”.

By the time the new America the Beautiful motion picture had its Disneyland debut in 1975, Walt Disney World Magic Kingdom’s Circle Vision 360 Theater presented by Monsanto, was showing a free attraction - “Magic Carpet ‘Round the World” (by March 1974). The show included 200,000 feet of film which was edited down to “17,000 feet of spectacular photography… Lasting 21 minutes, the film transports viewers on an imaginary journey which includes the sights and sounds of London's Tower Bridge and the River Thames, the Tivoli Gardens in Copenhagen, the Belgian Grand Prix, Notre Dame Cathedral in Paris, the Swiss Alps, castles on the Rhine, the world-famous Vienna Boys' Choir, Rome's historic Coliseum, a bullfight in Madrid, the Wailing Wall in Jerusa-lem, the Sahara Desert, the Sphinx and the Pyramids, Africa's big-game country and Mount Kilimanjaro, the Taj Mahal, Siamese dancers. a Chinese junk in Hong Kong harbor, the cherry blossoms of Japan, and a grand sweep of America beginning with San Francisco Bay and ending with a breathtaking view of the Statue of Liberty.”

In 1980, Manager Mary Hanson retired (after 10 years), and newly promoted Circle-Vision 360 Manager Helen Baker presented Disneyland’s 200 millionth Guest Gert Schelvis with a Mickey Mouse telephone.

World Premier Circle-Vision Theater presented by Pacific Southwest Airlines (July 4, 1984 - 1995) : Pacific Southwest Airlines (founded May 6th, 1949) was not so old a firm as the original industrial and otherwise corporate participants of Disneyland. Still, it would soon sponsor a new attraction. By September 30, 1982, construction was in progress, and WED & MAPO opened a job numbered DX04-1, DX07-1, and DX09-1 (at a cost of $57,813.29) for a “PSA - Wings Away” at Disneyland.

“Audience Waiting Areas” are especially designed as part of the attraction to make the guest's time waiting in line as comfortable as possible. This show was preceded by a pre show - a holding area with a show that introduced the main attraction. A short pre-show film about the history of aviation was produced with animation Producer David Michener serving as a contributing design and filmmaking consultant for the animation.

The main show was “American Journeys,” a 70mm motion picture Circle-Vision tour across the United States. Directed and produced by Rick Harper and Jeff Blyth and presented by Kodak, the motion picture debuted on July 4th, 1984. According to Don Henderson (of WED Enterprises Film Production) “American Journeys” was “not a geographical survey,” but the “story of the American People told visually - their heritage, struggles and sacrifices.” Rick Harper “filmed many closeup, people-oriented scenes - something unusual in a wide screen format.. The movement away from grand panoramas distinguishes ‘American Journeys’ from ‘America the Beautiful.’ The new film explores not only the places but the people of America… children flying kites in a Utah meadow… a shipcarver working in his Connecticut shop. But the film will also surround viewers with the breathtaking scenery characteristic of the Circle-Vision 360 format. In their cinematic journey across America, viewers glide over Rocky Mountain meadows and soar bore the canyons of Utah. They travel up the Mississippi River alongside puffing paddle wheelers and down New York City’s Park Avenue amidst a sea of yellow taxis. Guests see the country through the eyes of a mountain climber scaling the Rockies and a balloonist drifting over Monuent Valley in Arizona,” according to The Disney News (Summer of 1984). The film’s imagery was action-packed, and surely “reached out and touched” guests. You may personally recall originally “soaring,” as well as skiing and canoeing across the picturesque & majestic United States, with the 3-D motion picture American Journeys presented by Kodak.

By 1984, Telecommunication Devices for the Deaf were located by American Journeys Post-Show area.

PSA would continue sponsorship until July 17, 1989. During this time, several pre-adventure motion pictures premiered including the 8-minute live action and animated All Because Man Wanted To Fly starring the comical Orville the Albatross from “Walt Disney’s The Rescuers” (on July 4th, 1984), American Journeys (a journey soaring, skiing, canoeing, and rafting across the United States, typically 9a.m. to 4p.m., c. 1984 -1988), and Wonders of China - Land of Beauty, Land of Time (a journey into the People's Republic of China; typically from 5p.m. to the Park closing, c. 1984 -1988). The latter film had previously debuted in 1982 at EPCOT’s China Pavilion (of “Walt Disney World Vacation Kingdom in Florida”), and now brought such experiences as the mountains of Tibet or a walk along the Great Wall to Disneyland guests. Now during the arrival of “Festival Japan” (October 12 & 13, 1985), the PSA Exit Lobby would feature several exhibits - Hirofumi Kai (Doll Exhibit), Yukari-Kai (Girl’s Day, Boy’s Day Exhibit), and West Coast Origami Guild, from 9:00a.m. to 6p.m. At one time (during 1988), two motion pictures ran every 20 minutes - Wonders of China and American Journeys. Wonders of China was so popular, that it continued to show in Disneyland until 1996.

Circle Vision (January 1, 1996 - September 7, 1997) : During 1992, guests leaving Circle Vision 360, could cast their vote for the person they feel has had the greatest impact on the 20th century. The EPCOT Poll person of the century was a ten-year poll, with the winner announced on January 1, 2000. Sadly, Circle Vision 360 would not make it to the year 2000. Delta Airlines (whom Pete Clark, Senior Vice President of Disneyland Participant Affairs Division once commented, “Delta Airlines adds the idea of an exciting new adventure to Circle-Vision and lets people know that the attraction is going to be of interest to travelers”), would pick up the sponsorship until January 1, 1996. At that time, the World Premier Circle - Vision Theater was renamed Circle Vision. The attraction continued to operate for one more year, until its final show in 1997.

Since the beginning, the Four Keys of the DISNEYLAND Show (operating priorities in presenting the DISNEYLAND Show) have been present - Courtesy, Safety, Show, and Efficiency. Guided by these Four Keys, are Walt Disney Imagineers, who are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures. Above, note the CircleVision 360 façade during the construction of the PeopleMover. While CircleVision 360 would ultimately fade from the sight of Tomorrowland (at Disneyland), the attraction would inspire two Circle Vision Shows, both at Disneyland Paris and Tokyo Disneyland. Each of those shows would be joined by by a most-complex Audio-Animatronics Host known as the Timekeeper.

By 2008, the name would live on with the Star Trader Cash Wrap/Zone known to Disneyland Cast Members as “Circle Vision Souvies”.

From 1999 to 2000 Walt Disney Imagineer John Stone designed conceptual study models for GM and Chevron sponsored shows incorporating the Circlevision Theater in New Tomorrowland.

“‘The Show Goes on Tomorrow’ - Tomorrowland Reopening & Rededication to ‘Imagination and Beyond’”
Still, another (and second) expansion was to be partially unveiled to Walt Disney Company employees at “Walt Disney Imagineeringland” on November 15 & 16, 1997. The Big D Cafeteria was home to exhibits relating to Tomorrowland Facades, Honey, I Shrunk the Audience, Innoventions, the Astro Orbitor, Rocket Rods / Circlevision, and Disneyland Design Studio. A Buzz Lightyear's Space Ranger Spin exhibit was on display at Tujungaland.

The dedication of Tomorrowland was once preserved on a plaque at the base of the Tomorrowland United States of America Flag Pole: “Tomorrow offers new frontiers in science, adventure and ideals : the Atomic Age … the challenge of outer space … and the hope for a peaceful and unified world.” Like it’s contemporary Avenue of Flags (featuring the mottos and emblems of the States of the Union) or much like the latter Spirit of Creative Energies murals (highlighting the creative and colorful children of our “small world”), the Clock of the World highlighted something something that connects us all - in this instance, time.

“Blue Sky and Design”

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. By that time, early thumbnail sketches and other concept artwork seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process. Almost any concept was permissible and considered a future possibility.

Like some advanced “High Concept,” final designs were quickly generated and approved for the Clock of the World. 

Things were moving along by March 31, 1955, as a U.S. Time Corporation representative had sent a letter to Mr. Gabriel Scognamillo, Art Director of Tomorrowland for Disneyland Inc., reading:

“Confirming my conversation with you this afternoon, I have been in the process of designing the Tomorrowland clock. However, have been having considerable difficulty with the movement of the Torso. Since you no longer require this to revolve, this eliminates several major problems and will be much easier for us to fabricate.

It is my intention to make the hour wheel with 24 aluminum angles to which 24 segments of 1/4” thick plexiglass will be fastened. Each segment will have 4 screws to be attached to aluminum steel which will run in a vertical direction. To each segment will be applied 1/4’ thick numerals of plexiglass. For the daylight hours we recommend a milk white background with black numerals and for the night time, medium blue with white markers. The illumination on the hour wheel will consist of a neon tube completely circling the internal position of the markers for illumination and will be activated by a 24-hour time switch.

Insofar as the cyclometer design is concerned and for illuminating the minutes, I have not as yet determined how this will be done. Design of this particular phase is being worked on and as soon as something tangible has been realized, will advise you.

It would be appreciated if you would send us color swatches of the anodized gold for the map, gold for the sun, anodized silver for the background and anodized silver for the moon. It is also my understanding that you wish to apply Venetian mosaic glass to the base and to the roof.

In regards to our trade mark, we would appreciate having ‘Timex’ placed in a conspicuous place so that it will be readily visible. Your suggestions as to where this might best be put will be helpful.“

Perhaps some of these thoughts were behind Herb Ryman’s early quick “suggestions” that eventually depicted what would be known as “the Clock of the World.”

The “U.S. Time Corp. Clock” was designed by both U.S. Time and WED Enterprises. Some of the viable project Concepts (as pictured above), were supported by a well-developed business case and built expectation.

“Feasibility and Design Development”

Further phases such as feasibility, schematic design, design development, and production followed.

By May 26, 1955, Gabriel Scognamillo of Walt Disney Studios sent a communication to Mr. Ted Chartier of U.S. Time in Waterbury, Connecticut. He had already submitted the cost for modeling the Crescent Moon ($385.00) and an approximate estimate for casting & finishing the Moon. ($500.00). Scognamillo had already laid out the sun which would be an aluminum spinning ornament. However, he hadn’t calculated a price on this and needed to complete drawings. By that time, Scognamillo had been working on the numerals with goal of shipping them over a few days.

C. V. Wood called U.S. Time verifying receipt of photographs and engineering drawings of the clock that were being preparing for production, modeled after the large one they are making for the entrance to Tomorrowland in the Park.

“Construction”

Timex was the official time in Disneyland, and was well represented throughout the Magic Kingdom. Timex was the sponsor of the Main Street Watch Shop and the same corporation that supplied Disneyland’s other memorable clocks on Main Street U.S.A. (as the Post Clock near Eastman Kodak, and the clock tower piece over the Main Street Station). Since 1955, the U.S. Time Corporation cared for all these clocks. According to the Guided Tour Script (1962), The World Time Clock was “provided by the Timex Corporation and designed by the Walt Disney Studios in Burbank, California.”  

Speaking of Disneyland, F. M. Franz, manager of operations for MeNeil Construction expressed: "We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.”

The “U.S. Time Corp. Clock” was constructed by WED Enterprises. However, many of its parts and materials were made by numerous manufacturers. The steel supports and framework were accomplished by Griffith Equipment Company. The continents and oceans were being prepared by Rand McNally .

“Construction”

The construction crews didn't begin work on any of Tomorrowland until six months into the project.

Timex was the official time in Disneyland, and was well represented throughout the Magic Kingdom. Timex was the sponsor of the Main Street Watch Shop and the same corporation that supplied Disneyland’s other memorable clocks on Main Street U.S.A. (as the Post Clock near Eastman Kodak, and the clock tower piece over the Main Street Station). Since 1955, the U.S. Time Corporation cared for all these clocks. According to the Guided Tour Script (1962), The World Time Clock was “provided by the Timex Corporation and designed by the Walt Disney Studios in Burbank, California.”  

Speaking of Disneyland, F. M. Franz, manager of operations for MeNeil Construction expressed: "We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.”

The “U.S. Time Corp. Clock” was constructed by WED Enterprises. However, many of its parts and materials were made by numerous manufacturers. The steel supports and framework were accomplished by Griffith Equipment Company. The continents and oceans were being prepared by Rand McNally .

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “The Clock: This is very critical. Every effort has been placed on it. The works on the inside may not be ready.”

This illustration (pictured above ; produced for an early licensed Disneyland product), granted a glimpse of the International Time Clock - the first Tomorrowland attraction that guests would encountered, in the Entryway!

It could give guests the time for nearly anywhere in the world! In fact according to the Los Angeles Examiner (July 15, 1955), “At a glance, this elaborate chronometer tells you the exact minute and hour anywhere on the face of the planet Earth.”

The presentation of the Clock of the World show on the vast DISNEYLAND “stage” was a distinct part of the Disneyland theater concept. It was a 24-hour clock, measuring time in a method similar to Military Time. The Sunsphere, the aluminum Band atop tiled base, and the Orb were essential time-telling components of the clock. According to Vacationland (Winter, 1958), “the dark numbers on white backgrounds are daylight hours ; white numbers with dark background are nighttime.” As you will note, guests often photographed the clock from the daytime side.

Once understood, this “elaborate” clock was quite easy to use, “showing at a glance the exact time at all the far ends of the world,” [The Story of Disneyland, published 1955 by Disneyland Inc.]. As this was the case, the Clock of the World was reckoned among “Disneyland rides and amusements” that “will delight the very young, the teen-ager, young married couples, the middle-aged, and grandparents alike,” as some of the Vintage Views testify [Anaheim Bulletin “Premier Souvenir Edition - Walt Disney’s Magic Kingdom - Disneyland” Insert ; Friday, July 15th, 1955].

Since Disneyland’s opening day, the “World Clock”, “World Time Clock” or “Clock of the World” (as it is more commonly called) was an elaborate chronometer which served as an icon to further Tomorrowland’s theme of the future year - 1986.

Tomorrowland was in its infancy, its hub unfinished by opening day. At this “point in time,” it looks like American Motors presents CirCARama and Monsanto’s Hall of Chemistry are still works in progress. The attraction’s signs don’t even appear above the entrances of the halls. But by the year 1958, the 24-foot tall Clock of the World was one of 15 free educational shows and exhibits at Disneyland.

Still, the Clock of the World stands as “Tomorrowland’s first landmark,” according to “News From Disneyland” (a press release document published 1956). The Clock of the World welcomed visitors from around the world, to observe the time of day in their native time zone!

A decade before It’s a Small World, this was the Tomorrowland location of “just one moon and one golden sun.” Atop a roof, brass work, and plastic ring stood the gold-finish spun aluminum sun (with aluminum studs) and cast aluminum silver moon face. The latter measured 40 inches between points. Like some sort of “moon-spinner,” the entire piece would rotate. The moon and sun turned clockwise while the numbers would rotate counter clockwise.

The clock was covered with a map on top (with numbers on a separate ring), and stationary acrylic tile below on the base.

The Clock of the World and it’s surrounding planting area soon appeared in professional photographs shot for press-release material and publication. For instance, actress Spring Byington (of “December Bride) and child actor Bobby Diamond (of “Fury”) were photographed near the Clock of the World for their 1956 “TV Radio Mirror” photoshoot at Disneyland!

The Clock of the World (and surrounding bed of flowering buds) was certainly photogenic, and often served as a backdrop for amateur photographs.

The Disneyland Dictionary (published 1958) described the attraction among the “Disneyland Particulars” in the following way: “A giant TIMEX clock gives world time, and is a landmark at the entrance to the land.”

“When Corporal Laurie A. McGaw, stationed at El Toro Marine Corp Air Station in Southern California, found himself dateless with New Years Eve fast approaching, he set out on a reconnaissance mission to find a solution. Scouring a local newspaper one day, an advertisement caught his eye and provided the Marine Corp's imaginative answer. Disneyland, just a half hour away from El Toro, was having a New Year's Eve Party. The mission suddenly crystalized for Corporal McGaw. Disneyland has a ‘World Clock’ one that enables you to tell the time of day anywhere in the world. So, the Corporal reasoned, why not celebrate the New Year as it arrives as the clock strikes Midnight around the globe? And that's just how Corporal Laurie A. McGaw spent his New Year's Eve, 1961 ... and most of the afternoon as well. The gals? That was easy for a Marine in dress blues. He just stood by the clock, picked out the right one as she came by, and asked her for a kiss. Simple!

(Conveniently, the Disneyland clock is numbered in military manner. The number "I" is 1 a. m.; 12 is Noontime, and 24 - the 24th hour of the day is midnight.)”

A Press Release continues, describing the acquired kisses:

“LONDON & PARIS: Still daylight (4 p. m.) in California, but its midnight in London and Paris -- and the New Year has begun. The Corporal's first ‘date,’ Marilyn Huntsman.

WEST AFRICA AND ICELAND: Norma Allman starts the year on the right foot. Wow! said Corporal McGaw. (5 p. m. in California)

GREENLAND: Maybe the North country is cold, but Judy Wampler belped keep the Corporal warm. (6 p.m. in California)

BUENOS AIRES: Rebecca Morris and Corporal McGaw. (8 p. m. - California)

CHICAGO AND NEW ORLEANS: Photo #6: Sisters my Curtice and Mary Jo Curtice (r). (10 p. m. -California) Photo #7: Dorris Bruce. Photo #8: Geri Kirk.

DENVER AND DALLAS: Photo #9 and 10. Ginger La Hone (11 p. m. in California)

Finally, its New Years in California. But by this time - - - back gain with "first kiss" Marilyn Huntsman - -- Corporal McGaw has had it. ‘I may be disfranchised by the Marines for saying so, but I was tired. Besides, I've always wanted to spend a quiet New Years!!’”

According to Disneyland World of Flowers (published 1965) : “The clock is perpetually encircled by flowers. . . in the winter time, violas.”

“Encircling the Clock of the World is a rich flower bed containing colorful annuals”, according to Disneyland World of Flowers (published 1965). To elaborate, “the clock is perpetually encircled by flowers. In the spring it is dressed with French dwarf marigolds.”

This guest must have utilized her copy of “The Story of Disneyland” (and its rear “Disneyland Guide Map”) to find the Clock of the World.

The numbers corresponding to the hours in a twenty-four hour day would rotate and align with locations on the map below.

Flags of the States bordered the Entryway to Tomorrowland, and encircled the Clock of the World.

It looks as if the Clock of the World and the Avenue of Flags was originally assured a place in Tomorrowland, even after the addition of the PeopleMover, according to this map artwork.

The Clock of the World returned to Disneyland (this time, in miniature form) for a Tomorrowland exhibit at the 60th anniversary celebration of Disneyland! This small scale representation was created by Bobby Babcock and his team of artists at local RWB Props.

Back in 1948, Walt was dreaming about a Park (to be located across the street from the Studio in Burbank). Some thoughts in the “Mickey Mouse Park” prospectus made mention of a “soda fountain.” [“The Spirit of Disneyland”] Fast forward to 1951, when Walt Disney and Art Linkletter visited the famous entertainment complex Tivoli Gardens in Copenhagen. He was researching and talking notes to build a family entertainment center and Tivoli was much like what he envisioned. It was clean, directed to the entire family, fun, entertaining and educational. Walt noted how important it was to have a lot of places for guests to sit down and a wide variety of eating spots that served excellent meals.

Eventually, the idea grew into Disneyland and by 1954, Walt was searching for participants to lease shop and restaurant spaces at Disneyland, and help generate the necessary capital to fund construction of the Park. In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names within Disneyland. Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities.

Several of these “reliable old firms” sponsored the “abundance of restaurants devoted to pleasing all tastes and all budgets,” according to “The Story of Disneyland,” published 1955. Since 1955, the Coca-Cola Company had been an occasional sponsor of portions of Walt Disney’s Mickey Mouse Club television variety show, so this new relationship with Walt Disney Productions seemed like a natural progression.

“55er” Rima Bruce (who started with Jim D'Arcy in Food when all food was Lessee and typed memos and menus) recalled that “the phone never stopped ringing with everybody trying to get a food lease in the Park.“ By July of 1954, Raul Grizante of Disneyland, Inc. was overseeing food philosophy, area & location, food specialties, and beverages for Disneyland. Individuals like Nat Wyncoff provided the essential orientation for curious lessees, selling Coca-Cola on the idea of Disneyland.

Nat brought along various visual aids like sketches and one of Herb Ryman’s oil paintings of Disneyland. After negotiations, an agreement was reached, and the joint partnership (of the Coca-Cola Company and Coca-Coca Bottling Company of Los Angeles) became one of forty-seven lessees to sign a contact with Walt Disney Productions (in regard to Disneyland).

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. Soon, the design and engineering was spearheaded by Marshall Lane and N.C. Harrison, Jr. of Coca-Cola Advertising. Like some advanced “High Concept,” final designs were quickly generated and approved. Some of these viable project Concepts (as seen above), were supported by a well-developed business case and built expectation.

“Architectural Designs by Lessees”

Disneyland, Inc. printed materials for Lessees detailing specifications for architectural designs of exhibit spaces. These were revised by March 16, 1955 and issued to Lessees.

