(June 14, 1958 - 1982)

(1984 - Present)

At Disneyland® Park every adventure 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.”

At Disneyland there is also a “story behind the story” of every attraction and it is important to review the story, tell the story, explain it, and create interest.

This is the story of Alice in Wonderland.

“'A World of My Own' - Blue Sky for Alice’s Adventures in Wonderland”

In 1955, Walt Disney promised that “DISNEYLAND will always be building and growing and adding new things... new ways of having fun, of learning things and sharing the many exciting adventures which may be experienced here in the company of family and friends.” Walt decided: “Disneyland is like Alice stepping though the looking glass to step through the portals of Disneyland will be like entering another world.”

The presentation of the Alice in Wonderland show on the vast DISNEYLAND “stage” is a distinct part of the Disneyland theater concept. In reference to his magic kingdom, Walt once said: “Disneyland is like Alice stepping through the Looking Glass; to step through the portals of Disneyland will be like entering another world.” [“Walt Disney,” published by the Walt Disney Archives, the Studio Publicity Department, and the Disney Universities, 1975] Amidst designs for this other world, an early form of the Disneyland Prospectus (compiled by WED Enterprises for Disneyland Inc.) described a “walk-through” experience inspired by the Walt Disney Production of Alice in Wonderland. The document described such scenes as “Dodo Rock” and “the singing flowers”… “climaxing in the courtroom of the Queen of Hearts.” Another latter draft of the same “Disneyland Prospectus” [prepared in 1953 for Disneyland Inc. by WED Enterprises], further elaborated on the same “Walk-Through” and “the wonderful experiences of Alice in Wonderland, as the White Rabbit takes you down the rabbit-hole, through the maze of doors, the Rabbit’s House, past the Singing Flowers, Dodo Rock, the Mad Hatter’s Tea Party, climaxing in the courtroom of the Queen of Hearts.”

“Concept Development of Alice in Wonderland”

Bradley & Kaye Amusement Company (of 8506 Beverly Blvd. Los Angeles 48, Calif; Oleander 5-8029) was contracted by WED Enterprises, Inc. to develop Walt Disney's Disneyland Park for Disneyland Inc. At the time, Bruce Bushman was employed by Bradley & Kaye Amusement Company and produced multiple floor plans of the fun house (one version including first and second floors).

Since the beginning, Show Designers created original concepts for show rides. Staging basically presented the scenes, or actions. Closer analysis of detailed WED Enterprises, Inc. drawings (which accompanied the “Disneyland Prospectus” of 1953) reveal a walk-through attraction entrance that looked like the English countryside, complete with a babbling stream, and a bridge. Once crossed, guests would head through a rabbit hole at the base of a tree, “falling downward” until reaching the large room. A weaving stretch of Show scenes carried guests outside the house, through a forest and to their first encounter with the Caterpillar, then Tweedle Dee and Tweedle Dum, and then another large Show scene featuring the Walrus and the Carpenter. Soon guests wandered through the White Rabbit’s House, Garden of Flowers, Tulgey Woods, Mad Hatter’s Tea Party, the Queen of Heart’s Hedge Maze, and straight into the Queen of Heart’s Royal Court (where it appears that three separate doors would lead to an “ending” and an exit to the attraction. It was estimated that the entire 350-foot adventure would take guests six minutes from entering the tunnel to Wonderland, until exiting the Queen of Hearts’ Tilted Trial Room through a revolving Card Barrel.

Late in 1954, Louis Berg (“This Week Magazine” author of “Walt Disney’s New Ten Million Dollar Toy”, published September 19, 1954) briefly mentioned “You’ll be offered a soft drink and find yourself reduced in size, in a room with giant furnishings. Or a sip from another bottle will make you a giant moving in a miniature world. In brief, you can live through the adventures of Alice in Wonderland, or take an aerial flight on Dumbo, the air - borne elephant. All these are in the blueprint or model stage.”

“Grand Opening of Disneyland & Concept Development of Alice in Wonderland”

Recall the words of Alice in Walt Disney’s Alice in Wonderland: “My adventures in Wonderland began when I followed the White Rabbit down the rabbit hole. All of a sudden, I fell…down…down…down,” Alice, Walt Disney’s Alice in Wonderland. Though a walk-through Alice in Wonderland-themed attraction (similar to Sleeping Beauty Castle) was planned, the Mad Tea Party was the only Alice in Wonderland-themed attraction to open with the rest of Disneyland in July 1955.

Soon after Disneyland Park opened, Alice and the Wonderland characters continued in the public eye for some time, appearing in animated television commercials for Jell-O during 1956.

“Moving Forward, Opening New Doors”

Meanwhile, much like the young Victorian heroine, the creative staff of Disneyland, Inc. and Walt Disney Productions would collectively say: we “keep moving forward, opening new doors because we’re curious.” According to “Welcome to Disneyland” (published 1958), “When Disneyland opened, 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. …Looking toward the future, Disneyland continues its never ending search for the new and unusual,” according to “Disneyland, U.S.A.”, published 1958. Concept development continued on an adventure inspired by Walt Disney’s Alice in Wonderland!

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.”

Obviously, the fastest way to move people over the extended areas of Disneyland is with moving vehicles. The walk-through adventure was “voided”, opted out for a new ride-through adventure courtesy of WED Enterprises and Arrow Development.

“Construction”

Site work began. Joe Fowler (Disneyland Operations Committee) oversaw the Construction & Maintenance division including Engineering, New Construction, Maintenance, and Janitorial.

The seating belonging to Fantasy Foods 2 was relocated away from the eastern side of the Sleeping Beauty Castle complex, and a construction barrier appeared. During Disneyland’s early days, a three-man Disneyland Sound and Projection Department was initially housed in this location before being moved to another area. The air conditioned Sound Room housed a tape recorder that projected sounds into the Alice in Wonderland Mr. Toad and Peter Pan attractions.

Today, when an attraction is refurbished, the neighboring attractions may be temporarily closed to prevent Visual Intrusions - equipment left in the Guests ‘ view. When Alice in Wonderland was under construction (during 1958), the overhead Skyway to Tomorrowland remained open, providing a sneak-preview of what guests would soon experience.

“Promotion”

Walt Disney, on the eve of Disneyland’s first day of operation, promised that “Disneyland will never be completed. It will continue to grow, to add new things, as long as there is imagination left in the world.” Three years later, a million dollar expansion assured that Alice would have “a world of her own!”

It was reckoned as one of more than 40 “rides and amusements” that would nearly double the number of Disneyland’s original 22 Opening Day attractions. The “ride structure” (passageways and sets) of this amusing adventure was appraised at a value between $75,000 and $83,000, while the equipment was valued between $38,400 and $46,000.

By this time, all art work, posters, etc. were produced at the Walt Disney Studios. The silkscreened poster promoting Alice in Wonderland was prepared by Walt Disney Studio artist Sam McKim. 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.”

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. A little over a month after the previous construction image was captured, signs, banners, and bunting decorated Main Street U.S.A.’s lampposts, heralding Fantasyland’s newest adventure - Alice in Wonderland!

“Soft Opening and the Grand Opening Ceremony”

A soft opening took place on June 14, 1958, and two months later, Alice’s dream became a reality when a Grand Opening ceremony took place. Mouseketeer Karen Pendleton appeared as Walt Disney’s Alice, and both she and Walt Disney boarded two-row caterpillars en route for the Rabbit Hole.

Just look at those crowds waiting to take a journey through the rabbit hole.

Guests both young and old wait their turn in Alice in Wonderland’s queue, while Skyway cabins soar overhead.

“In A World of My Own”

Alice had finally received a “world of her own.” However, this original Alice in Wonderland dark ride differed in many ways from the current version (as you will see). Guests’ adventures began by purchasing a applicable coupon at the giant mushroom ticket kiosk located next to the queue, before boarding the back of a caterpillar, and heading down the Rabbit Hole! Alice in Wonderland’s most-talked-about attraction was the “Upside Down Room”, simulating the fall down the Rabbit Hole. Guests entered an “Oversized Room”, followed by familiar encounters with the Cheshire Cat, an escape into the Garden of Live Flowers, before meandering thru the Tulgey Woods. The end show scene saw guests scurrying across the Mad Tea Party hosted by the Mad Hatter himself, toward the explosive climax thru a towering Unbirthday Cake!

The amusement ride car vehicles were designed by Disneyland, Inc. artist Claude D. Coats.

During Disneyland’s early years, attractions had their own adjacent Ticket Booths.

By 1959, Joe Fowler was Vice President of Disneyland Operations Committee and Doc Lemmon of Disneyland Operations was overseeing Operators of Rides & Amusements, Livestock, Parking Lot, and Ticket Sellers. About this time, Alice in Wonderland was reckoned with the "D" Coupon Adventures.

By the October of 1962, audiences dictated that Alice in Wonderland be operated with 7 vehicles on weekdays and 15 vehicles on weekends. This was common during winter operating schedules.

The following four statistics are based on the results of Disneyland Attractions Time Studies gathered in 1968:

Theoretical Hourly Capacity (What the attraction should yield under ideal conditions) : 960 ; Each day, the closing turnstile reading was recorded and paperwork was completed. Count Worksheets were printed forms used to record turnstile readings and courtesy admissions.

Instantaneous Capacity : 60

Audience Control Capacity : 149

Capacity Per Unit : 4

Cycle Time (From the time a unit passes a given point and returns to the same point) : 4:00

Unload Time : :07

Jog Time : :16

Load Time : :10

Ready Time : :02

Trip Time : 3:25

Dispatch Interval : :15

Trips Per Hour : 240

Distance Travelled : 764

Speed in Miles Per Hour : 2.5

A number of Cast Members supported the Alice stage of the Disneyland show as Attractions Hosts and Hostesses, including Walt Brickner (c.1962), Day Foreman Hank Filtz, Night Foreman Stan LaFortune, Bill Barry, and Rosemary Southward (c.1966).

Since the beginning, all fixtures are placed in correct motif at Disneyland.

The Disneyland Creative Ideas Program (of 1976) gave birth to a new track system to Alice in Wonderland (during 1977) thanks to Fantasyland Attractions Operator Doug Runyan. “His idea was a result of ‘working on the attraction for four months which gave me a lot of time to think about it.’ His design was a revision of the track system, allowing for a car to break down without closing the entire attraction. ‘Before this if one car went down the power was lost on the whole track’, Doug explained, ‘Now as little as 1/5 of the track will be down and the ride continues.’ Doug submitted his idea in April [of 1977] and it was implemented into the attraction’s rehab the next month. The control panel also had to be adjusted to accommodate the new system, which allows the Attraction Host or Hostess to observe and control the track more effectively”, according to Disneyland LINE (published April 7, 1977).

At some point before Alice in Wonderland closed September of 1982 (for a major remodeling), some exterior decorative elements gave embellishment to pre-existing props, including the “seeds” that were added to the dandelion lamps “heads” (seen pictured).

Walt once said: “There’s really no secret about our approach. We keep moving forward - opening up new doors and doing new things - because we’re curious. And curiosity keeps leading us down new paths. We're always exploring and experimenting. At WED, we call it Imagineering - the blending of creative imagination with technical know-how.”

This Imagineering is responsible for creating and maintaining the magic.

“The Maintenance of Magic”

As the end of the day draws near, the Guest control lines grow progressively smaller. The lines are then maintained as they “go down” and are thoroughly swept when empty. In many cases, this required special equipment which would be issued by the Lead. Many attractions, such as the Fantasyland dark rides as Alice required a walk-through after closing for the removal of debris. At this time any defects were noted.

Disneyland Park Operations M-42 Machinists would, at least once, check all attractions in Fantasyland and discuss with each Attraction Lead and problems, defects, or any other feedback regarding the department. M-42 Machinists would also respond to all downs and delayed openings in the Fantasyland area whether or not it was mechanical. Upon arriving at an attraction, they would determine whether what the failure was. M-42 would determine which crafts were needed, determine an estimated time of repair, notify M-1 and assist with crafts when necessary.

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. This senior attraction has received quite a few major refurbishments since its opening, improving upon the Safety, Show, and Efficiency of Alice in Wonderland. These refurbishments were often performed by the staff of Disneyland Shops (The Maintenance Division at Disneyland). In the present, the “WED word” occasionally used to refer to this process is “rehab” - the maintenance rehabilitation or overhaul of an existing attraction. One of the first rehabs occurred just three months after the ride opened. Yes, in September of 1958, was “a new addition to the Alice in Wonderland ride - Now, Alice's own narration of the story is heard throughout the ride,” according to the Disneylander magazine Vol.2, No.8 (published for September of 1958).

Paint is important. The “Master Color Book” is the Bible for color selection at Disneyland, maintaining a catalogue of 4,000 shades of color. The book contains color specifications for every land, building, exhibit, and prop which requires paint maintenance. It insures that Disneyland will always have the same bright colors selected by the art directors who designed the attraction. In addition to the Master Color Book, there is a standby supply of ready-mixed paint available for touch up work. Thousands of cans of paint are stored in a special room which sounds like a walk through of Disneyland. Each can is labeled with names like “Alice.”

During this era, the land inspired another adventure at Disneyland. By 1964, the character of the 17th hole of The Magic Kingdom Golf Course of the Disneyland Hotel Golf Centre was themed after Alice in Wonderland.

Walt Disney Imagineers are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures! By (April-June) 1981, WED Imagineering surveys of the attraction were conducted, and a proposal was made for an expansion from 9,055 to 9,655 square-feet. Walt Disney Imagineer John Stone worked with Ken Anderson, Ron Bowman, & Chris Tietz and Bruce Gordon under the direction Tony Baxter. John contributed toward Alice in Wonderland overall Concept design and story development supported by 1/4” concept models and 1” Show Models. Plans included new “Hot Shoes” – essential for drawing continuous electrical power from the live conductor rail (bus bar) to the moving attraction vehicle.

The attraction soon closed September of 1982 for a major remodeling. Despite a strike (occurring in 1983) and possibly resultant extended periods of “101”, an all new version of Alice in Wonderland debuted April 14, 1984 (in the New Fantasyland). According to Vacationland magazine (Spring, 1984) : “the journey has been completely redesigned and expanded to feature many new characters and scenes from the motion picture, brought to life for the first time in a wonder-filled, life-size telling of Alice’s crazy search for the White Rabbit.” A place was no longer found for the Upside Down Room and Oversized Room show scenes. However (for as much that was removed), there were some additions. For example, Kathryn Beaumont (who performed the role more than thirty years prior) reprised her role as the voice of Alice. The Mad Tea Party and Mad Hatter Shop were redesigned and moved alongside the refurbished attraction, to create an Alice in Wonderland-themed area for New Fantasyland!

Facilities Central handled Non-Urgent Support, Work requests deferred until after Park closes or later date, Minor Show concerns, Urgent Support, Defects requires immediate attention, Attraction/facility closure/downtime that affects Guest experience, and elements that cause loss of revenue. [ADD THIS TO ALL ATTRACTIONS under ALICE]

Soon, Show Quality Standards/SQS based at each Disney Resort around the world, were teams of Imagineers responsible for maintaining the integrity of the story in existing Guest areas such as attractions, shops, restaurants, hotels, Downtown Disneys, recreation, etc. as well as improving the Guest experience through the integration of new technology and the addition of new show elements.

“Adding & Removing Vehicle Units”

By 1983, “Peter Pan or Pinocchio Maintenance Shops” Personnel routinely assisted with the removal of vehicle units on Peter Pan and Alice. Adding vehicles was accomplished by two Hosts/ Hostesses - one at the console and one at the Spur Track Switch. Empty units were first stacked in the station.

One Host/Hostess was sent back to the switch. When the attraction was cleared of guests, the Emergency Stop Button was depressed, Maintenance Mode was powered up using the Powering Up sequence, Work Lights was turned on, and show Power was turned off.

As soon as the PIC had scanned the zone containing the ADD track, the Host/Hostess could open the spur track by turning the "ADD" switch in the Track Switch Box. This cancelled the track power in that zone. The additional units could then be pushed onto the main track. Once they arrived in the succeeding zone, they advanced under their own power.

Alice in Wonderland closed again (from July 15, 2010 to August 13, 2010), in order to install safety handrails on the second-story exterior sections of track.

That wasn’t the last refurbishment, as another took place in 2014. This time projected animation was added to enhance the immersive feel of depth upon accompanying Alice on her adventures in Wonderland! According to Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), “Alice in Wonderland was an attraction that was unique to Disneyland. It never appeared in any off the other Disney Parks.” [Disney Facts Revealed by Dave Smith, 2016]

“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!

“Concept of an Art Corner - Artist’s Alley”

Jack Olsen recalled: “I was in business for myself prior to Disneyland. I was selling art supplies, and one of my clients was the Studio. They wanted a business-oriented person to organize and operate the Art Corner. The fact that I was an artist was incidental.

Ken Peterson was supervisor of animation, and called me to the Studio to talk about Disneyland in Anaheim. I didn't know how long this kiddie park was going to last, so he introduced me to Walt. Walt took me through all the plans and drawings, and his enthusiasm was infectious. He and Ken hired me, and I reported as soon as I could close out my business. Since Disneyland was still being constructed, I temporarily went on the board, as they say in the artist's world, and I worked with Ivan [sic] Earl on some background for Sleeping Beauty.”

Disneyland® Park was “much less complete. Opening actually lasted about a year. Disneyland then was not a Division, but was Disneyland, Inc., and I represented the Studio as a lessee."

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 that time, both George and Ron were influential in development of Artist’s Alley.

Artist’s Alley (operated by Disneyland, Inc.) was originally located “off the Central Plaza” (between The Red Wagon Inn Restaurant and the Plaza Apartments), before temporarily setting up on West Center Street. At the Art Gallery and Photo Studio, guests could either have their portraits drawn, or take fun commemorative photographs.

Then, the location between the Plaza Apartments and Red Wagon Inn was home to the “Disney Artists Exhibit.” Animated shorts and feature length films produced by the Walt Disney Studios had long-since fascinated and captivated audiences for decades. Now, Disneyland audiences could observe some of the very drawings which gave the illusion of movement when flipped or photographed and projected.

According to The Disneyland News, oil and watercolor paintings by some of Walt Disney Studio’s 500 artists was on exhibition. Four Walt Disney Productions layout artists (Walt Peregoy, Fil Mattola, Bill Mahood, and Bruce McIntyre) spent some days drawing Guests. Peregoy had just finished layout for the story of “Washington Irvings” and “Goff’s Success Story” while Mattola had just completed background work for “The Lady and the Tramp.” For a sample of Peregoy’s work during this time, see the Disney History 101 Market House Vintage View Gallery.

According to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives) “there was the Art Gallery and Photo Studio on Main Street U.S.A. from 1955 to 1959. Beginning in 1957, the shop offered plywood cutout flats behind which you could pose.” [Disney Facts Revealed by Dave Smith, 2016] The scope of merchandise included Artist's sketches, souvenirs, Disney character items, arts and crafts, and a comic photo studio. By January 1, 1958, the 984 and 655 square-foot parcels (accounted among Main Street Building #500) were still occupied by Walt Disney Productions, and dedicated to the sales of photos, arts, and music.

Guests were free to use their own kids and their own cameras at these Photo Spots. These Photo opportunities were stationed around Central Plaza, courtesy of the Art Corner!

It looks like someone's in the "dog house"! Just in front of Artist’s Alley guests could take their photograph with some of their favorite stars from Walt Disney’s feature films and shorts.

And sometimes guests could pose as their favorite Walt Disney characters!

The lyric "…killed him a bear when he was only three” comes to mind with our next subject. Guests of all ages could act out their fantasy as they were transformed into the legendary Davy Crockett - “King of the Wild Frontier”! “The Disneyland News” published October of 1956 advertised this attraction in complimentary copies of the Disneyland periodical, referring to these photo opportunities as “picture sets” and this location as the “Artists Corner at the end of Main Street.”

All of these photographic-based attractions “drew” crowds toward the Artist’s Alley until the end of its operation!

Once the Main Street Flower Market moved in, the artists moved out of the alley, in need of another area to which they could relocate. Though it would be another decade before the Artist’s Alley temporarily “popped up” again on Main Street U.S.A., the artists would soon find another home. Not far away, the original Art Corner was situated on the East Plaza (next to the Red wagon Inn).

*Some sources state October 1, 1955

A few months after Disneyland held its Grand Opening Day ceremonies, the Tomorrowland Art Corner (operated by Disneyland, Inc., under the supervision of Jack Olsen) opened its doors to Guests! As you will see, it was much more than “a bunch of guys bending over drawings” (something that initially deterred Walt from opening the Studio to public tours). The Tomorrowland Art Corner at Disneyland would create tangible memories Guests through it’s Merchandise and Show.

“Construction”

After the American Dairy Association departed the exhibit space, the area (with restrooms in rear) was remodeled to accommodate the “Fun Foto” Gallery. According to Disneyland, Inc. Job #032-50-34, the new area included “crowd controls, new cut-out foto boards, a platform, steps, and other miscellaneous work.” First, design of Fun Foto Shop and the design and construction of cutouts was performed by the studio (at a cost of $565.09) and WED (at a cost of $104.10). Next, Construction of the space was performed by Disneyland (at a cost of $1,121.40) and WED (at a cost of $483). A “moving clubhouse” was constructed by the studio (at a cost of $39.34), work on cutouts was performed by the studio (at a cost of $2,299.67), and minor work on photo cameras was completed by both Disneyland and the studio. After Studio and construction overhead and a minor charge to a subcontractor, the cost to Disneyland, Inc. was $6,409.09.

The exhibit was accounted among Rental Income, Merchandise Sales, Management Fees and Direct Expenses and yielded revenue for Disneyland, Inc. - $17,643 for the fiscal year (52 weeks) ending September 29, 1957 and $14,507 for the fiscal year (52 weeks) ending September 28, 1958.

By 1959, Joe Fowler (Disneyland Operations Committee) oversaw the Construction & Maintenance division including Engineering, New Construction, Maintenance, and Janitorial. By September of 1958, an appraisal of Disneyland “land improvement” assets valued the Art Corner at $396,026. Soon (by October of 1959), an appraisal of Disneyland included was conducted an itemized list of improvements to buildings and equipment. This list mentioned a “purchase of Art Corner” among Direct Purchases at a capitalized cost of $13,209.00. The list also mentioned a “purchase of photo + art gallery” at $9,384.62, “arts + crafts” at $7,812.00, and “art corner equipment” at $7,969.00.

The location of The Tomorrowland Art Corner (with its Streets of Paris) can be readily seen on this Disneyland Map excerpt (pictured above), which was published during the 1960s. Guest Services and Accommodations included telephones in the rear of Art Corner Building.

Underneath the colorful facade of the Tomorrowland Art Corner, Guests could “window shop” the colorful displays, before heading toward the Central Plaza, through the Tomorrowland Mall.

Displays communicate to guests the essence of a shop and we’re designed to invite guests into the store. These may be animated or still and would also include props used for display purposes. This close-up of the Tomorrowland Art Corner window displays reveal just some of the merchandise, including a “Paint For Fun” Kit, a Sam McKim Disneyland Wall Map and a souvenir Mark Twain Transistor Radio. A wide variety of art supplies were available for purchase as early as 1955-1956, including Hollywood Makeup Brushes, Water Color Brushes, Artist’s Soft Pastels, Oil Pastels, Art Corner Berets, Light Weight Sketch Easels, Table Easels, Blackboards, Disneyland Coloring Books, How to Draw and Paint Books, Imprinted Ball Point Pens, Artist’s Souvenir Palette with Water Colors, Walt Disney Animation Kits, Disneyland Drawing and Writing Pencils, Pencil Sketching Sets, and Walt Disney decals. As was the case with most merchandise locations, general merchandise like KODAK film was also available. One of the most unusual pieces of merchandise offered through The Art Corner was mentioned briefly in the pages of “The Disneyland Dictionary” (printed October 1959): “Disneyland has even led WDP into growing oranges on property not yet used by the ever-expanding park and into brewing a perfume to be sold at the Art Corners.” Unusual, indeed.

By this time, all art work, posters, etc. were produced at the Walt Disney Studios.

Upon making their way to this part of Tomorrowland (and entering the Tomorrowland Art Corner), Guests emerged onto the “Streets of Paris” for an “imaginary trip to a complete Parisian Art Colony”!

In the postcard image below, note that the store had two separate types of lighting: Character lighting, and functional lighting. Character lighting was themed to the store to enhance the overall appearance and complement the interior, placed in correct motif. These added to the show, but didn’t necessarily create enough illumination for operation. Functional lighting on the other hand, offered substantial light without being obvious, or distracting from the show.

“The Art Corner - Pictures and Art Supplies”

Here, “famous Disney artists are at work,” according to “News From Disneyland” (a press release document, published 1956). Disneyland guests could have either their caricature or portrait drawn “in full pastel color” in about seven minutes. The choice of a “Profile” (priced at $1.59) or “3/4 or Front View” (priced at $3.39) was offered, complete with mailing tube, capable of shipment to anywhere in the United States or Canada. Once complete, these 12”x16” works of art were “suitable for framing,” according to catalogues.

“Disneyland LINE Employee Newsletter” (Wednesday, November 8, 1972) spotlighted just one of the Tomorrowland Art Corner’s artists - Betty Bell (of Merchandising)! The article shared Betty’s unique contribution to the Disneyland Show: “Betty started her career with Disneyland, January 3, 1957, as an artist at the Art Corner…under the supervision of Jack Olsen… During her 15 years as an artist in Merchandising, Betty has drawn portraits in pastel for such people as : Alan Funt, Lucy Johnson Nugent, many foreign dignitaries, and many more celebrities which she can’t recall. Betty is also well known for her oil portraits and some works of sculpture, which she does in her spare time.” There were many other artists that created Disney magic, like Edith Pruitt and Al Mayton (another Caricature Artist), the latter was privileged to create a caricature of Gomer Pyle (Jim Nabors) on a c. 1965-1966 visit to Disneyland.

As much as the artists supported the show, Disneylander area merchant Art Corner was occasionally a sponsor of DRC activities as when the championship Disneyland baseball team competed in the Southern California Municipal Athletic Federation Major League Tournament of 1957.

The unique merchandise of the Tomorrowland Art Corner was simply described in “A Complete Guide To Disneyland” (c. 1957) as “pictures and art supplies,” while “Walt Disney’s Guide to Disneyland” (of 1961) describes the merchandise as simply “pictures and imported gifts.” But the Tomorrowland Art Corner merchandise was so much more! Disneyland Guests (and aspiring artists) could purchase an array of art and crafting supplies. Art Corner Pencils (with a variety of led), and Disneyland Jumbo Crayons (in “eight quality-smooth colors”) were guest favorites (with low retail prices).

