“A Fantasy In The Sky!”

In the beginning, the innovative Los Angeles Airways, Inc. started offering speedy mail carrier service with six brand-new Bell 47D helicopters on August 20, 1949. The company soon grew to provide roof-top delivery of air mail with new Sikorsky S-51 helicopters. By that time, they operated three routes serving some 30 communities within a 50-mile radius of Los Angeles Municipal Airport. The unusual airline saved from 4½ to 19 hours on daily air mail deliveries. In pioneering helicopter air mail delivery, Los Angeles Airways, Inc. provided an entirely new type of service that not only met the requirements of public convenience and necessity, but was tailored to the specific needs of the area it served.

Pictured Above : This rare Vintage View was originally used to promote Los Angeles Airway’s upcoming passenger service, when the company was mainly a local mail courier service. The news of this reached other major cities, and one accompanying News caption (published in Cleveland, Ohio on March 30, 1951) read : “Clarence M. Berlinn, Head of Los Angeles Airways,which delivers Air Mail by helicopter in southern California, poses with one of his ships at Los Angeles International Airport. Belinn, who pioneered the “Eggbeater Mail” in this country, hopes to begin a helicopter passenger service in Los Angeles this summer.”

Operation costs were low, and by 1947 Los Angeles Airways (1947-1971) expanded their service in a whole new way to the Los Angeles County area! Yes, Los Angeles Airways became “the world’s first helicopter airline”, when it purchased and operated several of the first mass-produced civil helicopters - Sikorsky series S-51. The helicopters would link the civic center of Los Angeles with various metropolitan areas of Los Angeles County and Southern California area.

One of these destinations would carry passengers 27 miles southeast of Los Angeles to Anaheim, the "hub of happiness" and home to Walt Disney’s Magic Kingdom - Disneyland! Passengers could now travel the 40 miles across Los Angeles to Disneyland in less than 20 minutes. Yes, beginning on December 1, 1955, Los Angeles Airways made it most convenient for the “first time visitor” or local area residents to travel both to and from Disneyland!

At that time, Los Angeles Airways operated “four helicopter flights daily [except Monday in seasons when Park is closed Mondays] each way between Los Angeles International Airport and Disneyland’s own heliport, carrying 7 to 9 passengers. Direct on-ramp connections with TWA and other major airline flights. Through bookings from most U.S. and many foreign cities.” [“Information For Your Visit To Walt Disney’s Magic Kingdom Disneyland”, published 1955 by Disneyland Inc.]

By December of 1955, those four flights had expanded to include 12 arrivals and departures at Disneyland daily. According to The Disneyland News: “morning flights arrive at Disneyland from Los Angeles International every day except Sunday at 10 a.m., 4:45 p.m., 5:08 p.m. and 7:35 p.m. Sunday service is by two flights daily, at 1 p.m. and 7:35 p.m. Flights leave Disneyland for International Airport at 6:38 a.m., 10:03 a.m., 12:22 p.m., 4:48p.m. and 7:53 p.m. Sunday flights to the airport are at 1:03 p.m. and on the 7:53 p.m. helicopter.”

If you didn’t have an automobile, the typical local alternative was to board a Disneyland Motor Coach from Los Angeles to Disneyland. But Los Angeles Airways offered a more efficient (and scheduled) suburban airline service, with direct passenger connections between Los Angeles International Airport, and 20 direct Greater Los Angeles destinations including Disneyland Heliport! You know, some of the earliest Tomorrowland Rough Site Plan Drawings (as seen below) included a Helicopter Landing within the railroad tracks (and berm).

Because of site plans and drawings (like this one), many promotional materials and early licensed merchandise equated Tomorrowland with the sight of the helicopter.

Helicopters were not viewed as visual intrusions over the future world of 1986. This early Tomorrowland merchandise (like this board game) seemingly implied that the “Helicopter Port” was a part of Tomorrowland.

On “Dateline Disneyland” (aired July 17th, 1955), Art Linkletter mentioned, “Out this way, there’s a heliport, and actually, helicopters land there with their passengers from the International Airport.” He was (of course) referring to the first incarnation of Disneyland Heliport, located behind Tomorrowland. “News From Disneyland” (a press release document published c.1956) mentioned that “from Main Street Station you’ll look out over the 100-acre parking lot and the heliport” (indicating both its proximity to the parking lot, and visibility from inside the Park). This was where the Los Angeles Airways S-55 commercial Sikorsky helicopters (similar to the ones in the preceding photo) would land, during the first few years of operation.