All of the interior architectural drawings were done by competent registered architects or an approved display house of the lessee's choice. All of the designs submitted by the lessee's architect, whether for buildings or construction of interiors in DISNEYLAND, were approved as to the theme and general plan of DISNEYLAND as established by WED Enterprises, Inc.

Three sets of preliminary drawings were furnished DISNEYLAND, Inc. as soon as possible after signing of the lease. Two sets were retained by DISNEYLAND and one set was returned to the lessee’s architect with any revisions noted thereon and stamped “APPROVAL TO PROCEED TO FINAL DESIGN.” This stamp when properly signed and dated constituted the lessee’s authority to proceed with the final drawings.

The Lessees revised their final drawings to incorporate any revisions noted on the approved preliminary drawings, and submitted three sets of the revised drawings to DISNEYLAND. One set was returned to the lessee’s architect and any revisions noted thereon are to be incorporated on the original drawings. When the lessee had incorporated the final revisions on the drawings, two sets of transparent ozalids were forwarded to DISNEYLAND for approval. DISNEYLAND would stamp both sets “FINAL DESIGN APPROVED” and “LESSEE’S CONTRACT DRAWINGS”, and return one set to the lessee who could then release drawings for bid and/or construction.

While previews of the exhibits and shows of other Main Street U.S.A. Disneyland Participants (Carnation Company, Gibson Greeting Cards, Swift & Co., etc.) appeared throughout the “Disneyland” supplement (published July 15, 1955), the Coca-Cola Company was notably absent. However, a brief story of the exhibit’s progress was published in “The Refresher,” a Coca-Cola employee periodical. Before Disneyland opened, an article published in Pacific Coast Review (published July 15, 1955), briefly and ambiguously mentioned that “Coca-Cola's bar features a mage disappearing act for empty bottles.”

It’s interesting how much Disneyland’s corporate sponsors interacted with each other even during this formative era before the Park opened. Among The Refresher’s articles were items about Richfield Oil Corporation’s various telecast shows (which included a televised tour of the the Coca-Cola Bottling Company of California at Oakland). Of course, the highlight and cover story focused on the Coca-Cola Refreshment Corner on Main Street U.S.A. at Disneyland.

Next, architectural drawings of the three-story building helped define all designs, production and construction strategies, costs, schedule, and resource requirements. “Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ Models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent.

Then construction of Main Street Building #400 began. F. M. Franz, manager of operations for MeNeil Construction expressed: "We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.”

Forced perspective would make the buildings on Main Street appear taller than actually are. On Main Street the buildings would not be full scale. Ground floors were built about 9/10ths scale. Second floors measured up to 7/10ths scale. The scale on the uppermost floors would be smaller still.

First, a concrete foundation and slab floors were prepared, followed by wood frame construction (while store units would have a combination wood and rigid steel frame).

According to inserts published in area newspapers during July of 1955, Disney buildings were roofed by Pioneer Roof & Shingle Company (then located at 608 Mateo Street, Los Angeles, California; 7522 Westminster Avenue, Westminster, California). The roof covering was a variable, dependent on the architectural design.

“Newbery Electric Corp. took the rapid electrical con-structión of Disneyland in stride. The electrical installations were supervised by Roy J. Gruendler, manager of Newbery's Orange County district office located at 1335 Santiago Ave, Santa Ana.” By June 30, 1955, related Disneyland Site Work Fire Protection Utilities Plot Plans were prepared for Disneyland Inc., by J.E. Thomasson of WED Enterprises Inc.

Larson Brothers Plastering Company of San Diego was a proud part of Disneyland. The company crafted the ornamental plastering and all brick used at Disneyland (including their amazing new plastered brick veneer).

The versatile Quikbrick (real colorful and textural brick applied like plaster) was about half the price of ordinary brick. It insulated, beautified, and was meant to “last a lifetime.” It was used on the facade.

The shop (as each on Main Street U.S.A.) possessed complete fire sprinkling systems. Ultimately, construction was wrapping up on the 1,283 square foot shop with an additional 1,775 square-foot basement under Disneyland.

By July 2, 1955, shadow gags were ordered. Painted signs, window, curtains, and shades were projected to be completed on time. The sound equipment was be installed, with completion of the tape recordings appearing to be fairly tight. As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the status of individual sections of the Park and Opening Day. C.V. wrote: “Building #410 - Coca-Cola: It is now estimated that this will be complete by the first of July.” As for the electric signs, a they were “in work,” and with the exception of the shoe store and the Bank of America, were to be completed.

As a sidelight, this was the only building in Disneyland with a basement. Soon, “the sign of good taste” was hung over the Architectural Facade at the corner of West Plaza and the 400 block of Main Street U.S.A.

“Stop at the Corner for a Coke…and a smile!”

UPT Concessions and Coca-Cola presented the Refreshment Corner. It was estimated that the Coca-Cola Refreshment Corner had the capacity to serve 600 guests per hour. With that forecast, the Coca-Cola Refreshment Corner was destined to become one of Disneyland’s eating facilities which was predicted to contribute to accommodating “15,000 persons daily, hitting a peak of 60,000 on holidays and week-ends…” and one of “twenty restaurants and snack bars, capable of saving 8,000 hourly,” at least according to “Building A Dream” (prepared by the Disneyland, Inc. Public Relations Department).

When the doors of this quick service restaurant opened for the first time, the menu initially only included Coca-Cola (originally served only in bottles). Here (overseen by Jim Baker of Disneyland, Inc.; under the management of Helen Case), guests could enjoy the “pause that refreshes,” at the Coca Cola Soft Drinks Parlor (as it was called in the c. 1955 “Your Guide to Disneyland”). Incidentally, cola sales at the Park were “astronomical” due to a recent plumbers strike and resultant non-operational drinking fountains. Helen’s daughter recollected : “I was only four years old. I remember hearing her talk about how busy they were, and they were serving right out of coke bottles. They would open two at a time to service customers. She really enjoyed it.”

Pre-mixed tanks were added to Coca-Corner during the next year (ending the situation where Guests would walk around with glass bottles). At that time, Coke was served without ice, as “the Coca-Cola Company wanted Guests top taste Coke at its full flavor, undiluted by ice.”

As Walt described to Bob Thomas (of Associated Press), “some industries will have exhibits, but all of them must be in keeping with the era.” Inside the dining room, was an exhibit (similar the Upjohn Pharmacy or the Wurlitzer Music Hall exhibits). According to Disneyland LINE (published for April 12, 1991), “Near two of the doors are replicas of antique thermometers, which were popular at the turn of the century. Commissioned by Coca-Cola especially for Disneyland, these thermometers were constructed by the Ohio Thermometer Company introduced to the Park in 1957.” Old-fashioned pictures and wire chairs added to the feeling of sitting in another era, while “dining in Disneyland.” Eight covers of THE REFRESHER, in full color, appeared in the Refreshment Corner's lifesize illuminated panel display. All of the entertainment occurred in the vicinity of three antique stained glass fixtures (valued at more than $5,000 each)!

The Coca-Cola Refreshment Corner was also the only part of the Main Street Food Complex that offered guests continuous live entertainment while they enjoy their refreshments, either in the dining room or on the patio. According to Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), “In its early years, Disneyland did not have the atmosphere bands that are used today. In fact, in 1955 there was only the Disneyland Band and the small band in the Golden Horseshoe. The Firehouse Five Plus Two occasionally played, and there was a barbershop quartet and the Coke Corner pianist on Main Street, U.S.A.” [Disney Facts Revealed by Dave Smith, 2016] “When the Refreshment Corner opened with the Park in 1955…Eddie Fisher was the star of ‘The Coca-Cola Hour’, a musical variety show, and was on hand opening day with his fiancé, Debbie Reynolds.” That day, the duo was photographed pausing for a Coke with both Walt Disney and the Tomorrowland Spaceman. Both Eddie Fisher and Debbie Reynolds returned to Disneyland and signed autographs for fans, the very next day.

On December 10, 1955 Coca Cola bottling Co. of Santa Ana provided beverages for the First Annual Christmas Party.

Beyond creating happiness, the Participant sponsored exhibit and leased space would provide a certain amount of income to Disneyland Inc., contributing toward the construction and growth of Disneyland. Why in 1958, Bank of America appraisers figured of the total income received from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food (like Coca-Cola Refreshment Corner).

By September of 1958, spaces occupied by the lessee included the exterior 312 square-foot Coca-Cola Side Walk Cafe (similar to the contemporaneous 216 square-foot Carnation Side Walk Cafe). Institutional lessee The Coca-Cola Company yielded some revenue for Disneyland Inc. - $22,825 for the fiscal year ending September 29, 1957 and $25,660 for the fiscal year ending September 28, 1958. By September of 1958, the Coca-Cola Company was still contributing a routine portion of accounts receivable to Disneyland, Inc. By 1959, the company was one of about 65 companies who used the park to publicize their wares, leased space in the Park to sell their wares, and from whom Disneyland collected advertising fees.

“Things Go Better With A Coke”

Now, its been said that “Coca-Cola makes good things taste better.” So eventually, (by 1958), the restaurant served pre-mixed Coca Cola and king-sized bottled Coke, and sandwiches. Soon, the Coca-Cola Refreshment Corner menu included hot dogs, cold sandwiches (as tuna, and ham & cheese), peanut butter and jelly sandwiches, chips, and even dessert options (as apple turnovers and brownies).

As a sidelight, by October 1959, Jim Baker (of Merchandising) was overseeing the Disneyland Food Administration and Souvenir Sales. By October of 1959, the company was (1) of over sixty-eight other firms playing a vital part in the team effort to bring happiness to Disneyland’s Guests. Some were small, specialized individual operators; some were huge companies such as Swift & Co. - the Bank of America - United Paramount Theaters (which you hear as UPT) - Carnation - Richfield - General Dynamics - Crane - and many others. These companies used the park to publicize their wares, leased space in the Park to sell their wares, and Disneyland collected advertising fees from them.

During the late 1960s, the “walk-away” restaurant (under the management of Max Sloan) still offered an assortment of beverages and light snacks for “people on the go.” Still, their most popular item was Coca-Cola. In fact, the crew once served “more than 350 gallons of Coke on a busy day,” according to Disneyland Line, September 27, 1979.

The Holidayland Picnic Area at Disneyland featured several kiosks and the Holidayland Snack Bar (managed by Myrt Westering of the Red Wagon Company). Myrt Westering, promised that “the facilities will be as modern and as up to date as modern food science can make them…… it is so arranged that the hot dogs will be HOT and the cold drinks will be COLD.” [“Disneylander,” May, 1957]. As aforementioned, bottles of Ice Cold Coca-Cola were available to Disneyland (and Holidayland) audiences. But after about a year, the Disneyland Operations team decided to do away with Disneyland carrying bottles. Pre-mixed tanks were added to Coca-Corner and Coke was served without ice, as “the Coca-Cola Company wanted Guests top taste Coke at its full flavor, undiluted by ice.” Once Holidayland opened, Guests enjoying a picnic could enjoy cups of ice-cold Coca-Cola through an arrangement with Dixie-Narco (manufacturer of contemporaneous Disneyland Dixie paper cups).

Coke Corner provided the setting for all sorts of entertainment, events, and promotions. The restaurant was temporarily utilized for Grad Nite Photo Locations and Grad Nite musicians who provided entertainment pleasure for guests. For example, David Rakes performed here during Grad Nite of 1962, bills advertise some unnamed “Folk Singer” for Grad Nite of 1963, and Denny Brooks played here during Grad Nite of 1964. The Varsity Duo was a regular act during the summer of 1968. A promotion during 1963, offered Coca-Cola customers the opportunity to open a bottle and “take Disneyland home with them” in the form of 18 miniature licensed character figures.

By January of 1958, the lessee also occupied the 312 square-foot exterior area known as Coca Cola Side Walk Cafe. During 1960, KMPC DJ Jerry Dexter hosted the program nightly on radio station KMPC - 710 on everybody’s dial, from 10 until midnight. Jerry also hosted the program live from Disneyland every Friday and Saturday night. In promotion, a Coca-Cola Refreshment Corner lessee Hostess Disneylander displays Disney Courtesy with a smile while serving Coca-Cola to KMPC DJ Jerry Dexter and another guest.

By 1960, Disneyland wasn’t the only theme park with a Coca-Cola Company sponsored exhibit. Freedomland had a Coca-Cola Company sponsored by Hospitality Area.

Music, as a basic ingredient of showman-ship, covers the Park. According to “THE DISNEY THEME SHOW - an introduction to the art of Disney outdoor entertainment”: “Important are the sounds which permeate the scene, for without them, the theme show is a silent movie . . . but with them it is a symphony of music, effects, and natural sounds that the finest stereo system in the world can't duplicate. These sights and sounds are provided not only by imagineered attractions and shows, but also through the multi-talented efforts of live entertainers . . . in special musical groups . . . in parades and pageants . . . providing an everchanging backdrop to virtually every area in the theme show.”

A variety of live shows entertained Guests throughout the day. Guests were encouraged to “gather ‘round the upright piano” for their favorite syncopated ragtime melodies, while honky Tonk daytime pianists exemplified the spirit of Disneyland, entertaining guests. For instance, during the winter season of 1967 (December 16th, 1967 thru January 1st, 1968), Rudy Pena played piano and sang melodies from “‘the good ol’ days’ in a fresh new spirit.” This Atmosphere Entertainment occurred “throughout the Christmas Holidays” (seven shows daily, between parades, from 10:00am to 5:00pm, except Mondays). [“Disneyland Holiday Talent Master Schedule,” prepared for the period of December 16, 1967 through January 1, 1968]

By November 26, 1972 through May 26, 1973, the Coke Corner pianist performed daily from 10:00 AM - 5:00 PM (Off Mon. & Tues.); 12:00 Noon to 7:00 PM on Sunday, and at Mix-in Parties. The Coke Corner Piano Player Sub performed 2 days a week.

“Honky-Tonkin’”

Perhaps one of the most famous of these talented pianist-singer extraordinaires is Rod Miller (who had a 36-year career, from 1969 to 2005). You may also remember nighttime pianist Judy Carmichael, or Ray Templan (who filled in during days off and vacations) would “tickle the ivories” and delight the audience with the sound of Ragtime! During the following decades, Johnny Hodges helped carry on the “four-handed” (and “five-handed”) piano legacy, from 1981 to 2006. “Ragtime” Robert was one notable pianist trained by the hands of the legendary Disneyland pianist Rod Miller! Robert would continue to carry the rhythm at Coca-Cola Refreshment Corner for a decade! You may listen to his story “From Solo Symphonies to Fourhanded Fantasia,” a Disney History 101 People Featurette, through the link above.

By 1969, the piano was 1 of 15 old-time band organs and pianos at Disneyland, some of which dated back to 1890. There just weren’t any replacement parts for these rare antiques. So, ARCADE MAINTENANCE performed the necessary versatile, creative, and inventive mechanical repairs. The Coca-Cola Refreshment Corner Piano was auctioned through “Celebrating 50 Years of Magical Memories” of Disneyland.

Coca-Cola Refreshment Corner became a popular place to meet up with friends!

The Disneyland Food Division took over operation (in January of 1966), but the Coca-Cola Company eventually continued its Participation with Disney Parks. The location had some of the more than 160 soda fountain heads at Disneyland that delivered 10,000 gallons of various soft drinks to thirsty guests.

During December of 1980, film crews, production vehicles, and huge fans descended on Main Street U.S.A., as a (Coca-Cola-produced) television commercial was filmed at Disneyland. The commercial featured 115 international children and adults (representing “virtually all the nations of the world”)! A mixture of a shaved block ice, carbonic foam, and styrofoam simulated falling snowflakes over the Coca Cola Refreshment Corner on Main Street U.S.A., to the tune of “I’d like to teach the world to sing.”

During January 2 to 21, 1973 Coke Corner was closed for a 3-week rehabilitation.

About that time, the Coca-Cola Refreshment Corner menu remained rather simple, consisting of the Superdog, Hot Dog, Chili & Beans (served during cold periods), chips (Fritos, Doritos, Cheetos, and potato chips), soft drinks (Coca-Cola, Sprite, and Fresca), milk, and desserts (turnovers and brownies).

In 1981, the Coca-Cola Refreshment Corner with its soda shop atmosphere, refreshments, hot dogs and brownies produced $1,320,000 in revenue for Main Street Food. This was owning to VIPs of Disneyland (guests), its Main Street Foods hosts and hostesses (totaling 176 summer/118 fall), two Main Street Foods Stage Supervisors, and Main Street Foods Area Stage Supervisor.

On August 10, 1982, the Coca Cola Company also provided soft drinks to the Burbank Hangar 5 Production Crew who were producing films for the Horizons Pavilion at EPCOT Center. The company donated the beverage dispensor for the duration of the Hangar Rental; and also the first 1000 soft drinks. This agreement was instrumental in obtaining the Disney World Wide Beverage Account Contract for Coca Cola. This contract went into effect on October 1, 1982, and gave Coca Cola sole rights to distribute soft drinks to all Disney projects, both present and future. The Coca Cola Company soon also became a co-sponsor of the American Pavilion at EPCOT Center.

By the late 1980’s (c. 1989), big changes occurred when an extensive year-and-a-half negotiation led to a new 15-year contract between Participant Coca-Cola and the Walt Disney Company, which included “worldwide marketing rights involving Euro Disneyland, tie-ins with motion pictures, Consumer Products and more,” according to Disneyland LINE Magazine [Vol. 22, No. 12 ; March 16, 1990]. This arrangement was partially owing to Pete Clark (Senior President of Disneyland Participant Affairs Division), Jennifer Gray (Participant Relations Manager), and their team. According to “The Walt Disney Company” 1990 First Quarter Report shared: “Disney and the Coca-Cola Company… signed a global agreement that assures that Coca-Cola’s soft drinks will be available exclusively in all Disney time parks into the 21st Century.”

As far as Disneyland was concerned, the Coca-Cola Refreshment Corner was still a popular place for guests to find refreshments, beverages and light snacks, amidst walls decorated with authentic Coke advertising posters. According to Disneyland LINE (published for April 12, 1991), “Two display windows feature Coca -Cola memorabilia. The serving trays and artwork were reproductions, but the Coke bottles are the ‘real thing’. The bottles, including one which is at least 85 years old, were provided by Coca-Cola. Near two of the doors are replicas of antique thermometers, which were popular at the turn of the century. Commissioned by Coca-Cola especially for Disneyland, these thermometers were constructed by the Ohio Thermometer Company introduced to the Park in 1957. Inside, guests are surrounded by stained-glass windows, leaded glass lights fixtures and posters. The room is decorated predominantly in red and white, the Coca-Cola colors.”

Not long after in 1991, the Coca-Cola Corner Kitchen received a new steamer for cooking hot dog links. Then-Supervisor Derry Mellott shared with Disneyland LINE (published for April 12, 1991), “We can cook about 120 franks at a time in only seven minutes. The franks and buns are wrapped in a special foil and paper wrapper and placed in a warmer. Ideally, they stay in the warmer about eight to twelve minutes before the Guests received them.”

By the same year, cinnamon rolls and Minute Maid orange juice (made by Coca-Cola) were also served in the morning, and healthy turkey hot dog alternatives. Still, Coca-Cola products were a preferred refreshment of diners. According to the same article, “On a busy [c.1991] day, Refreshment Corner sells more than 650 gallons of soda including Coke, Diet Coke and Sprite. In addition, Guests purchase approximately 2,500 hot dogs, 20 dozen chocolate chip cookies, 200 brownies and 1,000 bags of chips.”

If you would like to read more about the Coca-Cola Refreshment Corner, it’s my pleasure to recommend adding Marcy Smothers’ “Eat Like Walt - The Wonderful World of Disney Food” to your personal Disney Home Library! Therein, Marcy has extensively researched and finely crafted a small section of a chapter dedicated to “Walt Disney’s Disneyland - Main Street U.S.A.” If you would like to bring the magic of Disneyland restaurants and concessions to your dining room table, “please step this way” toward www.eatlikewalt.com where Marcy has shared a few recipes for memorable Disneyland menu options, so you too can “Eat Like Walt.”

The Coke Corner would have a legacy at the Magic Kingdom. There, ragtime piano music kept spirits high on the way to Cinderella Castle.

When Tokyo Disneyland opened on April 15, 1983, the Coca-Cola Refreshment Corner would have a legacy of sorts with the Refreshment Corner specializing in hot dogs served with sides of chips, beverages and real “ragtime” piano. The restaurant would also have a legacy at Hong Kong Disneyland, through Main Street Corner Cafe Hostel by Coca-Cola. There, guests could enjoy an “innovative special menu blending together the popular beverage with good old western ‘comfort food’ in this first Coca-Cola themed restaurant launched in Hong Kong.”

During the 2000s, the Refreshment Corner received eye-catching new paint and a “Coke bottle green”-inspired terrazzo floor that leads to the Candy Palace.