There were also many unique drawing and animation-related items (including character themed merchandise). Of these made available for purchase were, flip books (featuring specific characters), postcards with lenticular “animated” features, Disneyland “Squeaking” Squeak Postcards, Strathmore Magic Slates, lenticular “Animated” I.D. Key Tags, lenticular Animated Badges, and of course “Streets of Paris” souvenir postcards (like the one pictured above), and postcards starring Walt Disney’s cast of characters (seen below)!

“The Art Corner store located at Disneyland Anaheim, California is the headquarters for the artists of the Walt Disney Studio when they are at the Park. Disney artists have designed many of the items for sale at the ART CORNER as well as the display sign of Mickey Mouse shown on this card. Visit us on your next trip to Disneyland.”

Just outside the mining town of Rainbow Ridge sat the boarding station for the pack mule train. Now, there were “three wonderful ways” to enjoy the Painted Desert at Disneyland.

This is a Walt Disney Artist's conception of a section of FRONTIER-LAND in Disneyland, featuring the awe inspiring Mine Train Ride, the exciting Stagecoach and Mule Pack Rides, where one can journey through the many fantastic sights of the Rainbow Desert and Rainbow Mountain areas, returning with a view of the famous Mark Twain River Boat and Tom Sawyer Island.

Note the Disneyland Spaceport and Rocket behind Mickey.

There was much Disneyland and Walt Disney character merchandise offered through The Art Corner. These pieces of merchandise were decorated with the likenesses of the Disney Characters and/or any of the Disney corporate names or logos, generally through a licensing agreement.

Animated Key Tags & Badges were manufactured by Pictorial Productions of New York and featured favorite Walt Disney characters in full color and motion. By 1959, Tags retailed at 15¢ and Badges retailed at 25¢.

Around the Walt Disney Studios, animators would flip a group of drawings so that they would fall in an even pattern and give the viewer the illusion of movement. “Walt Disney [Disneyland] Flip Books” (below) also managed to capture the “art of animation” in one small souvenir.

Your favorite characters “came to life” with this “wonderful toy”, while demonstrating “the principles of animation”. The boldly colored covers of the Flip Books were altered over the years they were sold at the Park, but their content was mostly maintained. Other Flip Books featured Chip carrying peanuts, Chip n Dale, Pluto running, Donald Duck using a mallet, and Mickey Mouse swinging a rope lasso (while seemingly all decked-out for Talent Round-up Day).

A selection of publications were available for purchase, including Stamp Books (in case Guests would like to drop a postcard into one of the Disneyland mailboxes), current and back-issues of Walt Disney’s Mickey Mouse Club Magazine (which often featured a “How to Draw” Disney Characters section), and even non-Disney-related drawing guides (on Trees, Cats, and Figures). The “‘Chalk Talk’ Sketch Pad” featured characters “outlined in blue - ready for you to draw”, helping artists “draw the well known Disney characters in correct proportion and expression”. One of the most-memorable guides was the 16-page “Walt Disney’s Tips on Animation,” described as a “fully illustrated book of invaluable tips and suggestions on the art of animation, compiled by a group of Walt Disney’s top animation artists. Designed as a part of the new Walt Disney Animation Kit, it will be helpful to anyone interested in the principles of animation.”

Now, “Disneyland is a place to have fun… and with the fun it is a place where you can learn,” according to “Disneyland, U.S.A.” (published 1958, for potential Participants). This being the case, there was an abundance of instructional guides offered at the Tomorrowland Art Corner!

“Walt Disney’s Cartoon Character Guides”

“How To Draw” guides (teaching the fundamentals of drawing trees, animals, or humans) could be found on one of the central displays. Of course, the most popular of these publications were the “Walt Disney Character Model Guides” (a series of “How-to-Draw” books).

These 16-page guides contain the actual model sheets used by the artists at the Walt Disney Studios in drawing the various Disney characters. Each book covers all the proportions, positions, and characteristics of one particular character. The publications also featured the following forward - “a word from Walt.”

The Art Corner Catalog offered several for sale including: “How to Draw Mickey Mouse”, “How to Draw Donald Duck”, “How to Draw Jiminy Cricket”, “How to Draw Goofy”, “How to Draw Pluto”, and “How to Draw Chip and Dale”. These publications were billed as an “invaluable source of information for the budding young artist.” As a result, “Walt Disney Character Model Guides” were a high-volume seller aMing aspiring character artists of all ages.

“This model guide is in response to the many requests we have received, asking how we draw our cartoon characters. It is not a toy - but the actual model sheets used every day by the artists at our studio. Study the basic proportions and then use your own ideas in creating new poses and expressions. Remember that while copying is often helpful in learning to draw, the true artist must do original work.

Sincerely, Walt Disney.”

Speaking of Walt Disney, there were also current and recent back issues of the popular “Walt Disney’s Magazine” available for purchase.

“The Art of Animation” souvenir publication is of honorable mention, published two years before “The Art of Animation” exhibition opened in Tomorrowland. The colorful contents of this publication divulged the artistic process of developing and producing Walt Disney’s animated feature-length film Sleeping Beauty.

Another popular souvenir were the large maps of Disneyland, drawn by Park cartographer Sam McKim.

By 1958, Sleeping Beauty, was a cartoon epic currently in the WDP works. The 70-or-so-minute film was already three years in the making, and wouldn’t hit theatre screens until Christmas of 1958. But the fairy tale was already paying off for Disney.

Another Disney department, merchandising licensing, had gone to work on Sleeping Beauty, lining up toy makers, garment producers and others interested in making articles based on Sleeping Beauty characters. Disney actually didn’t make any of this merchandise; but it will collect 5% in royalties from the wholesale price of each item, with a usual guaranteed minimum of $5,000 per year per product, or line, payable in advance.

Sleeping Beauty's build-up treatment on the publishing front included various versions pouring into the nation's bookstores, using Disney characters and artwork, and the plans for special adaptations of the story for TV viewing followed by WDP’s phonograph record division spewing forth platters based on music from the film, and about six weeks before the movie was released, the Studio’s comic strip artists launched the Sleeping Beauty story in Disney’s own syndicated newspaper cartoon strip, the widely circulated Treasury of Classic Tales.

Meanwhile during 1958, publications like the above souvenir and the 186-page “Walt Disney: The Art of Animation” by Bob Thomas showcased the awakening of Sleeping Beauty through the lively animated art form.

As a sidelight, this was not the first time that the animation celluloid paintings of Walt Disney’s licensed characters were sold as art. Back in 1938, Guthrie Courvoisier made a special arrangement with Walt Disney, which enabled him to sell the celluloid in-betweens from the production of Snow White and the Seven Dwarfs (and Silly Symphonies) through his Courvoisier Gallery in San Francisco. The hand-painted celluloids came with a hand-painted background created for each piece by Walt Disney Studio artists.

Then, there were the “Walt Disney ‘Originals’” - both (hand inked and painted) cartoon drawings and transparent animation celluloid slides (called “cels”) once utilized in filming recent Walt Disney pictures. Each one varied slightly as they were shot (at a standard rate of 24 individual pictures per second) in order to give the illusion of movement. These pieces were “not copies, transfers, decals, or duplicates of any kind - - but the actual hand painted artwork done individually by the artists at the Walt Disney Studio in Burbank, California.”

According to one c.1959 Walt Disney Productions Organizational Chart, Studio fan mail filled out the mailing list for the catalogue. Some popular character “originals” that were kept in stock during the era, included the characters of Mickey Mouse, Ludwig Von Drake, Goofy, Donald Duck, Jiminy Cricket, and the cast of Lady and the Tramp. “Attractive mattes and frames” to “protect from moisture and extra handling” (as well as suit an individual’s color schemes) were available for guest’s convenience. All of the “Walt Disney Originals” sold through the Tomorrowland Art Corner were labelled with one of the preceding stickers on the back of the matte. While the “Walt Disney Originals” are highly sought-after by collectors today, they were esteemed of such low-value at the time, that according to one source, “designer Malcolm Cobb was told to sort through the cels, and throw away any he thought were not worth a dollar.” Much photographic evidence even proves that some of the artwork was even displayed in the windows of the Tomorrowland Art Corner.

Usually one transparent sheet of celluloid was offered for sale. These featured inked traced animation drawings of characters onto cels. These were painted on the reverse.

But occasionally, cel setups were offered (with one to four cel layers and even a background). It was encouraged to protect this mated and framed, hand-inked and painted cartoon Original drawing from “moisture and excessive handling.”

If you did not wish to carry your portrait with you, it was possible to have it sent (in a shipping tube) to a designated mailing address. The “Originals” were sold in an “attractive souvenir envelope and stiff backing to make for easy mailing.” As Guests would often purchase “Originals” for themselves, friends, and family members, The Disneyland Art Corner shipped anywhere in the United States. As a sidelight, by October 1959, Jim Baker (of Merchandising) was overseeing the Disneyland Souvenir Sales and the Mail Order Department. By 1960, Ann Trumbo was Mail Order Department Head Supervisor.

Insurance Companies of North America (sponsor of Carefree Corner and the future America Sings attraction) sponsored a promotion (from September 1 - November 30, 1959) in conjunction with the Tomorrowland Art Corner! Walt Disney Production “Originals” (artwork used in television or film production) were given away to select guests who participated. These special “INA Spotlight” labels were placed on the back of those few selected “Originals”, indicating their limited nature and verifying their authenticity.

Once purchase was complete, “Walt Disney Originals” (and other Disneyland souvenirs) were secured in bags bearing the familiar Art Corner logo!

This Art Corner Souvenir Paper Bag is large enough to hold a great deal of Art Corner Souvenir Postcards and “Walt Disney Originals” inside.

In 1958, the former ADA area of Tomorrowland was remodeled in 1958, to accommodate a new “Fun Foto” gallery. At the total cost of $6,409.09 to Disneyland Inc. (and WED & the Studio), crowd controls, new cut-out foto boards, a platform, steps and other features were designed and constructed.

According to documents prepared 1958-59, the Fun Foto Shop was charged for “cutouts” “erroneously” included on another Disneyland Inc. Job (#032-50-32; Music Store Revisions).

Soon, this Disneyland souvenir destination popped up in Tomorrowland. “The Photo and Art Gallery has life sized cut outs of both” Roy Williams and Jimmie Dodd, in addition to “Disney Characters and cartoon adaptations of Disneyland settings and themes,” according to one article of “The Disneyland News.”

Originally located between Ellen’s Gift Shop and Eastman Kodak’s Camera Shop, Disneyland Guests could commemorate their love of Walt Disney’s Characters (and their visit to Disneyland), through one of the Photograph “Stand-In” opportunities at the Photo and Art Gallery.

Did you ever climb the Matterhorn? Many a guest has ascended Disneyland’s own Matterhorn with the help of these dated Souvenir Photos! According to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives) “the operation [Art Gallery and Photo Studio] moved to Tomorrowland, from 1959 to 1967 ; it was first known there as Photo Gallery, and then Fun Photos.” [Disney Facts Revealed by Dave Smith, 2016] At one time, the price of such a souvenir photo was $1.

As you can see, photographic proof of such hallucinations was captured by many a guest, who desired to take a “Living Mermaid from Mythical Times” home with them. If you missed your opportunity above the reef of the Front Lagoon, the neighboring Fun Photos (inside Tomorrowland’s South Exhibition Hall) offered this fun alternative!

A few years later, similar imagery (to that of The Photo and Art Gallery) was adapted in one CirCARama Theater Post Show.

When he wasn’t coming up with gags for short films or producing illustrations for Backstage Disneyland magazine, Roy Williams was often cast in “roles” to produce/present the DISNEYLAND Show. He (and his trusty steed) once marched in the “Disneyland ‘59” pageant and parade, and he even portrayed Santa Claus (for one mid-1960’s Christmas event held at the Park). However, when visiting the Park on a typical day, Roy could regularly be found “quick on the draw” while under an umbrella on Red Wagon Inn’s patio. Young Mouseketeers would seek out the “Big Mooseketeer” in search of an “original” Disneyland souvenir. Roy’s solution was to create a few funny faces (and sketches) for his young admirers.

Roy Williams stops by the Plaza Pavilion in order to make Disney magic for a group of young Guests, and draw their favorite Disney characters (like a drawing of Mickey for little Sandy)!

Roy Williams is most known for producing drawings during skits and musical segments of television’s The Mickey Mouse Club. Roy also “fathered many of Disney’s best laughs,” according to Reader’s Digest (published 1941). But did you know that you could periodically find Roy Williams doodling at the Tomorrowland Art Corner during the “heyday” of Disneyland? Yes, in his distinct style, Roy would draw quick sketches of Mickey Mouse and friends on the “Original” stationary. These drawings were among the souvenir Disneyland “Originals” that guests could take home!

As to the art produced, according to catalogue descriptions, the “Souvenir Disney Character Cartoons” were a “black and white ‘quick sketch’ souvenir cartoon drawn by a Walt Disney artist at the Art Corner in Disneyland.” In most instances, the artists would further inscribe the drawing with “a salutation of your choosing.” Catalogues listed the characters available: Pluto, Dopey, Dumbo, Jimmy Cricket, Pinocchio, Goofy, Practical Pig, Donald Duck, Scrooge McDuck, Daisy Duck, Peg-Leg Pete, and Butch the Bulldog. These were typically priced at 50 cents each.

At times, the artists would run out of the “originals” paper with the Disneyland logo on them. But that wouldn’t stop artists like Roy from sketching gifts for Disneyland’s guests.

“STEVE VOSBURG REMEMBERS MEETING ROY WILLIAMS” - “A shot of Roy with my Brownie 2 camera. One time my mother and I were having lunch in the employee's cafeteria and Roy was sitting across from us at another table. After a few minutes he got up and came over and gave us a sketch he drew of my mother and I on a little three-by-five pad. It showed in cartoon form of my mother and I sitting at the table-- me with horns and forked tail!”

It had been more than 30 years since Roy Williams had been “assigned the full-time job of designing insignificant for army, navy and ai units”. Now, while the Tomorrowland Art Corner was being replaced by the Tomorrowland Stage, Roy Williams (the “Big Mooseketeer”) continued to make artistic contributions toward Disneyland Backstage magazine, and quick drawings for guests, until his passing on November 7, 1976. 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). We imagine that his favorite tables at the Plaza Inn were full, as Roy was sitting at a table near the Canals of Storybook Land!

After Tomorrowland received a major overhaul in 1966, the Fantasyland Art Corner opened (appropriately, in an actual corner of Sleeping Beauty Castle Courtyard) near the Fantasyland Theater. The location of the Fantasyland Art Corner can be seen in this Disneyland Map Excerpt (published during the 1960s).

Guests could watch one of Walt Disney’s animated short films, and then head “around the corner,” to purchase a Walt Disney “original” used in production.

Photo opportunities advertised The Art Corner at various locations on Main Street U.S.A. These Photo opportunities allowed guests the chance to appear in scenes with their favorite characters from Walt Disney Productions’ short and feature-length films.

The Art Festival was also used as the scene of Grad Nite Photo Locations (at least) as far back as 1963.

During the construction of New Tomorrowland, the artists of Art Corner were relocated (near their original location) on Main Street U.S.A. The reason, was that New Tomorrowland did not include a place where guests could have their portraits were drawn, nor a place where Walt Disney “originals” could be purchased. During its construction, this was the scene as one turned down Artist’s Alley - rows of Disneyland’s finest artists ready to draw your portrait for $1.50!

During the 1960s and 1970s, the temporary Main Street Art Festival attraction was located on East Center Street, along Main Street U.S.A. Here guests could have their profiles drawn in pastel, or have a silhouette cut at the Silhouette Shop. The aforementioned Art Corner artist Betty Bell (of Merchandising) reached her 15-year anniversary (and 150,000th portrait) while at the Art Festival!

“Charles Boyer”

In 1960, Charles Boyer had his start as a technical illustrator in California’s aircraft industry. After a layoff, there was an opening at Disneyland. Charles had watched portrait artists sketch guests during his visits to the Park and thought it would be fun be ”fun” and “a good fill in, between jobs”. His “fun” job would turn into a career. Chuck moved on to Disneyland Creative Services and would serve as an Art Director for Vacationland Magazine (published three times a year, including the landmark year of 1965). Eventually, “Disney Master Illustrator” Charles Boyer became the hand behind some of the artwork featured in “Backstage Disneyland” Magazine and many amazing lithographs of a Walt-era Disneyland. His artwork would also be featured on posters and prints (available in limited quantities, to both Cast Members and the public) and even on Complimentary Passports. Some limited edition lithographs celebrating special occasions would be offered through The Disney Gallery (what I like to think of as somewhat of a “spiritual successor” to the Art Corners).

On that note, one of my personal favorites of Charles,’ was his “Fond Memories” featuring Davy Crockett, Mickey Mouse and young guests waiting for an autograph. The limited-edition (600) release was modeled after Fess Parker (with the assistance of one of his fellow Disneyland family members, Anthony Serna) who was kind enough to assist Charles, and was released through The Disney Gallery as a limited edition lithograph c. 1995, retaining originally for $195.

Celebrity portraits were a common sight above artist’s easels. Such well known VIPs as Marvin and the Vic Damones of Hollywood, Governor Nelson Rockefeller and family have had their caricatures drawn. One-time manager Jess Rubio, recalled having the opportunity to draw Walt Disney in 1963.

Walt Disney has (by nature) always been an experimenter, creating new ways to tell stories and developing his medium. During the 1920s, Walt was always looking for that intangible “something new.” Walt Disney startled the world in 1928 with “Steamboat Willie” the first cartoon with sound. Another landmark was the combining of cartoon characters with live actors on the screen, as seen in the Alice Comedies and Walt’s soon-to-be released Mary Poppins. By 1960, Disneyland audiences were well acquainted with a revolutionary form of entertainment which Walt called Audio-Animatronics ®. This three-dimensional art form of animation did not just materialize, but was partially inspired by Walt & company’s two decade-long expression and perfection of the “Art of Animation” which was still developing and being perfected during the late 1940’s and throughout the 1950's.

By November 1940, the historic first major showing of artworks prepared by Walt Disney Studios went on display when Los Angeles County Museum partnered with Walt Disney Productions to host the “Disney Retrospective Exhibition”. This exhibit allowed countless enthusiasts of Disney’s expressive medium to observe the fascinating methods of procedure that go into the creation of a Disney film.

Publications also acquainted enthusiasts with the Disney medium. For instance, by July 20, 1955, Don Graham had written The Art of Animation for Walt Disney Productions.

Now by the time Space Station X-1 had been removed, a new show was being master-planned. For now, amidst Disneyland’s first Memorial Day festivities ever held, Walt Disney’s The Art of Animation Exhibit (May 25*, 1960 - September 5, 1966) opened, inviting guests to “see how Walt Disney artists create famous animated motion pictures,” [some sources cite May 28th as the opening date]. The Disneyland Diary referred to this exhibit as “an entertaining and informative display tracing the history and development of motion picture animation.” This was accomplished by granting Guests an opportunity to see the stunning museum quality “originals” once used in the production of memorable Walt Disney Productions films. Cels and drawings from short films (starring popular characters like Goofy, Donald Duck, and Humphrey Bear) were on exhibition, as were intricate cels and drawings created for feature-length films (like Fantasia, Bambi, and Snow White and the Seven Dwarfs).

Museums didn’t generally classify animation production work as art. But Walt Disney’s The Art of Animation Exhibit helped guests gain a heightened appreciation for the fine art of animation, seeing both the works and the skillful craft involved, in a whole different “light”. As Guided Tour Groups would pass the exhibit hall (c. 1962), their Disneyland Tour Guide would share : “Here is the Art of Animation where you will see the various stages in the development of animation from the beginning of time to the very present. This exhibit will give you an idea of how Mickey Mouse and the whole Walt Disney tradition was born. It takes three years to produce a full-length cartoon feature. Here Disney artists and characters alike combine to show you the technical processes necessary for such an undertaking. You will also have an opportunity to meet the latest Walt Disney character - Ludwig von Drake!” The latter was accomplished by the addition of an Art of Animation Projection Booth.

Media (above) depicted the Flying Saucers while another page teased: “Walt Disney and his ‘imagineers’ at WED Enterprises - the team that created Disneyland and four major shows at the New York World's Fair--are now at work on the boldest, most ambitious of future developments: design of a New Tomorrowland. To research ideas for this exciting project (scheduled to open in Summer, 1967) Walt and his creative staff visited Houston, Huntsville and Cape Kennedy, discussing the latest Space Age wonders with America's astronauts and scientists -including Dr. Werner Von Braun. In New Tomorrowland, guests will experience the sensation of racing through distant space. A towering structure will serve as spaceport and theme center. And a unique new ‘People Mover,’ the WEDway, will carry guests on a scenic tour - even weaving in and out of new exhibits by some of the foremost companies in American industry.”

Walt Disney’s The Art of Animation (located in Tomorrowland’s north Exhibit Hall) was not only one of the main attractions near Hobbyland, but the centerpiece of art-related attractions in Tomorrowland! It stood between the Tomorrowland Art Corner (where guests could purchase Walt Disney “originals” as well as art supplies), the Streets of Paris (where guests could have their portrait drawn), and the Caricatures Stand!

The exhibition was one of three which had toured the United States in 1959 to promote the newly released Sleeping Beauty. One of the exhibits toured Europe, another travelled to Japan, and a third was installed in Disneyland, U.S.A.! What could Disneyland guests expect? According to Vacationland magazine (Fall, 1960 ; page 4) : “The Art of Animation gives life and movement to a still picture or a series of pictures.” Disneyland LINE later commented on the memorable exhibits displayed -the “step-by-step” process of creating animated feature length films, story development, production design (including the actual drawing and inking of painted cels). The multiplane camera was also explained and “its use in enhancing depth perception”. “The tour ended in the “animation circle” which offered scenes from several Disney classics, from Steamboat Willie to Sleeping Beauty and the then upcoming 101 Dalmatians. The other two exhibits were eventually donated to museums in Munich and Tokyo, while the Disneyland version was completely dismantled and when the attraction closed in 1966.”

By 1960 and 1961, the exciting, two-hour Guided Tour of Disneyland Tour included a delightfully engrossing look at the marvelous Art of Animation show.

“The Art of Animation” highlighted the significance of animation as the new graphic art of the modern time and its profound effect on the way people see and respond to things.

By the October of 1962, The Art of Animation was operating 6 hours during weekdays with longer hours on weekends. This was common during winter operating schedules.

This Vintage View gives an idea of the sheer size of the lengthy Tomorrowland North Exhibit Building that temporarily housed Walt Disney’s The Art of Animation. Tinted glass paneling allowed for plenty of natural light during the daytime.

To the right of the entrance to Walt Disney’s The Art of Animation, was a stand where guests could have their caricatures drawn. This was separate from the Streets of Paris, where guests could have their portraits drawn.

The entrances were lined with familiar and inviting characters - Bongo the Bear, Goofy, Humphrey the Bear, Mickey Mouse, Br’er Fox, and many other recognizable faces!

The Art of Animation ran contemporaneous with two other walk-through attractions - 20,000 Leagues Under the Sea and Sleeping Beauty Castle.

The “Ride Operating Schedule” effective October 3, 1962 described the attraction having a 6-hour operating day and 1,200 Guest capacity (during winter weekdays, weekends, and maximum days. Despite the hours of operation and capacity, the attraction rarely reached its peak. Dick Nunis (in an Inter-Office Communication dated July 19, 1961) divulged : “Our experience from guest reaction has been that walk-thru attractions have a low appeal.” Notwithstanding this fact, the exhibit was still never accounted as one of Tomorrowland’s free exhibits, with its admission was valued at the price of a “B” Coupon (ranging in price from 20¢ to 25¢).

The never-to-be-repeated Disneyland exhibit continued in operation until the construction of New Tomorrowland. By the time Art of Animation closed its doors (on May 5, 1966), a grand total of 4,638,321 guests had experienced the exhibit, according to one Disneyland Admission Media Rides and Attractions Report [prepared in April 1971, by Disneyland Research Department]!

The Art of Animation name lives on through attractions featured at Disney Parks worldwide. For instance, Art of Animation at Hong Kong Disneyland is a celebration of Disney and Disney-Pixar animation.

*Some sources (as “Disneyland Admission Media Rides and Attractions” report, page 39, published 1971), and other sanctioned sources cite March 24th, 1956 as the attraction’s soft-opening day.

At Disneyland® Park every attraction has a story, and there is a "story behind the story" of every attraction! Disneyland ride-through attractions and adventures are living experiences for guests and 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 AstroJets.

“Blue Sky for the Roto Jet Ride”

You may have heard of Herb Ryman’s iconic “Aerial Over Disneyland” concept drawing! A subsequent document “The Disneyland Story” was produced (on September 26th & 27th, 1953), in order to tell the story of what guests would experience upon entering Disneyland and Tomorrowland. After a detailed 2-page description of the Rocket to the Moon attraction, the document plainly states : “We will have other outer space rides that we will develop as the Park progresses.” The United States Space Program had just begun, so this news must have excited many Americans of all ages.

Bruce Bushman (born Francis X. Bruce Bushman) attended Choinard Institute and was hired by Walt Disney Studios. He went on to fulfill the role of layout artist for several Walt Disney Productions. In 1954 Bruce served as layout artist for “Casey Bats Again,” “Social Lion,” and “Daisy’s Diary” (1954) before working on Walt Disney’s Disneyland! By 1954, Bruce Bushman was employed by Bradley & Kaye and he began creating concepts for Rocket and Flying Saucers attractions. However, Tomorrowland opened on July 17th, 1955 without flying saucers and just one space-themed adventure - Space Station X-1.

Still, Walt Disney promised expansions for Tomorrowland when he announced, “Disneyland will continue to grow, to add new things, as long as there is imagination left in the world.” Walt Disney, on the eve of Disneyland’s first day of operation, promised that “Disneyland will never be completed. It will continue to grow, to add new things, as long as there is imagination left in the world.” The year 1956 brought many imaginative, new Park attractions, proving quickly the truth of Walt Disney’s words of an ever-expanding Disneyland! Two of these additions were part of a one million dollar Tomorrowland expansion. The presentation of the AstroJets show on the vast DISNEYLAND “stage” would become a distinct part of the Disneyland theater concept.