Of course, the new service would go into effect since December 1, and gave Disneyland 12 arrivals and departures daily. Flight times were coordinated to make connections with maior cross country and coastwise airline flights. Morning flights would arrive at Disneyland from Los Angeles International every day except Sunday at 10 a.m., 4:45 p.m., 5:08 p.m. and 7:35 p.m. Sunday service was by two flights daily, at 1 p.m. and 7:35 p.m. Flights would leave Disneyland for International Airport at 6:38 a.m., 10:03 a.m., 12:22 p.m., 4:48 p.m. and 7:53 p.m. Sunday flights to the airport would start at 1:03 p.m. and on the 7:53 p.m. helicopter.

At the Grand Opening of the Disneyland Hotel (in 1956), the new Disneyland Heliport (west of Disneyland Park) officially opened! The Disneyland Stamp Book (published 1956) featured a collectable stamp picturing one of these very Sikorsky models landing at the new Disneyland Heliport! The new Disneyland Heliport (at the Disneyland Hotel) and of these Sikorsky’s can also readily be seen preserved on film, as it lands, in “Disneyland, U.S.A.” (a “People and Places” feature film, released in the U.S. on December 20, 1956 through Buena Vista Film Distribution Company).

Los Angeles Airways was by-far the classiest, fastest, and safest way to travel from LA to Disneyland (for instance, during 1955, Los Angeles Airways was the first certified airline to take the liberty of outfitting their new S-55s with windshield wipers). Sikorskys also bore a unique rotor configuration, which has become a standard in the aviation industry. Walt Disney himself believed much in Los Angeles Airways and their top-notch fleet, that he personally endorsed Los Angeles Airways, by riding as a passenger aboard one of their Sikorskys (N736A) from Los Angeles to Disneyland as far back as 1955! By Disneyland’s 1-year anniversary in 1956, the Official Guide to Disneyland announced that “airline tickets can be bought from any place in the world direct to Disneyland. . . five helicopter flights arrive daily at the Disneyland Heliport.” “The Disneyland News” (Vol.2, No.2 ; August, 1955) ran an advertisement for “the fast, convenient way to Disneyland… only 20 minutes.” The following year, another advertisement (published in Disneyland Holiday magazine ; Spring, 1957) continued to herald the, “Fast, Convenient, Only 20 Minutes to Disneyland”! Guests need only consult individual companies for information and time schedules.

Here, highly decorated U.S. combat soldier Audie Murphy and family board a Los Angeles Airways S-55 at Disneyland Heliport in 1956, preparing for a twenty-minute trip at the end of their day at Disneyland.

In 1957, even Uncle Scrooge flew his McDuck Airlines Helicopter to Disneyland, landing at the Disneyland Heliport.

In these early days, the helicopter pad (or, “Heliport”) was located just north of Harbor House (also known as Harbor Point), on Harbor Boulevard, just outside the Harbor Gate and south of the Manchester Gate. From a guest perspective, the Heliport with Heliport Waiting Building was on the other side of parking lot bordering the present-day location of the Grand Canyon and Primeval World Diorama. The entrance to the Heliport was located behind the backstage area of Tomorrowland, with the Tomorrowland Skyway Station in view. The proximity of the Heliport to Tomorrowland was so nearby, that Tanner Gray Line brochures of the era included a brief description of “where ‘copters’ land and take off” among Tomorrowland’s attractions.

“Guest Services and Accommodations”

Guest Services and Accommodations included both telephones and restrooms in the Heliport Station.

By September 28, 1958, some $650 of land improvements (a fence) had been made to the Heliport. In addition, new signs (job #4010-513) were added to the Heliport at a cost of $110. During this era, the Los Angeles Airways Heliport yielded revenue for Disneyland Inc. - for instance $325 for the fiscal year (52 weeks) ending September 28, 1958 and $300 for the fiscal year (52 weeks) ending September 29, 1959.

Souvenir Charms (intended for jewelry or other decorative purposes) commemorated many of Disneyland’s attractions, while some (like this Helicopter-shaped charm) commemorated the Disneyland Hotel.