In maintaining the magic after the Park closes, the staff take over with brooms, mops and dustcloths. Special attention was given to marred walls, posts and furniture. Items with marks that didn’t wash off were replaced or repainted. The Floors were waxed and buffed to preserve their beauty and protect them from the thousands of feet that scuffle over them each day.

“We celebrate our people for the memories they created in the past.”

Martin Sklar once said “an individual's contribution can usually be found in the final product if one looks closely enough, but the Disney mind frame is to never point out ‘what I did’ to anyone.” However, a few outstanding individuals have been publicly recognized for their contributions and even ceremoniously honored by the Company.

There are thousands of windows at Disneyland.

“Illumination”

Back in 1951, Art Linkletter was touring with Walt in Europe, and they visited the famous entertainment complex Tivoli Gardens in Copenhagen. Art noticed that Walt was jotting things down in a notebook as they were walking along. Art noticed that Walt “was struck by the fact that the park featured millions and millions of lights and that crews were constantly on patrol to service them.” This would influence Walt’s vision for Main Street U.S.A. at Disneyland.

On Main Street U.S.A., Details paint the story. Note the two separate types of lighting in and outside the Coca-Cola Corner restaurant: Character Lighting, and Functional Lighting. Character lighting is themed to the area to enhance the overall appearance and complement the interior, such as a chandelier or kerosene lamp. These add to the show, but don't necessarily create enough illumination for operation.

Since the beginning, all fixtures (including Functional and Character lights) were placed in their correct motif and many light fixtures of Disneyland were authentic antiques. Others, like Marshall Lane’s original decorative character lighting element designs have remained constant features of Coca-Cola Refreshment Corner to the present. The former Walt Disney Imagineering Principal Creative Executive Marty Sklar would probably agree that the small details like these make the story appealing.

“The sign of good taste” in the present.

One can easily slip into the jargon of “ride,” but at Disneyland there are attractions, adventures, and shows! And there is a "story behind the story" of every attraction, every attraction is a living experience for the guest. Disneyland ride-through attractions or adventures have officially been defined as an “individual show, ride, or exhibit designed to produce an entertaining Guest experience. Disney attractions stir the imagination, enliven the senses, and provide the participants with positive, innovative entertainment, which is the essence of the DISNEYLAND Show.” It is important to review the story of the attraction, tell the story, explain it, and create interest. This is the story of the Columbia.

"The True-Life Columbia"

The Columbia Rediviva (or, “Freedom Reborn”) was the first United States ship to circumnavigate the globe in 1787 would come to inspire one timeless Disneyland adventure!

Our story begins in the colony of Plymouth, Massachusetts, founded in 1620. Now, the nearby forests furnished a seemingly never-ending supply of the best lumber to construct ships, and a shipyard was founded in Plymouth not even two decades later. It is here, that a number of one-masted ships called sloops were constructed for fishing and whaling, a tradition that continued for about seventy-five years. But soon, larger vessels were produced for the ocean trade. That is where the Columbia enters our story.

The original “Columbia” was built in 1787, a rather small vessel by comparison, reckoned to have been only 84 feet long, and weighed about 212 tons. The New England Merchants owned and operated ship Columbia left Boston Harbor (on September 30, 1787) under the command of Robert Gray. The armed ship sailed through the Pacific Northwest (where the ship took on a cargo of sea otter furs from the First Peoples) and onto the then-known Orient “where she traded furs for Chinaware, tea, spices, and silks.” This stock would be brought back to Boston Harbor, where it was sold to the local colonists. The original ship did not bear the designation USS, for it was privately owned by a trader (Joseph Barrell), but it did carry the American flag through oceans around the world for three years. All of this occurring 11 years before even Lewis and Clark’s expedition had reached the Pacific Northwest. During this time, the Columbia was occasionally joined by other vessels, as the Lady Washington (under the command of John Kendrick), departing from Boston en route to the American West. In fact, the Lady Washington and Columbia became the first American vessels to visit China and Japan.

“When she returned to her home port (in August of 1790), she had been at sea for 34 months and had logged a distance of 41,899 miles. During the last months of 1790, the Columbia began her second expedition, again under the command of Captain Robert Gray. During this voyage, Gray discovered the river which still bears the name of the historical vessel. Several more expeditions were made by the Columbia during her proud lifetime.” [Vacationland magazine, Summer, 1980]. Owing to this, many coves and harbors would have the names of Columbia crew members bestowed upon them.

Ultimately clipper ships and steamboats replaced these larger sea going vessels, rendering the Columbia a transportation mode of the past. Legends used to surround the fate of the Columbia. Was the Columbia windjammer subsequently utilized by a privateer, or did she wreck near the rocky shores of Nantucket? According to Massachusetts Historical Society and Library of Congress records, the “Columbia,” after making several voyages following the globe-circling trip, disappeared without a trace “somewhere in the Orient.”

While some believe the true-life ship was decommissioned and salvaged in 1806, one thing is sure - the Columbia’s spirit of exploration and adventure would live on in Walt Disney’s Frontierland nearly 150 years later!

"Blue Sky for the Rivers of America"

According to “Welcome to Disneyland” (published 1958), on the eve of the first day of operation, “Walt Disney promised that it would ‘never be completed, but will continue to grow, to add new things, as long as there is imagination left in the world.’ Each year since opening in July, 1955, Disneyland has added new and unique attractions for the enjoyment of guests.” By 1957, Walt had a steamboat, river rafts, and canoes traversing the Rivers of America, but something was missing.

During a 1957 interview with one reporter, Walt Disney explained his initial plans to expand the Disneyland fleet. “I’m going to add another one,” he offered. “I’ve got to find the right kind of a boat. But it’s going to be a boat that has to do with our early commerce, you see. It might be Robert Fulton’s first steamboat or something like that.  I’ll make a miniature of it that will carry people. The Clermont.” Yes, initial plans included a replica of the Clermont, the first commercial steamboat in the world that ferried passengers from New York City up to Albany beginning in 1807. But soon, Walt's attention turned to the Columbia.

The Columbia (of Disneyland’s own navy) partially owes its existence to Sunday meals shared between Dick Nunis and Walt Disney. Dick (in response to inquiry about his favorite part of Disneyland which is no longer there) shared : “I miss the old Chicken Plantation where I spent many Sundays sitting with Walt talking about the future of Disneyland. I remember one day the Mark Twain was coming around the bend, a Keel Boat was coming in, a Keel Boat was leaving, two rafts were crossing the River, two Indian War Canoes were racing each other, and Walt said, ‘Look at that, that’s a great show. What we need is another boat. And that’s when we decided to build the Sailing Ship Columbia.” (according to Disneyland LINE, Vol.25, No.28, published July 16th, 1993). The presentation of the Sailing Ship Columbia show on the vast DISNEYLAND “stage” was a distinct part of the Disneyland theater concept.

“Raise the Sails - Designing the Columbia"

Thanks to a million-dollar Disneyland expansion, design of the $300,000 namesake Disneyland version of the “gem of the ocean” had begun by the spring of 1957. Regarding most any project pursued, Walt Disney once said: “We have always tried to be guided by the basic idea that, in the discovery of knowledge, there is great entertainment as, conversely, in all good entertainment there is always some grain of wisdom, humanity, or enlightenment to be gained.” Few current Disneyland attractions embody the spirit of those words as much as the Columbia at Disneyland.

In developing the attraction, the original true-life Columbia was researched extensively, and designs were then created by architect Raymond E. Wallace of Palos Verdes. Since the original (c. 1785) plans of the Columbia had been lost, Ray conducted his research from the book “Voyages of the Columbia” and a 1.5” steel engraving of the ship, basing his blueprints on these. Ray’s designs for the Columbia (at Disneyland) were also inspired by those of the original’s “sister ship” the (c. 1787) HMS Bounty (which were still extant). As a “sidelight,” the Bounty had an equally fascinating story, involved in perhaps the most famous mutiny in history - that of Captain William Bligh and 18 crew members, who were put out off the Coast of Tahiti (we’ll revisit the Bounty later in this article).

Like some advanced “High Concept,” final designs were quickly generated and approved. Next, architectural drawings were generated to help define all designs, production and construction strategies, costs, schedule, and resource requirements. Models were fabricated in order to explore the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent. In 1957, one Associated Press article “Plan Trip Into Drop of Water, Liberty Square for Disneyland” (by Bob Thomas, published April 20, 1957) briefly mentioned the models and sketches while divulging the big project. Upon being invited to Walt Disney Studio, Bob Thomas mentioned, “Walt gave me a preview of his ambitious plans at his Burbank studios. He showed models and sketches…plans call for an 1812 sailing vessel to ply the Rivers of America, along with the paddlewheeler Mark Twain.”

“Construction”

The ship’s hull was to be the same size as the original Columbia. Soon, the approximately 90-foot steel hull was being manufactured at Todd Shipyards in San Pedro, Wilmington. Bill Evans seems to have recalled (to “E” Ticket magazine, Spring of 1996) that the hull was built at Bethlehem Steel, completed by February 12, 1958, then trucked to the Park during the midnight hours of an evening in February 1958. It was then was lifted onto three flat cars, and brought from the Main Street Station around to the Frontierland Station where it was lifted off the train sideways and hoisted into the dry dock at Fowler’s Harbor.

Next, completion of Ship's carpentry, assembly and painting was performed at the park by Disneyland personnel under the direction of Joe Fowler (In Fowler's Harbor Frontierland). At the time, Joe Fowler (Disneyland Operations Committee) oversaw the Construction & Maintenance division including Engineering, New Construction, Maintenance, and Janitorial. It was assured that many of the same types of tools used in the construction of the original were now used to bring the Columbia back to life. These were utilized by a variety of sub-contractors and craftspeople.

“First, the steel hull was completely planked above the waterline. Oregon pine was chosen for the ends because of its long fibers… The deck was laid with planks of Douglas fir.“ “News from Disneyland” reported: “Among the unusual occupations represented by the workmen was that of Louis Baham, a caulker. Caulking consists of filling the seams between a wooden ship's planking with cotton and a tar substance called oakum. Baham's past experience on sailing ships included caulking the sides of ‘Old Ironsides’ when that famous ship was reconstructed following World War I.”

“Submarine batteries, weighing a total of over 20 tons, were the original power source for Disneyland's Columbia, and also served as ballast, to improve stability of the ship.“

While the hull (and many other parts) were the same size as the original, the masts were an exception. They would need to be smaller, or else they would dwarf the Matterhorn. The construction of the masts required a special lathe and were made by Cliff Wavel. “Next came the ‘stepping,’ or securing of the mast ends. Made of hollow spruce and laminated together, the two sections of the mainmast were carefully positioned by cranes.” A silver dollar was even placed under each mast, before it was ‘stepped’, according to ancient maritime and U.S. naval tradition.

“Construction on many of the Columbia's wooden trappings, such as the wheel, the capstan, the rails, the rudder and many other items was done at the Mill”, right at Disneyland. Parts (like blocks, dead-eyes, and special rigging) were manufactured by Bagby-s Wire Rope & Splicing Service. “The stays, shrouds and ratlines of the rigging are made of steel wire rope, wrapped with manila and are referred to as ‘Standard Rigging.’”

“Pacific Sailmakers, the same company who made the sails used in the films Mutiny on the Bounty and Captains Courageous, also made the original sails for the Columbia.”

The vessel would carry ten cannons like its namesake. “The windjammer's cannons were cast at Disneyland's Staff Shop.”

Final touches like paint were carried out by WED employees, also under the direction of Admiral Joe Fowler.

To top the whole vessel off, the ship would fly a 1777 13-star flag (representing the original 13 colonies) provided by Hortie-Van. As a sidelight, the only other two locations in Disneyland to fly a 13-star flag were the Frontierland Stockade Flag Pole, and one of eight Mark Twain DockFlagPoles.

Pictured above, an on-site crane aids in some installments to the Columbia while harbored at the Frontierland Dry Dock! Frontierland’s newest attraction was scheduled to open in less than one month from this point. The representation of the 18th-century merchant vessel would soon circumnavigate the controlled channel of the Rivers of America at Disneyland!

Though the Columbia would carry sails, it would actually be designed and constructed to be propelled under water by submarine battery-powered fan motors. These motors were enough to repeatedly carry the ship (and its passengers) on 20-minute journeys, along a 2,450 foot-long guide rail located at the bottom of the Rivers of America. Since it costs a fortune to drain the ride, Machinists (or highly skilled craftsmen) would learn scuba diving, and dive down to where the action is to check the equipment and the rails.

As for that shared guide rail, a precise water level (of the Rivers of America) assured that the vessel did not float off of the rail or drop onto the guide rail and break it. This shared guide rail makes the next few Vintage Views of an extraordinary nature.

Soon, the Columbia operated alternately with the Mark Twain.

The 1957 TWA publication “Let’s Talk About My Visit To Disneyland Anaheim California: A Note From Mary Gordon TWA Travel Advisor” teased and divulged new adventures heading to Disneyland (some years ahead of their grand opening): “Other coming attractions include: The Nautilus-Submarine Ride, Adventures in Science, Alice in Wonderland, Adventure Ride, Liberty Street (our American Heritage), a Full-Rigged, Three-Masted Sailing Ship, Thieves Market, New Orleans Square, and a Haunted House.”

A two-page spread of “Disneyland, U.S.A.” focused on Disneyland’s future. Among the “planned additions and their proposed locations” depicted, is the Columbia. During the construction of 1958, an appraisal of the ride structure valued it at $1,400 while the equipment was valued at $211,400.

“Lively Now, Lively…We Sail With The Tide.”

Slightly before the summer of 1958, Disneyland Holiday magazine (published for the Summer of 1958) excited future guests of Disneyland, by advertising “the Queen of the River…the Columbia” as part of “the early West reborn in Frontierland” at Disneyland! The $300,000 Disneyland version of the “gem of the ocean” was based on the very same first United States ship to circumnavigate the globe in 1787. Upon embarking on your journey aboard Disneyland’s Columbia, “a voyage of discoveries on the rivers of America” awaits!

The ship was christened by Joe Fowler and the Mouseketeers on June 4, 1958. Ten days later, opening day came (on June 14, 1958; 5:00pm), with 300 invited Guests, official dedication festivities, and Dedication by Walt Disney and assisted by Art Linkletter. The newly appointed Admiral Richmond (of the United States Coast Guard) was among the guests that walked up the gangplank and aboard the Columbia. Then, the sailing Ship Columbia was christened by Mrs. A.C. Richmond, the wife of Coast Guard Admiral A.C. Richmond. Walt oversaw the Naval tradition, as Admiral A.C. Richmond and his wife presented a ship’s Bible to the Columbia’s acting skipper. The gesture was captured by photographer Mel Kilpatrick.

After the maiden voyage, Disneyland guests were officially admitted aboard the reproduction “full rigged 3 masted” (and armed) 18th-century merchant Sailing Ship Columbia. That summer, the Columbia became one of more than 40 rides and attractions that would nearly double the number of Disneyland’s original 22 Opening Day attractions. By 1959, Joe Fowler was Vice President of Disneyland Operations Committee and Doc Lemmon of Disneyland Operations was overseeing Operators of Rides & Amusements (like the Columbia), Livestock, Parking Lot, and Ticket Sellers.

Disneyland audiences passed colorful attraction posters while still in the “lobby” of the Disneyland Show! Near the Mickey Mouse Floral Portrait and positioned in a few other places around the Park, attraction posters (designed by Bjorn Aronson, c. 1958) heralded the Disneyland’s latest adventure - the Columbia! This particular poster is preserved through the Walt Disney Hometown Museum (Marceline, Mo), donated by the Legendary original Disneylander - Robert Penfield!

At Disneyland, signs were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage.

From the Marquee of Disneyland and its nearby Tunnels, guests were made aware of Disneyland’s newest attractions! While the rails of the Santa Fe & Disneyland Railroad granted Disneyland guests a magnificent view of the Grand Canyon, banners over the tunnels announced a new way to enjoy the Rivers of America - the sailing ship Columbia!

Banners and bunting strung across the Frontierland Stockade also heralded Disneyland’s newest attraction - the fully-rigged three masted Columbia!

“STATISTICS”

We now present a few astounding facts and figures about Disneyland’s modern reproduction of the “full rigged, 3 masted” (and armed) 18th-century merchant Sailing Ship Columbia!

Beam : 26 feet, 6 inches

Bowsprit : 45 feet

Guns : 10

Length : 92 feet overall (according to “Disneyland Dictionary” printed October 1959), or (by some Admissions, Media & Attractions accounts) 93 feet ; a “130-foot-long replica of the first American ship to circumnavigate the globe,” according to “Walt Disney Disneyland,” page 42, printed by Officine Grafiche Arnoldo Mondadori - Verona; first published 1964.

Main Mast : 84 feet

Maximum Passengers : 275 people

There were often Attractions Host Crewmen spotted near the Top of a Mast.

There’s adventure on the “high seas” (and Rivers) of America too! The Columbia’s “lookout” scans for adventure along the river banks from the bell headstock of the foremast. A number of notable Disneyland Cast Members and Walt Disney Imagineers had their start on the deck of the Columbia, like Randy Bright, who “enlisted in the Disneyland Navy,” during the summer of 1959. He became a lead on the Sailing Ship Columbia, and we would see him up climbing the rigging.

Long before Guests were wondering about what was below the deck, their attention was directed to high seas action in the rigging, high above the deck. You may feel like “the monkey’s uncle” to discover that the Columbia was once invaded by Mouseketeers, Wally Boag and the Pirates of the Caribbean, and even (during the summer of 1958)…chimps ahoy! These simian Cast Members actually “upstaged” their fellow human Cast Members, stealing the show.

This wasn’t the first time that chimpanzees entertained at Disneyland. Beatrice Dante strolled with her chimp Charlie, in the Mickey Mouse Club Circus Parade.

The whole affair continued for a few months until the barefoot executives would finally go home.

A 35-star flag is displayed aboard the aft portion of this replica of the first American ship to carry the United States banner around the world!

The Dixieland Band Stand was a relaxing location to enjoy New Orleans - style jazz while watching the Columbia set out down the Rivers of America!

Nautical bells were once used to keep time or announce a dignitary’s arrival aboard. However, the Columbia’s nautical bells were mostly used to announce movements or stops.

Step aboard Disneyland’s Sailing Ship Columbia, and circumnavigate the Rivers of America!

The upper deck of the Columbia granted passengers a preview of Fire Dance Circle and the rest of the Indian Village right along the shores of the Rivers of America. While this was the scene throughout most of the first decade, expansions along the Rivers of America included changes to the scene of the Frontierland Indian Village at Disneyland. By 1964, commentary was made how “The Indian Village first opened as a Plains Indian encampment. Today it pays tribute to the Blackfoot Tribe, the Crows and other tribes who inhabited the Pacific Northwest territory explored by the original Columbia and her crew,” according to“Walt Disney Disneyland,” page 42, printed by Officine Grafiche Arnoldo Mondadori - Verona; first published 1964.

The masts of the Columbia rise high above the Mexican Village in Frontierland.

When it wasn’t circumnavigating the Rivers of America, the Columbia spent most of its time in Fowler’s Harbor.

There was a 40¢ D Coupon cost of admission to board the replica of the first American ship to girdle the globe (as well as a visit to the Maritime Museum below decks). By 1965, that cost of admission was exactly one “D” coupon, or 60¢.

Herer, the a Schwinn Panther is appropriately photographed not far from the New Orleans Street area of Frontierland during the Tencennial year of 1965.

(*according to “Disneyland Rides & Attractions and Attendance Report,” 1981, page 50).

“The Disneyland of today is the sum total of so many additions and improvements that, in several cases, only the basic framework, the original theme of the realms remains unchanged,” according to “Walt Disney Disneyland,” page 42, (printed by Officine Grafiche Arnoldo Mondadori - Verona; first published 1964). A grand example of such an “improvement” is the Columbia attraction which opened to Disneyland Guests during 1958.

Six years after the debut of the Columbia, carpenters braved “sea sickness” while adding the finishing touches to a new exhibit (as it travelled around the Rivers of the World). Authentic antique lights and other fixtures in their correct motif were placed in their positions.

Finally (on February 15, 1964), the Columbia’s Below Decks Museum soft opened (with the official opening of the Below Decks Museum taking place a few days later, on February 22, 1964). This new free 179 square-foot exhibit was part of an expansion that brought total Park investment to $50.1 million. The exhibit took approximately 8 minutes to explode and with a 60-guest capacity, it had a theoretical capacity of 450 guests per hour.

After descending the ship’s ladder and into the waist, guests could finally see how 18th century American seamen lived. Visitors would see the “elegant Roundhouse of Officer's quarters, complete with dining tables, bunks, seats, navigational charts and equipment.” According to Line magazine, guests could now explore “the complete crews quarters made up of bunks, mess table, sick bay, pantry, navigational equipment…the finest carpentry, cabinetry and set design were employed to create the magnificent display, considered one of the world’s finest maritime museums”. Not to be missed, were the Captain’s Quarters at the stern of the ship - one of the most elaborate parts of the Below Decks Museum. There were two bunks, an eating table, seats, charts, library, personal gear, navigational equipment and antique maps. The Officer’s Roundhouse (on the starboard side of the deck) containing the first, second, and third mate’s cabins and antique cutlasses.