“Master Planning a Roto Jet Ride”

A “Roto Jet Ride“ was perhaps first mentioned in the minutes recorded in a Disneyland Merchant's Association Meeting (held January 25, 1956): “There is a new model that has never been used in the U.S. before. This will be in the spot where the 48 flags are now. These cars are maneuverable by the driver and are quite exciting, Ride capacity is 480 per hour or 4,000 per day. The 48 flags will be moved up to the entrance to Tomorrowland. The plan is to establish some billboards between the flags to tell what is in Tomorrowland.”

Lessees weren’t the only ones privy to knowledge of the coming attraction. Subscribers of “The Disneyland News” would soon read about the “Super Jet… an advanced design version of a ride that was recently developed in Europe,” [“Disneyland Expansion Plans Revealed - New Rides and Exhibits To be Ready by June 1,” The Disneyland News’ (Vol.1 - No.8 ; February 10, 1956)]. Imagery of the forthcoming attraction also began to become the subject of licensed Disneyland merchandise as the Acres of Fun souvenir fan.

“Concept”

Soon, (before Disneyland’s big summer season even began), the “First Annual Report to Disneyland Lessees” (prepared in February of 1956, by Ed Ettinger and the Disneyland Public Relations of Disneyland, Inc.) described the “Astrojet” which “promises to be a real spectacular in a place where the spectacular is accepted as commonplace. This ride, as modern as tomorrow’s news, will offer participants a preview of ‘Outer Space Flight.’ Passengers will ride in aero-jet gondolas suspended from 30-foot booms attached to a rotating central tower. The jets will be controlled individually by the passengers in each gondola. Levers inside the cars will allow the flyers to raise or lower their cars at will.”

According to Disneyland postcards printed during 1956, this attraction was to be “an advance version of the roto-jet and the only ride of this type now operating in the United States. It was invented, developed, and manufactured by the Klaus Company of Memmington, Bavaria.” The original concept was to feature “twelve cars, shaped aerodynamically,” at the end of “24-foot booms attached to a central tower. As the central tower turns, the cars will go up, to a height of 36 feet, or down, as the individual operator manipulates control levers inside the jet.”

In preparing a sketch for the poster design that promoted the forthcoming Skyway over Tomorrowland, artist Bruce Bushman referenced several attractions including the AstroJets. The AstroJets were assuredly being developed for Disneyland Park.

“Installation”

Now, thanks to ride importer Eric Wedemeyer Inc., the attraction was not the first of its kind, as it seems that nine Roto-Jets were imported into North America from 1954 to 1956 (for example Klaus’ Satellite Jets, opened 1954, at Palisades Park). This was also not the first attraction of its kind at Disneyland for that matter, considering that Dumbo Flying Elephants (an opening day attraction in Fantasyland) was a custom version of the Roto-Jets. Yes, in the heart of Tomorrowland (on the exact site of the Court of Honor) and adjacent to the Moonliner rocket and the Flight To The Moon, guests could soon board, test pilot, and “break the sound barrier” aboard their personal Astro-Jet!

“Final Preparation”

Note the colors of the jets in the image above. At least one Disneyland Souvenir Postcard preserves a “Vintage View” of the original red, blue, and green “Astro-Jets”(as well as the original hyphenated name on the Ticket Booth). You may also notice colorfully-striped central support. It was only a month after the soft-opening, when Walt’s artists changed the colors of the Astro Jets to blue and red (and added a red and white checkered pattern to the Central Tower support) before the opening ceremony. 1956 Pictorial Souvenir Guides would swiftly feature a photograph of the updated (blue and red) color scheme (though early licensed merchandise still featured the red, blue, green, and yellow color scheme as late as 1957). Lastly, you may note a most important detail - that none of the Astro-Jets have no names on them at this point in time!

“The AstroJets Attraction Poster”

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.”

“Grand Opening”

The name of the attraction seemed to be one of the last sure things. The Disneyland News (published for March 10, 1956) began to describe the “Super Jet… a participation type ride that guests will be able to control by manipulation of levers inside the aero-jet cars.” Despite the fact that “News From Disneyland” (a press release, published 1956) mentioned “the super roto-jet…scheduled to open about April 1,” the launch was delayed and the “blast off” occurred the following day.

The Disneyland News reported on the opening ceremonies of April 2nd, 1956 : “Disneyland’s first major new ride - the Astro Jet - was opened Monday, April 2 with a fanfare and ceremony that included participation by members of the three flying arms of the United States military services. Personnel from the El Toro Marine Air Station, the 11th Naval District Headquarters at Long Beach were on hand to make the first ‘official’ flight in the Astro Jet.

The day’s activities got under way promptly at 11:15 a.m. with the arrival of the jet pilots in Tomorrowland at the wheels of Autopia Cars following a Parade down Disneyland’s Main Street. Director of Customer Relations Jack Sayers introduced the aces, many of them flight veterans with the hundreds of hours of jet flying time to their credit. Soloing with the flyers were youngsters from the Los Angeles and Orange County area, visitors to Disneyland that day. Also on hand and lending color to the ceremony were Disneyland’s Space Man K-7, and the futuristically clad Space Girl, the Disneyland Band, under the direction of Vesey Walker, provided appropriate musical background.

Following the dedication flight by the jet aces the assembled crowd was treated to an exhibition of precision flying given by the Disneyland Air Force, composed of volunteers recruited from various departments and leasee employees, under group captain John Miller. A special luncheon honoring the participants was held in the Red Wagon Inn following the special event.

Airmen who took part on the ceremony included Navy pilots Lieutenant JG Jerry J. Jester and Lieutenant JG Charles Steele from the 11th Naval District in San Diego ; Marine Pilots Captain Morris Eliasof and Lieutenant Edward Williams. Youngsters who flew with the jet aces were Glen Sherman, Jimmy Murray, Billy [K.]… and Timothy [D.]…of Los Angeles and Michael [L.] and Eric [B.] of Orange County.”

Walt Disney had “promised that his ‘Disneyland Story’ will never be completed,” according to “Walt Disney’s Guide to Disneyland” published 1956. Even after the opening dedication and fanfare, changes were coming that would further distinguish Walt’s attraction from those at other amusement centers and parks (attested to by that storybook-shaped advertisement on the ground, in the previous excerpt). Thirteen names were given to each Astro Jet. While according to some sources, thirteen AstroJets were to be emblazoned with the names of brightly burning stars, there were only ever a total of 12 Astro Jets attached to the attraction’s 12 booms at any given time.

“When Disneyland's present ‘realm of the future’ was designed in the early 1950's, Early Bird, Gemini and Apollo were space-age terms of the distant future. Even the household word ‘astronaut’ was still to be coined.”

WED Enterprises employee John Hench suggested the following names - Altair, Antares, Arcturus, Canopus, Capella, Castor, Pica (which cannot be confirmed to have been utilized), Procyon, Regulus, Rigel, Sirius, Spica, and Vega. Sometime after these names were added, footage of the AstroJets was shot and included in “Disneyland U.S.A.” (a People and Places feature film, distributed December 20, 1956, by Buena Vista Film Distribution).

Like most Disneyland attractions, the AstroJets had its own Ticket Booth. Here, Guests found the original price of admission for one flight aboard a red, green or blue rocket, was a “C” Coupon (or, a mere 35 cents). The Astro-Jets attraction was so popular that a version of the attraction was later built for Hershey Park, in Hershey, Pennsylvania. The exciting attractions debuting during 1956, increased ride capacity, and during one day in August, a peak total of “197,547 individual rides” were enjoyed by Guests (according to a letter from Walt to Ward Kimball, dated January 23, 1957).

By September of 1958, an appraisal of Disneyland “land improvement” assets valued the AstroJets at $83,722.

There were many flight-based attractions in the hub of Tomorrowland (c. 1960s), including the Rocket to the Moon, the Flight Circle (where model jets performed high-flying tricks, while controlled by operators on the ground), and the AstroJets! Guests who wondered what it would be like to soar over Tomorrowland in the cockpit of a miniature jet looked no further than the Astrojets!

According to the Disneyland News : “Twelve jet-like gondolas were attached to a central tower by 30-foot metal booms. When the ride is operating, the central tower spins and raises the…unit into the air.”

According to some sources, pilots could choose one of thirteen AstroJets emblazoned with the names of brightly burning stars - Altair, Antares, Arcturus, Canopus, Capella, Castor, Pica, Procyon, Regulus, Rigel, Sirius, Spica, and Vega. The names were suggested by WED employee John Hench via a WED Inter-Office Communication dated May 1, 1956.

In 1959, the AstroJet ride structure was appraised between $53,100 and $58,000.

…and BLAST-OFF!

Above, it’a a busty day at the Astro-Jet Control Panel.

Castor (named after one of the Gemini constellation’s stars, and one of the brightest stars in the night sky), prepares for departure!

The jet engines of Procyon (Alpha Canis Minoris, CMi or Alpha CMi) prepare for ignition!

Two passengers prepare to shoot through Tomorrowland’s sky aboard the Canopus!  Of note is seating arrangement of the AstroJets, where passengers sit side-by-side (rather than one-front-of-the-other).

Altair is believed to be the twelfth brightest star in the night sky, and it is the name of one of thirteen AstroJets!

A young pilot un-boards the Antares during late 1962 - early 1963. During the 1962-1963 winter season, the AstroJets operated only on weekends.

Yet another guest un-boards the Antares.

Safety is first at Disneyland! According to Vacationland (Sumer, 1961) : “Things like…the spindles…that support the AstroJets are made to specifications which far exceed those for comparable military items. Metal parts, like the spindles, that are subject to high stresses are sent out to engineering laboratories at least once each year for comprehensive examination to insure against weaknesses that could cause accidents.”

By 1959, Joe Fowler was Vice President of Disneyland Operations Committee and Doc Lemmon of Disneyland Operations was overseeing Operators of Rides & Amusements, Livestock, Parking Lot, and Ticket Sellers.

The Astro Jets carried the admission fee of 20¢ (or one Disneyland “B” Coupon) some time between May 28, 1960 and August 7, 1964. Table IV of the ”Ride Operating Schedule” (effective October 3, 1962) reported a maximum capacity of 480 guests week end days.

The Astro Jets would have carried the admission fee of 25¢ (or one Disneyland “B” Coupon) some time between May 28, 1960 and August 7, 1964. Only a few months later (in 1965), the price of piloting a high-flying jet to Disnyland’s outer space was a “C” coupon, or 35¢.

Not far from the Astrojet launchpad, guests found other flight-based attractions like the Thimble Drone Flight Circle (pictured left)! Here, guests could test model cars, boats, and planes sold through select Disneyland shops and catalogues.

The Klaus Roto-Jet was certainly popular among theme park goers during the “atomic” early 1960s. While the Astro Jets thrill Disneyland guests in the shadows of Skyway cabins, the Super-Jets shuttle guests under Sky Ride cabins (at Cedar Point, Ohio), more than 2,000 miles away!

The Spacebar (left) offered futuristic refreshment for the weary pilot, while the Mc Donnel Douglas’ Flight to the Moon offered a flight like no other - a grand circle tour of Earth’s Moon from outer space! The AstroJets were closed weekdays during the winter season of 1962, operating on weekends.

In just a few months from the point that this Vintage View was captured, the Astro Jets would be rebranded.

In 1964, United Airlines became the sponsor of Walt Disney’s Enchanted Tiki Room. One of their stipulations was that another Disneyland attraction change its name (due to competing American Airlines’ Astrojet service). So, after about a decade, the name AstroJets was discontinued, and the attraction was briefly renamed the Tomorrowland Jets, on August 7th, 1964. This name remained until the final flight of the Tomorrowland Jets on September 5th, 1966.

When the attraction reopened as the Tomorrowland Jets, a single admission price was originally similar to that of its AstroJets days - one “B” Coupon, or 25 cents.

After they were renamed, note the increased price of admission for the Tomorrowland Jets - now 60¢ (or, one Disneyland “D” Coupon).

The AstroJets were also featured in promotional media. For instance, in August of 1962, Lloyd Richardson, Larry Clemmons, Joe Marquette, Coy Watkins, and Jack Leppert (of the Walt Disney Studio) filmed and shot scenery for Studio Production #3185. During this visit, a plate was shot “looking through through the Astrojets at the Monorail.”

Photographs for the “Schwinn Takes A Trip To Disneyland” catalogue (including this one where the AstroJets became a background for a two-page spread exhibiting Schwinn bikes for girls and juveniles) were shot at Disneyland during the Tencennial celebration of 1965. The latter can be seen above.

By the release of the “Disneyland 1st Anniversary Souvenir Pictorial,” it was reported that “new rides have added some 40 percent to the Park’s ride capacity,” listing “the Astro Jet” among the contributors. Yes, in “Uncle Scrooge Goes To Disneyland” #1 (published 1957 by Dell Comics), even Uncle Scrooge shelled out the fare of one “Adult Admission” ($1.00), and likely the price of an “Adult Big 10” ticket book, in order to soar high over Tomorrowland aboard an AstroJet in this Carl Barks artwork!

“Walt Disney’s Disneyland Game” was manufactured by Whitman (maker of fine Disneyland publications, puzzles, and games). This Disneyland board game not only features the AstroJets on the cover art, but it also contained a buildable AstroJets-themed ‘Magic Whirl Spinner’!

Before the Tomorrowland Jets “blasted off” for the last time, the “D” Coupon admission fee for one ride increased by 10¢. Rides were now 70¢.

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. Walt Disney Imagineers are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures! Knowing their audience, artists like Herbert Ryman and George McGinnis began to create designs to integrate the AstroJets into the world of the New Tomorrowland. Part of the plans involved the attraction moving to another part of Tomorrowland. Internal materials published during 1966 teased: “Tomorrowland Jets - To be raised to a new level with access via a glass elevator.”

Some of these viable project Concepts (as seen above), were supported by a well-developed business case and built expectation.

Though the innovation of futuristic Rocket Jets would replace these mid-century-style jets, pilots of the original Astro-Jets understand the important place they hold in Tomorrowland history - inspiring an attraction which is beloved and around the world and seemingly “timeless” more than a half-century later!

In fact, the attraction inspired a legacy when the Magic Kingdom opened at Walt Disney World and Tokyo Disneyland opened!

“Preface”

Before we begin, we must state that the purpose of this gallery is the preservation of historical information as it relates to the diverse people, places, and artifacts that have played an important role in the history of Disneyland® Park. This being the case, there may be some outdated cultural references (which some may find offensive), connected with some of the artifacts contained in the following section. Please know that our historians and museum curators do not share any of the expressed archaic views which may be offensive. Not withstanding this, it has been said that “the past is prologue,” and we believe it is important to educate ourselves about the past, discuss things, and understand changes that have occurred over the years at Disneyland. We also believe that the stories of every individual involved in the Aunt Jemima show at Disneyland (no matter how minor their role), still has the capacity to both inspire and edify their contemporaries as well as future generations to come.

Of final note is the fact that the previous sponsors depicted are not necessarily representative of the current sponsors of Disneyland.

Now, we invite you to step this way, as we explore the story of Aunt Jemima in Walt Disney’s original Magic Kingdom - Disneyland!

“Let’s Dine at Disneyland”

Back in 1951, Walt Disney and Art Linkletter visited the famous entertainment complex Tivoli Gardens in Copenhagen. Walt was researching and talking notes to build a family entertainment center. 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.

Even before Aunt Jemima’s Kitchen opened at Disneyland, households were already familiar with the Aunt Jemima brand and name for decades, partially owing Aunt Jemima’s “magical recipes” made with Aunt Jemima’s Pancake Mix, milk, butter, and various other ingredients. By the mid-1950s, Aunt Jemima Party Pancakes -“flavored pancakes made with favorite flavored milk” - were advertised on television, radio, and in print. These “rainbow bright flavored” Party Pancake recipes (published by the Quaker Oat Company) included Chocolate Pancakes, Strawberry Pancakes, Eggnog Pancakes, Cheese ‘N Bacon Pancakes, Buckwheat Pancakes, and Buttermilk Pancakes. Aunt Jemima even advertised non-pancake recipes that could be made with the mix. There were recipes for “rich biscuit crust” meat pies, “fluffy and light” dumplings (“just the way that grandma used to make”) , Welsh Rarebit Waffles, Corn Fritters, French-Fried foods (onion rings, fries, scallops, and shrimp), quick breads, cobblers, doughnuts, cookies, rolls, and bars. In addition, the Aunt Jemima Character made public promotional appearances, traveling the country to support Pancake Day, attending fund-raising events, and even visiting schools, homes for children, homes for the elderly, and hospitals. All of this was positive publicity for the Quaker Oats Company and the Aunt Jemima brand!

“The Search for Participant Sponsors”
Walt once divulged: “I could never convince the financiers that Disneyland was feasible, because dreams offer too little collateral.” As a result,during 1954, Walt began searching for Participants to lease shop and restaurant spaces at his (then-unbuilt) Park, and help generate the necessary capital to fund construction of 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. In a synergistic relationship, the companies (in turn) would be allowed sell their products and advertise their corporate names in the Park. As a result, all the food operations were leased out when Disneyland opened.

“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 an 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. Even more - as Van Arsdale France (founder of the University of Disneyland) explained in a presentation for potential Disneyland Participant sponsors in May of 1955: These top executives of major American corporations were “here not to make money” (or sell products) but because they were to “create happiness!”

This being the case, the trusted Quaker Oats household name (that was ultimately used to drive a popular restaurant chain with its Aunt Jemima brand) did not pass by the marketing opportunity to open one location within Walt Disney’s much-talked about Disneyland in Anaheim, California! Owing to the fact that Walt and company knew their audience, Quaker Oats would quickly become one of forty-seven lessees to sign a contract with Walt Disney Productions in relation to product placement and “creating happiness” at Walt Disney’s Disneyland. The character of Aunt Jemima would soon briefly appear among the Frontierland entertainment of the Disneyland Opening Day broadcast airing on ABC. Very soon, some of these “pancakes and waffles, hot breads, golden-crisp French fried foods [made with Aunt Jemima’s batter dipping and breading] and glamorous desserts” would be served in Disneyland. Yes, the matchless flavor of a four-flour recipe, served “hot off the griddle - tender and golden brown” awaited hungry Disneyland guests who stepped into the western-themed Aunt Jemima Pancake House!

Syndicated articles (like “Famed Aunt Jemima Will Cook,” published July 15, 1955 in The Long Beach Independent) gave potential guests a glimpse of the new restaurant this way :

“Aunt Jemima will have her kitchen located near ‘Frontierland.’ It will be a faithful reproduction of a Southern plantation mansion of mellowed birch with white pillared gallery and lacy ironwork trim. Broad lawns slope gently down to the river and a steamboat landing gives an authentic Southern atmosphere to the natural setting. Inside wood-paneled walls glow with the patina of years. A massive brass kettle hangs in the huge fireplace… An Old South mural depicts highlights of the earliest days of Aunt Jemima.”

“The charm of true Southern hospitality will be the key-note as Aunt Jemima herself prepares and serves her world-famous pancakes. Entertainment will be mood music of Stephen Foster and his era plus Aunt Jemima singing songs in her style that has entertained millions on TV, radio, and in personal appearances throughout the country.”

An accompanying photograph gave a glimpse into the Kitchen, showing “how Aunt Jemima will be on hand in one of the many Disneyland eating places. She will serve her famed pancakes and also will sing to entertain visitors.”

Aunt Jemima’s Kitchen (overseen by Jim Baker of Disneyland, Inc.) was predicted to serve a capacity of 350 guests per hour, as 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). For Quaker Oats and the Aunt Jemima brand, “the possibilities for a sponsor to capitalize on this association… merchandising, sales promotion, advertising, public relations and publicity programs are almost limitless. Regardless of the type of product, goods or services manufactured and marketed by sponsors, the Disneyland association can be effectively and importantly translated into the sponsor’s promotional activities,” according to “Disneyland, U.S.A.,” published 1958.

The Participant corporate sponsor and lessee was not at Disneyland “to make money, but to create happiness.” Much of the income was acquired by Disneyland, Inc. For example, 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.

“Architectural Designs by Lessees”

By the spring of 1955, 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.

“Design of Aunt Jemima’s Kitchen”

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 motifed facilities.

If guests were to wander downthe c.1790-1876 New Orleans Street (a pre-New Orleans Square section of Frontierland’s waterfront), they would first come upon a couple of dining options “pleasing all tastes and all budgets” (according to “The Story of Disneyland”, published 1955). Beyond the Pepsi-Cola-sponsored Golden Horseshoe Saloon, (and eventually next door to Don DeFore’s Silver Banjo Barbecue), Aunt Jemima Pancake House offered southern style breakfasts.

Here, guests enjoyed table service under the thatched-grass covered outdoor patio, not far from the syncopated sounds emanating from the waterfront Dixieland Band Stand. Inside, an “open kitchen” allowed guests to watch their pancakes prepared. Food service equipment was provided by Coast Distributing Company of Los Angeles (who ran a “Congratulations” message to Walt Disney and Staff in “The Disneyland News”, Vol. 1, No.2 ; August 10, 1955).

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: “Aunt Jemima - This one is very doubtful because of the time required for the fixtures.”

Guests of Disneyland have found delicious frontier-style pancakes n’ waffles at Aunt Jemima’s Pancake House - the Disneyland location of the popular restaurant chain, which functioned as a lessee in Frontierland from opening day in 1955 to 1967!

There was also a Moreton Bay fig in front of Aunt Jemima's Pancake House, which weighed 22 tons when it was moved into the Park. A native of Australia, it is a member of the ficus family, which includes rubber trees, figs, and the historical bo tree of India.

“World of Flowers” also noted “the large rubber tree in front of Aunt Jemima's Pancake House still has a four-inch oil line firmly embedded in its root structure.

One of the major oil companies presented this tree to Disneyland, but in the process of packaging the roots, we discovered that a large pipe carrying fuel under pressure passed squarely through the middle of the root system. The oil company very considerately shut down its operation, re-routed the pipe around the tree, and the task of moving proceeded. The original section of pipe remains today in the middle of the root system where the young tree had swallowed it up.“

Today, a Disney Parks Guests enjoy “Dinners” - Character greetings performed at a park restaurant while the Guests are dining. However, long before the Disney Parks nomenclature of “Dinner” was defined, Guests preparing to enter Aunt Jemima’s Kitchen were greeted by a friendly and familiar face - Aunt Jemima!

During “Disneyland’s fabulous first decade,” it wasn’t uncommon to see the Frito Lay Kid, the Kaiser Aluminum Knight, or other non-Disney licensed characters (that represented a particular corporate sponsor) displayed within or even roaming Disneyland! While other entertainers and performers occasionally made appearances in the area, the true star of Aunt Jemima’s Kitchen and Aunt Jemima’s Pancake House was Aunt Jemima herself.

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.” Aunt Jemima involved Guests in a story-one in which they could participate.

For now, as with all Disneyland Hosts and Hostesses hired during 1955, each employee of Aunt Jemima’s Kitchen “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 ; under the Direction of Van France and his assistant Dick Nunis) held special classes (which would become a “tradition”) to instruct the approximately 1,200 friendly and outgoing Disneylanders (including those fulfilling roles at Aunt Jemima’s Kitchen) in Guest service through some of Walt’s personal philosophies, as well as the policies which would “create happiness” for visitors! Even at its foundation in 1955, Disney University was producing specialists in the field of outdoor theme entertainment.

Early Disneyland Cast Members represented all of Disneyland, and promoted goodwill between Disney and the public. Aylene Lewis was one such individual specialist to be cast in the role of Aunt Jemima and make a unique contribution to the Area Atmosphere of the Disneyland Show for a time. Disneylander spotlighted magic makers within its columns, sharing joyous occasions in their lives. The October 1957 edition made the following commentary: “Our lovable Aunt Jemima, ALYENE LEWIS, is bursting with pride, and for good reason - her very talented granddaughter, LEONA DRIVER, has been awarded the American Legion Award; certificates from the Bank of America and the Kiwanis Club.” As for Aylene, the president of the Quaker Oats Company even properly appreciated and recognized Aylene’s fifth year of making Disney magic in addition to her “loyal and faithful service in dispensing good eating and good cheer” with a service award plaque. The words of the plaque expressed: “Whereas a result of a heart of gold and a deep, sincere desire to make this world a happier place to live in we acclaim her a favorite representative of The Quaker Oats Company and one of the most loveable Disneylanders to ever grace the premises of the ‘Mecca’ of all pleasure seekers . . . Disneyland, U.S.A.”

In addition to Aylene, several other Disneyland performers (like Palmere Jackson, pictured above) and even actress and vocalist Edith Wilson portrayed the corporate icon (and “America’s Pancake Queen”) at Disneyland. Thanks to these Disneyland employees and actresses, Guests (both young and old) remember receiving the opportunity to both meet and know Aunt Jemima in person at this unique Character Greeting Area!

It is important to note that the Aunt Jemima Character never served Guests despite what some artist’s renderings, advertisements, and the “Famed Aunt Jemima Will Cook” headline (published in Long Beach Independent Press Telegram for July 15th, 1955) may have led guests to believe. As this was a buffeteria-style restaurant), the Aunt Jemima Character only extended courtesy, greeting and welcoming diners, and occasionally posing for photos. The restaurant was a “set” of sorts (in modern Disney Parks nomenclature) featuring an Aunt Jemima “Character experience or meet and greet.” Many guests both young and old were familiar with the corporate icon from television and would dine here just for the chance to meet her. Look ahead - it looks like we’re being welcomed to Aunt Jemima’s Kitchen in Disneyland, by the proprietor herself, circa 1957!

The Character of Aunt Jemima wasn’t the only one to appear at the restaurant. Years after opening day, both Br’er Bear and Br’er Fox also made regular appearances at “Aunt Jemima’s Pancake House,” greeting guests as part of the Character Program, “throughout the Christmas Holidays” (daily between parades, from 9:00am to 11:45am). During later winter seasons, the Disneyland Christmas Carolers (under the direction of Dr. Charles C. Hirt and lead by Mr. Robert G. Hasty), also appeared at Aunt Jemima’s 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] Still, the true star of Aunt Jemima’s Kitchen and Aunt Jemima’s Pancake House was Aunt Jemima herself. All of these Characters would create tangible memories Guests through it’s Food and Show.

Service is described as “efficient cafeteria style” and offering “both indoor and outdoor dining facilities”, according to Disneyland News (June, 1956). The publication continues, “Three of the fine eating places that serve the Frontierland south-west section - the ‘Casa de Fritos’, Aunt Jemima’s Kitchen and the Plantation House - all specialize in food that harmonizes with the theme of the land…Aunt Jemima’s Kitchen brings to life that famous symbol of old south hospitality. Pancakes, buckwheat cakes and waffles are the specialty of the house, with side orders of ham, bacon, sausage, and eggs also available.” In a move of corporate synergy, the Aunt Jemima’s Kitchen was one of 16 Disneyland “eating places” which featured “fine food with fine coffee - Maxwell House,” from 1955 to 1957! As you can see, the products of other Disneyland sponsors - Carnation Farms’ Fresh Milk, and Welch’s Grape Juice - were offered to be paired with delicious Quaker Oats’ products.