The helicopters were “Good Show” - supporting a positive Disney image! By 1956, promotional photos by Mel Kilpatrick captured Walt and Charlie Pearson greet incoming helicoptor guests. Disneyland Holiday Magazine was a favorite souvenir of Disneyland guests who loved “color pictures of Disneyland.” Among those (published Winter, 1957-1958) was this image of one of Los Angeles Airways’ Sikorsky S-55’s flying near Tomorrowland, granting guests a view “of things to come in the world of 1987.” It seems that the helicopters were a Disneyland and Tomorrowland attraction - part of the theme park experience.

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

“The Sikorsky 61-L Copter Liner”

By 1960, those piston-powered S-55s were still in use by Los Angeles Airways. However, a new Sikorsky production prototype was tested on December 6, 1960 that would revolutionize travel. These new luxurious Sikorskys were designed from the start specifically for airline use and to airline standards - capable of carrying 3 crew members, 28 passengers, and 1000 pounds of cargo. Each one had a General Electric turbine-powered, twin-engine, advertised as “quiet, comfortable, safe!” In April, 1961. the 200-hour tie-down test was completed within 20 days. A provisional Type Certificate was awarded on May 22, 19st, and on June 21 the Type Inspection Authorization was received, with the Final F.A.A. Certificate to follow.

Los Angeles Airways president C.M. Belinn was optimistic about these new helicopters, and expected a growth of “one thousand per cent the first full year of operation and 2000% by the end of the second year.” Five brand new Sikorsky 61-L turbocopters boasting “twin-turbine reliability…all weather flight capability” were expected to be in use by Los Angeles Airways during late 1961. Starting in November of 1961, the first of four S-61L Sikorskys were delivered to the airline. The following year in March of 1962, the airway began operating the S-61Ls.

By 1961, Los Angeles Airways’ passenger Sikorsky “Copter Liners” had carried more than 2,000,000 passengers over 60,000,000 miles, in a “convenient, relaxed way…over freeway jams.” By this time, Los Angeles Airways was making 60 flights per day from Los Angeles International Airport to Disneyland (at $15 for one round-trip fare), Anaheim - and total one-way time, was an astounding 15 minutes (though some historians claim that there were“22 flights a day” to and from Disneyland! That very same year (of 1961), Disneyland’s decision makers were also so confident in Los Angeles Airways’ Sikorsky fleet, that the Disneyland Hotel was given its own Heliport, which accommodated 2 helicopters at one time. The third copter-liner arrived by May of 1962, and by the end of the month, the three had flown a total of 1,597 hours of airtime. The fourth (and final) helicopter was delivered to the company on July 10, 1962.

The helicopters over Disneyland were so popular that when (in 1960) the Los Angeles Sound Effects Company produced a record of sounds (of popular Southern California attractions, intended for use by filmmakers), the Los Angeles Airways Sikorskys were among the tracks included. You may have heard these very sounds over radio or television broadcasts from 1960 onward! A Sikorsky-style commercial helicopter was even featured on this (c.1966) post-Tencennial Disneyland map (below)!

On November 15, 1965, Walt Disney held a famous press conference with Florida Governor Brown, mentioning the Disneyland Heliport and how he would like to bring the same experience to Florida: “We have a heliport at Disneyland... you can book your ticket right here in Florida, straight to Disneyland by air. You fly into international airport and then you have a priority on the copter right to the Disneyland Hotel and it’s one of the big 25-passenger copters. It is the busiest copter port in California.” When Governor Brown asked him: “You would expect to do the same thing here then?”, Walt replied: “Oh yeah… that’s be the way to do it.” With that brief exchange, it is clear that Walt Disney had some intentions of using a helicopter service between Florida and Disneyland.

Perhaps Los Angeles Airways’ most frequented destination is highlighted on the cover of the 1960 service schedule. A graphic of the piston-powered S-55 is depicted, though the Sikorsky 61-L turbocopters were due to be in use by the time this schedule was printed and distributed.

International travelers could avail themselves of United Airlines, to reach the Southern California area. Once visitors arrived, Los Angeles Airways’ network of Heliports offered quick and comfortable transportation to many destinations including “the happiest place on earth”.

Service was offered to more Southern California residents and their guests, when helicopters began to make regular journeys to and from Los Angeles and Heliports in other Southern California counties (i.e. San Fernando Valley, San Gabriel, San Bernardino, and Orange County).

An entire page of the operation schedule is dedicated to flights both to and from Los Angeles Airport and Disneyland.

Other information about fares, baggage, insurance and other details give a better idea of the accommodations offered by Los Angeles Airways, to its passengers.