The same publication continues : “Considerable research of merchant ships of the era revealed that the officers of the Columbia lived aboard in reasonable comfort and elegance. The ship’s furniture and accessories were not unlike those found in the homes of officers of the gentry. All items which make up the interior of the Columbia at Disneyland might have been in vogue between 1750 and 1800.”

“Sail and rope-making equipment, as well as a sailmaker's store room and Bosun's locker are displayed. Sleeping quarters for the ships' seamen have also been authentically recreated. An open galley and forge are carried aboard the Columbia, as was true of the original ship. This feature was somewhat unique to the Columbia, which was outfitted in this manner in order to help build another ship once it reached the West Coast. Boat and sailing enthusiasts may be interested in the wooden ‘timbering’ or supports of the ship and in the artistic ropework evidenced on the ship.”

During the summers and on weekends, the Columbia joined the Mark Twain on the Rivers of America. However, during many Fall, Winter, and Spring months, the Columbia Museum moored at Fowler’s Harbor where it served as a maritime museum (see above). “During in-port days, the Columbia ties up in Fowler’s Harbor where guests may climb aboard to view this replica museum,” according to the “Disneyland Dictionary,” compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968.

The Columbia was occasionally featured in promotional media, including television and magazine advertisements and television broadcasts. For instance, The Jonathan Winters Show (first aired on NBC c. March of 1965) featured a comedic segment where Winters portrayed Captain Bligh aboard the Bounty. The segment was filmed aboard the S.S. Columbia at Disneyland, and the entire show was screened at NBC Studios on March 26th, 1965. Less than a decade later, the Columbia’s Main Deck was also once used as a stage for a special recorded feature starring the Jackson Five, in 1974.

In the year 1984, the Rivers of America were drained, and the Columbia received a much needed refurbishment of it’s decks and rigging. Columbia creator Ray Wallace directed the re-rigging of the vessel, assisted by professional riggers (from outside Disneyland) to duplicate the intricate knots of the 26-year-old ship. Disneyland Craftsmen touched-up other features like the vessel head. A Line magazine describes “when this year’s rehab is complete, and the river once more flows around Tom Sawyer Island, the ‘Columbia’ will again lie quietly in her berth at Fowler’s Harbor. Here she will receive her guests in stately splendor until summer arrives and the majestic ship sets forth on yet another voyage.”

The former Walt Disney Imagineering Principal Creative Executive Marty Sklar would probably agree that the small details like these make the story appealing. An example of one such detail is the Carved Wooden Flying Fish.

The original Columbia (constructed 1787) was built within two years of another historic vessel - the Bounty (constructed 1785)! In 1789, the “Bounty” was led by a man named Fletcher Christian. The ship was captured by mutineers, and some of their descendants would go on to inhabit parts of Pitcairn Island in the South Pacific to the present.

The Bounty has been depicted a few times on film. Herb Ryman had worked on the MGM production of "Mutiny on the Bounty" (released 1935). In 1978 (and approximately 189 years after the mutiny took place), the film “The Bounty” (starring Anthony Hopkins and Mel Gibson) also attempted to capture this story. In recreating the Bounty sailing vessel for the film production, numerous faithful props were created (including a hand-carved fish). The Carved Wooden Flying Fish [according to Disneyland Line, Vol. 17, No. 41] is believed to be “probably made from Koa wood, carved by Fred Christian, the Great Grandson of Fletcher Christian… The carving was presented to the present-day Bounty shortly after its construction. Making the presentation was the Bounty’s Commander, Joe McGuire, a 35-year veteran of the sea whop served as a commander in the British Navy. Commander McGuire was responsible for much of the building of the Bounty, including designing the engine rooms. (Although the Bounty is an exact replica externally, she does not have modern equipment below decks.)”

A few years after the release of the film, the very same Carved Wooden Flying Fish was presented by Joe McGuire, to Disneyland, in October of 1985! On hand for the acceptance, was “Ray Wallace, the Columbia’s designer and her Honorary Captain as designated by Walt in 1958,… along with Bob Penfield, Maintenance Superintendent.”

Quite a few inspirational thoughts were conveyed on the occasion. Ray Wallace said, “It’s the men on those wooden ships who had the forthrightness and stamina to chase horizons, leading us to new worlds, and this gift is a great tribute to the officers and men of the Bounty and the Columbia. After 200 years, their saga will never die.”

Many things have been performed in the name of Show Quality for guests of the Columbia. Around the time Fantasmic opened, the crew of the Lady Washington (another of Ramond Wallace’s creations) temporarily docked at the Los Angeles Maritime Museum in San Pedro, visited Disneyland to see the Columbia, and meet Jeffrey Smith (of Tech Services) the designer in charge of the rigging. Jeffrey went on to become a temporary member of the Lady Washington crew when she was in port, performing research to enhance the Show Quality of the Columbia spiel delivery. About five years later (in 1998), the Columbia Crew had visited the Lady Washington (a recreation of a ship that sailed with the original Columbia) several times while located in her temporary port at the Los Angeles Maritime Museum in San Pedro. Cast Members like Mike Miranda, Matt Haynes, and others received history lessons about the 18th century vessel. [Disneyland Line, February 13, 1998]

In 1992, the Columbia became part of a new nighttime spectacular known as Fantasmic! Perhaps owning in some way to this, the Columbia Operated during selected periods only.

As time allows Park Operations M-44 Machinists would repair or rebuild as needed, mechanical parts for Adv/Front. Assist the machinists with repairs to the Columbia as needed. The M-44 would fill out Mechanical Checklist cards and and Downtime Reports and turn them in to the Foreman daily. The Park Operations Machinists would also check all the fluid levels on the Columbia. Magic making MAINTENANCE MACHINISTS were challenged by unique new problems each day. A typical maintenance request representing part of a day's work may sound like: “Find a pair of prescription glasses dropped from Columbia, 100 yards from boarding dock... big river.”

Safety is a major concern of Engineering. Every year they would make a complete test and inspection of all structural parts of Disneyland. And since Guests would look to Disneyland for their safety the department team was continuously designing new guest and personnel safety devices.

Many changes and adjustments would contribute to a safe show. For instance, shops frequently do the wood and metal work for major projects such as the Sailing Ship Columbia.

The Submarine batteries, weighing a total of over 20 tons, were the original power source for Disneyland's Columbia, and also served as ballast, to improve stability of the ship. They were later replaced by diesel engines, and the ballast source also had to be replaced by 22 ½ tons of pig iron.

By 1969-1970, one Motorola 2-way radio (Handie Talkie HT 200) Frequency 154.60 MHz. was assigned to the Columbia. This was in relation to River of America operation of the Columbia and to be used for emergencies on the river, breakdowns and first aid requirements. The Price/unit was $758.00 without battery and antenna. Model #123 DEN 3110 A.W.

The “I Have an Idea” Program (est. 1978) would also come to yield many ideas that would influence and shape the efficiency and safety of how things were run. For instance, Disneyland Cast Member William Burnett had the idea to “attach floating keychains to key sets of attractions near the water, to support keys accidentally dropped in the water.” [Disneyland Line, March 1st, 1979]

During the 1990s, the wooden masts were replaced with steel masts.

The Columbia would briefly cease operation during the winter season of 1962.

“Blue Sky for Disneyland City Hall”

Since the earliest planning phases of Disneyland Park, drawings included a civic center and buildings. These early thumbnail sketches and other concept artwork seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process. The “Proposed Diagramatic Layout of Disneyland” (Marvin A. Davis’ plot plan, produced for WED Enterprises, Inc. by September 12, 1953) detailed “Town Hall” on the East side of “Main Street.” At that time, Herb Ryman’s “Schematic Aerial View” of Disneyland (originally produced September 26 & 27, 1953) also depicted a City Hall structure in that civic center. One year later, “The Disneyland Story” (a document produced for WED Enterprises, Inc., September 3, 1954) mentioned “you find yourself in a Civic Center or Town Square at the Turn of the Century… here you will see the Town Hall.”

Around this time, artist Harper Goff had already been tasked with creating concepts of the turn-of-the-century Main Street facades. The preliminary designs of Disneyland City Hall was partially inspired by a building from Harper Goff’s hometown of Fort Collins, Colorado and the Bay County Courthouse of Bay City, Michigan. Like some advanced “High Concept,” final designs were quickly generated and approved.

Early merchandise gave a preview of Disneyland City Hall, before construction even began.

“Architectural Plans”

Next, architectural drawings helped define all designs, production and construction strategies, costs, schedule, and resource requirements. “Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ Models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent.

By January 7, 1955, architectural drawings (elevations and site plans) for “Town Hall” on the 200 Block had been completed by a “Lorrecc” and an “H.S.” of WED Enterprises, Inc. for Disneyland, Inc. The drawings were checked by a “WBK,” approved by two individuals, and revised twice - by “R.A.M.” (on March 4, 1955) and E. Jericho (March 9, 1955). These were working (construction) drawings and were the final plans from which the facilities were built.

“Construction”
F. M. Franz, manager of operations for MeNeil Construction expressed: “We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.”

“Foundations and Framing”

First, a concrete foundation and slab floors were prepared, followed by wood frame construction (while store units would have a combination wood and rigid steel frame). On Main Street U.S.A., the buildings would not be full scale. Ground floors were built about 9/10ths scale. Second floors measured up to 7/10ths scale. The scale on the uppermost floors would be smaller still. Forced perspective would only make the buildings on Main Street appear taller than actually are. Still, the final steel and wood frame of Disneyland City Hall (though at a charming 5/8 scale) was actually more “to scale” than other structures on Main Street.

“Electrical, Plumbing, Air Condition Installation”

“Newbery Electric Corp. took the rapid electrical construction of Disneyland in stride. The electrical installations were supervised by Roy J. Gruendler, manager of Newbery's Orange County district office located at 1335 Santiago Ave, Santa Ana.”

Disneyland City Hall was also serviced by an air conditioning system and possessed complete fire sprinkling systems. By June 30, 1955, related Disneyland Site Work Fire Protection Utilities Plot Plans were prepared for Disneyland Inc., by J.E. Thomasson of WED Enterprises Inc.

“Drywall and Floors”

The rooms had asphalt tile floors, and painted and papered drywall partitions and ceilings.

“Brickwork”

The exterior also has 1,000 square feet of covered porches and steps. Much of the “brick” of Main Street Architectural Facade was QuikBrik “real brick applied like plaster,” manufactured by American Cement Products, Inc. (of Detroit, Michigan). Larson Brothers Plastering Company of San Diego was a proud part of Disneyland. The company crafted the ornamental plastering and all brick used at Disneyland (including their amazing new plastered brick veneer). The versatile Quikbrick (real colorful and textural brick applied like plaster) was about half the price of ordinary brick. It insulated, beautified, and was meant to “last a lifetime.” It was used on the facade. Scenes of plasterers carving these “brick” facades on Main Street are seen in a few brief scenes of A Pre-Opening Report from Disneyland.

“Roofing”

According to inserts published in area newspapers during July of 1955, Disney buildings were roofed by Pioneer Roof & Shingle Company (then located at 608 Mateo Street, Los Angeles, California; 7522 Westminster Avenue, Westminster, California). Many roof coverings were a variable, dependent on the architectural design. The roof of City Hall was a steep wood shingle roof with dormers, towers, and ornamental iron railings.

“Storytelling Set - Decorative Fixtures”

All fixtures were placed in their correct motif and many light fixtures of Disneyland were authentic antiques. By July 2, 1955, shadow gags were ordered. Painted signs, window, curtains, and shades were projected to be completed on time. The sound equipment was be installed, with completion of the tape recordings appearing to be fairly tight.

On June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the status of individual sections of the Park and Opening Day. C.V. wrote: “The City Hall - It will be complete… Police Station - This and the Lost Children’s Play Ground behind it will be complete.”

“The Mickey Mouse Flag”

The first Disneyland Dictionary (printed October 1959) makes a brief (but noted) distinction between the Mickey Mouse Flag and the “Official Flag of Disneyland”: “There are many flags flown in Disneyland - atop buildings, flag poles and many of Disneyland's boats. There are American flags of today and flags of our nation's historical growth, and flags of other countries. There are also Mickey Mouse flags and the official Disneyland flag.”

Several styles of flags are typically flown atop Disneyland City Hall including a 45-star American Flag (in keeping with the turn-of-the-century era) and a Mickey Mouse Flag (over the Police Department).

The Mickey Mouse Flags were copyright Walt Disney Productions and once located over Main Street Depot, the Police Station, the Fire Station, and the Mickey Mouse Club Theater. These were a reminder “for all who come to this happy place,” that “it all started with a mouse.”

“The Official Flag of Disneyland”

Another important flag was the Official Flag of Disneyland, a copyright Walt Disney Product and a unique flag that was located exclusively over the Main Street Depot and above Disneyland City Hall. For a time, this flag was manufactured by Hortie-Van Banner. & Flags of Pasadena (est. 1926). There have been at least four styles of this flag - two rectangle styles (one with the full name “Disneyland”; the other with the “D” monogram) and two styles of swallowtail flags (a short and a long).

“Pre-Opening Operations at Disneyland City Hall”

Disneyland City Hall is one of the oldest buildings in Disneyland, as construction began with Town Square. Day Sechler recalled: “When I first saw Disneyland, the only thing was the four-foot high walls of the City Hall!“ Even while construction of Disneyland was ongoing, Bob Thomas (of Associated Press) visited for a tour with Walt Disney. “‘That will be the City Hall over there,’ he said, pointing to a construction on the West Side. ‘We’ll have our offices there and a press room upstairs.’”

Very early on, Disneyland City Hall became a functioning civic center of the site. The upper floors were used as the Disneyland Operations office even before Disneyland opened, and it was also used as the Disneyland Publicity Office for press-related work (source of “News From Disneyland.” This office was ideal for Eddie Meck as “he could greet the press ... and see the guests,” according to the recollection of Van France (of the University of Disneyland). From this location, Eddie began to sell Disneyland to the world! Sometime after May 17, 1955, WED Enterprises, Inc. staff like G. Scognamillo, George Patrick, Dick Irvine, Bill Martin, and Wade Rubottom moved to “the site” and set up offices in the upper floor of the City Hall through opening.

Eventually, one authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell of Disneyland Inc., by May 25, 1955) listed “official and authorized nomenclature” of Disneyland, and even distinguished the “Buildings in Civic Center” : “Disneyland Police Department, Disneyland City Hall, Disneyland Fire Department, Disneyland Opera House.”

“Press Preview Day”

Soon (on July 17, 1955), Bob Cummings first introduced Disneyland City Hall this way : “There’s City Hall - quaint and dignified, with its Post Office! The place where the citizens of the town gather to exchange gossip and hear the latest news of the day.”

“General Information”

Since 1955, Disneyland City Hall has been synonymous with General Information! Here, at Disneyland City Hall was Disneyland’s "Guest Relations Office” behind the information desk, where Guests could receive general Information about Disneyland, from Cast Members were familiar with the parks as a Guest and were able to answer guest’s questions. There was no “stupid” question and every Guest was entitled to his or her opinion. In addition, information about bus and helicopter schedules, and motel and trailer park information could also be obtained at the City Hall on Main Street.

According to the Guided Tour Script (published, 1962), “The large brick building across Town Square is Disneyland’s City Hall. If you have any problems you may take them there, because we all know, City Hall has ALL the answers.”

“Lost Children Department”

In 1956, benches adjacent to signs which read “Inquire Here for Lost Parents” (in locations like the Central Plaza Hub) helped lost family members reunite. [This can be seen in a few scenes of the short film “Disneyland - The Park” (a Disneyland anthology television series short film, originally aired in 1957). Disneylanders were instructed that “Young children must be carefully watched as they easily wander away from their parents… If the parents are not found in a few minutes take the child to First Aid.”

Disneyland City Hall contained the Lost Parent Department, a division of the Disneyland Safety Department. It was also a place where parents could inquire of Lost Children and be reunited with them, and children could claim their lost parents. According to one source : “Kids from one to 100 wander away from each other, and it’s hard to figure out who actually gets lost in the process - parent or child? The problem is being handled through a department known as ‘Lost Children,’ and referred to, by a sign posted at Disneyland City Hall as ‘Lost Parents.’ Located just off Main Street U.S.A., next to the First Aid Offices, it serves as a meeting place for parents and children alike when either becomes lost or misplaced in the busy Anaheim park. Disneyland employees are well briefed on looking out for the lost and to lend a guiding hand when help is needed. On one unusual day a ticket seller reported having twelve children in her tiny booth at one time, all waiting for security guards to pick them up.”

“Actually some children seem to enjoy being lost at Disneyland. And for good reason.” As far back as July 1955, it was “staffed by experienced attendants who maintain a special playground for youngsters,” according to “Welcome to Disneyland,” 1955. As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney mentioning an rarely-talked-about feature of the facility: “The Lost Children’s Play Ground.” By July 1955, it was “staffed by experienced attendants who maintain a special playground for youngsters,” according to “Welcome to Disneyland,” 1955. Attention was drawn to this radical amusement center feature in one photograph of Actress Spring Byington (of “December Bride) and child actor Bobby Diamond (of “Fury”) shot for their 1956 “TV Radio Mirror” article, where the duo are featured taking a little lost boy bye the hand, and leading him “to Lost Children Headquarters - and his folks!”

Upon the grand opening, the Lost Children Department had “colorful benches and tables to play on. Merchandising supplies toys and comic books. And occasionally, a balloon salesman drops by with a few free helium filled models for the gang. Under the faithful eyes of a Matron who stays on duty at all times, the kids are almost too well taken care of.

Len Jones, safety manager in charge of Central First Aid and Lost Children, says ‘St. Patrick’s Day is usually the worst of all. It was last year, we registered over 500 Lost Children and more than 300 more were recovered by their parents before we could get their names into the book.’

When a child is brought in, the matron-in-charge attempts to get as much information as possible, especially the parents’ names. Usually mom and dad are found quite readily. If the missing youngster isn’t claimed in, say two hours, Security is called into the case.

‘On occasion, panic-stricken parents from out of town have returned to their nearby hotel rooms to find their son or daughter safe and sound, just a little exhausted from the day at Disneyland,’ says the head nurse Mary Gilbert.

The maximum age for assistance is ten. If a child older than that loses his parents, he is allowed to wander through the Park, provided he has tickets or money, and is instructed to return to Lost Children in half an hour, whereupon he quite possibly will find his lost parents waiting among the comic books.”

In the present, a sign reading “Lost Parents Inquire Here for Children” features Mr. and Mrs. Darling (whose children temporarily became “lost” with the Lost Boys” of Neverland).

“Other Services”

According to the early souvenir book “A Complete Guide To Disneyland” (published 1956), also mentioned a “First Aid Station.” Other services included Rest Rooms, and public telephones.

Decades later, Disneyland City Hall was also one of several locations where guests could acquire stamps to mail souvenir post cards. By 1987, Disney Dollars (the official currency of Disneyland, available in $1 and $5 denominations) were redeemable for their equivalent U.S. currency at (not Bank of America, but) Disneyland City Hall. This was unique at the time as so many non-Disneyland Disney locations, i.e., Walt Disney World, Glendale Galleria, did not accept Disney Dollars.

Back in 1948, Walt was dreaming about a Park (to be located across the street from the Studio in Burbank). The opening words of the “Mickey Mouse Park” prospectus mentioned that “adjoining Town Hall will be the Fire and Police Stations… The Police Station will be put to practical use. Here the visitors will report all violations… lost articles… lost kids, etc. In it we could have a little jail where kids could look in. We might even have some characters in it.” [“The Spirit of Disneyland”]

Ultimately, Town Square became the civic center of Disneyland, where a number of important structures represented elements of the average turn-of-the-century town. Adjacent to Disneyland City Hall, the Police Station was a free exhibit, giving guests a look at a typical turn-of-the-century jail house. “The Story of Disneyland” [published 1955 by Disneyland Inc.] made mention of “the City Hall and Police Station” exhibit which also served as a “Lost Children” center.

Adjacent to Disneyland City Hall, the Police Station featured a turn-of-the-century jail house. Like the Upjohn Pharmacy or Yale & Town Lock Shop, this was a free exhibit, but it no doubt deterred some would-be shoplifters entering Disneyland’s tunnels. Unbeknownst to most guests, behind the Police Station (in the Backstage area), was an employee Lounge.

The first civic center structure that guests encountered through the tunnels was the Disneyland Police Station (located just south of Disneyland City Hall).