Disneyland diners observed that the prices were reasonable at Aunt Jemima's Kitchen operated by Quaker Oats Company. Cal McMurtrey (of Landscaping) recalled (in interview with Disneyland LINE, Vol. 25, No. 28), “I used to like…Aunt Jemima’s - you could get a short stack of pancakes and coffee for 25 cents.” About the same time, one (circa 1956) Quaker Oats advertisement advertised, “America’s (and Disneyland’s) favorite aunt serving America’s favorite pancakes and waffles. Special menus feature Log Cabin and Dickenson’s Wild Mountain Berry Syrup, and Maxwell House Coffee.”

The synergistic relationship between the institutional lessee and Disneyland was beneficial. The Quaker Oats Company - Aunt Jemima brand yielded some revenue for Disneyland Inc. - $17,332 for the fiscal year ending September 29, 1957 and $17,332 for the fiscal year ending September 28, 1958. By September 28, 1958, Disneyland, Inc. made approximately $89,332.00 of land improvements to the Aunt Jemima.

Owning to Jack Sayers (of Lessee Relations), Quaker Oats’ Aunt Jemima’s Kitchen was one of many contributing sponsors of Disneyland ‘59!

In fact, by October of 1958, 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 publicize their wares, and Disneyland collected advertising fees from them.

By 1959, of the total income received by Disneyland, Inc. 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 sold various products and food.

“Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ In 1960, Herb Ryman created conceptual art of River Belle Terrace near the Swiss Family Treehouse.

Refurbishment work has much impact on the Guest experience. During 1961, even 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.”

January of 1962, the restaurant closed temporarily for remodeling. Upon re-opening, the name was changed to Aunt Jemima’s Kitchen (a name that remained from 1962 to 1970). The new Southern-style facility featured the decor of Old New Orleans, within its indoor dining room! The elegant dining room now resembled a sunroom, with plenty of natural lighting and indoor palms thriving in planters. All fixtures were placed in their correct motif and many light fixtures were authentic antiques. The remodel now offered a maximum guest capacity of 265. All of these additions were directed by Joe Fowler (Disneyland Operations Committee) who oversaw the Construction & Maintenance division including Engineering, New Construction, Maintenance, and Janitorial.

Once opened, Vacationland (Fall, 1962) announced: “For your dining pleasure, Aunt Jemima's popular pancake house in Frontierland will be bigger and better this Summer, featuring the decor of Old New Orleans, with both indoor and outdoor dining.”

Aunt Jemima’s Kitchen still sat along a part of New Orleans Street, with the Rivers of America (and Tom Sawyer Landing), but many things were changing along the waterfront. By 1961, Don DeFore’s Silver Banjo Barbecue closed its doors, allowing Aunt Jemima’s Kitchen to take over some of the Silver Banjo Barbecue’s leased space for a kitchen expansion. Aunt Jemima’s Kitchen would soon feature new Antebellum-era architecture, different from that of Swift’s Chicken Plantation restaurant. Most notably, Aunt Jemima’s Kitchen was now topped with a French-style domed tholobate, similar in style to ones later constructed (over Pirates of the Caribbean and 21 Royal) in New Orleans Square. Last but not least, the name of Aunt Jemima’s Pancake House was changed to Aunt Jemima’s Kitchen - a name it retained from reopening its doors in 1962 to 1971! During September of 1962, the new Aunt Jemima’s Kitchen restaurant saw a rededication ceremony to celebrate these changes!

Beyond the corporate icon, an attempt to familiarize guests with Aunt Jemima’s “true-life” story, a rather consolidated tale was printed on paper placemats that were placed before every guest dining at the establishment. According to the words of early souvenir menus:

“Aunt Jemima means far more than pancakes ; she is an American tradition. Her story goes back to the days of lavish Old South hospitality on Colonel Higbee’s great plantation. There crinolined ladies, from far and near, came in their carriages up the tree-lined drive to taste the delicacy for which Aunt Jemima was famous. That delicacy was pancakes - luscious-light, golden-brown pancakes, which Aunt Jemima prepared from her own secret recipe. From then on, the fame of her pancakes grew until today Aunt Jemima Pancakes are America’s favorites. No other pancake mix has ever been able to give such wonderful flavor and lightness. No other pancakes are such a cherished part of the American way of life…When she’s not lending a hand with Pancake Festivals, ‘Aunt Jemima’ is ‘at home’ in Aunt Jemima’s Kitchen in Disneyland. In a gracious Old South setting, she welcomes you, serves her famous pancakes, and sends you on your way with a cheerful, ‘You all come back!’”

Below, we have enlarged some of the graphics as well as the printed text, so that they would be easier to see.

The following illustrations graced the paper placemats that guests dined upon while enjoying Aunt Jemima recipes. The illustrations are of special note, because they were not created by a contracted advertising employee of the Quaker Oats Company, or even an artist of WED. These illustrations were based on the work of one of America's greatest illustrators.

If you are a collector of American literature published during the early 20th century, then you may likely be familiar with the paintings and illustrations of Newell Convers Wyeth (October 22, 1882 – October 19, 1945). He is renowned for capturing scenes of North American life, as well as illustrating editions of classics like Robin Hood, The Yearling, Treasure Island, and Robinson Crusoe (to name but a few). During the turn of the twentieth century, he spent time traveling and living among diverse people from various walks of life (from “cowpunchers” to the Navajo), in order to capture how people lived. Around 1919 - 1920, Wyeth illustrated these scenes for the Quaker Oats Company. The original paintings once hung in the St. Joseph, Missouri office of the Quaker Oats Company. In 1955 (ten years after his passing), Wyeth’s work was reproduced on these placemats, which we will now share.

This certain illustration was originally published in color, in The Saturday Evening Post (October 25, 1920, page 85), within an article entitled “The Night The Emily Dunstan Burned”. The archaic article captures the account of the wrecked steam ship Emily Dunstan (as told by Pilot Jim), and how the crew and passengers made it ashore of the Mississippi, only to be welcomed, “calmed”, and fed by Jemima.

If there is any historic relevance to “Jemima’s” role in these accounts, then one can understand why it was decided to place Aunt Jemima’s Kitchen so close to the waterfront, enhancing the character design with passing river traffic in view. The true-life Jemima’s cabin was not far from the Mississippi River, and the historic shipwreck. A testament to this, is this particular illustration (by Newell Convers Wyeth) that was featured on the paper placemats after Wyeth’s passing.

The illustration (seen above) was based on an original painting which was featured in an article “Gray Morn” which was published in The Saturday Evening Post (November 20, 1920).

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 is well illustrated by Guest response to the placemats, the food, the characters, and even the architecture of this once-popular Disneyland table service restaurant.

“America’s Favorite Pancakes”
Aunt Jemima’s Kitchen Restaurants were also located in 21 locations outside Disneyland by the early 1960s (including the states of California, Connecticut, Florida, Illinois, Louisiana, Michigan, New Jersey, New York [eight locations in this state alone], Ohio, Wisconsin, and even Toronto, Canada, and Bristol, England). During this era, other locations were advertised as soon to open, in Arizona, the District of Columbia, Delaware, Georgia, Hawaii, Maine, Maryland, Massachusetts, Minnesota, Nevada, New Hampshire, North Carolina, Pennsylvania, Rhode Island, South Carolina, Vermont, Virginia, and West Virginia. There were even four conveniently located Aunt Jemima’s Kitchens nearby Disneyland - one at 1405 West Chapman Avenue in Orange, and a second at 3344 West Lincoln Avenue in Anaheim, a third in San Bernadino, and a fourth in Vista. Menus at these locations featured more than waffles and pancakes served in tempting varieties. Aunt Jemima’s Kitchen served fried chicken, steak, soups, hamburgers, fish, sandwiches, desserts, and Maxwell House Coffee! Carnation Farms would also serve this and 14 other wholesale customers who operated restaurants and snack bars in Disneyland.

As aforementioned (during January of 1962), Disneyland’s Aunt Jemima-sponsored restaurant closed temporarily for remodeling. Upon re-opening, the name was changed to Aunt Jemima’s (Old South) Kitchen. The restaurant (under the management of Tom Olsen) also featured a brand-new Frontierland-inspired menu. Many of the options were now named after popular Walt Disney Productions characters and honored neighboring attractions. Others were locally-inspired flavors, like the California Waffles - “crisp golden Aunt Jemima Waffles studded with meaty pecans.”

Though Disneyland’s Food Division assumed responsibility of the lessee (in 1967), the Aunt Jemima name was retained, and the Quaker Oats Company remained a Park participant until 1971. During this time, Bob Wasson served as Aunt Jemima’s Supervisor (c.1967) and future Frontierland Area Manager Mike Marx (hired 1964) served as a Culinary Host at Aunt Jemima’s. Though the menu was extended to include dishes like Chicken a la King, the pancakes continued to taste “so light and fluffy - with a famous Old South flavor.”

During that year a Family Platter fed four for $4.75, and included juice, eggs, bacon, sausage, and pancakes! Also, a stack of Mickey Mouse pancakes cost a mere 50¢.

Guests dined atop both ceramic and paper plates. These paper plates advertised the Party Pancakes described in the earlier section.

I would like to impress that the following short-lived tradition was not created by employees of Disneyland, as other pancake races had been held around this country (and England). However, it had grown into a national craze by this time, and was locally sponsored by the Quaker Oats Company (manufacturer of Aunt Jemima pancake products).

Disneyland began hosting Quaker Oats’ annual California State Pancake Races, with the first one being held on Tuesday, March 3 - 5, 1957. Mrs. Rose Pitman of Visalia completed First in this very first annual Pancake Race held inside Disneyland. [Read a brief summary at D23’s official webpage, HERE]. Subsequent competitions were held inside Disneyland from 1958 to 1964. In this (and following Vintage Views), we can get an idea of what the final Pancake Races (and related ceremonies) looked like in 1964!

Housewives (in skirts and aprons, with seasoned and coated skillets-in-hand), competed in a 415-yard flapjack-flipping race down Main Street U.S.A. Pancakes were tossed into the air, over ribbons (pictured) and volleyball nets. After each race was completed, the winner was usually presented with gifts ranging from over-sized checks, to gift baskets of Swifts meats and Aunt Jemima products), in addition to other prizes.

The “leader of the club that’s made for you and me” leads a high school marching band procession down Main Street U.S.A., ending near the Main Street Station.

Competitors were typically guests of honor in a parade on Main Street U.S.A. By 1958, celebrity judges Dickie Jones (the voice of Pinocchio), Clarence “Duckie” Nash (the voice of Donald Duck), would join the festivities. Even Aunt Jemima herself (portrayed by vocalist Edith Wilson [known for her role in Amos and Andy] during this time), exemplified the spirit of Disneyland while riding along with contestants in the Disneyland Fire Truck. The races continued to “run their course”, annually (from 1957 to 1964)!

Aunt Jemima’s Kitchen also featured an open-air patio for outdoor dining! Here, guests could enjoy their food and refreshments, along the Rivers of America, with passing river traffic in view.

The outdoor patio gave a panoramic view of the riverfront to guests eating their pancake breakfasts! Walt occasionally took advantage of the outdoor patio to hold early morning meetings.

Aunt Jemima’s was occasionally utilized as a stage for promotional photography and filming. For instance, Aunt Jemima’s was the stage for Ford commercials, which were filmed from 5 a.m. onward, on July 15th, 1964. The following year, photographs for the “Schwinn Takes A Trip To Disneyland” catalogue (including this one where part of the restaurant facade was used as a background) were shot at Disneyland during the Tencennial celebration of 1965.

If you would like to read more about Aunt Jemima’s Kitchen or the Pancake Races (1957-1964), 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.”

Now (by 1971), Disneyland Participant Affairs (or, “Industry Sales”) and the Quaker Oats Company could not negotiate a cooperative agreement to maintain their ongoing relationship, so Quaker Oats (and the Aunt Jemima name and brand) would depart from Disneyland.

A small tribute to the refurbished Aunt Jemima’s Old South Kitchen structure (and the outdoor patio) can be seen on the model of The Disneyland of Walt Disney’s Imagination (at the Walt Disney Family Museum, Gallery Nine).

(1971 - present)

According to Disneyland LINE (Volume 12, No. 36, published September 4, 1989) : “In 1971, Oscar Meyer replaced Quaker Oats as sponsor and the name was changed to River Belle Terrace.”

The Southern style facility stands looking mostly the same as it did when it was constructed during the early 1960s, when the original western-themed building was removed from the site.

“Let’s dine at Disneyland!”

The change in Participant Sponsorship brought new cuisine options and included a Breakfast Menu which was served all day!

The River Belle Terrace still offered more than a view of passing riverboats. The Disneyland Band marched right by the terrace, daily.

I would like to direct your attention to the graphic of the Mark Twain in the center of the sign. Other restaurants (like Chicken Plantation, and Aunt Jemima’s Pancake House) allowed guests to dine on the waterfront, while watching the traffic go by. River Belle Terrace offered guests a similar experience.

The River Belle Terrace occasionally hosted special events, like Private Parties (e.g. GM and Hughes Employees, January of 1986).

By 1987, Hormel was hosting the Riverbelle Terrace. River Belle Terrace hosted by Hormel offered “plain and fancy” pancakes (Mickey Mouse shaped), waffles, ham, bacon, sausage, eggs, specialty sandwiches and beverages in a “Buffeteria” setting.

By this era, the nearby Backstage (originally leased by Casa de Fritos and Silver Banjo Barbecue) had become part of the River Belle Terrace complex. These areas added a walk-in freezer and refrigerator. Three years later (during 1990), healthier menu alternatives - Vegetable Stew served in a Bread Bowl, Fresh Fruit Plate (raspberry yogurt sauce and muffin) - were offered to guests!

In 2008, WDI master plans entertained the concept of an update to the Riverbelle Terrace Quick Service Restaurant was “on the menu.”

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. Walt Disney Imagineers are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures! And so we arrive in the present, inside the waterfront Disneyland dining destination.

Today Cast Members are dedicated to build upon the dreams and vision of Walt Disney. Clean and wholesome food sanitation, storage, and preparation is practiced by Cast Members.

Ah, . . .automobile utopia! The presentation of the Autopia show on the vast Disneyland® Park “stage” has been a distinct part of the Disneyland theater concept. The Disneyland Autopias are “senior” attractions - having both delighted and excited generations of guests (as 1 of 22 initial major attractions at Disneyland® Park) since opening day, in 1955! Here, children of all ages can get the feel of what it’s like to get behind the wheel of an automobile, and steer it along a futuristic high-speed highway (in fact, the safest “super-highway” in the world). And if you’re a safe driver, you just may earn your Official Autopia Driver’s License. Walt Disney had such an affinity for the Autopia attraction, that his very own car was even kept on display in Tomorrowland for years (when he wasn’t personally driving it).

Owing to the popularity of the Autopia and Imagineers who knew their audience, there have been a total of four Autopias in Disneyland through the decades:

•Tomorrowland Autopia (July 17, 1955 - present) also known as the “Senior Autopia” for a time on Plot Plans.

•Junior Autopia Freeway (July 23, 1956 - September 15, 1958)

•Midget Autopia (April 23**, 1957 - April 3, 1966) **Some sources cite April 13th, or 27th as the opening date. Due to its separate scale from all other Autopias, the Midget Autopia has a separate Vintage View gallery, which may be visited by clicking the LINK.

•Fantasyland Autopia (June 6, 1959* - March, 1991) ; (November, 1991 - September, 1999) *A soft opening occurred on January 1, 1959

The Autopia tracks have also undergone many changes (for instance, on June 29, 2000, under new sponsorship, the Chevron Autopia would incorporate both the Fantasyland Autopia and the Tomorrowland Autopia). In addition, updated vehicle models have replaced the outdated or mundane ones, keeping in step with one of the original themes of Tomorrowland - progress! Not withstanding all this progress, the Disneyland Autopia continues running! In fact, by 1971 (according to one “Disneyland Admission Media Rides and Attractions Report” published 1971), an amazing figure of 47,756,550 guests had driven (or rode passenger in) vehicles of the Autopias at Disneyland! Just imagine how many guests have sat behind the wheel up to our recent era! But before we race all the way to the end of our story, “please, step this way” back to the proverbial “starting line,” and let’s explore the origin and history of this Disneyland Parks attraction, and find out what makes it such a timeless delight!

“The Starting Line of 1952”
In 1952, Walt Disney founded a company called WED Enterprises, Inc. (the architectural and engineering design division of Walt Disney Productions) in order to master-plan and design his his dreams of a Park. Some 2-3 years before the dream of Disneyland (and Tomorrowland) became a reality, Walt and company began to compile descriptions of the would-be Park in order to help potential investors (both banks and corporate sponsor representatives) envision this unseen land! Of particular interest to us is the 1953 Disneyland Prospectus (pages 2 and 3), which described the original vision of Walt Disney’s World of Tomorrow. In the contents of this document, we hear the first mention of the Autopia:

“This is the home of the exciting World of Tomorrow …where the fascinating exhibits of the miracles of science and industry are displayed. The theme for the World of Tomorrow is the factual and scientific exposition of the Things to Come…Among the exhibits, that will change from time to time, are. . . The Little Parkway system where children drive scale model motor cars over a modern freeway.”

It was about this same time (1953), that Walt Disney Studio accountant Milt Albright briefly enters our story. Milt loved cars (like Walt loved trains), and knowing that Walt was developing a freeway-based attraction for his future Park, Milt (with the heart of an imaginative engineer) attempted to capture Walt’s attention by designing and creating his own miniature 1954 Corvette-inspired automobile prototype. According to Miley’s own account: “I was working at the Studio, and heard rumors of plans for a big amusement park. I immediately asked for a transfer, which turned out to be a 'no-no, of Studio policy. But I found out there was an attraction to be called Autopia. Working nights and weekends for about eight months, I made a little car in my garage...fiber glass body and all. When it was finished, I hauled it to the Studio.“

At first glance, Walt was so impressed with Milt’s car that he took it for a spin (as Walt had the habit of “exploring new paths and experimenting with new technologies), but he did not know that the car didn’t have any brakes. Decades later in interview with Anaheim Bulletin (published in the future year of 1987), Milt finally divulged what happened next. “Well, Walt crashed into a wall to stop it, and the [fiberglass] body of the car cracked in half like a walnut.” Walt wasn’t very impressed with the Autopia vehicle design (which was never seen again), but he did hire Milt as Disneyland’s Accounting Manager during the spring of 1954.

“Autopia Research, Development, and Prototypes of 1954”

Walt knew that it would require the assembling of a coalition of talents to Imagineer his “Freeway of the Future” at Disneyland. As vital as each wheel of an Autopia motorcar were the individual people that contributed to the development of the timeless attraction.

One such talented person was Herbert Ryman. Herb had joined the Disney Studio in 1938, after Walt saw a public show of his work in New York. (Herb's paintings were being exhibited with those of another up and coming artist, Andrew Wyeth.) Herb Ryman acted as art director for such films as Fantasia and Dumbo, but had left Walt Disney Studios in 1946 and (by 1953) was employed by 20th Century Fox. However, Walt reached out to Herb and during one weekend a historic drawing of the Park (and the Freeway of the Future) was produced.

As it was once said, there were no “spare tires.” Within a few months, Dick Irvine would hold the very first Autopia meeting, during October of 1954. Artists like set designer Wilson “Bill” Martin (who had left 20th Century Fox, to work on Walt Disney Productions’ Disneyland project) would become influential in the design of Autopia, his talents as art director applied to the attraction. It was only a short matter of time before Roger Broggie Sr. (of Walt Disney Studio Machine Shop) was also brought onboard for the project. Roger was tasked with research and development of the “scale model motor cars” that would populate the “Freeway of the Future” at Walt’s Park. For now, Roger reached out to a company in West Germany to fabricate a small yellow-and-green, “two-stroke engine”-powered auto. Meanwhile, he quickly went to work on researching and developing a bumper system for the vehicle. The product was subsequently shipped to Walt Disney Studios in Burbank, possibly via Eric Wedemeyer Inc. (the same ride import company that would be responsible for bringing the Astro-Jets to Disneyland in 1956). However, the pale yellow and green Studebaker-like vehicle was disapproved by Walt, and new designers (Johnny Hartmann’s Hartmann Engineering Company of Montrose, California) would start over from scratch, building a brand new chassis and drive.

Meanwhile, there were several automobile-themed attractions being developed for Disneyland. For instance, Bruce Bushman (of Bradley & Kaye Amusement Company; 8506 Beverly Blvd., Los Angeles 48, Calif OLeander 5-8029) created a concept for Motor Mania intended for the Fantasy Land.

Bruce Bushman (of Bradley & Kaye Amusement Company; 8506 Beverly Blvd., Los Angeles 48, Calif OLeander 5-8029) also created a concept for MotorMania, possibly a Goofy-themed adventure intended for the Land of Tomorrow.

The same prototype vehicle (pictured above) and possibly the same driver can briefly be seen with passenger Kirk Douglas (while wearing his 20,000 Leagues Under the Sea costume), in “The Disneyland Story” (a “Disneyland” television show episode sponsored by American Motors)

According to “Disneyland’s Autopia” (published in Rod & Custom, November, 1955) : “Wanting a futuristic car that would be both safe and big enough for children or a child and a parent - or two adults - Disney’s engineer called in Johnny Hartman from nearby Montrose. Johnny is no newcomer to the game as he has been responsible for several successful track roadsters, street rods and special speed equipment for the reliable old Chevy 6.

Presently occupied with orders from the aircraft industry, Johnny nevertheless took time away from his machine shop to create and develop a functional chassis sturdy enough to take the bumps and bangs that the amusement park’s kids would subject the cars to during a 12 hour day, seven days a week, 365 days a year. “

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. It was about this time, that the future Freeway of Tomorrow was described in some detail, in the Disneyland Prospectus of 1954 (a revised series of documents that explained Disneyland for potential investors and sponsors). On pages 3 and 4 we read a rather unique description and mission statement of the timeless Disney Parks attraction :

“In the amusement area you will find the Freeway of Tomorrow, where a child can get into a two-seater gas-driven automobile and take it out on the Freeway of Tomorrow,…Here he can go on the overpass, the underpass, cloverleaf, and the straight away, and actually learn how to steer and accelerate the car. These cars will go up to 10 to 14 miles an hour. When they reach that speed, the governor cuts out, which keeps the car from going any faster. This particular ride replaces the Dodgem that you find in most amusement parks, where children bang into each other. In our ride, the child actually learns how to handle an automobile, and the ride is a safe one.”

The back of the Whitman card (center) reads:

Here's Peter Pan looking mighty proud of his new driver's license! Now he can drive one of the new miniature cars along the Autopia Freeway in Tomorrowland "Wonder if this road leads to Never-Never Land!" says Peter. "Might as well try it. Tinker Bell is waiting for me, and this beats flying!”

Soon after Roger Broggie Sr. joined the Autopia project (in 1954), many different artists were utilized to develop concepts and drawings. The “Freeway of the Future” (with its twisting turnpikes) was included in Herb Ryman’s “Aerial View Over Disneyland,” which was included in the Disneyland Presentation Portfolio (prepared by Walt Disney Productions and WED Enterprises). The artwork in this portfolio was taken “back East to sell the Disneyland concept to prospective licensees”, according to Dave R. Smith (Founder of the Walt Disney Archives). Viable project Concepts (as this), were supported by a well-developed business case and built expectation.

But one impressive 23-year-old true-life automobile “design impresario” was employed in the Walt Disney Studio Annex by June 1955, and involved in his first design meeting with Dick Irvine in October of 1954. Yes, Bob Henry Gurr (or R.H. Gurr), who had grown up a few miles from the future site of Walt Disney Imagineering, had previously received an “automotive styling degree” on a General Motor scholarship, at the Art Center College of Design in Los Angeles, and then went to work for the Ford Motor Company in Detroit. He had even been partially responsible for the design of the brand new Lincoln Continental. Now, after publishing four automotive design books through Dan Post, Bob was referred (by Ub Iwerks) to both Walt Disney and Roger Broggie, to dream up the design of the Autopia Mark Is.

Initially on a part-time basis (during nights and weekends), Bob Gurr (for his first task) began re-evaluating and reworking Hartmann Engineering’s chassis. According to “Disneyland’s Autopia” (published in Rod & Custom, November, 1955) : “When the Hartmann Engineering Company completed the prototype, Robert Gurr–formerly with Ford during the designing of the forthcoming Continental–worked out the kinks associated with mass production.” For some undisclosed reason, following Bob’s re-working of the chassis, Hartmann Engineering lost interest, and dropped out of the Autopia project.

With Hartmann’s departure, Bob was brought aboard officially, on January 3rd, 1955, working out of the Walt Disney Studio Annex. Under the self-appointed title of “Director of Vehicle Design,” Bob was further singled out to develop a body for the vehicles. In interview with “E” Ticket Magazine, Bob remembered how he recalled that little yellow and green German car: “it vibrated horribly, and made so much smoke and noise…But that car was an inspiration to me, because I decided that I could show everybody that Disney could really have a terrific looking Autopia car.” And so Bob began by imagining Walt Disney’s Autopia car as a blend of the new 1954 Porsche 550 Spyder, and c.1953-1954 custom Italian Ferraris. You may have seen this c.1954 Freeway of the Future auto drawing inspired by the concurrent Chevrolet Corvette model (above), which has been attributed to either Bob Gurr. Note the similarity to the final Autopia Mark I body. In about a week, Bob returned with his first sketches. In time, many more drawings were proposed as changes were made, and once Walt approved the design, Bob created a clay sculpture of the initial final vehicle design.

As mentioned, the finalized Autopia vehicle design aesthetic owes much of its existence to a true-life automobile engineer - Bob Gurr! According to “Disneyland’s Autopia” by Ralph Poole (published in Rod & Custom, November, 1955) : “Robert Gurr–formerly with Ford during the designing of the forthcoming Continental… designed a functional-looking sports car-like body. The bodies bear a slight resemblance to the best lines of Mercedes, Maserati, Ghia, and others all rolled into one.”
While Studio Machinist Roger Broggie was responsible for the bumper system as well as the design and manufacture of some parts (according to “Disneyland Inside Story” by Randy Bright), it shouldn’t surprise us to learn that the first fleet of Autopia vehicles largely originate, with a couple of true-life custom sports car fabricators! Yes, while many other opening day vehicles (from stagecoaches to dwarf’s mining cars) were constructed inside the sound stages of Walt Disney Studios, the entire fleet of 5/8-scale Autopia cars were uniquely constructed by a team of outside specialists - a small automotive engineering firm located in neighboring Newport Beach called MAMECO!