According to this children’s souvenir coupon, a 1/2 fare (1-way) was $3.15 (including tax).

Late afternoon and early evening flights departed Disneyland Heliport. The Heliport was originally located where the Disneyland Employee Parking Lot (Section A) came to be located. Early daytime departures were also available from the Disneyland Heliport.

One of thirteen Sikorsky S-61L series helicopters built by Sikorsky between 1958 and 1980. This pictured Sikorsky (registration number N302Y) began service during March of 1962. Guided Tour Scripts of 1962 even drew attention to the new attraction :

“The helicopters you may see flying overhead today offer daily flight service to and from the Los Angeles International Airport. The helicopter landing pad is adjacent to the Disneyland Hotel just across West Street.”

“Come on, everybody, here we go!”

Los Angeles Airways Sikorsky S-61L rises above the Disneyland Heliport and surrounding orange trees. “55er” John Hernandez spent most of his time at Disneyland with Virl Casey looking after the acres of Disneyland's oranges, some of which were on the 15 acres where the Heliport was.

“You can fly! You can fly! You can fly!”

Seen here, is a typical Vacationland Public Transportation Information Section, mentioning Los Angeles Airways as an alternative form of transportation from L.A. Airport to Disneyland. Vacationland was a free publication, distributed to Southern California hotels and visitor centers. This sort of information was regularly included in the publication.

The interior of the the Sikorsky 61-L was more spacious than other helicopters used by commercial airline companies. The Sikorsky 61-L had seating to comfortably accommodate 26 to 28 passengers, a luggage compartment, a storeroom, and even a lavatory (or, toilet).

The Sikorsky would circle around Disneyland. In the foreground, you’ll spot the structures which line Main Street U.S.A., leading to Sleeping Beauty Castle!

This was a typical view from a passenger window seat, as the Sikorsky rose above the Disneyland Hotel.

One publication once stated that “from the air, we can get the clear layout of Disneyland in our minds”. Passengers of Los Angeles Airways’ helicopters received a fantastic aerial view of Walt Disney’s “magic kingdom” in Anaheim. Maybe you can point out Monsanto Plastics Home of the Future, the PeopleMover’s tracks, or the Matterhorn (“the highest point in Disneyland”) from this height.

“Los Angeles Airways - Flying High”

The July 1962 issue of FLYING carried significant news for commercial aviation and the general public of the greater Los Angeles area! The cover touted the commercial airline Los Angeles Airways, who had become the first civil operator of a fleet of five $650,000 Sikorski S-61s back in March. These new commercial twin-engine, turbine-powered helicopters came with an increased payload capability, and several new safety features that allowed for all-weather operation. One of the main safety additions was partially housed into the Main Rotor Blades themselves. These Main Rotor Blades were filled with compressed air at the Sikorsky plant, so that (if the blade was later damaged, and the slightest pressure lost), a warning was given through the Pressure Gauge before lift-off.

Los Angeles Airways soon officially inaugurated its Sikorsky S-62 turbocopter service - the third generation of Sikorskys to service L.A.A.! Each helicopter carried nine passengers, had the capability to cruise at 100 miles per hour, and offered a range of 285 miles. In addition, these new turbocopters could land on water (or any service) in case of emergency, and could carry a 90% greater load than Los Angeles Airways “piston-powered S-55s, for the same fuel cost at 28% higher speed”.

Yes, this was the “high point” of classy commercial flights to and from Disneyland!

Helicarrier services courtesy of Sikorsky passenger helicopters were really “taking off” in major cities during the 1960s. A little less than 3,000 miles away from Disneyland, a civilian Sikorsky S-61 Sightseeing Helicopter lands atop the Port Authority pavilion at the 1964/1965 New York World’s Fair!

We’re here because, once landed, we’re afforded a brief peek inside its cabin.

“The Tragic Flight of Los Angeles Airways 61031”

However, just five years after the aforementioned photograph was taken (and after twelve years of service to Disneyland), something terrible would happen that would end this form of transportation to the happiest place on earth. The demise of Los Angeles Airways flights to Disneyland came when one Sikorsky 61L (registration number N300Y, serial number 61031) was involved in a fatal crash on the evening of August 14th, 1968.