“The Guest Relations Department”

The Guest Relations Department was formed during 1959. Since then, Disneyland Tour Guides would assist with Guest Relations from Disneyland City Hall. In addition to answering telephone calls that would come into Disneyland, the Guest Relations Department would come to be responsible for “complimentary ticket registrations, the Lost and Found, Carefree Corner, and City Hall locations, and a variety of special events that occur throughout the year. Guest Relations also works very closely with WED, the Press, and Community Affairs”, according to Disneyland LINE Vol. 13, No. 3 (published January 22, 1981). In recent decades, Disneyland City Hall Records (of Disneyland recipes, or names of plants, flowers and trees are available to the public.

“Back of House”

The 4,875 square foot interior contained fourteen offices and adequate restroom facilities. Marty Sklar (Public Relations), Tommy Walker and Ben Harris (assistant to Disneyland Entertainment Director Tommy Walker) once had their Production Department Offices on the 2nd floor of Disneyland City Hall. The upper floors are believed by some to have possibly once temporarily housed the Disneyland PBX Offices (while these were assuredly located on the second floor of the Main Street Opera House).

Sound and music are essential to any spectacular show, and the responsibility for maintaining high quality sound at Disneyland falls to the SOUND DEPARTMENT. An attic on the third floor of Disneyland City Hall once housed computers which controlled some of the sound-related show systems for Main Street U.S.A.

Behind the Police Station (in the Backstage area), was an employee Lounge.

“Special Events on The Disneyland City Hall Stage”

Disneyland City Hall has become a stage for winter holiday celebrations. Beginning in 1955, Disneyland City Hall was decorated for the first Christmas - draped in overhead evergreen wreaths. More than a decade later, the City Hall Balcony was utilized as an “Announcer Location” for Holiday Festivals and Parades of Disneyland’s “First Fabulous Decade.” City Hall was also the setting of a Look Magazine photo shoot (in conjunction with new Disneyland 3-D post cards) on May 24, 1966. The steps of Disneyland City Hall were used as a Stage for performances, as when the Disneyland Christmas Carolers (under the direction of Dr. Charles C. Hirt and lead by Mr. Robert G. Hasty), appeared during various times of the day, from December 16th, 1967 thru January 1st, 1968. [“Disneyland Holiday Talent Master Schedule,” prepared for the period of December 16, 1967 through January 1, 1968]

City Hall was utilized for ceremonies, as when Elsa Marquez (the 1-millionth visitor) stepped through the Disneyland Main Gate. Here (from the steps), Jack Sayers (of Customer Relations) “introduced the Marquez family to Sheriff Bill Lacy of Frontierland, Chief Shooting Star of the Indian Village in Frontierland ; TWA hostess, Jo Ann Weidman ; and K-7 John Catone, the ‘Spaceman’ of Tomorrowland. Following the public announcement and introductions at City Hall, Elsa was showered with gifts from Disneyland and Disneyland exhibitors,” according to one newspaper article.

Many celebrities have made appearances at Disneyland City Hall. Among notable VIPs was the comedic Milton Berle inquiring about “lost child” Jerry Lewis. “55er” Frank Martines recalled: “One time Jimmy Stewart got cornered by the fans near City Hall. I'll never forget watching him run across the parking lot, trying to get away!” On another occassion, on a Sunday morning in 1959, Senator (and United States Presidential Candidate) John F. Kennedy and Guinea President Ahmed Sekou Toure met (and were photographed) at Disneyland City Hall.

Those tall Eucalyptus trees behind City Hall, were present in the groves countless years before Disneyland construction began. You see, they were originally utilized as a “wind break” for the orange trees that once grew on the land. Another similar group of trees would be retained near the site of the Casey Junior Circus Train in Fantasyland. Today the landscaping partially functions as frost control and to screen service areas.

Near City Hall, was a posted sign listing the day’s entertainment (Disneyland Marching Band, Frontierland Indians, and “Gonzalez, Gonzalez, and Gonzales”)!

Blue and silver bunting decorates the Disneyland City Hall in honor of Disneyland’s 25th Silver Anniversary!

One of five 45-star flags in Disneyland flies atop Main Street City Hall, while one of the official Flag of Disneyland flies atop the adjoining structure (the old Police Department).

“The Harrison Buzz Price Window”

“We celebrate our people for the memories they created in the past.” Martin Sklar once said “an individual's contribution can usually be found in the final product if one looks closely enough, but the Disney mind frame is to never point out ‘what I did’ to anyone.” However, a few outstanding individuals have been publicly recognized for their contributions and even ceremoniously honored by the Company.

There are thousands of windows at Disneyland.

Who was Harrison “Buzz” Price? Back in April of 1953, a company called Stanford Research Institute was hired by Walt, to began analysis on a suitable and sizable plot of land that had the potential to hold his “Disneylandia.”

You’ll note that the window (above) describes Harrison Price as a “finder,” and that’s because both Cornelius Vanderbilt Wood and Harrison Price (Stanford Research Institute mechanical engineers) helped “find” 10 potential Southern California locations for Walt Disney’s “Magic Kingdom.” Of these suggestions, Walt and these engineers of Stanford Research Institute decided upon a certain rural area in the Ball Road Subdivision of Orange County. This an the agricultural community (located just down the country road from the little Witherill farm), the “right” spot to realize Disneyland!

Jack Lindquist is the honorary mayor of Disneyland. Jack was the 1st president of Disneyland (announced at an awards banquet in 1989) and has a window above City Hall.

Not far from Disneyland, we find a special artifact among a particular library’s rotating collection. It is the trophy reproduction of the Honorary Main Street Window belonging to the first Disneyland President Jack Lindquist (1989-1994). Jack retired from Disneyland during Mickey Mouse’s 65th Birthday, and received an honorary window on Main Street U.S.A., within the Court House. The gold leaf reads, “Honorary Mayor of Disneyland”. Jack had come far from his position spearheading Disneyland’s Marketing Department, back in 1955. For all his contributions, he would soon be named a Disney Legend (in 1994), and in later years would go on to perform much altruistic and charitable work as a Trustee with the local Chapman University.

Today City Hall houses Guest Relations offices - the department that handles Guest concerns, compliments and tour services while Guests are visiting the park.

The Disneyland Main Street City Hall "Mayor's Office" was once (originally) the setting of the Disneyland Police Station.

In the rooms and along the exterior of the building, note the two separate types of lighting: Character lighting, and Functional Lighting. Character lighting such as a chandelier or kerosene lamp, was themed to enhance the overall appearance and complement the interior. These add to the show, but didn’t necessarily create enough illumination for operation. Functional lighting on the other hand, offers substantial light without being obvious, or distracting from the show.

By late 2022, the location has become the Disneyland Merchant’s Guild.

By 1996, City Hall was still offering Guest Relations assistance. While being assisted, it may have been easy to overlook little details surrounding guests.

Inside of City Hall you may notice a bookcase, filled with books like “Walt & You,” by Sidejas and Kimbrell. The book is homage to Ray Sidejas (one-time Disneyland Custodial Guest Services Manager) and Bruce Kimbrell (one-time Disney Institute business program facilitator). The former Walt Disney Imagineering Principal Creative Executive Marty Sklar would probably agree that the small details like these make the story appealing.

The rear of City Hall serves as a Cast Member Assembly Area for Cast Members of Adventureland/Frontierland/West side of Main Street.

“Awards on Display”

By 1965, several resolutions of special recognition were being received by Walt Disney and Disneyland. By that year, resolutions had been received from the Los Angeles County Board of Supervisors and the City of Anaheim. Many other such commendations would be received before the conclusion of the Tencennial Year on a national, state and community level.

By the mid 1960s Disneyland City Hall displayed “several of Walt Disney’s international awards,” according to the “Disneyland Dictionary” (compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968). This tradition would continue well beyond Walt’s lifetime. In the present, Disneyland City Hall still holds :

A County of Los Angeles Document recognizing the Disneyland Tencennial Celebration.

A Resolution (by the Senate, California Legislature) No. 335 - for Walt Disney Appreciation Day, unanimously adopted July 13, 1967.

A (March 4, 1980) signed resolution representing the Motion (by the County of Orange County Board of Supervisors) to wish Disneyland a Happy (25th) Silver Anniversary.

A (June 20, 1980) signed resolution (by Tom Bradley, Council President, and 15 District Members) representing the motion (by the Los Angeles City Council) to wish Disneyland a Happy (25th) Silver Anniversary.

A Resolution (by the Senate, California Legislature) recognizing the 30th Anniversary of Disneyland.

Years later, the facility would be home to the Guest Research Department.

The “I Have an Idea” Program (est. 1978) would come to yield many ideas that would influence and shape the efficiency and safety of how things were run. For instance, Disneyland Cast Member Margaret Hebenstreit had the idea to “have Disney cartoons at Lost Children to entertain children who are waiting to be found.” [Disneyland Line, March 1st, 1979]

In the present, Disneyland City Hall still cares for lost children of Disneyland.

City Hall also created tangible memories Guests through merchandise and show.

“Legacy”

Many rehabilitations have both maintained and improved upon the show quality of backstage and onstage areas of Disneyland City Hall. For instance, one rehabilitation included Job #032-50-52 - the c.1959 installation of fifteen 48” fluorescent ceiling fixtures on the second floor, at a cost of $995.66.

Another rehabilitation involved the removal of the original Disneyland City Hall doors which were installed in 1955. After fulfilling a starring role for decades, they were salvaged during a refurbishment. Perhaps you entered through these doors in order to make use of the public telephones, or inquire of Lost Children and be reunited with them. Maybe, you even walked through these doors on your way to Disneyland Guest Relations, Disneyland Operations or the Disneyland Publicity Office. While interacting with any of these departments, you may not have noticed the doors were not full-scale.

Like the rest of Disneyland City Hall, they were constructed at a charming 5/8th scale. It’s also not easy to see that these amazing doors were also “Aged and Grained” with a simulated wood grain.

Today, City Hall is “Guest Relations’ central information source, located in Town Square on Main Street, U.S.A.”

Disneyland City Hall has legacy among Disney Parks worldwide. Why, by the spring of 2003, “City Hall… home to Guest Relations… on the South side of Town Square” was among the concepts for Hong Kong Disneyland. There, guests could “obtain information, ask questions, leave messages and find guidebooks in Chinese-Traditional, Chinese-Simplified, English and other languages.” It would also become “the location for Lost & Found, where guests can inquire about items they have lost during their day in the Park.”

THIS is the scene down East Center Street today - the sight of freshly grown flowers in pots filling colorfully covered carts! Though adding to the small-town turn-of-the-century ambiance, these carts are actually a nod to another Disneyland attraction from Disneyland’s first decades. Let’s take a brief stroll down Center Street, and stop to “smell the flowers”!

This was the average early morning scene on West Center Street during the first two years of Disneyland’s operation. West Center Street was located at the center of the length of Main Street, on the west side; leading to Guest rest rooms. Before long, Walt’s promise of an ever-expanding vision would commence, and this quiet turn-of-the-century street would bustle with new attractions and experiences in shopping - outdoor vendors!

During Disneyland’s first year or two, while the Popcorn Cretors occasionally set up outside Gibson Greeting Cards on east Center Street, artists could often be found on West Center Street. Occasionally, the sounds of the Keystone Kops Quartet could be heard there.

But, after the Artists were cleared out of “the Alley,” Disneyland, Inc. opened Job #032-50-37 - the construction of a Flower Market, on West Center Street. The attraction was an efficient, maximum utilization of space. It would include the construction of a flower stand and two flower wagon bodies, planter boxes and liners, wood lattice work by restrooms, and a storage area for the flower stand. The costs were as follows: design ($433.50), labor ($3,250.79), materials ($272.61), outside purchases ($459.92), two umbrella frames and covers ($32.06). Including Studio overhead, construction, and Cowelco subcontract costs, the job cost totaled $5,682.67 once closed.

Soon, new vendors appeared on West Center Street (between the 300 and 400 blocks of Main Street U.S.A.) - florists! West Center Street quickly “blossomed” into “one of the loveliest and most photographed spots in Disneyland...the beautiful Flower Mart on Main Street where guests may enjoy ‘the world’s finest natural flowers not grown by nature.’” Guests taking a stroll down Main Street U.S.A. were naturally drawn to the colorful nook between Upjohn Pharmacy and Carnation Cafe.

The Disneyland Flower Market was operated by Disneyland, Inc. Maps and Guidebooks published during the years of operation have identified this outdoor shop simply as the Flower Market, though the sign above one of the main carts clearly read “Disneyland Flower Market.” Year round, “imported plastic flowers of every description” were sold here, ranging from 50¢ to $2.75 (during the early sixties), and packaged in attractive florist boxes!

The Disneyland Flower Market was one of the preferred Disneyland merchandise locations to work. Anne Salisbury (known to guests as “Flower Market Annie”) was a Merchandise Hostess who had the longest tenure with Flower Market - lasting from 1955 until about 1977 (when she retired). When Annie was first employed by Disneyland, she had three family members who were also employed by Disneyland, and Annie’s own daughter even “blossomed” into one of Disneyland’s first Tour Guides!

While the Flower Market carried plastic flowers of every description, by 1958, Guests could purchase organic flowers at the Disneyland Hotel. Waynes for Flowers offered orchids to Disneyland Hotel Guests, which could be ordered by dialing KE3-1932. Both locations created tangible memories Guests through its merchandise and show.

According to The Disneyland Shopper (published 1955): “Half the fun of buying Christmas Gifts is the atmosphere you shop in. You couldn't ask for more in the way of the spirit of Christmas than to shop in Disneyland. Especially along Main Street will you catch the air of the good old-fashioned Christmas with wreaths of holly, Christmas bells, carolers, snow-frosted windows gaily decorated with fairytale rhymes, and the scent of pine boughs in the air. Ringing through this Magic Kingdom are the Christmas Songs we all love to hear.”

The 1957 TWA brochure “Let’s Talk About… My Visit to Disneyland, Anaheim, California: A Note from Mary Gordon TWA Travel Advisor” mentioned: “We learned that to fully explore Disneyland takes two days, so early next morning we were at the gates of the park again. The second day we spent more time shopping in the 50 inviting shops, and the youngsters bought inexpensive souvenirs to take home to friends.”

During this era, Wilmark helped maintain the Quality of customer service received at this and other Disneyland merchandise locations. As a sidelight, by October 1959, Jim Baker (of Merchandising) was overseeing the Disneyland Food Administration and Souvenir Sales.

The DISNEYLAND FLOWER MARKET had colorful displays of many flowers, all handmade for lifelike appearance and all available for purchase.

During the late 1960s, a Flower Stall was also opened in the Grand Courtyard of New Orleans Square, offering “artificial flowers made from a number of unusual materials not always found in this type of merchandise”.

This was the scene on June 17, 1960 - a bustling Center Street, Dapper Dans making acquaintances, Hallmark Communication Center construction scaffolding across the street, and a “fresh” stock of summer flowers at the Flower Market carts!

Did you ever order a gift bouquet of flowers for a loved one? The Gifts From Disneyland catalogue enabled both guests and those who hadn’t visited to purchase “imported flowers” from Disneyland’s famous Flower Market! By the Winter of 1961-1962, there were “80 different varieties,” thanks to Disneyland’s Merchandising Department, according to a contemporaneous Vacationland column. By 1963, there were 30 different varieties of scented flowers alone, that (despite not being the real McCoy), fool many a passerby.

Inventory of Main Street Flower Mart varied both perennially and annually, throughout the course of the year. April showers, brought a full stock of “May flowers” to Main Street Flower Mart!

Main Street Flower Mart was originally located on West Center Street, between Carnation Ice Cream Parlor and Upjohn Pharmacy.

You’ll find colorful spring bouquets year-round at the Disneyland Flower Market (or, Main Street Flower Mart)! If you did not have the pleasure to pass though this market “bursting with brilliance and fragrance the year around,” know that the artificial blooms were “so realistic that even the bees sometimes get confused,” according to Vacationland magazine (published Winter/Spring of 1965).

During non-peak periods of Disneyland Park attendance, a smaller inventory of stock was displayed on the street. It looks as if an entire cart has been dedicated to fruits and vegetables and another to flowers.

Floral arrangements were also for sale, on display under that awning in the center of the photograph!

The Disneyland Flower Market also carried hanging baskets (seen in the background), pottery, and glass vases for your arrangements. The flower market also carried a variety of embellishments and enhancements, (like the feathered, faux birds seen in the foreground).

During the following season, yet another “fresh” assortment of flowers was offered. During the Summer and Fall months, a selection of summer fruit and roses were offered. How many of you stopped to “smell the roses”?

Notice the corn and grapes in the foreground (on the left), used to embellish and enhance your banquet and dining room tables with a festive quality.

Ah, the bouquet garni - bundles of peppers, garlic, carrots and other vegetables suitable for hanging. These decorative embellishments would bring a colorful touch to your home kitchen!

“So life-like…so beautiful…so almost real”, according to a Disneyland gift catalogue from 1960.

During 1977, the Carnation Ice Cream Parlor added an outdoor dining Patio Area with Gazebo which filled all of West Center Street. It was at this time that the Carnation Truck exhibit was relocated near Central First Aid. As for the Main Street Flower Mart (with its “small unusual plants and man made flowers”), it was moved just across Main Street U.S.A., to a section of East Center Street, nestled between Hallmark Communication Center and Swift’s Market House / C & H Sugar Corner!

The Flower Mart of East Center Street was not as sprawling as its previous (and Carnation Cafe adjacent) West Center Street incarnation!

But there was still a healthy assortment of flowers at this East Center Street location. Just take a look!

The flowers never wilted, but they would eventually disappear. In 1979, the East Center Street Flower Mart (along with their vendors, and their stock) would vanish. By 1984, small plants, unusual artificial flowers, and even stamps could be purchased at the Flower Market on Main Street.

However, the tradition continued at the Magic Kingdom Flower Shop (part of the Emporium on Main Street), where an “alley brightened by multi-colored flowers” consisted of “artificial floral arrangements made from our large selection of dried and plastic flowers and fruits.” The Shop offered miniature “orange, lemon, lime, gardenia, orchid, and palm trees… along with terrariums, hanging pots, earth candles, plant books, and and chimes.”

During 2013, flower carts reappeared on East Center Street in a homage marking the second location of the Disneyland Flower Market. This time around the flowers weren’t for sale, and they weren’t synthetic either. The carts were now adorned with true - life naturally fragrant flowers (much like their Magic Kingdom incarnation)!

The former Walt Disney Imagineering Principal Creative Executive Marty Sklar would probably agree that the small details like these make the story appealing.

The next time you happen to stroll down Main Street, please step this way, and experience a Walt-era attraction that once graced East Center Street - the scent of some of the finest flowers “grown by nature!”

Walt Disney once said, “Music has always had a prominent part in all our products.” [Wisdom magazine published December 1959] With this expression in mind, it isn’t hard to imagine why (since Disneyland’s conception), a marching band - evoking those of a bygone era - has always been part of Walt Disney’s vision of “a typical American town at the turn-of-the-century”! On the LP recording “Walt Disney Takes You To Disneyland,” Walt (himself) describes what he sees “at the end of the street, the marching band appears in full regalia!”

“Disneyland revolutionized outdoor entertainment and established a new approach to showmanship. The concept of a living stage was a radical change from the conventional amusement park, fair or fun zone. A variety of live shows entertained Guests throughout the day.”Many Disney characters - Disneyland Band, mountain climbers, Disney guest bands, and other people contribute to a constant living show throughout the Park. Whether they’re playing concerts in Town Square or marching down Main Street U.S.A., the popular 18-to-20-piece Disneyland Marching Band seems to always entertain Disneyland guests with old-fashioned concerts. Even more the “hometown band’s” gay and entertaining music (of band classics like a grand old Sousa march, and modern standards) has come to embody the “Disneyesque Magic” that keynotes Disneyland’s musical moods and shuts the world of everyday life outside Disneyland’s gates!

Now, I invite you to please “step off” and keep in “step this way” as we explore a few “keynotes” and rare Vintage Views of the Disneyland Band!

The success of the Disneyland Band is owed to its first Band Director - Vesey Walker! Many of us may be too young to remember the man who, (according to the Official Guide to Disneyland, published 1956, only months after the Park opened), had “won world-wide acclaim as band leader.” This “world-wide acclaim” was (of course) due to his resume of previous experiences, not withstanding his new career for Walt Disney’s Magic Kingdom. By this early time in Disneyland history, Vesey Walker may have already been known as “the pride of Main Street,” but the Sheffield, England native got his start 30 years prior, first taking up his baton with the Army Bandmaster School during World War I, and later becoming the Assistant Bandmaster to the 41st Infantry.

When the war was over, Vesey Walker came to America, and soon “found his footing” as bandmaster of the “Milwaukee American Legion Band, winning four national band championships for the American Legion and the International band contest in Geneva, Switzerland in 1934, as well a an Elks national competition and a Veterans of Foreign Wars contest,” (according to Vacationland magazine, published Winter-Spring of 1964). The album of “Walt Disney’s Disneyland Band Concert,” (published by Disneyland Records) continues Vesey’s story this way: “He came to California from Milwaukee (then one of the country’s most renowned cities of concert band music) during the 30s to take over the direction of the Los Angeles Elks Lodge 99 band, the famous “Toppers.” (This was not the first and would not be the last band that Vesey founded in his lifetime, founding the Marquette University Band and some 50 others all together.)