What is MAMECO? Marty Martindale answers, “MAMECO is an acronym for ‘Martindale And Mangels Engineering Company’.” MAMECO Automotive Engineering was just a humble Newport Beach Automobile Engineering business, and Owners and C.E.O.s Ted Mangles and Ed Martindale of MAMECO Engineering (in Newport Beach, California) had the honor of handling the historic contract for what would become a timeless Disneyland attraction. Marty Martindale (son of Ed Martindale) reminds us,"It was a different world back then. There weren't big factories where you would take [the concepts] and have somebody 'R&D' a car like that...They were all 'backyard operations'." Many of the parts were (not machined, but), purchased by Bob Gurr and then he would bring the parts to Ted and Ed's workshop. The duo (and Bob Gurr) can briefly be seen in the televised Disneyland anthology episode, “A Pre-Opening Report From Disneyland,” first aired July 13, 1955. In a short time, they would come to both research and develop Bob Gurr’s original designs, with a prototype ready by November of 1954. The prototype Autopia vehicle was approved, with a “top speed of 11mph, a 3 1/2 gallon gas tank and got 27 miles per gallon,” according to Disneyland Line (November 22, 1979). With that, Ted & Ed would begin to assemble the first fleet of forty Autopia Mark I cars!

How did a couple of Newport Beach kids come to build the first fleet of Autopia cars? Marty Martindale exclusively shares his father’s tale with Disney History 101, in “MAMECO’S AUTOPIA STORY”! WATCH the Disney History 101 People Featurette or READ THE FULL STORY HERE, and then continue your tour.

These three photographs offer rarely-seen “Vintage Views” of the construction phases of the original Autopia Mark I on the MAMECO lot in Newport Beach! Here, we get a look at that 160 lb. frame, fabricated from a 2-inch square cast iron tubing and 1-inch pipe, according to Bob Gurr. As mentioned before, the chassis and drive were first developed by Johnny Hartmann’s Hartmann Engineering Company of Montrose, California, and then redeveloped a little by Bob Gurr. Steel spindles, steel tubing, and 16-gauge sheet metal body supports were added to the chassis frame.

Next, Ted Mangles and Ed Martindale assembled the cars to the specifications, under the periodic inspection of Bob Gurr. By the filming of the Disneyland episode “A Pre-Opening Report From Disneyland” (1955), the cars were to have a one-cylinder, 6 1/2 horsepower engine. The finalized engine turned out to be a one-cylinder, 7 1/2 horsepower”Gladden ‘75” cycle air-cooled, internal-combustion engine which was mounted in the rear, and drove the left rear wheel.

The cars were equipped with centrifugal clutch.

The final product was designed to pick up speed pretty quick! The Autopia Mark Is had the capability to move up to 25mph, though guests only travelled a mere 11mph with the governor installed on the carburetor (a speed “cap” that has continued to the present). “All the tyro need do is step on the gas and steer. A tripping device under the chassis insures that the brakes are applied as the ride ends”, according to Road & Track magazine (published September of 1955).

In addition, the Autopia Mark I vehicles carried features to make control easy. Each vehicle had two accelerator pedals (“so located that either may be used conveniently according to one’s leg length”), an automatic transmission, a spring-loaded throttle and an automatic spring-loaded braking system, a 7-to-1 “rack and pinion” style steering system (to complete those hairpin turns), foam dashboards (for safety), chrome handrails (for loading and unloading), durable Naugahyde bench seats (the same material used for the RETLAW passenger cars of the Santa Fe & Disneyland Railroad), sealed beam headlights (powered by 6-volt generators). As a “sidelight”, these working headlights were soon removed from the Autopia vehicles, and working headlamps would not appear again until the Autopia Mark Vs appeared in 1958. Lastly, the fiberglass body (built by Bill Tritt’s Glasspar of Costa Mesa, California) was added! “The styling has just the right touch of Italian flavor and proportion is excellent at about 5/8 scale”, according to Road & Track magazine (published September of 1955). Including the light-weight body, the final Autopia Mark I cars weighed approximately 474 pounds each.

MAMECO may not be a household name to most Disneyland fans, but this issue of Hot Rod Magazine, (published October, 1955) gave credit to this pair of designers, developers, and mechanics responsible for the first fleet of Autopia cars of Disneyland’s Freeway of the Future!

On April 2, 1955, one of the Autopia Mark I vehicles was ready to be tested and this occurred on the Walt Disney Studio backlot. Michael, (the 12-year-old son of Studio Machinist Roger Broggie Sr.; future Autopia Host) sat behind the wheel while while Bob Gurr gave direction to him. Test footage of the two was recorded for posterity, which has preserved to this day and may be VIEWED THROUGH THIS LINK: https://youtu.be/zOnCI-eWiFM.

Meanwhile, the search continued for corporations to fill roles as participant sponsors of Disneyland attractions. 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. By May of 1955, Cornelius Vanderbilt (C.V.) Wood (Disneyland’s first employee, responsible for much of the hired talent during Disneyland’s construction phase) had approved the “Richfield Autopia” as the official name of the attraction! Soon, one authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell of Disneyland Inc., May 25, 1955) announced that “the name of the car is the Disneyland Autopia” as the “official and authorized Nomenclature” of the “Disneyland ride and amusement.” The same document elucidated the number and types of “Disneyland Autopia” vehicles in the following way : “32 gasoline motored cars on the Autopia Freeway…4 Police Cars… 1 Disneyland Autopia Special… 3 Extra Cars.” The three extra cars were used for promotional events and parades outside Disneyland.

About this time, the following final plans had been approved by Milt Albright (of Accounting) and Bob Burns (of Merchandising). 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 construction crews didn't begin work on any of Tomorrowland until six months into the project. The Autopia FREEWAY was about ½ scale. Mounting height of 20-watt fluorescent lamps was 9 feet 6 inches above roadway, spaced on 20-and 30-ft. centers.

"Autopia Entrance Pylon and Canopy"

In 1955, Herbert Ryman prepared sketches for the Autopia "Entrance Pylon and Canopy" with Richfield Eagle and name overhead. The Richfield Autopia entrance awning was designed to resemble a fueling station. The original sign over the queue (with its bold Richfield name in lights) was partially designed by Italian Art Director Gabriel Scognamillo (who helped design the Upjohn Pharmacy facade, the Tomorrowland Automat, those towers bearing flags over the Tomorrowland Exhibit Halls, as well as those yellow canopies around Tomorrowland, and the four Richfield fuel pumps near the Richfield Autopia Loading Zone). The original Richfield Autopia design was then manufactured by QRS Neon (of Los Angeles), was renown for providing neon signs to numerous service stations and shopping centers around the county of Los Angeles. QRS Neon won the bid, gathered the necessary neon tubing and other materials, and manufactured the custom letters - all in the nine to ten weeks up to Disneyland’s Grand Opening Day! All of the final signage and props (like road signs and streetlights) met the approval of both Cornelius Vanderbilt Wood (Disneyland’s first employee, responsible for much of the hired talent during Disneyland’s construction phase) and Mr. H.T. Hutchinson (Assistant General Sales Manager of Richfield Oil Corporation). By this time, Mr.Hutchinson (Richfield Assistant General Sales Manager) was arranging for four true-life Richfield fueling pumps and two Richfield billboards to be sent to Disneyland for installment on the arranged concrete foundations and bolts near the attraction queue entrance.

The ROADSIDE bulletin in the Autopia was lighted by PAR-56 spots and large luminous sign letters.

Last, but not least, Morgan Bill Evans (of Evans and Reeves) did what he could to complete the illusion that the cars were navigating the half-mile of highways through the colorful countryside with a few five gallon trees that were left to “greenscape” Disneyland. Some of these details were being completed, during the time that television crews (under the direction of Cam Pierce, Irwin Stanton and Harold Huntsman) were planning, setting up the network of equipment, and rehearsing from the surveyed locations and control rooms (some of which were located near the Autopia).

“The Freeway of the Future”

The first drawings of the “Autopia cars and Freeway” lanes and flow of traffic were completed by Walt Disney Studio artist Marvin Davis, in 1955. A few months later (based on Marvin’s concepts), Mattel manufactured the “Music Map of Disneyland”, and with it, the above illustration (produced for the early licensed Disneyland product). The map granted a glimpse of many Disneyland adventures, including the sweeping curves of the “Freeway of the Future” - the “Autopia Freeway” in Tomorrowland! In the artwork (to the left), you’ll notice a few more ramps and overpasses. Was this an error? Did the artist take some creative liberty? Was this an indication of a future expansion or attraction (i.e. the Junior Autopia or Midget Autopia) as early as 1955? There is a likely explanation. Contemporaneous “Proposed Diagramatic Layout of Disneyland” (Marvin A. Davis’ plot plan, produced for WED Enterprises, by September 12, 1953) depict what is called a “Test Ramp” connected to the “Drive Yourself Freeway of the Future”.

The same aforementioned description of the Freeway of Tomorrow contained in the Disneyland Prospectus of 1954 continues : “In the amusement area you will find the Freeway of Tomorrow, where a child can get into a two-seater gas-driven automobile and take it out on the Freeway of Tomorrow, but first he must pass his test ; that is, we put him through a little obstacle course. If he passes the test, which everyone does, he then gets a DISNEYLAND Operator’s Card which allows him to go on the Freeway.”

Whether this aspect of the attraction would be realized (or, not), one thing was sure - while rockets transported guests from Disneyland Spaceport to the Moon (and back), the Autopia would speedily transport guests in sleek sports cars, through the highways and byways of Tomorrowland!

Some early Plot Plans of Disneyland (and the “Autopia Freeway”) also featured a “Bus Station” in the details (*See the Marvin Davis “Plot Plan of Disneyland Excerpt featured Above). Bob Gurr had actually developed the plans for a small Autopia Bus that would have carried younger Guests along the Autopia Freeway of the Future, but alas those plans were never realized.

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: “Autopia: Roadway - okay. Entrance tight due to the steel delivery (should make it). Cars - okay. Landscaping decision needed badly.”

The pre-opening “Go Santa Fe to DISNEY-LAND” brochure printed sometime between July 4 and July 18 mentioned the “Autopia” among the rides and amusements to open in Tomorrowland. The media described the attraction: “Autopia Freeway-32 cars plus four police cars, one Disneyland Autopia Special and three extra cars.”

Two days before the televised Press Preview Day, these newspaper inserts gave readers a preview of the Richfield Autopia Freeway of the Future at Walt Disney’s Disneyland.

“…and They’re Off!!!”

Two days later, the Autopia Mark I’s and the Freeway of the Future officially debuted at Disneyland, during Disneyland Press Preview Day (held on July 17th, 1955)! According to “Walt Disney Disneyland” (first published 1964): “Back in 1955, however, Autopia was a taste of the future for many visitors to the Park. Few states in America had an ultra modern expressway system that could match the one at Disneyland in those days.” While much of the surrounding landscaping was incomplete, this attraction was still 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]. “55er” Marion Schawacha recalled opening day: “The waiting lines were all mixed up and criss-crossing each other. The line from Autopia would end up at the Space Bar, and vice versa. All you could see in Tomorrowland was PEOPLE!”

Before reaching the attraction, guests (6 or 60 years of age) were tantalized by the Autopia attraction poster (featuring both adult and junior passengers) painted by Bjorn Aronson. Some of the 40 vehicles (“32 cars plus four police cars, one Disneyland Autopia Special and three extra cars”) were “ready to roll.” There were at least three “black-and-white” cars (out of four) that shuttled celebrities (like Don DeFore & family and Jerry Colonna) along the parade route during the Disneyland Press Preview Day Parade (seen in photos and reels). Then, some of the first guests sat behind the wheels of 37 Autopia Mark I’s - Ron DeFore (“Ozzie and Harriet’s next-door neighbor) with his wife and children, actress Jeanne Crane, Frank Sinatra (and Frank Sinatra Jr.), Sammy Davis Jr., and radio and film actress Gale Storm (and her children). Some of these things are preserved through Opening Day documentation.

As to the excitement of guests of Press Preview Day (and the first operational day of the Autopia), Bob Gurr recollected : “Twice as many people showed up, and they all had the attitude that they were going to ride those cars no matter what. Instead of waiting in line like they should, they were jumping over the fence and running up the track, and commandeering cars coming back into the Load Area, and pulling people out of the cars and taking over the cars themselves. Nobody had anticipated this, and it was a complete ‘madhouse.’”

“The Show Quality of The Disneyland Autopia Special“

As a “sidelight”, it’s a known fact that Walt often stopped by the Autopia (as he did with other attractions) to speak with Host operators (*according to Attractions Working Lead Chuck Abbott, who began operations on the Autopia during August of 1955). By November of 1955 Walt would have stopped to speak with Sr. Autopia Foreman Frank E. Smith. But when Walt wasn’t chatting, he was driving his very own custom car. And when Walt wasn’t driving his car, the sparkling metallic-maroon vehicle sat on a turntable display near the attraction queue’s entrance (that is, when it wasn’t touring the country as part of a promotion for the Park)!

Of the entire fleet of 40 Autopia Mark I’s, this was one very special Autopia Mark I. It was built (under the direction of Bob Gurr) personally for Walt Disney - the "Disneyland Autopia Special" (as it was called in “The Disneyland News” (Vol. 1 ; No. 2)! Bob Gurr recalled (to “E” Ticket Magazine, Summer 1997) making “special spun wheel covers” and “a pattern for some special brass knock-offs to hold the spinnings over the wheels. The car’s bumper was an actual 1953 Pontiac upper bumper bar that we sliced, re-welded, a re-chromed to look like a new bumper.”

According to Road & Track magazine (published September of 1955), “Walt Disney’s personal ‘Autopia’ machine has neat bumpers, chrome wheels, [and] special upholstery.” The seats were covered with “red nylon… and off white leatherette,” according to “The Disneyland News” (Vol. 1 ; No. 2). Instead of a “grab bar” there was a plastic windshield. In addition, Walt’s car had “No governor [meaning, that he could go as fast as the engine would allow]”, according to Road & Track magazine (published September of 1955). The Disneyland Autopia Special was used during a few special events outside Disneyland, like the two-night Disneyland Nights at the Hollywood Bowl stage show with Bob Gurr (wearing a coonskin cap) and Disney Characters behind the wheels, held a month before the Park opened in 1955. The “Walt’s Car Exhibit” was apparently still on display by September 28, 1958, listed as a “Land Improvement” and Disneyland, Inc. Park Asset valued at $1,764.

Eventually, the custom Autopia Mark I was brought to Walt Disney Studio, and there it received further modifications - a reverse gear, custom chrome hub caps, a brand-new paint job (with silver accents), and even a custom license plate with the name “Chris,” was added as a final touch! WDI Director of Vehicle Design Bob Gurr recalled, “The Autopia Car was a gift for his firstborn grandson Chris. We kept it at the studio and on weekends, Chris and his sister Joanna would drive it all over the backlot.” Yes, the kids enjoyed driving it as fast as the little auto (without a “governor”) could go!

To this day, Walt’s historic “Disneyland Autopia Special” attraction vehicle (once owned by RETLAW Enterprises) seems to be the sole surviving Autopia Mark I model in existence! During the summer of 1998, it was exhibited as part of “The Transportation of Tomorrow” at the Disney Gallery (at Disneyland©). Currently, Walt Disney’s Disneyland Autopia Special Mark I Autopia Vehicle resides in Gallery 9 of The Walt Disney Family Museum, in San Francisco, California.

At the 2001 Official Disneyana Convention, an 18” diameter tire from Walt Disney's Autopia Special car was Lot #34 of the Disneyland Auction. Estimated at $1000-$2000, the tire sold for $1,200.

“Working Leads & Rotating Operating Positions”

Many notable Disneylanders were assigned to the Autopia during the first year, like John Louis Catone (who was present Opening Day; and worked just one day on Autopia). He recalled: “There were wooden planks for curbing, backed up with sand bags. Autopia was a two-lane highway, with three cars abreast.”

Chuck Abbott (who joined Disneyland August 10th, 1955) also worked Autopia. The previous Vintage View was captured about the time that the aforementioned Chuck Abbott joined Disneyland, starting as a “ride operator on Autopia.” According to “The Pioneers” (a Club 55 20th Anniversary Publication), Chuck “started in the Autopia when… there was no track to control the cars then.”  He recalled: “In the days when there was no track,… cast members had to be quick on their feet to avoid a collision with oncoming guests.” Each Autopia Cast Member was viewed not as a “spare tire,” but a vital wheel keeping the Disneyland show on the road! At that time, Jim George also operated the Autopia.

“Roger Broggie’s Bumpers”

According to Marty Sklar’s account, “Walt Disney decreed that every designer was to go to the park at least every other week and stand in the lines… to understand what our guests were experiencing.” Partially owing to the lack of “track,” one such thing of note was detected within a month of the televised Press Preview Day Broadcast. It was discovered that Guests were crashing the cars into each other along the one-lane speedway. “The young test drivers reduced the original 36 cars to 6 by smashing into each other,” according to “Disneyland - A Treasure Chest of Trivia” prepared by Walt Disney Productions, 1990. As the track was wide, and the cars could turn completely around, there was great potential for head-on collisions. Even worse, the cars were not connected to a track and would occasionally jump the curb and end up off the road and in the landscape.

The solution - the installation of Roger Broggie’s large, wraparound, spring-like bumpers which encompassed and fortified the bottom of the design of the entire vehicle! The MAMECO team was soon contacted for one final job (to be completed within' just a few weeks of Disneyland's dedication). A 3/8 inch-thick aluminum plate was used to fabricate bumpers. This metal was light weight but powerful enough to stand up to the shock of bumping.

"That was something they had Ted and my dad add later after the first batch," states Martindale.

“Disneyland’s Autopia” (published in Rod & Custom, November, 1955) describes this safety addition:

“Added touches to the production models were wraparound aluminum bumpers, chromed hand rails on the cowl, a foam rubber covered dashboard, sealed beam headlights with a friction-driven generator to operate them and a unique automatic braking system. The latter is a revision of the Mustang cycle brake but using wider linings and with the feature of being automatically applied when pressure is lightened on either accelerator pedal or when the outside hand brake is pulled back.”

“About 32 identical machines (with full-wrap bumpers) were available when operation ‘Autopia’ commenced at Anaheim, California, in July of this year,” according to Road & Track magazine (published September of 1955). These “full-wrap bumpers” minimized injury, but the root of the problem still persisted. According to Bob Penfield in interview with Disneyland LINE (Vol. 25 No. 28), he recalled a conversation with Walt, while operating the Autopia : “‘What about those cars banging together - can we stop that?’ I told him, ‘Walt, I don’t think we’ll ever see the day that Guests don’t bang the cars together.’”

Well…there was almost no way to stop Guests from banging the cars together. You see, there were a few of these “black-and-whites” (seen in the foreground) on the Autopia track. Originally, two were suggested by George Whitney, but (as mentioned earlier) a total of four were “black-and-whites” were fabricated (at least three can be seen shuttling celebrities down the route, during the Disneyland Press Preview Day Parade of July 17th, 1955). Both Don DeFore and Gayle Storm can be seen driving these “black and whites” during the Disneyland Opening Day broadcast. According to Bob Gurr, “Walt thought that we should have a couple of special cars rigged up as police cars so operators could give rides to children too small to drive actual Autopia cars. He figured this would provide a special thrill for these youngsters.” These cars had sirens, flashing lights, and no governors (allowing them to travel up to 25 miles an hour).

A guest sits in a Autopia Mark I, hand on the spring-loaded outer hand brake. According to inserts in area newspapers: “Brake and throttle controls are all spring loaded and the brake is operated from the outside.” This long external lever allowed “adult overule of impatient young throttle stompers at the beginning of the one mile ride”, according to Road & Track magazine (published September of 1955). “Brakes operate automatically upon release of the accelerator, or by a backward movement of the hand lever.”

You may notice telephone poles and highways in the backdrop of more than a few of our Vintage Views, and be assured that Walt noticed these visual intrusions too!

Disneyland was encircled by an earth wall called, the “Berm.” Walt Disney's purpose was to make Disneyland a place separate from the world of today. While the landscaped berm blocked out the realities of the outside world, Harbor Boulevard (a full-scale highway) and the Santa Ana Freeway (a true-life expressway) were located just on the other side of the berm in the distance. Walt would eventually have the twentieth-century telephones along the backdrop of Tomorrowland removed, paying the utility company to place the telephone poles underground. He also had the berm elevated to hide the Santa Ana Freeway highway ramps. For now this was the sight of the Freeway of the Future on this side of the berm, and a young driver who looks ready to roll onto “the open road” in his very own Autopia Mark I car!

“The Story of Disneyland” (a souvenir guide published 1955, by Disneyland Inc.) advertised “After passing a driving test, youngsters are ‘licensed’ to operate the miniature sports cars of the future on a 100% safe freeway.” The Autopia Driver’s Licenses were a free novelty item, originally printed on Globe paper (the very same company used to print Disneyland’s tickets during the early days).

Once drivers safely completed their circuit, they were awarded their very own Richfield Driver’s License! These series of licenses were available from late 1955 to 1960.

Now it’s time to fill in the informative details that identify YOU as the holder of this Official Driver’s License for Richfield Autopia at Disneyland!

Walt Disney, on the eve of Disneyland’s first day of operation, promised that “Disneyland will never be completed. It will continue to grow, to add new things, as long as there is imagination left in the world.” By the end of 1955, forty new Autopia Mark II cars arrived with a new chassis and sturdier (and thus, smoother-running) engines. These new versions of the Autopia car also featured booster seats and extender blocks on the peddles (for shorter guests). According to Magic Circle magazine (June, 1956) : “Autopia’s sleek little roadsters get a daily on-the-line inspection and grease job. Oil is changed once a week regularly and possibly twice a week during the summer season. Necessary repairs are done in a garage nearby. The little cars are a great favorite with youngsters - with grown-ups too.”

With the new (c. 1956) Autopia upgrades alone, it was easy for visiting Disneyland Guests to develop a severe case of “Motor-mania”! Then, the automotive exhibitions descended upon Disneyland during that very year, only furthering love for the automobile! There was the huge American Motors NASH Automobile Exhibit, that was featured in a circa 1956 magazine campaign. NASH automobiles - “the world’s first travel car” - (like the 1956 Ambassador Country Club Coupe) made their way to Walt Disney’s Magic Kingdom, and were parked in various picturesque locations around the Park! Some were exhibited in Town Square, in Fantasyland (near Chicken of the Sea Pirate Ship and King Arthur Carousel), in the Painted Desert, and in Central Plaza. Yet another magnificent exhibit - "Sports Car Concours D'Elegance" was held during April of 1956! This particular exhibition brought true-life, full-scale, one-of-a-kind racing specimens (like the Abarth 207-A) to Disneyland. These events (and more) would certainly “rev” up Guest’s interest to sit behind the wheel of a Richfield Autopia scale race car, by the time they reached Tomorrowland!

Owing in part to these attractions, “high state, local and national government officials” as well as “luminaries from motion pictures, television and the theater” turned out to “pay tribute to this happy land” and the Autopia Freeway of the Future. [“Disneyland 1st Anniversary Souvenir Pictorial”, 1956, page 9] Among the first four million visitors to step though the Main Entrance Gate turnstiles and sit behind the wheel was Vice-President Richard Nixon and his daughter.

The aforementioned Autopia Mark II cars were distinguished from the Autopia Mark I cars, in that they were specifically utilized for the all-new Richfield Junior Autopia which opened in the site of the former Mickey MouseClub Circus in Fantasyland, on July 23, 1956. The Richfield Tomorrowland Autopia required that “children be as tall as the bottom of… the [neighboring] sign to drive or sit behind the steering wheels of Autopia Cars.” This new Junior Autopiatrack was one of several new adventures, that was specifically designed with those guests who may not have met the Richfield Autopia height requirement. The new attraction also quickly proved the truth of Walt Disney’s promises of an ever-expanding Disneyland, a promise made “on the eve of the Magic Kingdom’s opening!”

The Junior Autopia was one of many exciting attractions debuting during 1956, that increased ride capacity, and (owning to this) one day in August saw a peak total of “197,547 individual rides” enjoyed by Guests (according to a letter from Walt to Ward Kimball, dated January 23, 1957). Still, the Richfield Junior Autopia track was short-lived, lasting only two years, from July 23, 1956 until it closed on September 15, 1958 (when Matterhorn and Submarine Lagoon construction soon began).

Smaller guests board and depart from Junior Autopia Mark IIs.

On this side of the berm, this young driver looks ready to roll onto “the open road” in his very own Junior Autopia Mark II car!

An Autopia Mark II Vehicle rounds a curve of the Richfield Junior Autopia of Fantasyland, near the future site of the Matterhorn!

Here, a youth savors “the challenge and promise of the future.”

The Mark II’s “seating accommodates two adults if necessary but is intended primarily to suit the age span from 6 to 16 years”, according to Road & Track magazine (published September of 1955). This preceding photo impresses just how many Guests (ages “6 to 16”) may fit in the Driver’s seat! The original accompanying press release caption (of the preceding photo) reads : “‘Four Guys on the Town’ - Giving up their horse for horsepower, the four lads covered some territory at the Anaheim, California, amusement park before tangling with the law again. Officer Sherman Sewell smiles like a Cheshire Cat as he writes out a traffic ticket for the boys, who insisted they were all ‘helping with the steering’. Left to right behind the wheel are James, Mike, Paul, and Phillip.”

Also visibly noticeable, is the rubber “deep dish” safety steering wheel cover.

The admission for both the Autopia (in Tomorrowland) and the Junior Autopia (in Fantasyland) was one “C” Coupon (35 cents) for about a year. Then, late in 1958 (and some time after this ticket was printed), the Junior Autopia closed for refurbishment.

The brand new Disneyland Richfield Autopia Operator’s Licenses even contained added fields for the cardholder to add their birthdate (instead of just their present age), their occupation, their right thumbprint, and even their sex (as there were many male and female motorists on the road at this time). Many young motorists (like young Linda) cherished their all-new Disneyland Richfield Autopia Driver’s Licenses.

Future Walt Disney Archivist David R. Smith preserved his license in pristine condition for his entire lifetime!