Tragically (and mournfully), eighteen passengers and three crew members lost their lives, while en route to Los Angeles International Airport from Disneyland. Mechanical failure was determined to be the cause of this devastating and horrific crash. The National Transportation Safety Board specifically attributed the incident to “fatigue failure of one rotor blade, which resulted in separation of the blade”. The helicopter could not be controlled and quickly fell from the sky. It is unclear if negligence was involved, if the sensor malfunctioned, or if the stress and failure was undetected and sudden. Whatever the case, countless lives were affected and changed forever by this catastrophic event. From 1951 to 1968, there hadn’t been any notable incidents involving commercial Sikorsky helicopters. However, during 1968 there were two situations resulting in many fatalities (the aforementioned one, and another Sikorski S-61L in Paramount). Both of these Sikorskis were in the service of Los Angeles Airways.

“The End of An Era”

Disneyland Guest Hotel Directories continued to list the telephone extension for Los Angeles Airways up to September of 1970. However, not even Golden West’s “eleventh hour” attempt to acquire Los Angeles Airways could save the helicopter commuter airline from what would happen next. The deal fell through, and would result in the demise of Los Angeles Airways airline operation during 1971. Golden West would only briefly take over helicopter operations for a mere five more months, but it was the end of an era (not only for Los Angeles Airways, but) for helicopter flights to and from Disneyland. By the summer of 1971, Vacationland magazine (published three times yearly by Walt Disney Productions and distributed to more than 1,500 hotels, motels, and leading tourist attractions) had stopped advertising Los Angeles Airways’ “Helicarrier service” among the public transportation alternatives serving Disneyland.

However, this wasn’t the end of Igor Sikorsky’s Sikorsky Aircraft Corporation (which was the world’s first mass-producer of helicopters, since 1942). They would go on to manufacture many aircraft designs, such as its 61-L. This particular model is still utilized for military, industrial, and civilian applications to this very day!

Notwithstanding the tragic commercial incidents, the Sikorsky continued a trusted helicopter manufacturer by the greater public opinion. In fact, their aircraft was in use by the United States Military, some local government agencies, and businesses since the 1940s. This military Sikorsky image was captured during a test flight, c. late 1960s.

Other commercial helicopter companies (like AirSpur) continued to offer service from select Southern California airports to the vicinity of the MAGIC KINGDOM®. AirSpur’s state-of-the-art 30 Westland helicopters were IFR certified and powered by Rolls Royce GEM engines. The headline which accompanied this photograph described these modern commercial helicopters this way :

“Designed especially for AirSpur’s passenger service, the Wetland 30s afford wide-body airline comfort, approximately six feet of headroom and ample storage for luggage underneath the 16 passenger seats. The helicopter’s capacity permits all passenger luggage to be hand carried aboard or routed and interlined by AirSpur to connecting flights.”

Though AirSpur’s sophisticated helicopter made passes over Disneyland, the days of the Disneyland Heliport were just a memory a bygone era!

The helicopters returned to Disneyland on Saturday, January 26, 1991, as The Disneyland Hotel northern Parking Area hosted “Helicopter Awareness Day,” “which was organized by the ‘Professional Helicopter Pilots’ Association and the Helicopter Association International.” A mini-tower was set up to direct the traffic - “three military helicopters…two were shipboard copters from the Navy, and the third was a sea rescue craft from the Coast Guard. Thirty local police, fire, rescue, medical and news team crafts were on static display. Approximately 6,000 people in attendance got the chance to examine the crafts and chat with the pilots, which included Commander Chuck Street, who brought KIIS FM’s ‘Yellow Thunder,’” according to Disneyland LINE Magazine (Vol. 23, No. 6 ; February 8, 1991).

Here’s one more Disney and Los Angeles Airport connection. During the heyday of Los Angeles Airways, this was at the center of the destination. The Theme Building (and its restaurant) was designed in 1959 (with the help of Dorothea Holt Redmond), and dedicated in 1961.

Decades later, the Walt Disney Company’s story and LAX would cross paths. A $4 million renovation of the Theme Building (courtesy of Walt Disney Imagineering), brought the Encounter Restaurant to the airport facility in 1997.

“Just down Main Street we even have a cinema where six different silent movies are shown continually.”

-Guided Tour Script, 1962.

“Blue Sky for the Disneyland Cinema”

Back in 1948, Walt was dreaming about a Park (to be located across the street from the Studio in Burbank). Some thoughts in the “Mickey Mouse Park” prospectus made mention of a “movie theater.” [“The Spirit of Disneyland”]

Early thumbnail sketches and other concept artwork seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process.