It was likely his performance in a Tournament of Roses Parade of Pasadena, California, that Walt Disney was first impressed with the British Bandmaster’s conducting. As mentioned, Vesey was leading the Los Angeles Elks 99 band (a role that Vesey filled for some 21 years, from 1936 to 1955). It is clear by this time, that Vesey Walker had developed quite a reputation, for he had “won more than 50 state and international prizes.” Amidst these successes, Vesey had conducted many college bands and military bands (like the Milwaukee American Legion Band, which he had led to “four national championships, plus an international one in Geneva”). Kesey led both school bands, and youth bands (like the Los Angeles County Sheriff Biscailuz Boys Band and the Inglewood Boys Band). Vesey’s own son Tommy even went on to become a drum major and Band Leader with the University of Southern California.

According to Vesey Walker’s wife, Walt Disney now inquired about Vesey Walker, and hired him “late in 1954,” to organize the band procession planned for Disneyland’s big televised opening day event, which was just a few months away. The “Disney News” (Fall of 1966) preserves Vesey’s memories of what happened next : “‘Walt asked me to put together a small band for the Park’s opening and a two-week engagement,’ Vesey says.” Next, “Some of the best bandsmen around, many of them alumni of Stan Kenton, Woody Herman, gene Krupka, Tommy Dorsey and even the Ballet Russe and Los Angeles Philharmonic orchestra, got together with their leader,” according to the every same“Disney News” (Fall of 1966).

Cornet musician Ted Tracey recalled: “one day in 1955, the union called and said that a band was being formed for Disneyland and that the job was for two weeks.” Jim Barngrover remembered the date he received “the call”: “On July 10, 1955 the local musicians' office got a call for musicians at Disneyland. It was to last for two weeks and a 16-piece band was wanted. The band was put together by Tommy Walker and Tommy's father, Vesey Walker soon became the first Disneyland Band director.” Ted goes on: “We had a week to rehearse and get ready and workmen were running and stuff was being hammered together...all the time we were rehearsing.”

During their contemporaneous time with Disneyland, Vesey Walker (and son, Tommy Walker) would go on to open their own business - “Walker’s House of Music” (located at 220 North Los Angeles Street, c. 1958). The shop (managed by Gail Beverly) was advertised as a “Band and Orchestra Headquarters”, specializing in instruments, instruction, rentals, repairs, and sales. In addition, Vesey would see his son Tommy go on to serve in Entertainment managerial roles for Disneyland (in Disneyland Guest Relations and as Disneyland Director of Entertainment), in which Tommy was most influential in encouraging the education of youngsters involved in music and arts programs.

Before Disneyland even opened, the Disneyland Band was reckoned among “Disneyland rides and amusements” that “will delight the very young, the teen-ager, young married couples, the middle-aged, and grandparents alike,” as some of the following Vintage Views testify [Anaheim Bulletin “Premier Souvenir Edition - Walt Disney’s Magic Kingdom - Disneyland” Insert ; Friday, July 15th, 1955].

“The Press Preview & Grand Opening”

Cornet musician Ted Tracey remembered: “Cables were running up and down Main Street for the T.V. crews. It was hot! We played the Colonel Bogey March and the Washington Post.”

Beginning in July of 1955, the Disneyland Band was originally organized to perform “only a two-week engagement”. According to “The Spirit of Disneyland” (prepared by Walt Disney Productions, in 1984), this limited contract indicated “the tentative nature of the times.” However the Disneyland Marching Band became so popular with guests. Knowing their audience, Disneyland Operations decided that the Disneyland Band would be “held over.” They would go on to play daily concerts throughout the Park, under the direction of the Disneyland Band Founding Director Vesey Walker. For instance, the Disneyland Band would perform under the Bandstand from 11:30 a.m. to 12:15 and 2:00 p.m. to 3:00 p.m. daily. Coronet musician Ted Tracey remembered how “Sometimes, on Sunday morning, Walt would sit on a Park bench, wearing a slouch hat and listen to the band.”

The Disneyland Band was present nearly seven weeks later, to welcome Elsa Marquez (the 1-millionth visitor) to Disneyland, as they played “Happy Days Are Here Again”, “Davy Crockett”, and “Let Me Call You Sweetheart” at the Disneyland Main Gate. By the spring-summer of 1956, the Disneyland Band soon found themselves giving “Welcome to Disneyland”concerts for large groups (and conventions) of 25 - 5000 guests, in coordination with Disneyland Guest Relations Department (then Directed by Jack Sayers and Assisted by Tommy Walker). “55er” Ted Tracey recalled: “In the early days, the Band dressed in a tent in back of Carnation. it was HOT in the tent and our clothes NEVER dried out. We would strip down to our shorts and from the OUTSIDE, you could see the hairy legs walking around INSIDE!”

Soon, the Disneyland Band’s very first album was recorded at Disneyland (and sold through Wonderland Music Shop, by August of 1956). Vesey and his Disneyland Band (c. 1956) can readily be seen preserved on film (wearing their red, white, and blue uniforms and shako hats, and surprisingly no band name on the drum head), in the “An Adventure in the Magic Kingdom” episode of Walt Disney’s “Disneyland” television series (filmed in 1957, and airing in 1958)! The very same footage (originally filmed in color) was reused in “Disneyland, U.S.A.” (a “People and Places” feature film, released in the U.S. on December 20, 1956 through Buena Vista Film Distribution Company). As a sidelight, the custom (and authentic) wardrobe of the Disneyland Band was likely provided by Warren Ackerman’s House of Uniforms (yes, “uniforms”), then located in Beverly Hills, California.

“Melody Times”

By the year 1956, the Official Guide to Disneyland had figured “the Disneyland Band gives 1,460 concerts annually in Disneyland.” This meant a lot of performances held in various parts of the Park, and not just on Sunday (as was traditionally done around the true-life turn-of the century) but twice, daily. These old-fashioned concerts took place in both Town Square (at 11:00 a.m.) and then under the Magnolia Gardens Gazebo, before heading into the wilds of Adventureland and Frontierland for impromptu concerts. You may recollect seeing the Disneyland Band (clad in their red, white, and blue uniforms and shako hats), performing in a few odd locations during this era - from the backs of King Arthur’s carousel horses, from the lower deck of the Mark Twain sternwheeler, or even maintaining Vesey’s dictated tempo, while spinning and twirling in the Mad Hatter’s tea cups (as seen in “Disneyland U.S.A.”, released December 20, 1956). Next, the Disneyland Band would parade back down Main Street U.S.A. and through the Park (usually from noon to 1 p.m.), before their final performance during the Flag Retreat in Town Square (from about 5:45 to 6:15). The only time their routine performances were interrupted, was during Disneyland’s “Yuletide Season” (which began in 1955, when they performed 2-3 shows daily in the Mickey Mouse Club Circus at Holidayland). By 1959, Art Linkletter (host of “Disneyland ‘59” Presented by Kodak) could say : “The Disneyland Band, Directed by Vesey Walker (and man, he struts) is coming up - the ‘Marching-est Band In The Whole World’ covering every cranny of Disneyland! They play on the river boats, covered wagons, the carousel, and the jungle launches. You name it, they’re there, and so they’re here for the opening of our big parade!” A few years later, (by 1968/1969), the Disneyland Band’s schedule of appearances and route through the Park had changed little. By then, the band usually performed a Main Street Parade and Town Square Concert (from 10:45 a.m. to 11:05 a.m.), then marched through Disneyland and gave a concert aboard the Mark Twain (from 11:20 p.m. to 12:15 p.m.), after which they would head to the Plaza Gardens for a concert (from 2:15 p.m. to 3:15 p.m.), and then finally participate in another Main Street Parade before the Retreat Ceremony (from 5:25 p.m. to 5:45 p.m.)!

Ted Tracey remembered: “One time we had a sax plover, who was always the first to rush off after a concert. The last strains of music would barely fade away when he would grab his music stand and rush off. Well this time, the clarinet player nailed his stand to the floor, and when the auy tiled to charge off, he couldn't move the stand!!”

“Make Mine Music”

Vesey may have found it challenging to teach his own pet Mynah Bird to talk via the recording method. However, like some sort of “musical kaleidoscope” the versatile Disneyland Band performed a variety of requests - “state songs, old-time favorites, children’s tunes and songs from Disney motion pictures”, (according to Holiday magazine, published 1957). Some of their finer music includes “The William Tell Overture”, “Basin Street Blues”, “The Eyes of Texas Are Upon You”, and novelties as “The Clarinet Polka”. Occasionally, new songs would be rehearsed and performed for the seasonal holiday festivals and special ceremonies. From 1955 to 1969, “every President of the United States since 1946 except Lyndon Johnson, 15 princes and princesses, six kings, and a number of Prime Ministers and Premiers, several maharajahs, Congo Tribal Chiefs, Ambassadors, three queens, and a number of noted Russians - save one” have visited Disneyland. (Disney News, Fall, 1969). On some of these occasions, the Disneyland Band would perform special song arrangements, as when a special “Circus band Concert” was performed for members of the National Circus Fans Association, on Friday, June 14th, 1957. On one occasion the Disneyland Band performed a song “written by King Bhumibol of Thailand” before his visit to Walt Disney’s Magic Kingdom. Yes, all sorts of individuals visited Disneyland (from the world over), for an opportunity to hear the Disneyland Band under the Direction of Vesey Walker!

Magnolia Park (located between the Rivers of the World in Adventureland and the Frontierland Station of the Santa Fe & Disneyland Railroad) was the setting of the Bandstand and Gazebo from the Spring of 1956 to 1962. To understand the location of Magnolia Park in relation to other sights and sounds of Disneyland - it was quite common to hear the sounds of the Cambodian Ruins along the Mekong River, smell the aroma of fresh fried chicken (from the Chicken Plantation), and see the passenger and freight trains (of the Santa Fe & Disneyland Railroad) roll by - all at once!

These smiling guests are enjoying a bygone American pastime - a concert in the park - Magnolia Park, that is! From the Spring of 1956 to 1962, Magnolia Park’s resident Bandstand and Gazebo were home to old-fashioned Disneyland Band concerts in the Park during daytimes and holidays. The new encompassing stage was able to support large instruments - even a piano and drum kit. Rows of park benches were added by this time, to accommodate families and large groups of guests desiring to listen to a concert in the Park!

The Disneyland Band (lead by Vesey Walker) gives a morning concert from Town Square, Main Street U.S.A., (c. 1957)

Vesey Walker’s Disneyland Band was also known to act as “musical ambassadors from the Magic Kingdom” (as they were so-called in the biography of “Strike Up The Band”, released 1969 by Vista Records). “Appearances have included the…Hollywood Bowl Concerts, Anaheim’s big Halloween Parade, and Disney motion picture premiers in Hollywood and other cities.” The Disneyland Band performed for the Ground-Breaking Ceremony for Jack Wrather’s first Disneyland Hotel Tower (in 1961), and (led by Mickey Mouse) they helped dedicate Anaheim Stadium and salute the California Angels by marching from Center Field on Saturday, April 23, 1966! Up to 1969, the Disneyland Band had even marched in the Pasadena Tournament of Roses Parades (an event that Band Leader Vesey Walker was well-acquainted with).

When Holidayland opened at Disneyland, it was a common sight to see popular Disneyland acts performing from the stage within “the world’s largest candy-striped circus tent”. The Disneyland Indian Village representatives, the Trio Gonzales mariachi band, and Golden Horseshoe Revue cast all had their turn in the Holidayland spotlight. The Disneyland Band also performed in Holidayland numerous times during its presence from June 16, 1957 - September, 1961. In this Vintage View, a Pepsi-Cola sponsored event (in honor of the Jaycees youth organization) featured a performance by Vesey Walker and the Disneyland Marching Band!

Those PBX operators upstairs received a free concert every morning, as the Disneyland Marching Band played in front of the Main Street Opera House! As guests entered the Park, occasionally a young admirer (pictured) may wander near the Band Leader. Vesey Walker had a habit of allowing these young admirers to lead the band, while he gave expert advise in the form of a few “pointers” on conducting! This was usually done “around the flagpole in Town Square” (according to Vacationland of Winter-Spring, 1964), and occasionally (in the early days of Disneyland) near the Main Street Opera House. On October 4, 1956), the five-millionth Guest - four-year-old Debra Rutherford (of Quincy Washington) helped lead the Disneyland Band. Another instance of Vesey helping a young Guest lead the Disneyland Band was on Easter Day (of 1956), which has been preserved in “Disneyland U.S.A.” (released through Buena Vista Film Distribution, December 20, 1956).

After performing a concert in Town Square, the Disneyland Band (lead by Vesey Walker) would continue to march its way through the rest of the Park.

Vesey Walker and the Disneyland Band were immortalized on a number of souvenir post cards during their era.

Here, the Disneyland Band performs from the Magnolia Park Bandstand (which has been relocated to the middle of Disneyland Plaza), while some exciting developments take place just west of Sleeping Beauty Castle!

By the spring of 1959, the Disneyland Band was performing 1,692 concerts annually. As mentioned, the band was first directed by Vesey Walker who had won world-wide acclaim as a band leader. The band consisted of 18 top musicians from name bands throughout the country.

In the distance, Vesey hands the baton to a young guest, allowing him to lead the Disneyland Band!

Vesey Walker leads the Disneyland Band marching block from the Hub, and down Main Street U.S.A.

"Toot, Whistle, Plunk and Boom" goes the Disneyland Band!

This picturesque scene played out daily, and one Disneyland Flag Retreat Ceremony was even featured on the cover of Vacationland, Fall of 1964.

Walt acknowledged “Everything here at Disneyland and the Studio is a team effort.” It was once written about Director Vesey Walker : “The versatile and highly mobile band which he directs at Disneyland is made up of top-class professionals, many of whom came here after notable accomplishments in other areas of the music world.”

Many popular musicians have had the good pleasure to have been accounted among the members of the Disneyland Band! You may recognize the names of such top-class professionals as “Jim Barnsgrover…Forrest Clark…Stan Kenton, Woody Herman, Ray Anthony, Gene Krupa, [and] Tex Beneke.” In fact, you may have heard some of these perform solos on their own, or with their very own band at Disneyland. For instance, “Cass" Aroke of the Disneyland Band performed nightly at the Gourmet Restaurant.

In these formative years, other members of Vesey Walker’s Disneyland Band now included the Clarinet section members (Jack Williams, George Landier, and Bernie Flymen), Saxophone section members (Don Baker, Eddie Stelnicki, Cornet section members (Herman Terrando, Warren Gale[who would become Assistant Disneyland Band Director in 1974], Eddie Shiner, Ted Tracey (who went on to become Staff Arranger and Librarian), Trombone section members (Jim Barngrover Jr., Ozzie Stock, Eddie Thomas, Horn musician (Ed Liston), Baritone Horn musician (Cass Arpke), Tuba section members (Jim Sexton, Donald M. Heaston), and Drums section members (Morris Castleman, George Richter). Drummer Sonny Anderson (who would become Disneyland Entertainment casting Director) performed on one of the Disneyland Band record albums.

The number of Disneyland Band members constantly fluctuated over the years of Vesey Walker’s Direction. For example, the band had 18 members (during the winter of 1957/1958), 16 members by the Spring of 1959, and by 1961 the Disneyland Band had a total of 20 musicians! However, from 1964 to 1969 (and just before Vesey’s retirement in 1970), the Disneyland Band was advertised as a “17 of the nation’s finest musicians” and later (again) as a“16-man aggregation”.

By the summer of 1966, the Disneyland Band included newer (and familiar) faces - Al Francis (a regular on clarinet) occasionally filled in on drums, Ralph Gary, Jim Barngrover, Ted Tracey, and others!

One of the newest members (late under Vesey’s Walker’s Direction) was Robbie Robinson (of Marceline, Missouri), who ultimately worked with the Disneyland Band for 23 years (beginning in 1961/1962), and retiring in 1985. Robbie had the good privilege to speak with Walt Disney on a number of occasions, and the two (no doubt) had much to talk about over their old home town.

The Disneyland Marching Band would also perform an appropriate selection of folk songs aboard the Mark Twain Steamboat.

During the late 1960s, the Disneyland Band often marched through Disneyland (from 11:20 a.m. to 12:15 p.m.), ending with a concert aboard the Mark Twain Riverboat. This common sight was reminiscent of “Walt Disney’s Disneyland Band Concert” (the Disneyland Band’s 1956 “on location” record album cover. We can almost hear the Riverboat Medley (“Waitin’ For The Robert E. Lee”, “Cruisin’ Down the River”, and “Here Comes The Showboat”) now!

The Disneyland Band (occasionally billed as the “Disneyland Town Band”) was accounted among the $1,000,000 worth of 150 entertainers that filled out Disneyland’s big show during the 1960s! By this time, their prior “parade through the Park” would change (to conform to a structured schedule of appearances), and three “Sub-Groups” of the Disneyland Band would start to make appearances in different parts of the Park - the Saxophone Quartet (of Main Street U.S.A.’s Plaza), the Polka Band (of Fantasyland), and the Strawhatters (of Frontierland’s Orleans Street, and New Orleans Square). These would be distinguished by costumes and uniforms specifically designed to carry out the atmosphere of each land. In the following sections we will briefly examine these Disneyland Marching Band “breakaway sets”.

Today at Disneyland, Atmosphere Entertainment complimenting the theme of areas is staged to entertain Guests on an immediate and personal level. According to Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), “In its early years, Disneyland did not have the atmosphere bands that are used today. In fact, in 1955 there was only the Disneyland Band and the small band in the Golden Horseshoe… It would be several years before other bands appeared on a regular basis.” [Disney Facts Revealed by Dave Smith, 2016] But eventually, twice daily the band divided into three (3) groups:

1) Dixieland Strawhatters at Frontierland Gazebo

2) Town Band in Tomorrowland, Fantasyland, and Adventureland

3) Keystone Kop Saxaphone Quartet on Main Street

Cops in long blue coats and bucket hats completed the startling illusion.

The Keystone Cops Quartet was a breakaway “Sub-Group” section of the Disneyland Marching Band associated with the of the turn-of-the-century locale. In this way, the Keystone Cops Quartet was similar to the Dixieland “Hatters”(not to be confused with the Strawhatters) of Frontierland, as well as the “Town Band” of Fantasyland and Tomorrowland).

Before Main Street had a barbershop quartet, this quartet of Main Street’s Policemen (or, Constables) performed unique “sweet an low” instrumental arrangements in several select areas of the turn-of-the-century locale (twice daily, in the afternoons), during the late 1950s and 1960s.

The Keystone Kops Quartet also favored the sidewalk in front of the Main Street Cinema because of all the passing traffic coming right down the middle of Main Street U.S.A.

The Keystone Cops Quartet was renown for playing their golden saxophones in close harmony (on the street). All that laced with comedy, on the streets of Main Street U.S.A.! In the previous Vintage View they can be seen performing next to the Bank of America building (just through one of the tunnels to Main Street; on the East side of Town Square). Here, “Main Street’s Keystone Kops provide sidewalk entertainment for Disneyland guests,” even when some of the sidewalks are inaccessible. Their saxophones were also heard throughout the Park’s Plaza! The Keystone Cops Quartet can readily be seen preserved on film, in some footage of “Disneyland, U.S.A.” (a “People and Places” feature film, released in the U.S. on December 20, 1956 through Buena Vista Film Distribution Company). The Disneylander (May 1957) honored four by name - George Landier, Johnny Schmidt, Bernie Flymen, and Eddie Stelnicki.

Here, the Keystone Kops Quartet heads to the location of their next performance in the Plaza.

Near one of the entrances to the Main Street Emporium, the Keystone Kops Quartet prepare to play.

The Keystone Kops Quartet also performed for guests dining on the patios near the Plaza.

This isn’t a Keystone Kops Quartet uniform, but this particular ensemble was worn by Disneyland Security. It is similar in style to those worn by the Disneyland Marching Band members of the popular “breakout set.” Let’s take a closer look at the careful details applied to this turn-of-the-century-inspired costume.

Lastly, the custodian-style hat tops off the ensemble!

Though they have their origins in England, custodian-style hats like these were worn by officers in larger metropolitan cities (like New York) during the turn of the century. Here, we get a close-up of the fine craftsmanship of the crest atop the Victorian-style hat. Perhaps you recall inspecting the crest while “Mitch” the Keystone Kop (or, some other Constable) wrote you a ticket on Main Street U.S.A.!

The quartet (of all the Magic Kingdom’s saxes) had a legacy (of sorts) in the Main Street Saxophone Quintet (Gary Scudder, Barry Streeter, Dave Friedrichs, Alan Palmer, and Jeff Phillips) which premiered during the Disneyland Family 25th Anniversary Reunion held in April of 1980. During July 20-26, 1987, both the Keystone Quartet and the Sax Quintet were performing in the Park simultaneously. In 1991, the band’s saxophone section donned striped jailbird uniforms as they were transformed into the “Duckburg Burglars” for their “Disney Afternoon”-inspired afternoon sets on Afternoon Avenue.