By the beginning of 1956, interest in the Autopia had not diminished! One Associated Press article “Plan Trip Into Drop of Water, Liberty Square for Disneyland” (by Bob Thomas, published April 20, 1957) vaguely hinted at big changes in store for the Autopia. 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… a revamped autopia.”

A single prototype Autopia Mark III had been produced, with a brand new engine, ball-lock clutch, and a gear box. In addition, the very Autopia Freeway track was widened to support two separate lanes (and two loading zones). Also, a new triangular-shaped station (with queue) was added, and from there, guests were given a view of cars passing thru the underpass. The latter two expansions were directed by Joe Fowler (Disneyland Operations Committee) who oversaw the Construction & Maintenance division including Engineering, New Construction, Maintenance, and Janitorial. These big changes were made to support increased guest volume (accompanying more drivers), and were being enjoyed by guests like actress Spring Byington (of “December Bride) and child actor Bobby Diamond (of “Fury”) during a 1956 photoshoot for their “TV Radio Mirror” article!

Here Guests wait in an orderly fashion to board the Autopia.

By late 1956, the attraction was “a favorite with youngsters,” and in fact, “the mileage already travelled by these little cars… [equalled] 21 trips around the world,” according to “Disneyland - The Park” (a Disneyland anthology television series short film (first aired 1957).

Did you know that some of the Autopia cars during this era were two-toned in color? Its true, at least for that one car in the background that appears to be pieced together from a salvaged part (or two)! Just notice the yellow and blue FiberGlas body of that Autopia Mark III parked within the service area (in the background).

During non-peak periods, only a portion of the Autopia fleet was used. The rest were covered and parked aside.

During this time the attraction was referred to as “Autopia Cars and Freeway” in A Complete Guide to Disneyland (published 1957).

“Whether you’re 6 or 60”, you won’t want to miss the Richfield Autopia!

The Autopia Mark IV (essentially 39 rebuilt Mark I’s) appeared around the summer of 1956. These cars featured improved mechanical designs based on the single prototype Mark III (that was completed in early 1956). “Walt Disney’s Mechanical Wonderland” (published in Popular Mechanics, November of 1957) divulged some of the research and development related to these improvements :

“Bob Gurr, director of special vehicle development, tested his Autopia cars. Nowhere do cars get tougher daily treatment. But they’re as maintenance-free as a midget car can be.

Bob supervised the building of 11 designs, then put each through a grueling 300-hour test. The patrons drove the car all day. Then special drivers took over to run it all night. Mechanics added gas and oil but never laid a wrench to the car. Some of the early designs lasted only a few hours. Bob hauled these failures back to the machine shop, evaluated them, then redesigned and rebuilt them. And back they went to Autopia for another test.

Finally, the 11th car ground around the course for two weeks without any failures. Bob chose this one as the new Mark IV.”

Including the “new” Autopia Mark IV (essentially 39 rebuilt Mark I’s), there were now 79 total glass-fiber bodied Autopia cars traveling Disneyland’s freeways at nine miles an hour! These cars were easily disassembled for repairs or maintenance (for instance, the engine and wheel assembly could be removed by disengaging a simple sliding pin). So finally, by the summer of 1957, the Autopia Freeway had been completely redesigned to “handle many more drivers,” according to Disneyland Holiday (published Summer, 1957). By this time, the Sr. Autopia attraction (with Attractions Hosts) was under the oversight of Foreman Bob Hight.

During 1958, Bank of America had Disneyland appraised regarding a loan. A detailed report mentioned an Autopia Ticket Canopy (valued at $ 5,400) and the Autopia Service Garage: a plywood on wood frame open front garage (valued at $2,500). The latter structure had a composition roof, concrete foundation and slab, unfinished interior, 720 sq. ft., and concrete apron, 16’ x 40’.

The Autopia Mark III was as popular as ever by the time Disneyland’s 10 millionth guest (five-year-old Leigh Woolfenden) visited Disneyland on December 31, 1958 [see Disneyland Holiday magazine, Spring 1958, page 1]!

We’re looking at the unloading zone for the Richfield Tomorrowland Autopia (c.1958), with its new Autopia Mark IVs. If they look similar to the Mark Is, Mark IIs, and Mark IIIs, its because those fleets were essentially the same model with additions of bumpers and spring-loaded bumpers.

During non-peak periods of Park attendance, Autopia Mark IVs park in the service area near the Richfield pumps on the opposite side of the loading zone.

According to A Complete Guide to Disneyland (published 1957), “Autopia Cars and Freeway” was the full title of the popular Tomorrowland attraction!

Of course, the biggest development came with the “greatest construction show on earth” that lead way to the “second opening of Disneyland,” during June of 1959. Soon, four new multi-leveled super Autopia systems were Imagineered and this was the scenic freeway view given Richfield Tomorrowland Autopia motorists racing along the highways & byways of Tomorrowland - and lots of trees! Disneyland World of Flowers (published 1965), divulges the secrets of the colorfully landscaped zones : “Motorists on the Autopia freeway drive through dazzling fields of native California poppies in the spring. In the summertime, after the poppies have stopped blooming, the crepe myrtle trees in the scene will display a canopy of pink flowers.”

…All this scenic beauty, and no traffic jams!

According to Bill Evens (“Walt Disney Disneyland World of Flowers”): “Autopia's spring theme might well be, ‘Take a ride through the California poppy fields,’ for in spring and early summer the Autopia is banked with a colorful display of these and the larger peony poppies… In the summertime, after the poppies have stopped blooming, the crape-myrtle trees in the scene will display a canopy of pink flowers. In the background is a bank of trailing lantana.”

This wasn’t the end of the road for the Autopia Mark IVs. A comedic chase written and filmed for “40 Pounds of Trouble” starring Tony Curtis involved this cameo by the Autopia Mark IV which had been retired in 1958 (when the Autopia Mark Vs debuted).

It is not clear if any Autopia Mark I - IV’s survived retirement, or are even extant in our present era. However, while on the road in 2018, we passed through California’s capital of Sacramento, and came across an amazing artifact - a tire from perhaps one (of 40) original 1955 Disneyland Autopia vehicles (or one of the Autopia Mark I-IV’s at the very best)!

The approximate 5/8 scale tire (with 34.5 inch tread ; for 64.0 wheelbase) was verified and autographed by designer and original Imagineer Robert “Bob” Henry Gurr, and was once one of many Walt Disney-related artifacts for sale through “The Vault at Stage Nine”, Sacramento, California! At the time of exhibition, the artifact was even paired with a reproduction of a photograph of Walt Disney, Bob Gurr, John Hench and others inspecting the wheels belonging to one of the original Autopia cars!

You may not be able to see the body of an Autopia Mark I-IV at Disneyland today, but you can see one 11 miles south-west of Disneyland. On Canyon Drive and Wilson Street (in nearby Costa Mesa), this colorful mural tribute stands as a reminder of Ted, Ed, and their contributions toward this timeless Disney Parks attraction!

Marty (son of MAMECO co-founder Ed Martindale) shares with Disney History 101 : “It was a wonderful surprise last summer [2019] when the Costa Mesa Historical Society decided to wrap the big utility box with this photo, which originally was black and white. My father Ed is in the yellow car at age 26, he would be so tickled...”

Though the Junior Autopia (of Fantasyland) would close for refurbishment in 1958, the thrill of sitting behind the wheel of an automobile was no more diminished by the end of that year. In fact an entire Disneyland television episode entitled “Magic Highway U.S.A.” (aired May 14th, 1958) was entirely dedicated to the history of the American use of the Automobile and the development of roads across the United States of America.

Tomorrowland Autopia was far from being averse or unaffected by the automobile craze. In fact, the Autopia was now more popular than ever and had received several additions. An open-front, 720 sq. ft. Autopia Service Garage had already been constructed of plywood on a wood frame with a composition roof, concrete foundation, and slab. By September of 1958, Disneyland Inc. opened jobs (#4063/4064) for Senior Autopia revisions, including a car redesign (#4063-509) and a car by-pass (#4064-527). The completed design work of these projects alone was appraised at $4,273.

Walt Disney’s Guide to Disneyland (published early in 1958) soon gave a preview of “New Autopia Freeways” - “doubling in number to include four separate super highways” where “youngsters of all ages drive their own individual gasoline powered sports cars over these multilevel speedways.” The same publication continues : “Many of these cars are brand new, modern designs.” The Autopia V car frames and running gear were owing to the contributions of Dave Gengenbach (of Tubular Aircraft Products), who would join the Disney organization in 1959, and ultimately become general manager at MAPO. The most outstanding features of the Autopia Mark V were undoubtedly those shiny chrome headlights! Bob Gurr was known for retooling “true-life” car parts, and those Autopia Mark V headlights were repurposed Buick parts!

In order to support the massive expansion occurring in 1959, a loan was required. A Park-wide appraisal was conducted of all cash, accounts receivable, employee benefits, liabilities, deposits, advances, stockholder’s equity, Park assets (including land, adjoining properties, service areas, and utilities), and even those aforementioned jobs in progress. By September of 1958, an appraisal of Disneyland “land improvement” assets valued the Autopia at $197,037 and the Autopia Garage at $8,670. After completion of the attraction, appraisal was made in 1959, the equipment was valued at $50,400 while the structure was valued at $92,000.

A year later, the old Junior Autopia had been completely transformed into a second multi-level “Super Autopia” track - the Fantasyland Autopia - which had a soft opening on January 1, 1959. Early in 1959 (and even before opening), the Fantasyland Autopia was appraised, the ride structure valued at $176,800 and the vehicles (and equipment) valued at $39,400. The Fantasyland Autopia was “a super Autopia freeway… equal in length and design go the Tomorrowland Autopia. It has both Junior and Senior Autopia cars powered by products of Atlantic Richfield Co., sponsor,” according to the Disneyland Dictionary (compiled by WED Public Relations Department and Disneyland Publicity Office, c. 1968). Several months later, this new wonder of Walt Disney’s Magic Kingdom was formally unveiled as one of “six spectacular new adventures” during a special Press Preview and Dedication Ceremony occurring on June 14, 1959 at precisely 3:00 p.m. The brand new models were used to transport notable celebrities Lawrence Welk, Joe Wells, Marvin Miller (of The Millionaire), Tommy Kirk (of The Shaggy Dog), Richard McKenna (The Real McCoys), Jeffrey Hunter, Darren Mc Gavin, Dennis Hopper, and others during the televised “Disneyland ‘59” pageant and parade route! After that, the vehicles were utilized to tour Fantasyland by "auto" in the shadow of Matterhorn Mountain!

As promised in Walt Disney’s Guide to Disneyland (1958), a brand new Autopia Mark V design was one of six new Disneyland attractions that debuted at that time! In fact, 75 of these brand new Autopia Mark V cars were added in time for the release of the new “D” Coupon attraction. Now, these heavy one-cylinder vehicles did have some issues that affected performance, for example some suffered suspension failure. However, they were air-cooled, got good mileage, and sported a unique design (readily distinguishable by their headlights which were actually aftermarket 1958 Buick parts). About those particular cars, the Guided Tour Script (1962 and 1963) added the following “sidelight” : “Since opening day, these cars travel 850,000 miles each year! Each car has a four gallon gas tank that will run for 12 hours continuously without refueling!”

While California’s vast cities suffered from rush hour jams and crawling traffic on its crowded freeways, Tomorrowland (with its four new multi-level ‘Super Autopia Freeway’ winding through the landscape) was well in motion during the 1960s! Much more than trees surrounded the roads of the Super Autopia Freeway in Tomorrowland and Fantasyland. Motorboats maneuvered through turbulent waters of the river. While Skyway cabins gracefully soared overhead, Monorail trains moved guests at incredible speeds between the Disneyland Hotel and Tomorrowland. Why, even an entire submarine fleet navigated the seven seas! Amidst it all (and in the shadow of Anaheim’s own pennine peak - the “mighty Matterhorn mountain”), the Autopia Mark V automobiles travelled along new highways and byways. The Autopia still attracted celebrities, as young actor Kevin Corcoran drove one of the Autopia Mark Vs, before his day at the Park came to an end in 1960.

After the success of Disneyland, developers of the amusement centers saw the benefit of an automobile ride in their parks. On June 19, 1960, Freedom Land, U.S.A. opened in the Baychester Area of Bronx, New York, an entertainment center “founded on the inspiring story of America and its people”. One of its opening day attractions was a Satellite City Turnpike modern sports car ride in its “Satellite City: The Future“ Area.

Meanwhile, over at Disneyland, Automobile utopia persisted… usually. It was perhaps about this time that the Autopia vehicles (and their drivers) drove somewhere they shouldn't! Bob Penfield (in interview with Disneyland LINE, Vol.25, No.28) recollected, “I was on the Autopia and we had a B side running and we were taking cars in and out of A side. All of a sudden it dawned on me that I left the gates open, so I went running as fast as I could and I got down there just on time to see the last one go down into the Sub dry dock and drive out onto the train tracks. I’d say the next five minutes were the hardest I ever worked.”

But to get “back on track” with ourAutopia Mark V story :

In the end the unique Autopia Mark V models would run for about six years (longer than the Autopia Marks I-IV), and yet manage to be some of the least photographed of the Autopia cars. By the October of 1962, the Fantasyland Autopia was operating with 22 cars during weekdays and 42 cars on weekends. This was common during winter operating schedules.

Many old and new Disneylanders supported the Autopia stage at the Disneyland show during this era, like Michael Broggie, Ron Heminger (previously supporter of the Indian Village) and Bobby Hight.

According to his account preserved with Walt Disney Hometown Museum, Bob Penfield checked out this whistle in 1959 when he reported for work at the Tomorrowland Autopia. “This piece of 'wardrobe' was only available to an attraction foreman. I kept it, had it gold plated, and about 20 years later noticed that the #12 can barely be seen on the side. Only one in existence as far as I know.”

By 1959, Joe Fowler was Vice President of Disneyland Operations Committee and Doc Lemmon of Disneyland Operations was overseeing Operators of Rides & Amusements, Livestock, Parking Lot, and Ticket Sellers.

Admission for ride in one of the new Autopia Mark Vs was the same as boarding a TWA Rocket to the Moon or embarking on a journey down the Rivers of America in an Indian War Canoe!

Many Disneylanders of note had the pleasure of working with the Autopia vehicles. In fact, during 1959, both Chuck Abbott and Ray Van de Walker were transferred to the Autopia.

The short film title “Dad… can I borrow the car?” comes to mind.

A delegate of the National Carrierboys Convention (which ended on Friday, May 4th, 1962), enjoys a spin in one of the Autopia Mark Vs, along the Tomorrowland Autopia tracks!

A new decade brought new Richfield Autopia Drivers Licenses for motorists who completed their circuit behind the wheel of “the cars of the future”! The only problem - the face of the License sports a fiberglas Autopia body that resembles the old Autopia Mark I - IVs.

There was a new field where the cardholder could add their occupation. The brand new Disneyland Richfield Autopia Operator’s Licenses also added a field for the cardholder to add their sex (as there were many male and female motorists on the road at this time).

In an interview, Walt Disney once said, “Whenever I go on a ride, I’m always thinking of what’s wrong with the thing and how it can be improved”. [“Walt”, published 1975 by Walt Disney Productions]. Bob Penfield (in interview with Disneyland LINE, Vol. 25, No. 28), recollected at least one conversation about one of these particular “improvements” : “One time I was [working operations] on the Autopia and Walt and I were standing talking about how installing a central rail would help control the cars.” The reason was that guests were steering the cars and causing pile-ups on the Autopia.

“Research and Development”

Proving the truth of Walt’s interest improving things, he personally made a visit to the historic Santa Cruz Boardwalk (on Saturday, March 9, 1963). Walt’s reason for doing so, was to visit their new Autorama attraction, which featured futuristic auto designs by Arrow Manufacturing in Mountain View, as well as a center guide rail. Walt and Joe Fowler were given a tour of the Autorama guidance system, by Santa Cruz Boardwalk General Manager Tom Cutting and Maintenance Superintendent Bill Fravel, alongside Arrow Development Co-Founder Ed Morgan (who previously helped design and execute the construction of many opening-day attractions for Disneyland).

Later at Arrow in Mountain View, photographic evidence preserves both Walt and Bob Gurr personally sitting behind the wheel of what would become the prototype of the next-generation of Autopia vehicles.

As a result, another brand new Autopia vehicle design (without a wraparound bumper) would debut the following year (in 1964) - The Autopia Mark VI! In 1965, a new guide rail system was installed along the Richfield Tomorrowland Autopia’s road. By 1964, Walt Disney’s Guide to Disneyland was naming this Tomorrowland attraction the Super Autopia Freeway (presented by Richfield)!

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.

Autopia cars were often serviced by the Welding Department.

During this era, the land inspired another adventure at Disneyland. By 1964, the character of the 9th hole of The Magic Kingdom Golf Course of the Disneyland Hotel Golf Centre (though not a squid) was themed after the Autopia.

Many Disneylanders supported the Autopia stage at the Disneyland show during this era. Martin Sklar’s children worked at the park on the Autopia attraction for a couple of summers.

In 1965, the price of admission for navigating the modernistic (Fantasyland or Tomorrowland) freeways of the future was exactly one “C” coupon, or 35¢ - the same admission for passage along the Rivers of America aboard Mike Fink’s Keel Boats.

The price of admission for navigating the modernistic (Fantasyland or Tomorrowland) freeways of the future was soon updated to exactly one “C” coupon, or 40¢ - the same admission for spending a few “Great Moments with Mr. Lincoln” (Walt Disney’s newest attraction in its post New York World’s Fair Disneyland debut), or a screening of Walt Disney Productions animated short films in the all-new Fantasyland Theater!

The Mark V Autopia cars were featured on licensed merchandise (above) and in at least one major piece of promotional media. In August of 1962, Lloyd Richardson, Larry Clemmons, Joe Marquette, and Jack Leppert (of the Walt Disney Studio) filmed and shot scenery of the Fantasyland Autopia for Studio Production #3185. Then, the Tomorrowland Autopia would briefly cease operation during the winter season of 1962.

You’ll note that the Autopia has also been enhanced with new flowers (as was routinely performed by Nurserymen). We feel the same as Disneyland Backstage Editor Wally Boag, who wrote (during the Summer of 1966) : “We’d like to say a word of ‘thanks’ to our hardworking Nurserymen. . . .The plants always look beautiful, rain or shine.”

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. “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.

This wasn’t the first time that Walt Disney partnered with a gasoline corporation. For instance, during the 1930s Walt Disney’s Mickey Mouse and the Seven Dwarfs appeared in promotional materials for Standard Gasoline Oil Dealers and Authorized Distributors. Now, another American industrial component - the Richfield Oil Corporation - would prove itself the perfect sponsor for several Tomorrowland attractions, and would reap these rewards of their Disneyland Partnership!

For instance, owing to one synergistic promotion (offered a few weeks before Disneyland’s Press Preview Day), the “oil company, which quietly offered a booklet about Disneyland, was inundated with 500,000 requests BEFORE their billboards announcing the booklet giveaway on display,” according to the Los Angeles Mirror (published June 10th, 1955).

Richefield maps (“especially prepared, showing the routes to Disneyland from all Southern California points, and a map of the streets and approaches in the immediate vicinity of Disneyland”) were distributed to invited members of the Press, to assist them in arriving at Disneyland on Sunday, July 17th.

Yes, for the Richfield Oil Corporation, “the possibilities for a sponsor to capitalize on this association… merchandising, sales promotion, advertising, public relations and publicity programs are almost limitless. Regardless of the type of product, goods or services manufactured and marketed by sponsors, the Disneyland association can be effectively and importantly translated into the sponsor’s promotional activities,” according to “Disneyland, U.S.A.,” published 1958.

The sponsor was one of five major concerns to hold a lease with Disneyland for strictly advertising purposes. Among these concerns were the Santa Fe Railroad, Bekins Van and Storage, TWA, Richfield Oil Company and Pepsi Cola. These did not occupy space but have their name displayed at certain places that were advantageous for the advertising of the product or service they sold. Richfield’s partnership with Disneyland (from 1955 to 1970) allowed for two Richfield-sponsored attractions within the Park (if you don’t count all the Autopias separately). There was the half-mile original Richfield Autopia built to scale (featuring authentic Richfield Pumps, the dynamic blue-and-gold Richfield Eagle, and engines that ran on New Richfield Ethyl). As a “sidelight”, you may recall seeing the Richfield Ethyl Trucks parked Backstage (along Harbor Boulevard) to refuel Autopia vehicles during this era. Richfield also sponsored “Richfield’s Years Ahead Show” (a free Disney show and exhibit on the history and development of petroleum).

The corporate synergy between Disneyland, Inc. and the Atlantic Richfield Co. was good. Just a few years later, the institutional lessee Richfield Oil Corporation brought much revenue for Disneyland, Inc. For the fiscal year ended September 29, 1957, Richfield Oil brought $5,000 of revenue to Disneyland, Inc. from Fantasyland alone and a total of $75,000 for the fiscal year ending September 29, 1957. The following year, Richfield Oil brought revenue of $75,000 for the fiscal year ending September 28, 1958.

The trusted old firm continued to become a Disneyland sponsor, as well as a supporter of “Disneyland ‘59”!

In 1955, the Autopia was powered by products of Atlantic Richfield Co. sponsor. Guests of Disneyland were reminded to “fill up with the official gasoline of Disneyland” - “New Richfield Ethel… unsurpassed for Top Octane power.” A few years later, guests planning on leaving Disneyland for the day were encouraged to “remember to use the gasoline that gives that extra ‘get up and go’ to the family auto - Richfield Boron Gasoline - over 100 octane”! In addition, (according to another advertising campaign) guests also could treat their car to “‘the Official Gasoline of Disneyland - Richfield Imperial Boron - the Mileage Maker.” These products could be purchased in three nearby locations of “Todayland…” One Richfield station was located outside the beautiful Disneyland Hotel and two Richfield stations were conveniently located outside Disneyland, in order to serve guests (one at 1340 South West Street, at Winston; another at 1451 South West Street, on the old Rene Quatacker 5½-acre plot, at the southeast corner of West and Katella, next to the Disneyland Hotel). The telephone numbers to each of these stations was even listed in the 1960 Disneyland Telephone Directory. Later, stations were located at 1780 Euclid Avenue at Katella, and also at 1201 Brookhurst Avenue (at Ball Road).

Advertisement promotions during the era of Disneyland and Richfield meant many perks for guests of Disneyland and Richfield Stations. During 1955, Free Disneyland Comic Books were given to Richfield Station customers and guests of the Richfield Exhibit in Tomorrowland and young Richfield Autopia drivers. And, who could forget those souvenir Richfield Autopia Driver’s Licenses? During the 1960s, Disneyland guests were reminded, “Don’t forget to ask your friendly Richfield dealer for the colorful, informative Official Disneyland Road Map. It shows you the easiest ways [or, alternative routes] to reach Disneyland. It’s free - compliments of your local Richfield dealer!”

Just below the Skyway, you’ll notice the Atlantic Richfield Oil Corporation’s majestic and iconic eagle (in the corporate colors -yellow and blue), rising above the attraction’s entrance awning with pinions raised, while firmly clutching a Boron molecule with its phalanges! Each Atlantic Richfield Autopia car’s gasoline engine is fueled with New Richfield Ethyl. The Richfield Eagle was part of the original entrance designs created by artists at WED Enterprises Inc. and Disneyland Inc. Foremost of these was Gabe Scognamillo, who oversaw the design of the Autopia queue, the overhead Richfield Autopia neon sign and positioning of the Richfield fuel pumps located near the Autopia Loading Zone.

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. The majestic Richfield Eagle would spread it’s wings and soar over the Super Autopia Freeway queue for a decade-and-a-half, until 1970 (when Disneyland Participant Affairs and Participant Richfield could not negotiate a new cooperative agreement to maintain their ongoing relationship). So, Richfield’s sponsorship of the Autopia would cease. By that time (1970) , a total of 47,756,550 guests had sat behind the wheel of an Autopia automobile on one of Disneyland’s Autopia Freeways [Admission Media Rides and Attractions Reports, published by Disneyland Research Department, April, 1971].

To the right (in the above Vintage View), you’ll notice the Richfield Autopia entrance awning made to resemble a fueling station. The original sign (with its bold Richfield name in lights) was partially designed by Italian Art Director Gabriel Scognamillo (who helped design the Upjohn Pharmacy facade, the Tomorrowland Automat, those towers bearing flags over the exhibit halls, those yellow canopies around Tomorrowland, and the four Richfield fuel pumps near the Autopia Loading Zone).

The original sign was manufactured by QRS Neon (of Los Angeles), was renown for providing neon signs to numerous service stations and shopping centers around the county of Los Angeles. QRS Neon won the bid, gathered the necessary neon tubing and other materials, and manufactured the custom letters - all in the nine to ten weeks up to Disneyland’s Grand Opening Day!

All of the final signage and props met the approval of both Cornelius Vanderbilt Wood (Disneyland’s first employee, responsible for much of the hired talent during Disneyland’s construction phase) and Mr. Hutchinson (Assistant General Sales Manager of Richfield Oil Corporation).

As Disneyland’s new yellow Monorail passes swiftly and almost stealthly through the trees, we catch our first glimpse of the Tomorrowland Autopia tracks below.

The majestic Moonliner hull, and Skyway station were barely visible from some stretches of Tomorrowland Autopia’s wooded highway.

According to “Walt Disney Disneyland” (first published 1964), “Side by side with youngsters gaining their first experience behind the wheel of a real gasoline-powered automobile are the adults who usually grumble and fume about traffic on Southern California’s full-size freeways. They actually seem to enjoy joining the junior size traffic jams in scaled-down sports cars.”

Note the colorful new flowers!

During late 1967, perhaps the most memorable (and most costly) of the Autopia Models were nearing completion - the Corvette Stingray-inspired Autopia Mark VII - at the cost of $5,000.00 each!

Everything about them (appearance, seat padding, bumper cushions) was completely new, except for their 7 1/2 horsepower motors. These were manufactured by Arrow Development, to the specifications of Bob Gurr’s engineering renderings. The new vehicles weighed 1100 lbs. and had the average maximum speed of 6.2 miles per hour.