“Design”

Like some advanced “High Concept,” final designs were quickly generated and approved. By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement.

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

“Setting the Stage — Construction”

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

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

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.

“Projection Systems”

Disneylander and “55er” John Gerlack recalled: “I was a projectionist and Disneyland was begging for projectionists. Everybody thought the Park would be a 'fly-by-night' affair, and we didn't want to leave good jobs and come to Disneyland, but as soon as I saw what was going on, I knew that it was going to be permanent. You could see that Walt meant business! Everything looked well organized and I was very impressed with the Castle… Dominic Conte and I had to install the projection equipment in the Main Street Cinema. The equipment was called Kodak Cine Sales. As we had never worked with equipment like that, we had to learn about it from the beginning.”

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

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 #608 - Main Street Cinema, - This will be completed for opening assuming that we are able to get the film in time. Electric Signs: All are in work - with the exception of the shoe store and the Bank of America, all will be completed.“

The 1,317 square foot space of the Main Street Building #600 (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.

“The Player Piano”

As opening day arrived, the fixtures were placed in their correct motif including any light fixtures of Disneyland, which were authentic antiques.

One of the foremost antiques provided musical accompaniment to the Main Street Cinema. The very first Disneyland Map Guide (revised for 1957) described the Main Street Cinema’s musical accompaniment in the following way: “Old silent movies with player piano accompaniment revived for the amusement of modern day audiences.” By 1969, this attraction contained 1 of 15 old-time band organs and pianos at Disneyland, some of which dated back to 1890. But eventually, replacement parts for these rare antiques grew hard to come by. So, Disneyland Arcade Maintenance performed the necessary versatile, creative, and inventive mechanical repairs.

“July 17, 1955 —The First Visitors ‘See The Film Classics of Ages’”

Walt once shared: "I love the nostalgic myself. I hope we never lose some of the things of the past.” As Disneyland was two months from opening, one authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell by of Disneyland Inc., May 25, 1955) described the “Main Street Cinema (formerly Nickelodeon)” as an exhibit with “6 performances running continuously and simultaneously, of old silent movies with piano accompaniment.”

July 17, 1955 arrived and guests poured through the turnstile. While hosting Dateline Disneyland, Bob Cummings exited the antique car he was riding in, in order to get a better look at the theater on the 600 block of Main Street U.S.A.

Once inside, visitors found that there were no chairs, only a central standing area where six silent films could be viewed simultaneously. Background orchestration was supplied by a turn-of-the-century music box. In 1955, the assortment of silent short films (or, “film classics of the ages”) was far different than what runs in the present. Disneyland Main Street Cinema patrons could watch “Shifting Sands” (starring Gloria Swanson), “Dealing for Daisy” (starring William E. Hart), Winsor McCay’s “Gertie the Dinosaur” (considered the first animated cartoon ever created and was one of Walt's inspirations to become an animator), Mack Sennett’s “A Dash Through the Clouds” playing as a “double feature” on the same screen as “Fatima’s Dance” (yes, the once censored film of 1896), and “The Noise of Bombs” (starring the Keystone Kops). In addition, “glorious hand-tinted slides” (in color) were run in between films. We wonder how many theatre-goers entered exclaiming “What! No Mickey Mouse” Cartoon?

Reviews were honest, like that of a contributing writer of The Daily Oklahoman (who visited on July 17, 1955) and described Main Street Cinema as “a silent movie house advertising such stars as Mabel Normand and William S. Hart. The nickelodeon featured six different screens which could be seen from the center of the darkened arena amid the plunking of a ragtime piano.”

According to the souvenir book “A Complete Guide To Disneyland” (published 1956), Main Street Cinema was a place where guests could enjoy “unrivaled greats” of the silent screen era of cinema entertainment - “old time silent movies starring yesterday’s favorites.”

In 1957, admission to see all six films on six individual screens was originally just 10 cents. As Disneyland Holiday magazine c.1957 put it: “For one thin dime, you can enjoy more than an hour of motion picture entertainment by some of the top stars of yesterday.” By June of 1957, the Main Street Cinema was showing “The Great Train Robbery” starring “Bronco” Billy Anderson, “Dizzy Heights and Daring Hearts” starring Chester Conklin, “The Heart of a Waif” starring Claire Booth, and “The Speed Kings” a Keystone Kop thriller featuring Mabel Normand and Fatty Arbuckle.