The Fantasyland "Polka" Band was a seven-piece breakaway “Sub-Group” band from the Disneyland Marching Band. The Disneylander (VOL. 5, NO. 6; JUNE, 1961) announced their arrival: “Added to the Fantasyland scene will be the brightly attired ‘Schnickle-Fritz’ Polka Band which will parade and serenade our guests.”

They could often be identified by their Bavarian hats and lederhosen. Their unique “toot, whistle, plunk & boom” was heard around Fantasyland and the Matterhorn, and the subset was even involved in occasional evening events like New Years Eve Celebrations.

Photographs for this catalogue (one of which included the Polka Band and a guest aboard a Schwinn Hollywood) were shot at Disneyland during the Tencennial celebration of 1965. A year later, the Disneyland Band was also one subject of a Look Magazine photo shoot (in conjunction with new Disneyland 3-D post cards) on May 24, 1966.

When New Orleans Street opened with Disneyland in 1955, the Strawhatters (a Disneyland Band “Sub-Group”) added to the surrounding ambiance for Frontierland’s riverside restaurants. This they originally did - twice daily - from beneath the wrought iron Gazebo in Frontierland! “Disneyland U.S.A.” (released by Buena Vista Film Distribution in the U.S., December 20, 1956) catches this rare sight, as the Strawhatters take a break in their set, while the Disneyland Band performs aboard the Main Deck of the passing Mark Twain! The Strawhatters also performed alongside the Disneyland Band, once a day, from the Magnolia Park Bandstand. The band released one record album with four tracks on two sides - “Fidgety Feet”, Muskrat Rumble”, Jazz Band Ball”, and Mississippi Mud”.

According to the Strawhatters’ “Dixieland at Disneyland” record album (released 1957 through Disneyland Records) :

“The five members of this lively group [were]… hand-picked professionals, all of whom had established reputations with America’s “name” bands before coming to Disneyland.

Jim Barngrover : Plays Trombone. Worked with the bands of Jack Teagarden, jan Garber, Joe Venuti, Ray Herbeck, and Tommy Dorsey.

Jack Williams : Plays Clarinet. Started his career at Majestic Ballroom, Long Beach. Played with Ted Staeter, Jan Garber, Jack Teagarden and the Dorseys.

W.B. ‘Sonny’ Anderson : Drummer. Native Californian. Formerly Freddie Slack, and had as his own band, the Long Beach Municipal Band.

Wally Ruth : Saxophone and Piano man. His credits were acquired with Freddie Slack, Rudy Vallee, Warner Brothers Studio - ‘Pete Kelly’s Blues’, ‘Star Is Born’, and the Hit Parade. Seven years with Spade Cooley on KTLA-TV.

Warren Gale : Trumpet. Played in Long Beach, California since 1939, with exception of 3 years in Army Air Force Bands. Spent 6 months with Will Osborne’s Orchestra.”

Though the Frontierland Gazebo (later called the “Dixieland Bandstand”) disappeared during 1961, the Strawhatters (wearing striped blazers) continued to swing out “St. Louis Blues” and other Dixieland classics in Disneyland! Dixieland at Disneyland events were held frequently (with a number of performers being featured). It was common to see artists like Bob Crosby and his Bobcats, Teddy Buckner, Doc Souchon, The Fire House Five Plus Two, Nellie Lutcher, Santo Pecora, Matty Matlock, Turk Murphy, Kid Ory, The Young Men From New Orleans featuring the banjo man Johnny St. Cyr, and even old “Satchmo” himself - Louis Armstrong - performing from atop various watercraft while making their way down the rivers of America. For many of these artists, Dixieland at Disneyland events were like a reunion of old friends. Louis Armstrong’s Disneyland debut (in 1961) was also the first time that he and Kid Ory had performed together in 41 years.

When New Orleans Square opened in 1966, the Strawhatters continued to make appearances, even performing alongside newer bands, like the Royal Street Bachelors! The Strawhatters appeared in visual media like “Disneyland Showtime” (a c.1970 Wonderful World of Disney episode), providing the melodies for Br’er Bear and Br’er Fox to dance. Today, the Strawhatters have a legacy - the Straw Hatters! The band currently performs both in New Orleans Square and Main Street U.S.A.

A young Guest wears a boater hat while enjoying the Dixieland melodies of the Strawhatters.

The Disneyland Strawhatters and other performers would entertain guests from beneath the awning during the daytime. Occasionally (during Dixieland at Disneyland events), they would perform while floating across the Rivers of America aboard a Tom Sawyer Island rafts!

“Here we go a-marching and a-shouting merrily!” Yes, “The ‘harum-pa-pa’ of marching music quickens the steps and widens the smiles of Disneyland guests as the Disneyland Band parades up Main Street”, with Band Leader Mickey Mouse leading the march, at the beginning of the procession! It must be Vesey Walker’s day off.

(A Complete Guide To Disneyland, 1956)

The band was well-polished by 1964, and with their audience in mind, the collective members of the Disneyland Band would become renown for performing “Dixieland, pops, marches, novelty tunes, and almost any other kind of music requested by its legion of admirers. Noted for its versatility and polish, the group has memorized more than 250 pieces and has a repertory of hundreds more,” according to Vacationland magazine (published for the Winter-Spring of 1964). The Disneyland Band also performed seasonal arrangements for their marches down Main Street (before peak attendances of Guests from around the world) during the Christmas holiday season (as during the inter of 1963). Vesey Walker and the Disneyland Band were recognizable, partially owing to appearances made in both theatrical features (like “Disneyland U.S.A.”, released December 20, 1956), and television specials (like “Disneyland ‘59,” and the 5th episode of “Meet Me At Disneyland”, airing on ABC in July of 1962).

From 1955 to 1969, “every President of the United States since 1946 except Lyndon Johnson, 15 princes and princesses, six kings, and a number of Prime Ministers and Premiers, several maharajahs, Congo Tribal Chiefs, Ambassadors, three queens, and a number of noted Russians - save one” have visited Disneyland, (according to Disney News, Fall, 1969). If Vesey Walker had “won world-wide acclaim as band leader” as the Official Guide to Disneyland (published during 1956) heralded, then such praise was only compounded by the early-to-mid-1960s!

It was common to see the Disneyland Band starring in publicity shots, as one photograph which featured 19-year old Tahitian native Tarita (Marlon Brando's co-star of Mutiny on the Bounty) marching alongside Vesey Walker. By 1964, the Disneyland Band had “performed from all 50 American states and more than 100 foreign nations. And, with Vesey holding the baton, it has greeted dignitaries ranging from King Mohammed V of Morocco to former Presidents Harry S. Truman and Dwight D. Eisenhower.” According to “Disney News” (Fall of 1964), “His most recent accolade [in 1964], and perhaps the most important, was the reaction from the nation’s bandmasters at this year’s national convention of the American Bandmaster’s Association [A.B.A., in Wisconsin] when, as he completed an appearance as guest conductor, they gave him a standing ovation.”

At some point around this time, Vesey fell ill. By December of 1965, Wally Boag (Backstage Disneyland Editor) noted the “Vesey Walker's remarkable recovery from an illness that would have permanently floored the average man.”[Backstage Disneyland, Vol.4 No.4]

During 1966, Vesey Walker was invited to perform (as Guest Conductor) on the I.T.R. Railway in Illinois, before being led by Mickey Mouse at a Pre-game “Walt Disney and Disneyland Salute to the California Angels” at the new Angels Stadium on Saturday, April 23rd, 1966! Vesey Walker would march with his band for two more years. From December 16, 1967 to January 1, 1968, the “famous band, under the baton of Jim Barngrover” would entertain guests in different part of the Magic Kingdom. The founding director, Vesey Walker would direct the afternoon concerts from December 24th thru 31st. Aside from the Christmas Parades, the band would “march through the different lands and play small concerts.” The Disneyland Marching Band performed sets at the General Electric Carousel, Small World, around Fantasyland, aboard the Mark Twain, and with the new Jungle Book Parade that occurred in Adventureland. On January 1st, 1968, the Disneyland Marching Band appeared in the Tournament of Roses Parade, “in conjunction with the Helm’s Bakery float, ‘The Wonderful World of Walt Disney.’” [“Disneyland Holiday Talent Master Schedule,” prepared for the period of December 16, 1967 through January 1, 1968].

When Vesey wasn’t directing the Disneyland Marching Band, he periodically enjoyed competing in periodic D.R.C. sponsored golf tournaments against fellow Disneylanders like Ray Van De Warker, in his leisure time. This he did until his retirement in 1968.

The Disneyland Band donned their old red, white and blue uniforms that they once wore during Disneyland’s first year of operation.

As several models of KODAK Instamatic camera models were available for rental, guests captured an abundance of Disneyland Band memories during this era.

The Disneyland Band looked most “at home” assembled around the Flag in Main Street USA’s Town Square.

The Disneyland Marching Band took part in numerous Flag Retreat Ceremonies. During later winter seasons, they were occasionally joined by the Disneyland Christmas Carolers (under the direction of Dr. Charles C. Hirt and lead by Mr. Robert G. Hasty), from December 16th, 1967 thru January 1st, 1968. [“Disneyland Holiday Talent Master Schedule,” prepared for the period of December 16, 1967 through January 1, 1968]

Guests line the crowded streets for the afternoon parade lead by Mickey Mouse and the Disneyland Marching Band.

With Vesey announcing his retirement in 1968, the Disneyland Band members would need direction, but the choice was not difficult. By 1968, the second Disneyland Band Director (and Vesey Walker’s successor) was distinguished by his Performance Excellence, and selected - Jim (or, James) Christensen. Jim had been “a staff arranger and trombonist with the West Point Band and director of the prize winning University of Wisconsin Marching Band. Prior assignments as arranger-conductor in television, radio, records, commercials, and road show productions resulted in nation-wide acclaim” for Jim Christensen. Not withstanding this impressive resume, Jim also become an Assistant Director to the Disneyland Band during Vesey’s era, even directing the (then 17-piece) band for the recording the 16 tracks of “The Disneyland Band” (a record album published 1969, by Vista Records). A number of popular selections from “Walt Disney’s Jungle Book” and “Walt Disney’s Mary Poppins” were among the album’s tracks. These were also performed by Director James Christensen (on Woodwinds), Bud Smith, Francis P., Al F., Dick S., Joe Miller, D. Baker (on Trumpets), Herman T., Joe, Warren Gale, Ed Erickson (on Trombones), Assistant Director Jim Barngrover, Robbie Robinson, Don Gustafson (on Baritone), George Werner (on Tuba), Randy Anglin (on Percussion), and George Richter, and John Whited.

As to the 15-year anniversary, coronet player and Staff Arranger Ted Tracey remembered “My most memorable experience was the 15-year Anniversary... I felt like I was one of the family.”

Jim Christensen was capable to serve as Director to the Disneyland Band, as well as “composer-arranger-conductor” for the band. By the summer of 1973, the Disneyland Band was performing popular songs (as the “Mary Poppins Medley,” “Grim Grinning Ghosts,” the Circlevision theme “America the Beautiful,” and “The Old Home Guard” the latter arranged by Sonny Anderson) Tuesday thru Sunday. Songs performed also included Jim’s original compositions - “Clarinet Party” and “Trombone Concepts.” By this same time (1973), the Disneyland Marching Band was (again) a 20-piece band (with new snare and bass drummer Joe Shaw), had marched (rank and file) at last 2,000 miles, and performed over 5,000 concerts.

The band was still a Park Wide Atmosphere Band. Their daily schedule (around November 26, 1972 - December 15, 1972) included (1) a Main Street Parade & Town Square Concert, (2) a Parade through Frontierland, Mark Twain Concert, Adventureland, Castle Concert; exit Tomorrowland, (3) Character Parade, (4) Concert in Plaza Gardens, (5) breaking into Strawhatters, Keystone Kops, Polka Band, Town Band, (6) Retreat, Town Square, and (7) another Character Parade.

Jim Christensen would move on to serve as Director of Bands for Disneyland and Walt Disney World Band. As mentioned, during this time, the Disneyland Band’s Assistant Director role would be filled by (another Jim) Jim Barngrover Jr. (a Disneyland Band trombonist of Vesey Walker’s era). A few years later (during the summer of 1977), Stanford (Stan) Freese would Direct the 20 virtuosos of the Disneyland Band, to play ragtime and contemporary tunes (ranging from those of the Beatles to Harry James and Glenn Miller). Stan would become Walt Disney World Assistant Band Director.

Then, on Friday, November 11, 1977, Vesey Walker (the founder of the Disneyland Band) passed at the age of 84. For all the joy he brought to Disneyland guests for fifteen years, he would be mourned by millions who had the pleasure of meeting him or at the very least had watched him perform.

Jim Christensen would go on to conduct the Disneyland Band for twelve years, until his final performance for the first “Disneyland’s 25th Birthday Parade,” (held just before his retirement from Disneyland in 1980).

By this time, the Disneyland Band uniforms would differ depending on the season. “dressed in smart white (summer) or deep crimson (winter) uniforms the band salutes each new day at the Magic Kingdom with a vibrant and music filled march down Main Street U.S.A.” according to “The Disneyland Band” record album (published 1969, by Vista records).

Music stands were pre-arranged in picturesque Main Street U.S.A.’s Town Square, where benches offered guests a view of the Disneyland Marching Band’s morning performances. The Disneyland Band never sat, but always stood during the Flag Retreat Ceremony in the afternoon.

By 1972-1973, the Disneyland Band provided atmosphere to different areas of the Park, on four schedules.

Who’s the leader of the band? Mickey Mouse was known for leading processions down Main Street U.S.A. and around the Plaza, before heading toward Town Square, and taking time to interact with guests!

The Disneyland Band would perform the National Anthem as the flag is lowered by a member of Disneyland Security. After the ceremony, the last number performed is usually a rendition of “Til We Meet Again”.

Some time before this Vintage View was captured, Vacationland magazine (Vol.20, No.4 ; published Spring of 1977) published an article about the present Disneyland Band entitled “The Disneyland Band - Music in Sweet Accord”. During this era, the Disneyland Band gave quite a few “send offs” for 20 year employees of Disneyland.

In “step” with Disneyland’s 25th, the Disneyland Marching Band received special blue costumes (with silver highlights), and matching military style “shako” hats with plumes of white feathers on top!

A few Disneyland Band Members march along an opening parade unit for one of Disneyland’s 25th Anniversary Parades.

On July 17th, 1982, the Disneyland Band had stepped off more than 2,900 miles since their first march on opening day in 1955. And so, on July 17th, 1982, at 4:00p.m. (less than thirty years after their Disneyland debut), the popular Disneyland Marching Band had marched for three decades and given its 50,000th performance from the fabulous Carnation Plaza Gardens! This historic performance of the then-20-piece marching band, was highlighted by a special introduction by the Dapper Dans, as well as concluding presentations by representatives from the City of Anaheim, Ron Dominguez, and Ron Logan. In between, the Disneyland Marching Band’s 50,000th Performance included the following sets :

(1) Remember When

(2) Main Street U.S.A. (in collaboration with the Dapper Dans)

(3) Original Disneyland March (Legionaires of the U.S.A.)

(4) Waitin’ for the Robert E. Lee

(5) On The Mall

(6) Barnum

(7) Tribute to the Fifties

(8) Star Spangled Spectacular

(9) Whispering-Groovin’ High

(10) Nashville Concerto

(11) Glenn Miller Medley

In honor of their 50,000th performance, Charles Boyer immortalized the Disneyland Marching Band in a work of art that was released as a lithograph (limited to 1800).

In honor of their 50,000th performance, Charles Boyer (one of Disneyland’s own resident portrait artists) immortalized Band Director David Warble and the Disneyland Marching Band in a work of art entitled “27 Years and The Band Played On”! This piece was released as a lithograph (limited to an edition of 1800). Charles tribute also graced the cover of Disneyland LINE (vol.14 ; no.28), July 15, 1982. Because of their limited quantity, these were initially offered through a lottery and the remainder were subsequently offered to Disneyland Cast Members (for $7.50 each) until supplies were depleted. (Disneyland LINE, August 19, 1982, Vol.14, No.33)

By this time, the Disneyland Band performed for the Flag Retreat Ceremony four days a week, during Monday, Wednesday, Thursday, and Friday of June 13 - 17, 1983. However, on Tuesday, the band was replaced by a “taped version” of their ceremony fanfare. Yes, the Disneyland Band truly “played on” - even on days when they were absent from the Park.

Though Vesey Walker had retired from Disneyland more than a decade prior, he (and his little marching band) had certainly “started something”, and it was now marching strong into its third decade running by 1986! Now, the Disneyland Band was conducted by David R. Warble, and occasionally performed “Orange County Young Listener Concerts” in cooperation with the Orange County Music Administrators and the Orange County Philharmonic Society. The Disneyland Band consisted of a number of brass instruments (trombone, sousaphone, trumpet, and tuba), a variety of woodwinds (flute, piccolo, clarinet, saxophone), and several types of percussion instruments (bass drum, snare drum, and cymbals). Though many of Vesey’s members had been with him for more than ten years (at one point), with the exception of Warren Gale, the Disneyland Band now consisted of newer members who had not performed under the direction of (the late) Vesey Walker during Disneyland’s first decade. By this time, the Disneyland Band consisted of the following members :

Eric Marienthal - Woodwinds

Bill Liston - Woodwinds

Sal Lozano - Woodwinds

Mike Whitman - Woodwinds

Lemoyne Taylor - Woodwinds

Roger Bissel - Trombone

Art Dragon - Trombone

Les Benedict - Euphonium

Warren Gale - Trumpet & Associate Producer

Gary Halopoff - Trumpet

Greg Prechel - Trumpet

Brian Atkinson - Trumpet

Joe Shaw - Drums

Ray Templin - Drums / Piano

Vesey Walker passed away during November of 1977, knowing nothing of the Disneyland Band’s third director. The Disneyland Band had now come to run through a number of forms including “marches, polkas, jazz, [and] waltzes”, according to Disneyland LINE (Vol.14, No.28 ; July 15, 1982). By 1986, the Disneyland Band was conducted by Director David R. Warble, and the band occasionally performed “Orange County Young Listener Concerts” in cooperation with the Orange County Music Administrators and the Orange County Philharmonic Society. The Disneyland Band consisted of a number of brass instruments (trombone, sousaphone, trumpet, and tuba), a variety of woodwinds (flute, piccolo, clarinet, saxophone), and several types of percussion instruments (bass drum, snare drum, and cymbals). By this time, theDisneyland Band consisted of the following members : Eric Marienthal - Woodwinds, Bill Liston - Woodwinds, Sal Lozano - Woodwinds, Mike Whitman - Woodwinds, Lemoyne Taylor - Woodwinds, Roger Bissel - Trombone, Art Dragon (who would go on to Direct the Disneyland Band) - Trombone, Les Benedict - Euphonium, Warren Gale - Trumpet & Associate Producer, Gary Halopoff - Trumpet, Greg Prechel - Trumpet, Brian Atkinson - Trumpet, Joe Shaw - Drums, and Ray Templin - Drums / Piano! Though many of Vesey’s members had been with him for more than ten years (at one point), with the exception of Warren Gale, the Disneyland Band of 1986 consisted of newer members who had not performed under the direction of (the late) Vesey Walker during Disneyland’s first decade.

In addition to the Strawhatters, other Disneyland Band Sub-Groups (or, “breakout groups”) emerged during this era. As the Disneyland Marching Band would perform in front of the Main Street Opera House, the Frontierland Marching Band could be found decked out in Frontier duds, performing near Frontierland’s Davy Crockett Arcadeduring the 1980s. Kindly former Cast Members helped us identify this as one such unique Frontierland group : “Those are Disneyland Band members on a break out set.” Apparently, they would break off into a “bass section and a woodwinds section”, “in order to provide better park coverage”. “On the far left is Art Dragon who eventually became leader of the Disneyland band.” Now, if we could only identify this group by name!

(The Collection of Bob Penfield ; The Walt Disney Hometown Museum)

(The Collection of Bob Penfield ; The Walt Disney Hometown Museum)

Two years later (during 1988), the Disneyland Band marched in yet another momentous event - a Disneyland parade in honor of Mickey Mouse’s 60th Birthday! Nearly a decade later (in 1997), Bob Penfield (in full regalia) led the Disneyland Band before his retirement ceremony.

The Disneyland Band has a legacy of sorts, becoming a Disney Parks tradition. For instance, Tokyo Disneyland opened on April 15, 1983, with its very own Tokyo Disneyland Band. Other Disney Parks have also carried this Disney tradition.

By 2015, the Disneyland Marching Band was down to 16 members (one of whom had been with the band for 44 years). As Disneyland’s 60th Anniversary marched ever closer, it was decided to “reimagine” the Disneyland Marching Band. So, the present, seasoned, Disneyland Marching Band alumn gave one final performance on July 16th, 2015 - a day before Disneyland’s 60th Anniversary!