The following year (in 1968), the Tomorrowland Autopia track received a redesign (with lengths of 2,282 feet and 2,338 feet), where the Autopia Mark VIIs debuted. This was the last Autopia Model that the Richfield Oil Company would sponsor, as their Participation at Disneyland was discontinued during 1970. Soon, “Disneyland Attraction Time Studies” for 1968 revealed:

A total Theoretical Hourly Capacity of 1,796 (at 2 guests per unit),

An Instantaneous Capacity of 72 guests per track,

An Audience Control Capacity of 307,

Cycle Times of 4:44 and 4:50

Unload Time of :09

Load Time of :07

Ready Time of :16

Trip Time of 4:12 and 4:18

Dispatch Interval of :08

Trips Per Hour at 450 and 448

The Autopia had a Legacy in the Grand Prix Raceway in the Magic Kingdom at Walt Disney World. As late as 1971, Disneyland still had a junior autobahn for shorter guests, and senior autos for guests taller than four feet. And yet, these models would have the most longevity of any (despite the Autopia car usage cutbacks, during the gas conservation of 1979). At first, these durable (and brand new) Autopia Mark VIIs cars would just run the course of the Tomorrowland Autopia, continuing to do so for a little over three decades (1968-1999). During that time, these sleek automobiles would delight and excite three generations of guests!

According to Bill Evans (“Walt Disney Disneyland World of Flowers”): “Crape-myrtle trees line the Autopia free-way, with lantana and gloriosa daisies planted in the dividers. Bermuda, or "devil grass, a common scourge in California, soon invaded the rolling terrain of the Autopia setting. We have been obliged to accept, in fact pamper, this problem child.”

As aforementioned, (during 1967) perhaps the most memorable of the Autopia Models was released - the Corvette Stingray-inspired Mark VII. Though Richfield Oil Company had discontinued their sponsorship of this attraction during 1970, these models would have the most longevity of any model - continuing to run along the Tomorrowland Autopia until 1999.

By 1976 - 1977, the vehicles had driven some 17,000 miles. Some of the fleet of 159 Autopia cars were being serviced at the Disneyland Service Garage (also called the Autopia Garage). By about 1989, there were nine mechanics performing this duty. There, the vehicles received daily maintenance and cyclical rehabilitation. Autopia cars and the many units of rolling equipment were also an anticipated part of the job of the welding department. Each year, a total of 36 (of the 159) cars were stripped down to bare parts and rebuilt as a brand new vehicle with new parts.

Refurbishment work has much impact on the Guest experience. The bodies were repaired by the Staff Shop, then sent to the Paint Shop within the Cycle Shop where staff would refurbish the body with a new coat of paint. Meanwhile, a little road work was occurring along the lanes of the Tomorrowland Autopia and we encounter a Visual Intrusion - equipment left in the Guests ‘ view.

“The Autopia, freeway of tomorrow which winds through a section of Tomorrowland, and at one point runs parallel to the train track, is landscaped with jasmine and crape myrtles.”

“Environmentality™ & Energy Management”

You may remember that (beyond the berm and outside the magical realm of Disneyland) an international energy crisis was affecting the world including the operations of both the Walt Disney World Vacation Kingdom and Disneyland from 1973 onward. During the late 1970s (i.e. 1978 and 1979; even before the word “Environmentality™” was coined), actions were taken by Walt Disney Productions to conserve home energy consumption. Disneyland Cast Members saved gas through the “Share-A-Ride Program” organized through Cast Activities. If you were a Disneyland Cast Member around this time, you may recall seeing an exhibit at the Center (encouraging the reduction of natural gas consumption) presented by the Southern California Gas Company. Also in force, was the Energy Management System (in operation for a year by 1978) - a programmed computer system which turned switches on and off according to the need for loads. All these energy saving measures affected safety elements like Parking Lot Area lights, Show elements like the Burning Cabin on Tom Sawyer’s Island, and even Disneyland operating hours (which were adjusted to “Sunday through Friday, 9a.m. to 12 midnite, and Saturdays from 9 a.m. to 1 a.m.”). As for the Autopia, around this time, due to gasoline stock prices and an oil embargo, gas cutbacks were in force reducing Autopia vehicle usage (as seen in the previous and following Vintage Views).

A few years later, the article “4 Major Industrial Air Polluters in the County” by Maria Cone was published in the Orange County Register on Sunday, September 8, 1985. The article identified and listed major local industrial polluters like Phillips Petroleum Company in Huntington Beach, Southern California Edison of Huntington Beach, West Newport Oil Company of Newport Beach & Costa Mesa, American Bentley Corp. of Irvine, and Disneyland of Anaheim. An excerpt of the article read:

“The carbon monoxide that is spit out during a year by fuel burning at the park is equivalent to 15 million cars - more than those registered in all of California - driving one mile at freeway speeds. Even Nenzell thought it was a fluke when he called up the computerized records on the Magic Kingdom and read the levels of pollutants. The fumes, however, are minimal compared to those from cars.

More than 2 million tons of carbon monoxide filled the air of the four-county region in 1982, about 95 percent of it from motor vehicles, the South Coast district estimates. Of the 55 attractions at the park, most are powered with electricity or natural gas. But about nine rides burn gasoline, and like any fuel-hungry engine, the exhaust contains carbon monoxide.

Also, hidden from view of Disneyland guests, the park's 8,000 employees drive about 400 cars, trucks, scooters and other motor vehicles, Roth said. Although employees are encouraged to ride bi-cycles, the vehicles are necessary to get around the sprawling park, he said.”

There seems to be just one Autopia track open in Tomorrowland at the time of this printing, and one fare to ride - a Disneyland “C” Coupon! There is no cash value printed on this Disneyland Attraction Coupon as the system was soon-to-be revised.

Throughout the next two decades, the Autopia would have a legacy through the Grand Prix Raceway at Walt Disney World Magic Kingdom and the Grand Circuit Raceway at Tokyo Disneyland on April 15, 1983.

From March 15 - November 10, 1991, guests sped through the Fantasyland Autopia raceway and escape the obstacles set up by Fat Cat and his gang. Walt Disney Imagineer Senior Writer and Director Kevin Rafferty contributed show writing for the adventure.

Occasional merchandise (like a tribute model designed by Walt Disney Imagineer Doug Hartwell for the Disneyana Shop in 1998) was produced in honor of the timeless attraction.

Soon, Show Quality Standards/SQS based at each Disney Resort around the world, were teams of Imagineers responsible for maintaining the integrity of the story in existing Guest areas such as attractions, shops, restaurants, hotels, Downtown Disneys, recreation, etc. as well as improving the Guest experience through the integration of new technology and the addition of new show elements.

Finally (in 1999), the Fantasyland Autopia and Tomorrowland Autopia closed for the creation of the Chevron Autopia (on June 29, 2000). The new Chevron Autopia track would incorporate both the Fantasyland Autopia and the Tomorrowland Autopia, and as for the Autopia Mark VIIs - they would speed off into the sunset!

Now, the Chevron Autopia wasn’t the “finish line” for the fleet of Autopia Mark IIs. Over the years, many a restored Mark VII (or at the very least, Mark VII parts) has turned up on the old auction floor.

In 2001, an Autopia-Blue Attraction Vehicle was auctioned off at the 2001 Official Disneyana Convention at Disneyland Resort, at an estimate of $7,000 to $9,000.

Please step this way, as we examine a few of them. During our tour, we’ll travel to Van Eaton Galleries in Sherman Oaks, California, and even the Petersen Automotive Museum in Century City, California to visit a few of these (like one of the original Fiberglas bodies of an original Autopia Mark VII,pictured above)!

According to Van Eaton Galleries’ auction catalog :

“This unique vehicle has been custom modified with a 1974 - 80 golf cart chassis and 36 volt electric drive system with battery charger. The vehicle has a rear drum braking system and new linings, wheel cylinders, hoses, and a master cylinder. The wheels are also silver steel to stay true to the original design. The vehicle has brushed metal laminate rocker panels. The bumper assemblies are authentically reproduced in the same 1970’s style, and the leather seat belt with hook is also authentically reproduced to match the original style. The vehicle has rubber floor matting, a padded steering wheel, and the ‘Autopia’ body emblem, all of which are custom created to match the original. This incredible artifact is a beautiful example of the very popular Mark VII ‘Autopia’ vehicles, and measures approximately 10ft x 4ft and 3ft tall.”

According to “Disneyland’s Autopia” (published in Rod & Custom, November 1955) :

”Another safety feature is the custom designed 3-spoke, rubber covered steering wheel with a recessed center to prevent injury to the drivers in case of accident–you know how freeways can be at the peak traffic hours.”

This remained a safety feature of later Autopia vehicle editions, like the MarkVII.

This Autopia Mark VII comes from a private collection of pint-sized racing cars!

We couldn’t leave the subject of Mark VIIs without showing you the Gurrtini - a custom Autopia Mark VII tribute to Autopia vehicle designer Bob Gurr, with a trunk full of surprises - like the ingredients for engineering a “Gurrtini” (a Bob Gurr novelty kit, not meant to be consumed while operating the vehicle) & Ventures record albums on CD! The original Fiberglas body was even “auto”-graphed by Bob Gurr of course!

“Chevron Autopia”

From 1999 to 2000, Walt Disney Imagineer John Stone designed and produced model landscapes and typography for the “off-road” scenes Of Chevron's sponsored New Autopia Attraction. John designed and developed marquis and the queue for the Autopia Load and Unload areas. John also designed and fabricated full scale “Pepper's Ghost” sets used to entertain Guests while waiting in the queue.

Even after all, in 2008, WDI master planners entertained the concept of an update to the Autopia - something called the “Chevron Initiative.”

The Autopia is truly a “timeless” attraction! In one of his final publications, Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), included the Autopia among “the only attractions still at Disneyland today that were there on opening day, July 17, 1955.” [Disney Facts Revealed by Dave Smith, 2016]

Do you remember that earlier memory of Bob Penfield’s (in interview with Disneyland LINE, Vol. 25 No. 28)? Bob recalled a conversation with Walt, while operating the Autopia. Walt asked, “‘What about those cars banging together - can we stop that?’ I told him, ‘Walt, I don’t think we’ll ever see the day that Guests don’t bang the cars together.’” Bob Penfield was no pessimist, but he was correct. By 1972, Pregnant women were restricted (for that very reason) from riding the Matterhorn Bobsleds and the Autopias. In the year 2000 (and almost a half-century after Bob spoke those words), these plaques (pictured above) featuring a safety warning as a reminder for guests of all ages. These plaques graced the dash boards of the all-new Chevron Autopia Vehicles at Disneyland!

All of this would continue to contribute toward pleasant drives through the scenic side of Tomorrowland!

Outside the original Disneyland Park, the Autopia would also have a legacy at Disney Theme Parks, like Tokyo Disneyland.

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. Walt Disney Imagineers are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures! Walt once divulged, “When we consider a new project, we really study it - not just the surface idea, but everything about it. And when we go into that new project, we believe in it all the way.” [“Walt Disney Productions Annual Report to Shareholders and Employees Fiscal Year Ended October 2, 1965”]

That philosophy having grown into a Disneyland tradition, assures us that some form of the Autopia may continue will continue with Tomorrowland far into the future. Already, plans have been announced for another reimagining of the timeless Tomorrowland Transportation System, with electric cars planned to arrive in 2026!

“Prologue - ‘Forever Let Us Hold Our Banner High’”

Disneyland® Park has always flown all sorts of flags! 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.”

There was Disneyland’s official flag over the Santa Fe & Disneyland Railroad Main Street Station, there were historic American revolution-era flags near the Frontierland Dock, and there were even international maritime signal flags over the Tomorrowland Exhibit Halls. Occassionally, international flags decorated thoroughfares during special events like the opening of the Matterhorn in 1959 (pictured above).

“Designing the Court of Honor”

The presentation of the Court of Honor show on the vast DISNEYLAND “stage” was a distinct part of the Disneyland theater concept. About this time, thumbnail sketches and other concept artwork of Disneyland seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Like the modern “Blue Sky” process, Walt’s team appeared to engage in “free-thinking.” This is what a good amount of Herb Ryman’s “suggestions” depicted for the Entrance to Tomorrowland - some patriotic thematic elements, plenty of fountains, and atomic emblems.

Ultimately, Ryman’s fountains were incorporated into the design of the Tomorrowland Exhibit Halls and a new patriotic salute was born - the Court of Honor. Final designs were quickly generated and approved, like some advanced “High Concept”. Some of these viable project Concepts (as depicted above), were supported by a well-developed business case and built expectation. These concepts were soon followed by drawings which defined all designs, production and construction strategies, costs, schedule, and resource requirements.

“Constructing the Court of Honor”

Construction crews didn't begin work on any of Tomorrowland until six months into the project. 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 flag poles were not installed until the final stages of construction. Still, while Tomorrowland was being completed, Bob Thomas quoted Walt, reporting “‘We’ll have flags all over the place,’ he remarked. ‘At the entrance we’ll have a big one with 48 stars… And in Tomorrowland, the flags will have 50 stars - - for Hawaii and Alaska.’”

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: “Flag Poles: We need location decision.” By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. Both George and Ron were likely involved in planning the location for the Court of Honor.

“Dedicating The Court of Honor”

On the Opening Day of Disneyland, The Court of Honor was Tomorrowland’s special star-shaped “hub” (or, plaza), and homage to the current United 48 States of America! The Court of Honor was situated near the center of Tomorrowland, at the entrance to Hobbyland. In the center of the Court of Honor, was (despite Walt’s promise to Bob Thomas) one of Disneyland’s two 48-star flags, flying high. This flag pole was special, because its United States flag was one of two Disneyland flags lowered at the time of the Retreat Ceremony, at the end of each Disneyland day.

On that Opening Day of Disneyland, the free exhibit was dedicated as the forty-eight states were saluted by 48 Boy Scouts of America who ceremoniously hoisted the 48 colorful state flags up their respected poles (all in coordination with a drum line). [See the Disneyland Opening Day Telecast, July 17th, 1955 ; approx. 44:37] Some of these things are preserved through Opening Day documentation.

As a “sidelight,” a relationship with the scouts continued, when (on July 7th, 1956) both Disneyland and Walt Disney were subsequently honored before more than 40,000 Cub Scouts. This took place at a show held at Los Angeles Memorial Coliseum, and produced by the Los Angeles Area Boy Scouts of America! Walt Disney was named General Chairman of the big show, which co-starred television’s Mouseketeers, and was divided into four segments - “Adventureland,” “Fantasyland,” “Frontierland,” and “Tomorrowland.”

The flags were originally configured (appropriately) around a star-shaped floral bed in Tomorrowland’s “hub,” but things would soon change as Walt Disney’s promises of an expanding Disneyland would soon come true!

“New magical Opportunities”

Walt Disney, on the eve of Disneyland’s first day of operation, promised innovation, that “Disneyland will never be completed. It will continue to grow, to add new things, as long as there is imagination left in the world.” Walt also 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 what became of the Court of Honor.

The Court of Honor didn’t last long at Tomorrowland’s hub, because big and efficient changes were soon headed to the Tomorrowland Show. In 1956, the area where the Court of Honor sat was repurposed, in its place AstroJets would circle over Tomorrowland. The star-configured flag poles were repositioned (similar to some of Herb Ryman’s “suggestions”), and efficiently stationed along the sides of Tomorrowland’s entrance, leading the way to the World Clock. Plaques were attached to each pole bearing a United States Flag (pictured), and each plaque featured the date of the state’s admission into the United States Union as well as its State motto. The newly decorated thoroughfare was now renamed the Avenue of Flags!

“A New Formation”

The flag poles lined the perimeter of the plaza containing the World Clock and three flower beds (for both aesthetic and crowd-control purposes). The Flag Poles were now arranged around the Entryway, like that of “Maine, Admitted March 15, 1820, 23rd State, Motto: ‘I Direct,’” which was located to the right of the Monsanto Hall of Chemistry entrance. Though not individually identified on the preceding map excerpt, you can get an idea of the new configuration for the poles.

“New Additions”

Also notable is that the Avenue of Flags saw three editions of this country’s official “Old Glory”. The Avenue of Flags debuted with a 48-star flag of the United States of America. As additions were made to the union, they were reflected in its own “star-spangled” banner that was the showcased centerpiece of the attraction. For example, on July 4th, 1959, an Alaskan Flag Ceremony was held in Tomorrowland commemorating the 49th state to join the union, on January 3rd, 1959! On this occasion, a brand new 49-star flag of the United States of America was hoisted up the flag pole in the center of the Court of Honor! A new pole was also added and the first Disneyland Dictionary printed October of 1959 soon made mention of the “flags of each of the 49 states.” The following year, a 50-star flag (first introduced July 4, 1960 at Fort Mc Henry) made its Disneyland debut.

Throughout that era, this American Flag was (1) of (2) contemporaneous “American flags of today” flown in Disneyland, one at the center of the Court of Honor at the entrance to Tomorrowland. However, a Flag Retreat Ceremony was observed at sun-down every day the park is open, only for the flag that was lowered from the pole in Town Square.

“Flag Installation and Maintenance”

Most of the flags flown at Disneyland during the “fabulous first decade” (including those on the Avenue of Flags)were manufactured by Horetense Van Der Wyk’s Hortie-Van of Pasadena, California. These flags were both installed by the Disneyland Drapery Department. The Disneyland Drapery Department also maintained the flags from weathering and tearing. During those early years, this task was accomplished by 1958 seamstress Al Alvarez, and others.

Guests enjoyed commemorating their visit next to plaques bearing their state’s motto. These guests are commemorating their visit to Tomorrowland next to the plaque of the “land of Lincoln”, the “prairie state” - the State of Illinois’! The motto of the 21st state of the union is proudly displayed, reading “State Sovereignty, National Union”!

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. Here, a plaque bearing one motto of New York (the 11th state of the union) - “excelsior”, sits proudly below the New York State Flag!

Room was made for new developments and the flag poles were soon reconfigured to line the thoroughfare leading into the land of Tomorrow! Now, a decade after the Avenue of Flags was created, the fifty flags of the union lead the way to the brand-new 50-star flag waving over the Clock of the World!

There were only two 49-star flags flown in Disneyland (the other in the center of Town Square).

For some reason the flags were (not flown at Half-Staff, but) tied down perhaps for protection from the wind when this Vintage View was captured.

The Avenue of Flags stretched past Monsanto’s Plastics Home of the Future.

This is what guests saw from Disneyland’s hub, when they turned toward Tomorrowland. “Flags of the States” lined the road to Tomorrowland!

The rest of the forty-eight flags encircled the Clock of the World in Tomorrowland’s hub.

The flags of Wisconsin, Iowa, Texas and other States line the way to the entrance of America the Beautiful.

Disneyland has been utilized as a backdrop for many advertising campaigns made for television and publications (like magazines and newspapers). Photographs for the “Schwinn Takes A Trip To Disneyland” catalogue (including this one where the Avenue of Flags was used as a background for the Schwinn Racer) were shot at Disneyland during the Disneyland Tencennial celebration of 1965, and published the following year.

Magic Kingdom Club Administrator Eleanor Heldt once said: “In a way, Disneyland is a United Nations devoted to bringing together and entertaining peoples from every corner of the globe.” Naturally, the Avenue of Flags occasionally featured more than flags of the United States of America. During the International Geophysical Year of July, 1957 to December, 1958, guests walked past the Avenue of Flags attraction at Tomorrowland’s Entryway, and noticed the emblem of the United Nations flanked by flags of the world. These hung over the central floral beds, between Tomorrowland’s exhibit halls, welcoming guests from many nations. This celebration may have been in observance of the Geophysical Year or World Trade Day (which was first celebrated during May of 1957) in association with the Los Angeles Chamber of Commerce. Whatever the intent, two years later, Disneyland first celebrated United Nations Day of 1960.

“The Flags of New Tomorrowland”

It seems that New Tomorrowland was to include Flags of the States, which were included on Fun Maps sold at Disneyland Park. But ultimately, by the time that New Tomorrowland would open, the Avenue of Flags attraction had become a thing of the past. In the exact location of the old “Court of Honor” would stand the launchpad for the new RocketJets attraction!

The Avenue of Flags had a legacy within the early plans of Walt Disney World at EPCOT Center.

The Courtyard of the Flags nearly had a legacy in the Courtyard of Nations, a planned centerpiece for Epcot Center in Florida.

“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.

After the success of Disneyland, developers of the amusement centers saw the benefit of a Bank in their parks. On June 19, 1960, Freedom Land, U.S.A. opened in the Baychester Area of Bronx, New York, an entertainment center “founded on the inspiring story of America and its people”. One of its opening day attractions was a Bank exhibit in its “Little Old New York: 1850-1900” Area. Freedom Land’s bank was complete with a political pep rally, German band, bank hold-up, and suffragettes.

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.

“Shooting Gallery Operation and the Disneyland Show”

Soon after Disneyland® Park opened, the Safari Shooting Gallery debuted on July 23, 1955! The attraction (appraised in 1958, at $3,800) was located inside the Penny Arcade on Main Street, in the present location corresponding to the Gibson Girl Ice Cream Parlor. There, Guests took aim at both stationary and moving targets.

After less than seven years of operation, it was decided that the sound of the guns and pellets affected the Show Quality of Main Street in a negative way. The Main Street Shooting Gallery would cease operation by January 1, 1962.

“Master Planning a New Shooting Gallery for Disneyland”

Walt Disney’s Imagineers sure knew their audience, and their audience demanded a new shooting gallery. During 1961, “Anaheim... Future Unlimited” published by the Anaheim Chamber of Commerce, foretold: “And true to Walt Disney's promise that ‘Disneyland will never be completed,’ $7 million in new adventures are now being added for unveiling in 1962 and 1963. A completely new Jungle Cruise, the ‘world’s largest’ Tree House, a unique new concept in restaurants, and ‘Safari Shooting Gallery’ open in Summer ‘62. For 1963, a Haunted Mansion, New Orleans Square and the Blue Bayou Mart are being readied. Disneyland, ‘The Happiest Place on Earth’ is a permanent resident of Anaheim and happy to be doing its part in helping the community grow.”

True to those words, when South Seas Traders departed its location, Big Game Safari Shooting Gallery opened in its place. The Big Game Safari Shooting Gallery opened alongside other Adventureland additions, on the same day as the Swiss Family Robinson Treehouse, on June 15, 1962.

A later Disneyland map excerpt also depicts the Big Game Shoot to be located in Adventureland’s “midway” next to the Adventureland Bazaar, and across from the entryway to the Jungle Cruise dock.

Similar to the layout of the main thoroughfare in Frontierland, Big Game Shoot was located through the Adventureland entryway and between a souvenir shop (Adventureland Bazaar) and a food concession (Sunkist, I Presume).

This rare shot gives us an idea of what the outside of Adventureland’s only shooting gallery looked like. The roof is decorated with spears (similar to the entrance of the Jungle River Cruise queue), and masks by Oceanic Arts.

The Big Game Safari Shooting Gallery was one of three total shooting galleries that operated at Disneyland, and like the others, was managed by Mac Glashan Enterprises (founded in the 1930’s, by Paul MacGlashan). Furthering the theme of Adventureland, the attraction had“an African Game Reservation motif,” and offered guests the chance to prepare for their African Safari aboard the Jungle River Cruise, by perfecting their marksmanship. Vacationland magazine heralded this announcement : “If you’re a marksman, the new Big Game Safari is for you. While it’s based on time-tested shooting gallery tradition, this jungle hunt is an authentic Disney creation - a rapid fire adventure where you’ll shoot at all kinds of jungle animals and birds, each hand-crafted for Disneyland.”

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 is well illustrated by Guest response to Big Game Safari Shooting Gallery.

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. Now, “set your sights” on our this artifact (pictured above)! Courtesy of a Van Eaton Galleries Pre-Auction Exhibit & the former Collection of Richard Kraft, That’s From Disneyland visitors had the rare privilege to view this hand-painted sign at “close range.” A full round of ammunition cost just 25¢ or a “C” coupon - the original early-sixties pricing for this Safari style game! The game had 16 guns total, allowing for a maximum capacity of 16 at the same time. The average shooting time per Guest was 56 seconds, allowing for 53 Guests per gun, per hour.

Metallic animal silhouettes like this one (pictured above) were the target of guest’s pellet guns at Big Game Shoot. Other targets included “elephants… apes sharks and other big game,” according to the “Disneyland Dictionary” (compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968).

Sometimes the guest’s .22 caliber size bb pellets would miss their target, and (according to some guests and Disneylanders who are old enough to remember) the projectiles would sometimes ricochet off the metal targets and walls. Due to daily wear inflicted by the pellets, the “B” ticket attraction booth was regularly maintained during the evening. Pellets were swept up and targets were meticulously repainted at the end of each day, as attested to in the following Backstage Disneyland article.

Before the summer of 1962, the price of a full round of ammunition was 35¢ - the same price as the Swiss Family Robinson Treehouse (which was a coming attraction in early 1962).

You may recollect taking hold of a 2400 PSI Mac Glashan Air Rifle (powered by special compressors), peering through the scope, and taking aim at the silhouettes of birds, rhinos, baboons, and big cats.

During 1962 (the very year that Big Game Shooting Gallery began operation), these Big Game Shooting Gallery souvenir tie-ins were produced by Tru-Vue (the same company that produced View Masters and View Master Reels). During the 1960s, guests could find these unique Adventureland novelty items in catalogues and shops where Disneyland souvenirs were sold. We recently had the pleasure to see this example of one of these artifacts (along with its preserved packaging) at Van Eaton Galleries’ “Disneyland : The First 65 Years” auction (August 15-16, 2020).

This was not the only product to be themed after the Big Game Shooting Gallery. These Walt Disney’s Tru-Vue Adventureland Picture Guns were produced during an era contemporaneous with the True-Vue Projection Theater, as well as the cork guns and cap guns found in Frontierland Souvenir Shops. As opposed to these aforementioned products, the Tru-Vue Picture Gun (originally retailing at $2.95 each, c. 1963) didn’t fire projectiles. It only “shot” a beam of light, projecting pictures of Disneyland against dark surfaces. According to catalogues, it was “loaded with realistic double-action target pictures of jungle animals, packed with ‘big game hunt’ excitement that’s ready for many hours of rugged safe play.”

“Maintenance and the Perpetual Paint Job”

The Disneyland Guest experience is impacted greatly by the routine refurbishment work and rehabilitations performed by the staff of Disneyland Shops (The Maintenance Division at Disneyland). There were eleven colors of paint used in the Adventureland Big Game Shoot Gallery. According to Eleanor Heldt (1961 Magic Kingdom Club Administrator), “these chores must be accomplished in the eight hours the Park is closed.”

Backstage Disneyland (Winter/1965) credited a few of the people responsible for keeping the Big Game Shoot gallery freshly painted each day - “Ray Horn, Bill Weigele, Frank Pettronelli, Bill Atnar… [and] Bob Ream.”