Disneyland has always taken note of its anniversaries. But never has there been another tribute to Disneyland’s “family” of employees like the Disneyland 25th Family Reunion Celebration!

“It’s our year, and it’s your year too!” 1980 was the year that Disneyland celebrated its 25th Anniversary! “I was there!” and “I was at the biggest birthday party in the world!”, were the slogans on souvenir buttons and hats gifted to guests on July 17th, 1980. All Disneyland employees were welcomed to join the Disneyland Family Reunion, as “we’ve all grown up together, and because you’re a special part of our family.” The event was marked by twice-daily “encore” performances of the “Disneyland 25th Birthday Parade” (also called “Disneyland's 25th Anniversary Family Reunion Parade”), special Kids of the Kingdom performances, memorabilia merchandise, a memorabilia exhibit at the Main Street Preview Center, a special “Re-Union” newspaper, encore performances by past entertainers, and a “25 Hour Party” (Disneyland was open until 1:00 a.m.)!

Long before the festivities began, developments were underway to assure that the 25th year was a milestone year for Disneyland!

The Disneyland Band received a whole new wardrobe.

A new Main Gate was a project several years in the making - a collaboration of WED Imagineering and Disneyland Industrial Engineers, Disneyland Planning Department, and Main Street personnel!

Other plans included “Celebrate the Lands” (a seven-week individual salute to the themed lands), a memorabilia exhibit at the Main Steet Preview Center, and even the production of an informative 46-second Pre-Rope-Drop Announcement (for the Main Street Area), designed to welcome guests to the 25th Birthday celebration of Disneyland. All of these plans in addition to other festivals (like Festival Japan, Festival Mexico, Festival Canada) and celebrations (like Encore Nights) that would occur during the 25th anniversary year!

“Here’s a place made of dreams, a kingdom full of magical things!” What better reason would there be to commemorate Disneyland’s 25th Year with twice-daily performances of the “Disneyland 25th Birthday Parade” (also called “Disneyland's 25th Anniversary Family Reunion Parade”)! Some of the following “Vintage Views” feature the various parade units which celebrated the spirit of Disneyland’s individual lands with plenty of floats and character guest stars in the “25th Birthday Parade”. Mickey Mouse, Donald Duck, Pluto, and Goofy lead a cast of 150 performers who bring alive a quarter-century of memories for each of the Park’s seven theme lands. After a year and a half in the making, the Disneyland Entertainment Division production debuted on January 5th.

A “25 Hour Birthday Party” was held at Disneyland - the party (similar to that of New Years’ Eve) began at 12:01 a.m., and lasted for 25 hours, from Wednesday, July 16th, 11:30 p.m. until Friday, July 18th, 1:00 am! Admission was $12.50, and included unlimited access to all attractions, free parking, free family pictures, birthday hats, noisemakers, and buttons, and a special Birthday Meal with free birthday cake. A giant birthday cake was installed in the Hub planter bed. Special shows highlighted 25 year of dance styles, with performances by The Dirt band, Billy Preston and Syreeta, Skiles and Henderson, Papa John Creach, and the S.O.S. Band, Becky Hobbs and Lee Dresser, Rupert “Pina Colada” Holmes, as well as Les Brown and His Band of Renown. All of this, in addition to 59 major attractions was certainly a reason to celebrate!

The Disneyland Entertainment Department prepared to bring back “selected ‘oldies but goodies’ as well as present stars who first got their start here in the Magic Kingdom,” according to The Disneyland Line (December 13, 1979). The Plaza Gardens hosted “Happy Birthday Disneyland” - “a fun lovin’ band of Disney characters,” afternoons (at 1:30, 2:30, 3:30, 4:30, and 5:30 PM)! Disneyland presented the “Top 40 Night” on June 7th, 1980. The stages around Disneyland featured various big bands for the nightly entertainment, in addition to special performances by the Kids of the Kingdom, The All American College Band, with appearances by 30 Disney Characters, and a few encore performances by past entertainers. Popular performers included K.C. & The Sunshine Band and Teri De Sario (on the River Stage), Shalamar (on the Space Stage), Sunshine Balloon (on Tomorrowland Terrace), Papa Doo Run Run (in the Plaza Gardens), Polynesian Revue (at Tahitian Terrace), and Teddy Buckner & His Jazz All-Stars (on the French Market Stage).

Memorabilia merchandise, a memorabilia exhibit at the Main Street Preview Center, a special “Re-Union” newspaper, helped commemorate the experience. After all, this was also a time for Disneyland’s participating corporate sponsors (i.e. AT&T, Gerber, Bank of America, Elgin, Orville Redenbacher and others) to celebrate 25 years of Disneyland!

A televised special made use of Cast members - many of them were featured on camera. Former Disneyland Cast Member George Trullinger recalled his involvement and experiences while contributing to the Disneyland 25th Anniversary Year : ”I worked Jungle Cruise ‘79-’81, and was sent to work that parade a few times…[I] also participated in the last scene of the 25th Anniversary TV special, hosted by Danny Kaye… I was very lucky to meet a lot of celebrities during my time at the Park. To celebrate the 25th, they had a private party night, that was truly a night of stars, mostly people who had done films and television for Disney. I did meet Michael Jackson early one morning before the Park opened. He had been riding Pirates of the Caribbean before the rope drop, and I bumped into him running to my opening shift.”

The Disneyland 25 Fantasy in the Sky Spectacular immediately followed the first Main St. Electrical Parade, approximately 9:40 p.m., July 17th, 1980. The show was coordinated by Fred Duffy. An opening announcement was followed by the ignition of “Disneyland 25” aerial set-piece at approximately 450’ altitude, presented over “Zip-A-Dee-Doo-Dah.” Next a fanfare and intro of the aerial fireworks show Disney section begins. This was followed by a specially augmented patriotic finale.

In addition to Disneyland’s current entertainers, “Mousekedays” brought members of the original Mickey Mouse Club (Cubby, Sharon, Tommy, Lonnie, Bonnie, and Sherry) to the Space Stage in Tomorrowland for the Mickey Mouse Club 25th Anniversary Revue - a singing and dancing tribute to the 25th anniversary of the Mickey Mouse Club! Show times for the latter were at Noon, 1:00, and 4:00 p.m.!

The traditional and modern 25th anniversary year gift is silver, so Disneyland’s 25th color theme was silver (and blue). Buttons bearing the silver and blue “Disneyland 25” logo (like this one), were given to guests upon entry at Disneyland Main Gate!  

There was (of course) much (non-complimentary) commemorative merchandise offered during the year-long birthday party.

Disneyland coupon books were still around for Disneyland’s 25th anniversary year, but would be gone two years later.

City Hall was draped in blue and silver bunting for Disneyland’s 25th!

Gas lamp posts (decorated with the Disneyland 25th plaques and matching bunting) lined Main Street U.S.A.!

“We’re 25 years old today!” Decorative fiberglass signs like this with shimmering blue and silver letters were fixed to Main Street USA’s light posts for the celebration, and reminding passerby of the Park’s important milestone!

Special silver and blue bunting lined the pathway from the Compass Rose to “the happiest land of them all”!

Other guests of “Disneyland 25 Years” include the water fowl that regularly visited Swan Lake!

The Music Festival (in force by this name, during the late 1970’s) generally spotlighted youth bands, marching bands, choirs, singers, and drill teams across several weeks. As a “sidelight,” it is believed that this Music Festival Program cover illustration is the work of Gene Calmelat Disneyland Illustrator.

In addition to their usual Main Street marches, concerts in Town Square and the Plaza, as well as their involvement in the Flag Retreat Ceremonies, the Disneyland Marching Band performed in Disneyland’s 25th Birthday Parade! In “step” with Disneyland’s 25th, the Disneyland Marching Band received special blue costumes (with silver highlights), and matching military style “shako” hats with feathers on top! For all of its memorable highlights, Disneyland guests were encouraged : “Don’t let this parade pass you by” (Vacationland, Summer, 1980). As one of his final acts as Disneyland Band Director, Jim Christensen would direct the band for the Disneyland’s 25th Birthday Parade just before his retirement from Disneyland during 1980.

Yes, a brand new parade was created, “guaranteed to stir up memories of days gone by,” according to The Disneyland Line (December 13, 1979). In preparation, one of the most technologically advanced sound systems was installed by the Disneyland Engineering Designers “in conjunction with WED and Walt Disney World… The “revolutionary sound system [was] destined to demote all present systems to the realm of obsolete… During the quiet hours, when the Park was closed, a trench was dug along the Parade route. Into this trench, at 23 locations, high powered antennae were embedded. These are signal receivers for a computer-commanded operation that will give our Family Reunion parade the sound of the future,” according to The Disneyland Line (December 13, 1979).

The Disneyland 25th Anniversary Parade was ushered in with a royal entourage of knights riding “steeds” atop floats (which kept the “horses” in stride). I would like to add just a little “sidelight” about these floats - this unit was originally used during Fantasy on Parade, 1966!

These little horses marched in Fantasy on Parade, of 1966.

“‘Clang, Clang, Clang’ went the trolley, ‘Ring, Ring, Ring’ went the bell” of the Horse Drawn Street Car of Disneyland’s 25th Birthday Parade, “FAMILY ON PARADE” Main Street Unit!

The turn-of-the-century Disneyland Cast follows, “walking right down the middle of Main Street, U.S.A., where it’s the heartbeat of America, the heartbeat of a holiday!”

The Big Band stands under the bandstand gazebo and serenades the crowds with “A Bicycle Built For Two”.

British-Indian elephant Colonel Hathi (formerly of the Maharaja’s Pachyderm Brigade) and his Dawn Patrol, march along the route of the afternoon parade.

Disneyland’s 25th Anniversary Parade also featured an Adventureland Unit with King Louie’s monkey court, a steel drum band and Tahitian Terrace hula dancers!

“It’s calling to you - Adventure!”

The Surrey leads our next unit, a tribute to Walt Disney’s last addition to Disneyland - “New Orleans Square”!

One former Disneyland Entertainment Department Cast Member (Karen Dedrick, pictured left) shared with one of our historians : “I performed during the 25th Anniversary Parade…I started out as a floater, so I did a different part every day for most of the year. Then in the Fall I was placed in the New Orleans Square Dancers Unit for the rest of the year…Remembering the night of the celebrities’ private party it was so surreal to look out and see them watching us. I remember seeing Carl Malden, Caesar Romero, Annette and many others that I can’t recall.”

The members of the “Hay Ride” unit would periodically leap from the wagon and have a good ol’ fashioned “ho down”!

The next unit is a “Roller Disco” - themed float, which was sometimes lined with characters (and at times lined with musicians)!

“Just around the corner is a Fantasy-land” (Fantasyland Unit, that is) highlighted Walt Disney’s cast of animated characters from feature films like Alice in Wonderland and Peter Pan!

Cinderella waves to the crowd while riding inside her magnificent Crystal Coach pulled by six toylike Shetland ponies.

Mike Leslie (of the Pony Farm) travelled “about 12,000 miles just to round up the extra horses needed for the parade,” according to Disneyland Line (January 17th, 1980). All of Mike’s work payed off when, (according to Vacationland, Summer, 1980 ; page 16) it was observed that “the most memorable unit of all is the appearance of a six-horse team prize black Percherons pulling the shining 1907 steam calliope that was first seen in the 1955 opening of the park. It’s the silver and blue icing on the cake of an impressive salute to the first quarter-century of the Magic Kingdom.”

There were a total of 10 Percherons (with eight working, while 2 had the day off). Seven of these “were purchased especially for our 1980 25th Anniversary celebration,” according to one Disneyland LINE magazine column (published 1979). Before the festivities commenced, these seven were entered in multiple “Draft and Pleasure Driving Horse Show” competitions at the Los Angeles County Fair (which occurred September 23rd - 25th, 1979).

But soon, the big day came and Horse Walkers were assisting the shiny six-horse finale unit along the Disneyland “Family on Parade” route. We must take this time to also mention the diligent Unit (though not pictured), which kept the streets of Disneyland swept clean during the parade performance!

Finally, the traditional 1907-style steam-powered Disneyland Dragon Calliope with its pipe organ (and pianist) stops to delight crowds periodically! You may recollect that this was one of nine circus wagons that Walt Disney purchased from Bradley & Kaye’s Kiddieland amusement park in Beverly Park. Walt had this particular circa 1907 circus wagon redesigned, utilizing parts from other circus wagons. The result of the $50,000.00 overhaul, was the one-of-a-kind “Dragon Calliope”!

The Dragon Calliope was first seen in the opening day parade and went on to be featured in numerous events over the years, beginning with the Mickey Mouse Club Circus Parade in 1955. The Dragon Calliope was also featured in at least one Walt Disney Production - “Toby Tyler or Ten Weeks With A Circus” released in Sarasota Florida on January of 1960. The Dragon Calliope was also notably featured among the circus-themed units in the Independence Day Parade of 1962. Two years later, Walt Disney donated the circus wagons to the Circus World Museum in Baraboo, Wisconsin, but he kept his custom-built Dragon Calliope!

Now (in 1980), the calliope received a minor refurbishment. None of the original insides were altered, except two fine whistles which were installed, (in order to increase its musical ability two full octaves)! The Disneyland 25th “Family On Parade” would be one of the Dragon Calliope’s final Disneyland appearances (reappearing for seasons of Circus Fantasy from 1986-1988). When the parade ended, the Calliope (along its polished pipes) was shipped off to Walt Disney World (in Florida) to play a part on the Walt Disney World Tencennial celebration, before being utilized in Disneyland’s Circus on Parade!

Casey Junior brings up the rear (in the final unit). You may recall that this version of Casey Junior (looking very much like the “Toys For Tots” logo) appeared in a Fantasy on Parade during Walt Disney’s lifetime. This year, he is flanked by a cast of characters from Walt Disney’s newest animated feature film Robin Hood!

“Come on , my friends!

Let’s sing along…

Disneyland is Your land!…

Where ev’ry wish will come true,

ev’ry thing you ever do!”

In earlier Fantasy on Parades, Casey Junior would make his way along the parade route until he reached the Main Street Station. Upon his arrival, he would then release hundreds of balloons into the air! This year, Casey releases silver and blue balloons in honor of Disneyland’s 25th!

A portion of the parade debuted as the opening unit of the 91st Annual Tournament of Roses Parade, on January 1st!

The Disneyland 25th Parade Float also made a local appearance in perhaps one other parade outside Disneyland, to celebrate the “silver anniversary”.

Yes, the Disneyland - 25 Family Reunion was also celebrated at the Magic Kingdom in Walt Disney World, Florida! There, a version of the Disneyland 25th Parade opening unit float also made an appearance, topped with a Cast of family celebrants.

According to “Walt” (published by Walt Disney Productions, 1975), Walt Disney once said, “The important thing is the family. If you can keep the family together - and that’s the backbone of our whole business, catering to families - that’s what we hope to do.” Keeping in step with Walt’s values were the multitude of activities planned for the 7,600 staff members during periods of anniversary celebrations as those held during Disneyland’s “silver anniversary” of 1980!

Owing in-part to Cam Alexson (Disneyland Advertising Manager), both a televised Disneyland 25th Anniversary Commercial Recording (filmed on November 20, 1979), and a special broadcast recording starring Danny Kaye and sponsored by Kraft (filmed Saturday, February 9, 1980) made use of Disneyland Cast Members! Many true-life Cast Members were featured on camera in this “happy-ever-after land,” to help celebrate Disneyland’s 25th Anniversary (and the image above was featured on the cover of “Today at Disneyland” brochures). A special early screening of the 25th Anniversary Birthday Commercial debuted Saturday, December 9th, 1980, 9:30a.m., in the Fantasyland Theater.

Caption - The previous “Vintage View” belonged to a former Cast Member who stands with their good friend Jerry beneath the “A” in this scene of the Disneyland family, from the Danny Kaye Kraft Special.

Former Disneyland Cast Member George Trullinger recalled his involvement and experiences while contributing to the Disneyland 25th Anniversary Year : “I worked Jungle Cruise ‘79-’81, and was sent to work that parade a few times…[I] also participated in the last scene of the 25th Anniversary TV special, hosted by Danny Kaye… I was very lucky to meet a lot of celebrities during my time at the Park. To celebrate the 25th, they had a private party night, that was truly a night of stars, mostly people who had done films and television for Disney. I did meet Michael Jackson early one morning before the Park opened. He had been riding Pirates of the Caribbean before the rope drop, and I bumped into him running to my opening shift.”

Of course, the spirit of Disneyland is about people - the individual roles of the Disneyland family that work together efficiently and effectively to produce the grand dream of the Disneyland show. Walt once spoke of the community known as the Disneyland family: “Togetherness, for me, means teamwork. In my business, many minds and skillful hands must collaborate. The more diversified our labors and interest have become in the modern world, the more surely we need to integrate our efforts to justify our individual selves and our civilization.” [“The Spirit of Disneyland”]

“Disneyland’s 25th Anniversary Show“
Disneyland Cast Members were invited to Disneyland’s 25th Anniversary Show - a special event honoring Disneyland - held Monday, February 25, 1980, at the Avery Fischer Hall, in the Lincoln Center for the Performing Arts, New York! The show was presented by Donald F. McHenry - a representative of the United States of America to the United Nations. UNICEF recognition was presented to Richard A. Nunis (Executive Vice President of Disneyland), and Nancy Englert (1980 Disneyland Ambassador) introduced “Disneyland is Your Land” (a special musical presentation honoring Disneyland’s 25th birthday).

Not withstanding the first major strike to occur at the beginning of the year, the Disneyland family festivities commenced. Due to an Attendance Projection Revision, Jerry Wright suggested that the operating hours for the Family Reunion Celebration (Gala Night) be changed to Friday, April 11, to 7:30-12:30. All Disneyland Lessees & Supervision were notified.

Soon, the Family Reunion Night (on April 11) offered evening entertainment to very special VIP guests as a tribute to Disneyland’s 25th anniversary year! Yes, all Disneyland employees were welcomed to join the Disneyland Family Reunion, as “we’ve all grown up together, and because you’re a special part of our family.”

“25th Anniversary ‘Disneyland Family Open House’“

Up to this point many Disneyland Cast Members may have never seen Main Street Electrical Parade Elliot’s inner “dragon works,” the Club 33 Trophy Room, or “the little computer that keeps a minute-by-minute count of attendance.” For four magical evenings, a total of 17,022 Disneyland Cast Members enjoyed an authorized night off as they became VIP Guests themselves. Upon being welcomed by Dick Nunis at the Main Gate, these were invited to explore the expertise of these Disneyland Backstage and On Stage areas (and more) that produce the unique Disneyland Show. The 25th Anniversary Family Open House was truly unique, as nothing like this “once-in-a-lifetime” event had ever been offered.

Now, Disneyland Cast Members became Guests and could finally get an“opportunity to see how the magic is created”! Park operating hours were specifically reserved for Disneyland Cast Members and not open to the general public. Disneyland Trams departed from the hub every seven minutes, transporting Guests on a unique backstage tour. Along the route, the tram made five stops. The following stops were made along the tour : (1) “Main Street U.S.A. Stop”, (2) the “Building Trades Stop” (featuring the Staff Shop, Paint/Sign Shop, Cycling Shop, Mill, and Country Bear Show Operations), (3) the “Parade Area Stop” (featuring Entertainment Rehearsal Hall, Parade Float Building, and Parade Costume Building), (4) the “Warehouse Stop” (featuring the Refreshment Center, Warehouse, Mechanical Building, Service Station, Garage, and Circle “D” Corral, with its Carriage Lot), (5) The “Decorating Stop” (featuring Decorating, Landscaping, Retlaw Maintenance Services, and Small World Boat Storage). Areas that were generally not open to all Cast Members - Main Street Area Offices, the Great Moments With Mr. Lincoln Projection Booth, the Primeval World Diorama, The Bakery, The Center, The Disneyland Fire Department, the Golden Horseshoe Stage and Dressing Rooms, Big Thunder Control Tower, the “Mark Twain” Steamboat, Custodial Offices, the Adventureland/Frontierland/New Orleans Square/Bear Country Offices, The Tokyo Disneyland Planning Center, Tokyo Disneyland Work Center, Club 33, New Orleans Square Main Kitchen, Pirates of the Caribbean Control Tower, The Haunted Mansion Ballroom Scene, Country Bear Jamboree Show Operations, Space Mountain Control Tower, Coke Terrace and Underground Tunnel, Submarine Dock, America Sings Entertainment Offices, and Tomorrowland/Fantasyland Offices. In addition, Disneyland’s Cast was also encouraged to visit the Administration Building (featuring the Wardrobe Issue, Wig Room, Work Room, Costuming, Offices, Entertainment Administration, Disney University, Creative Services, Finance Offices, Anniversary Tunnel, Executive Offices, Community Affairs, Financial Management, and Security)!