The same article expounds : “The paint they use on everything is vinyl except for the water targets, and these are painted with colored shellac. Twice a year the paint is completely chipped off and with galleries are redone. Occasionally funny things happen, especially when a new man is working. For instance the Adventureland gallery has several giraffes and if the eyes are accidentally touched, they move and scare whoever is painting them. Sometimes a wrong button will be pushed and the targets start moving making the painters jump and hang onto trees to get out of the way. Tony was telling us one day how they all cringe whenever they hear a gunshot because sometimes they are working when the Park is open. Working during operating hours also leads to questions from the guests, who after standing and watching for a moment will ask, ‘What are you doing, painting?’ Or, ‘How often do you want to paint it?’ It must be interesting, or should I say frustrating to have a job where as soon as you are through, it is time to start again. After all, it takes only one shot and one piece of lead, and the paint job is on its way to being done again.”

Disneyland was and is not really a military institution, but once had a fleet of submarines and a good supply of guns. This list of guns to be repaired, maintained, and regularly overhauled included Smith and Wesson 38 revolvers, Colt 45 revolvers, 12 gauge shotguns, and rifles (as the air rifles used in the arcade). The Arcade Mechanics team would regularly repair the firearms.

Owning to this maintenance, Donnie and Jay Osmond were able to emptying their guns in “Disneyland Showtime” (a c.1970 Wonderful World of Disney episode).

By the mid-1960s the price of a full round of ammunition was 40¢.

The following four statistics are based on the results of Disneyland Attractions Time Studies gathered in 1968:

Theoretical Hourly Capacity : 850

Instantaneous Capacity : 16 (with a total of 16 guns)

Audience Control Capacity : 16

Average Shooting Time Per Guest : :56

Reload Ticket Collection : :12

Number of Guests Pr Hour Per Gun: 53

“Walt Disney Productions Purchases MacGlashan Enterprises”

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 showquality of Disneyland adventures. It seems that airbound and dangerous, stray Shooting Gallery pellets led to two lawsuits. By 1965, Disneyland Research and Development was exploring the possibility of a Tomorrowland Shooting Gallery on the other side of the Park. While that project was in something of a “Blue Sky” phase, Disneyland management considered a switch to plastic shell casings (instead of the more expensive brass shells) for both the Frontierland Shooting Gallery and Big Game Shoot. Bob Parker’s Parker Arms & Munitions, Inc. (of local Orange, California) was in the process of providing new plastic shell casings in place of the old brass casings. This transition began with the Disneyland Entertainment Department’s Frontierland Shows, before taking effect upon the Shooting Galleries. Though Disneyland was provided munitions directly through MacGlashan Enterprises, Disneyland Inc. would soon purchase MacGlashan Enterprises’ subsidiary Parker Arms and Munitions of Orange, California - the manufacturer of plastic shell casings (among other supplies).

By 1969, MacGlashan Enterprises became “a division of Walt Disney Production’s Buena Vista Distributing Company,” and it had its headquarters “within the imposing shadow of Anaheim Stadium,” according to “A Company of a Different Calibre,” published in Disneyland LINE January 27, 1977. During March of 1969, Disneyland employee Truman Woodworth hadmoved to MacGlashan Guns, Inc., a wholly-owned subsidiary of Buena Vista Distribution Co., Inc., as General Manager. Now (according to the very same source), MacGlashan Enterprises“raised the shooting gallery to a level of sophistication that is well worthy of the Disney trademark.”

Also, by about 1971, McGlashan Enterprises had become a division of Buena Vista Distribution Co., Inc. By that time, the company had designed and was manufacturing a line of custom-crafted popcorn wagons for Disneyland, Walt Disney World and other amusement facilities. This was in addition to manufacturing and designing the shooting galleries, air rifles, air cannons with both plastic and lad shot for Disneyland.

By winter of 1972, MacGlashan Enterprises had 15 employees. Located but a short distance from Disneyland at 1641 South Sinclair, MacGlashan Enterprises specialized in designing and manufacturing a wide variety of custom-made shooting galleries for amusement centers all over the country. Their galleries, which also featured MacGlashan air rifles, air cannons, and plastic and lead shot, could be found not only at Walt Disney World, Disneyland, and Celebrity Sports Center, but also at such amusement centers as the ‘Six Flags’ parks Over Georgia, Texas, and Mid-America, Opry-land in Nashville, Tennessee, Kings Island in Cincinnati, Ohio, and Cara-winds park in North Carolina, among others. They also designed and manufactured a line of custom-crafted popcorn wagons for Disneyland, Walt Disney World and other amusement facilities.

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.

During each day Park Operations M-44 Machinists would, at least once, circulate to each Adv/Front area attraction and discuss with each attraction lead any problems, defects, or other feedback regarding the attraction. They would then notify the Mechanical Dept. of anything regarding this department and notify the M-1 of anything regarding other crafts. The M-44 Machinist would make standard opening inspection of Shooting Galleries, notify the M-41 of any further work to be done or parts needed prior to opening, check overall appearance, and make them ready for operation.

The attraction briefly closed on May 9, 1975, reopening reportedly “with no change” on May 29, 1976. By 1976, MacGlashan Enterprises (also located at Sinclair Street in Anaheim) was in the business of manufacturing shooting galleries for non-Disney Parks venues. According to one brochure, MacGlashan Enterprises was manufacturing “unique and colorful, sometimes humorous galleries designed to attract the patron’s attention and provide him with sporting amusement” tailoring the gallery to “space and traffic needs… a choice of animated targets in a setting that comes to life in a realistic dimension.” At the time, MacGlashan offered a diverse assortment of thematic target sections (with Pirate and Western themes) and still offered lead shot with recyclable ammunition and innovative “Lazer Guns” with a powerful scope, with realistic recoil and explosive sound.

Some of their clientele included the Santa Cruz Seaside Company (for its Casino Arcade at Santa Cruz Beach Boardwalk), and Cedar Point Ohio (for its Fiesta Fun Center).

Big Game Shooting Gallery appears as a “B” coupon attraction in Souvenir Guides distributed during 1980, and also appears later, in the “Dial Guide” maps (published 1981).

“Closure”

Big Game Safari was closed for Operational Review by according to a Rides and Attractions Report prepared by October 3, 1981. The attraction was still listed on batches of May, 1981 tickets (bearing the date code 815). However, by January of 1982, the last pellet gun would empty its round (so-to-speak), and the Big Game Shooting Gallery would no longer appear on ticket coupons, in souvenir guides, or on maps!

According to Disneyland LINE (April 5, 1991), “In 1984, South Seas Traders expanded and moved into its present location, directly across from the Jungle Cruise, where the Adventureland Big Game Shooting Gallery once stood.” By 1984 the pellet rifles had become a liability for Disneyland, so the manufacturer replaced the rifles with a light gun (or “Laser Gun”) which continued in use within Frontierland’s shooting gallery! It was here, that Disneyland guests could still test their skills at still and moving targets.

Soon, Guests would board a mine train at Big Thunder Mountain for the wildest ride in the west!

“Prologue”

One can easily slip into the jargon of “ride,” but at Disneyland® Park there are adventures and attractions, with every attraction, 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.”

There is a “story behind the story” of every attraction and it is important to review the story of the attraction, tell the story, explain it, and create interest. This is the story of Big Thunder Mountain Railroad.

When Disneyland was being conceived, Walt intended that his Park have no roller coasters. During the development of Disneyland, the Casey Junior Train attraction was tamed to its present timeless incarnation. However, Walt Disney said : “Disneyland will never be completed. It will continue to grow, always adding new things to provide its visitors with exceptional and entertaining attractions.” In Walt’s eyes, Disneyland was “like a piece of clay,” because if there was something he didn’t like, he wasn’t stuck with it. He could reshape and revamp it. This is partially because they were much like Walt Disney. Walt also said: “Since my outlook and attitudes are ingrained throughout our organization, all our people have this curiosity; it keeps us moving forward, exploring, experimenting, and opening new doors.”

After years of personally reshaping and revamping, Walt was ready to pass the torch, divulging: “I’m not the perfectionist anymore. It’s my staff - they’re the ones always insisting on doing something better and better.” Today, one WED philosophy is that there is no bad idea. “We say that because if you get in a meeting and somebody comes up with something and someone turns to him and says, ‘That's a stupid idea!’ you'll probably never get another idea from that person. So, we try to create an open environment where people can say anything. Quite often, something that sounds dumb at the time will turn out to be just the little spark that sets everything off Somebody will come in later and say, You know, I thought what so and so said was dumb, but I’ve been thinking about it and I think there's a little gem here.’ Its amazing how many times that happens…‘ Marty said that he's been around so long and has discussed so many ideas that he has seen many resurface after many years. ‘When that happens, I know from experience that a lot of them won't work, but I don't say, 'Well, you know what? We tried that 20 years ago and it won't work; because so much changes. If we went back through our archives, we'd probably find a lot of things that we could do today that we couldn't do at the time because the technology wasn't there.’“ [“Ripley’s Legends - pioneers of the Amusement Park Industry” by Tim O’Brien, Volume One]

“Blue Sky for a Big Mountain”

A fantastic example of this is the very idea of Big Thunder Mountain Railroad, which owes itself to the minds of numerous talented WED Creative Development Division staff members, like the Legendary Marc Davis. Back during the era of the Magic Kingdom’s development in Florida, it was believed that Florida residents and Magic Kingdom visitors would be bored with a pirate themed attraction, so an alternative adventure to Pirates of the Caribbean, was developed by Marc Davis.

“Eastern Airlines Introduces Walt Disney World - The Family Vacation Kingdom” published by “the official airline,” before October 1971 described how the “completely new, family-oriented total resort destination will have something to make the wishes of every member of the family come true.” One page briefly elucidated the show in greater detail: “A major attraction to be added during Walt Disney World's ‘Phase One’ is Thunder Mesa, which will tower high above dense pine forests, offering a spectacular panoramic view of Frontierland. Resembling a ‘table-top' mountain, typical of those found on Southwestern deserts, it will include a pueblo-style village and a series of exciting adventures. Inside Thunder Mesa, guests will ‘sign aboard’ the Western River expedition - a musical parody of the wild old West. On their cruise, they'll come face to face with cowboys and Indians in a frontier fantasy on the grand scale of Disneyland's famous Pirates of the Caribbean.”

This show would contain a lot of gags - comic bit of action or dialog that makes one laugh.

Thunder Mesa was staged, presenting the scenes, or actions. The concepts for the “toothy” Thunder Mesa would “tower high above dense pine forests, offering a spectacular panoramic view of Frontierland. Resembling a ‘table-top’ typical of those found in Southwestern deserts” it would “include a pueblo-style village and a series of exciting adventures,” according to the Preview Edition Walt Disney World - the Vacation Kingdom of the World. Once inside, guests could board the Western River Expedition (another gravity-flow canal boat attraction) “a musical parody of the Wild old west” which would be one feature of a potentially new kind of Frontierland. However, the massive show building was figured to be too expensive, and the plans were “shelved” in 1973 (without even a “rumbling” being heard about mine trains during the construction of Space Mountain).

Well, perhaps there was a little movement in this area. That very year (of 1973), Tony Baxter (of WED Creative Development’s Project Show Design Division) had previously been assigned to the on-site team at Walt Disney World (an assignment that lasted nine months), and was now assigned to what was known as the “train ride” project. That year, Tony (with his knowhow of balsa wood marble maze construction) and a team of model makers, “went to work designing a physical layout while at the same time adding ‘show elements’ which sprang from their own imaginations,” according to one Press Release. “A quarter-inch scale ‘show’ model of the attraction was constructed.” [“Creation of ‘Big Thunder Mountain Railroad’ Typifies Disney History of Creative Teamwork”]

Walt Disney Imagineers knew their audience. After Space Mountain successfully opened at Walt Disney World Magic Kingdom, the evident advancements in computer controlled “Block Systems” led to consideration of a new Frontierland attraction at Disneyland. Marc Davis’ western-themed ideas (and comedic vignettes) were dusted off by Walt Disney Imagineers and presented as a “train ride” concept. However, some Show aspects of his attraction designs were deemed a little archaic and thus not approved.

“Dimensional Design”

Dimensional Design and models have always played an important role in development. It’s much easier for people to visualize a concept in three dimensions. A model maker is probably the first to take a concept and make it real. Models are also used in presentations, to sell the idea of the attraction.

While elaborate show models can take several months to build, a model is a time-saver because construction problems can be worked out ahead of time. A finished model is also a useful reference at the construction site.

It’s been said that the “modeling process will take many forms and many scales, often ranging from tiny paper cutouts, all the way up to full scale mock-ups. Whichever way the process goes, however, the WED designers think big by first building very small.” [THE DISNEY THEME SHOW: an introduction to the art of Disney outdoor entertainment] Show models were prepared, depicting the attraction's show elements, such as it’s figures and stages.

When Walt Disney Imagineering Model Shop completes a model, not all can be saved. Many are thrown out. Only those models judged to have some significance are crated up and stored away; by 1984, an approximate total of 1,500 to 1,700 models had been stored. Above, note a salvaged fragment of the historic Big Thunder Mountain model.

By Winter 1972, the 25-year-old full-time WED Imagineer Tony Baxter was immersed in a scale model railroad track, plotting its course through an assemblage of miniature southwest mesas, buttes, and western towns, all part of a major new attraction he is designing for Walt Disney World: Big Thunder Railway.

Once Tony’s model was approved for show design concepts, “a larger 1/2”-to-1” scale model of the attraction was constructed for field work. A grid work of 1/2” squares was then drawn over the model and it was cut into 1” slices. The grid was enlarged to full scale at Disneyland, providing exact dimensions for each section of rock work.” [“Unique Growth Process Helps Create Big Thunder Mountain” Press Release] The larger model featured much of the exact tooth (texture and rough surface) that would be replicated full-scale.

According to Dave Melanson (WED Project Coordinator) “Big Thunder Mine Railway” was first approved on February 11, 1977. It was decided to retain both the idea of a mine train vehicle, and the name “Big Thunder” in honor of Cascade Peak’s “Big Thunder Falls,” (which once spilled their waters into the River’s of America, from 1960 to 1977). Maintenance salvage and tree boxing began around March of 1977, to “determine those elements of scenery and animation which can be saved from Nature’s Wonderland and put to future use.” Anything that could be salvaged needed to be cleared out by May, when major demolition was scheduled to begin. [Disneyland LINE, February 24, 1977] Two Show elements that were allowed to remain were the “Twin Peaks and waterfall.”

Tony Baxter has said, that “‘Big Thunder Mountain Railroad is a collection of individual embellishments’ orchestrated into a cohesive show.” This is evident by what happened next. Under the artistic and engineering direction and expertise of both Tony Baxter and Bill Watkins, a team of Imagineers was assembled! Walt Disney Imagineers Skip Lange (a University of California Bachelor with a knack for sculpting rock work) and Patrick Burke (a Mojave native) both worked on one of the first extensive models of “Big Thunder Mine Railway.” Quite a few meetings of WED and MAPO artists and engineers took place (appropriately) at the nearby Golden Horseshoe in Frontierland.

Then, the old Mine Trains (which once transported guests through Nature’s Wonderland) pulled into the Loading Station for the last time, on January 2nd, 1977. According to Disneyland LINE Magazine [October 28, 1994 ; Vol. 26, No. 42] : “With the turnstile locked and the train backed into the tunnel, the clamor of picks and shovels and chugging trains were heard no more…. Gone were the geysers, gophers and phosphoric pools in the caverns, past precipices and waterfalls.” But this is just the beginning of our story! During the very same month of January 1977, the two-acre Nature’s Wonderland began to be re-“landscaped” into Big Thunder Mountain, under the oversight of Mike Marx (contemporaneous Frontierland Area Stage Supervisor) and Tony Baxter (contemporaneous Walt Disney Imagineer ; Art Director)! Just over a month later, it’s replacement “Big Thunder Mountain Railroad” was approved as a project, on February 11, 1977. A few days later Disneyland LINE (February 24, 1977) ran the headline “Goodbye, Mine Train. . . Hello, Thunder Railroad.” The article announced briefly : “After a successful 17-year run, the Mine Train has been put out to pasture. Yet this retirement will not be in vain, as an all new attraction is planned for that area of Frontierland - - Big Thunder Railroad is coming!”

The town of Rainbow Ridge disappeared from the hills overlooking Frontierland some time in 1977 (and then construction began, on the soon-to-be-iconic Big Thunder Mountain in July of 1977). A Press Event was held thereafter, on Saturday, September 15th, 1977. By that time, most of the buildings of Rainbow Ridge were temporarily moved Backstage, in order to be rehabilitated, refreshed, and redeveloped for their relocation to Thunder Ridge. Some original structures (like the Big Thunder Epitaph, General Mercantile, Golden Nugget Dance Hall, El Dorado Hotel, and Panhandle Hotel buildings) were present in 1956, and would go on to exist for several decades.

Next, some 130,680 square feet (3 acres) of land was prepared. The designers were intent on preserving as much of the aspen and pine trees as possible, knowing this would only enhance the character and Show Quality of the new Frontierland attraction. Still, the presentation of the Big Thunder Mountain Railroad show on the vast DISNEYLAND “stage” was a distinct part of the Disneyland theater concept.

WED designed and MAPO fabricated, assembled and tested the trains and ore cars. A total of 6 trains (comprised of one engine, with 5 cars) were constructed. Each one would have a 30-guest capacity (at 6 guests per car).

“Rock Work”

The 1/2-inch to 1-inch scale model of the rock work (which was divided into a grid and dissected into “1” slices”) guided Skip Lange in oversight of the production of the rock work - re-creations of natural rock formations in steel and cement. Most of the rocks and the mountains in Disneyland were products of the Staff Shop. Model-maker Fred Joerger (who was hired c.1953 to craft the “Barber Shop Quartet” show for “Project Little Man” of “Walt Disney’s Disneyland”) had become known for his skill at carving three-dimensional RockWork from plaster, and made notable contributions.

The first pieces attached were the upper “sandstone” buttes (one of which was constructed during August of 1978 and weighed an impressive 28 tons). These were “hoisted and secured atop the massive mountain’s steel frame,” as described by Disneyland LINE (October 26, 1994), and depicted in a photograph appearing in the aforementioned “Disneyland 25 - Happy Birthday to a Dream” supplement.

Then work began on the lower RockWork. “‘Imagineering’ Disneyland’s Newest Attraction - Big Thunder Mountain Railroad,” by WED Communications writer Tom Fitzgerald (prepared for the “Disneyland 25 - Happy Birthday to a Dream” supplement, for publication on January 20, 1980) divulged the rarely-seen process of these magnificent rock formations, stating: “A full scale grid, painted on an area paved backstage at Disneyland, provided the exact dimensions for the model-to-mountain enlarging process.

Iron rebar was then bent into proper contours, and assembled in formation. Next, the frames were filled in and covered with a wire mesh, called lath. Finally, a concrete substance was poured over the lath and textured to give the rock its rough exterior. The resulting rock is believed to be the most elaborate texture and shape formation of its scope and size ever attempted.”

“Add to that the finishing touches of the skillful painters and you have Big Thunder Mountain, believed to be the most elaborate rock work texture and shape formation ever attempted anywhere.” [“Unique Growth Process Helps Create Big Thunder Mountain” Press Release]

Construction began on 5-car trains (weighing 8,000 lbs. each).

Meanwhile, many show effects were being prepared to tell the Big Thunder Story - rock avalanches, glowing phosphorescent pools, screeching and fluttering bats in addition to all sorts of Audio-Animatronics® critters.

Walt Disney Productions microgroove acetate audio recordings (e.g. the quartet heard in the barbershop) were produced for the town of Big Thunder as late as May of 1979 (according to Daily Acetate Reports compiled by Otto Laing).

John Patrick Burke (Walt Disney Imagineer Show and Set Designer) joined the WED Model Shop in 1972. By the time construction began on Big Thunder Mountain at Disneyland, John had developed quite a résumé - including The Walt Disney Story tribute exhibit, America Sings, and Space Mountain at Disneyland! John had also developed quite a collection of Wild West era artifacts. And so, John would be tasked with researching, collecting, and providing the props for the Big Thunder Stage! Both Patrick Burke (WED Models) and Lee Congiardo (WED Interiors) combed abandoned ghost towns and mines in search of treasures to decorate the Frontierland-scape with authentic old West artifacts from their personal collections. The “persistent relic seekers [also] acquired the Big Thunder decor from abandoned mines in… Nevada, Colorado, Minnesota, and Wyoming, as well as museums, swap meets and private donations.” [Disneyland LINE, October 28, 1994] It’s a fact that John’s home property was full of such relics, even decades later.

The duo found a (c. 1880) 100-year-old Stamp Mill, which once crushed ore for chemical extraction at Silver Queen Mine in the Mojave Desert. Other relics included a “hand-driven drill press, gears, picks, shovels and an array of other artifacts.” [Disneyland 25 “Happy Birthday o a Dream” Advertising Supplement; published January 20, 1980] They also found naturally aged black iron metal roofing, salvaged from abandoned Mojave desert mines, which was subsequently used on the tower. They also found quite a few little details, like a bell once used as a means of communication for miners, and a pair of authentic high-buttoned shoes which were placed in the window of one of the shops. The most amazing detail is probably the more than 230 tons of true-life gold ore, which was trucked to Disneyland, in order to decorate the queue area. It was purchased in “Rosamond, California, at $80 a ton,” according to Disneyland LINE (published for October 28, 1994).

These props and Show Quality enhancing details would be added right of to the final stages of construction. “Agers and Grainers” would bestow a “timeworn,” distressed and aged appearance upon the props through painting techniques.

The period of September (and October) of 1978, saw the mining town, shafts, pump and winch houses, trestles and Load Building erected. The rest of the rock work (including waterfalls, streams and pools running through) was completed during December of 1978.

Big Thunder Mountain Railroad (originally “discovered in 1880”) was scheduled for Opening during the Spring of 1979, but much work needed to be done. During June, final tests were still being performed on the “C” Lifts (which carried the trains through the avalanche effect), the waterfall effect was being installed, but the “A” Lift was being adjusted. After all the heavy construction was completed (by July 1st, 1979), the finishing touches (landscaping, painting, and other facets) were completed before July 13th.

Last of all, two Program Logic Controller (PLC) systems (a computerized controller of mechanical and electronic equipment) and one Nova system (“for message generation” and alerting operators and engineers to any conditions of units) were installed by the staff of the four-person Disneyland Computer System Engineer Department (like Steve Gold). These advanced ride control systems were similar to those first installed in Space Mountain at Disneyland and Walt Disney’s Magic Kingdom in Florida. While Space Mountain at Disneyland had one PLC, Big Thunder Mountain Railroad would has two, enabling the computers to monitor functions and conditions of units, and then alternate based on calculations, increasing safety. Liner Induction Booster motors help the trains to “boost… out of the station, and then slow them down at the end of the ride,” according to Disneyland LINE magazine.

“She’ll Be Comin’ ‘Round the Mountain…”

Two bells rang, and with argonauts “all aboard,” the trains departed the station during the inaugural run of the Gold Rush-era “wildest ride in the wilderness” first took place (two years later) during June of 1979! The whirlwind half-mile (2,671-foot) trip ”highballed” passengers by stunning rock formations (like Spiral Butte), roaring waterfalls, breathtaking grottos, and thru chasms (like Coyote Canyon), caverns, gulches (like Dinosaur Gulch), and mines of Big Thunder Mountain! Unlike the old wilderness route, passengers (of the U.B. Bold, I.B. Hearty, I.M. Brave, U.R. Daring, and I.M. Fearless) would now experience the feel of tumbling avalanches, and an underground earthquake. As aforementioned, authentic mining supplies and other props were “a result of Disney Imagineers surveying swap meets, auctions, ghost towns and abandoned mines throughout the country.”

Finally (after some 11 years “in the making,” three years of preparation, and more than two years of construction), the $15.8 million Big Thunder Mountain Railroad (Disneyland’s 59th attraction) opened to members of the press on September 2nd, 1979! A few days later, Big Thunder Mountain Railroad opened on September 15, 1979. Big Thunder Mountain Railroad would have the capability of transporting 2,400 guests per hour.

Many VIPs contributed to the show on the Big Thunder Mountain Railroad stage. Maggie Irvine Elliott (future Walt Disney Imagineering Senior Vice President) recalled:  “Big Thunder Mountain Railroad was down (a ‘101’) in the middle of the day. I was up on the ride track (at the top of the first lift, by the bats and the waterfall) on the intercom system waiting for my location's turn to reset the ride system. The cast member in the main control tower was having difficulties with the start-up procedure. I talked the tower person through each of the procedures and confirmed that they were ready for the next step. A supervisor happened to be on the intercom system and overheard me. I was recommended for a lead training position, and that provided a path for me to become an attraction lead and trainer on several attractions throughout Disneyland.”

Guest would be whisked through dark abandoned caverns.

From 1979 - 1980, admission aboard Big Thunder Mountain Railroad was one “E” coupon, the same as a flight through Space Mountain, passage through the Seven Seas of the Submarine Voyage, or admission to the Country Bear Jamboree!

The Disneyland Planning Department prevented having too many attractions of the same ticket value down at the same time.

Big Thunder Mountain was such a success at Disneyland, that it would immediately go on to inspire another Mine Train at Walt Disney’s Magic Kingdom in Florida! Many of the same artists and engineers would assemble to Imagineer the new attraction. Big Thunder Mountain Railroad opened at Walt Disney World in 1980.

Walt Disney World Magic Kingdom’s Big Thunder Mountain story begins in the small mining town of Tumbleweed (similar to Disneyland’s little mining town of Rainbow Ridge).

Many years after his unique contributions to Big Thunder Mountain and Thunder Mesa back East, John Patrick Burke (participating in the experience above) would go on to make Disney magic and create drawings for another iconic Disney Parks attraction - Splash Mountain!

All the while, by September 30, 1982, construction was in progress, and WED & MAPO opened a job numbered DRPT-XXX (at a cost of $8,513.39) for a “Big Thunder Vehicles Design” at Disneyland.

Big Thunder Mountain also endured a strike of Disneyland Cast Members during 1983 and the possible resultant difficulties and periods of Breakdown “101” (when all of the attraction was malfunctioning enough to decrease capacity) which included a 2-hour station back-up and the attraction was shut down (before going “102”).

The Big Thunder Mountain backdrop provided new Stages for Disneyland entertainers and exhibits. For example, during “Festival Japan” (October 12 & 13, 1985), the nearby Big Thunder Trail was utilized to hold a free exhibit -Southern California Sumie Club (Ink Painting), Ryoka Kai (flower arranging), Sangetsu-Ryu (flower arrangements).