Yes, silent-era film actress (and “America’s Sweetheart”) Mary Pickford and her husband Buddy Rogers visited the Main Street Cinema.

Back in 1932, Pickford co-founded United Artists, which became the distributor for Walt Disney’s animated short films. At the time, Mary was a huge fan of Walt Disney’s “Flowers and Trees” in which he pioneered the use of full three-strip Technicolor. In 1933, Mary approached Walt over a collaborative “Alice in Wonderland” film, featuring a blend of live action and animation. Though Mary completed a Technicolor screen test and posed for publicity photos dressed as Alice, alongside Mickey Mouse, the project was canceled. But that wasn’t the end of Mary and Walt’s partnership as the two were both were co-founders of the Society of Independent Motion Picture Producers in 1941.

More than a decade later, Mary visited Walt Disney’s Disneyland and was photographed next to her name on the marquee of Main Street Cinema (as published in Disneyland Holiday magazine). On this visit, the couple watched “New York Hat” which Miss Pickford had starred in more than 30 years prior.

The Main Street Cinema was one of few locations that carried on the silent-film legacy of such artists. Later films starred more of the greats of the Golden Age of Hollywood films - Charlie Chaplin, Douglas Fairbanks, Eddie Polo, Mabel Norman, Buster Keaton, Elmo Lincoln, Jackie Coogan, Pearl White, Will Rogers, Art Acord, Fatty Arbuckle, John Gilbert, Lillian Gish, Rudolph Valentino, and Lon Chaney - some films produced by Mack Sennett or Hal Roach! Among the classic silent films which played later were “When a Man’s a Prince,” a rollicking comedy featuring Ben Turpin; “The Devil Dodger” with “America’s Greatest Cowboy”, William S. Hart; “A Squaw’s Love”, an early Indian epic starring Mabel Normand; “Her Awakening”, with Wallace Reid, and “East Lynn.” An article featured in an early issue of Disneyland Holiday magazine described this locale as one of Disneyland’s “continuous shows”, where “classic movies don’t die”, in fact they don’t even fade away. “For just a dime you can watch top stars of yesterday’s silent films - Rudolph Valentino, Mabel Normand, Vilma Banky, William S. Hart, and many others. Six movies play continuously and simultaneously, more than an hour of entertainment.

By January 1, 1958, the 1,317 square-foot Main Street Cinema (located in Main Street Building #600) was still being leased. By September 28, 1958, Bank of America appraised the turnstile (considered a Park Asset) and valued it at $523. That same year, admission to view old time silent movies was one “jumbo” “A” coupon (the price of 10 cents, for one adult), the same as the 20,000 Leagues Under the Sea Exhibit, the Omnibus, or the King Arthur Carrousel. Guests could step inside and watch silent films like Ernst Lubitsch's Lady Windermere's Fan.

Main Street Cinema was Main Street's theatre, featuring five silent film classics that played continuously and simultaneously. Many of the biggest names of the pre-talkie era were featured at the cinema. The “Disneyland Dictionary” published in 1959 described the attraction with a unique feature: “Inside Cinema are five (5) small Nickelodean Screens showing continuously and simultaneously, old silent movies with piano accompaniment, plus one (1) screen exhibiting old-time tinted slides.” Some of this was owing to Joe Fowler (Vice President of Disneyland Operations Committee) and Doc Lemmon (of Disneyland Operations) who by 1959 were overseeing Operators of Rides & Amusements (like the Main Street Cinema) among their other responsibilities of Livestock, Parking Lot, and Ticket Sellers.

Near the entrance of Main Street Cinema, a Cast Member adjusts his hat as he prepares to greet Guests (above). Many Cast Members stepped into this role, including Disneylander John Catone who briefly greeted Guests at the entrance to Main Street Cinema.

During the 1960s, a Phantom of the Opera “come-to-life” character briefly made appearances at the entrance of the theater.

Occasionally Disneyland Cinema marquees touted more than the title of the silent film. Above, the marquee heralded the words “Pathos and Drama”. Pathos in silent film is the power to make an audience feel deep sadness, pity, or sympathy. Drama is the intense conflict, high emotion, and strong action that drives the story forward. Pathos and drama in Dr. Jekyll and Mr. Hyde stem heavily from John Barrymore’s striking physical transformation and the tragic conflict of a good man consumed by his own suppressed desires.

Walt Disney could appreciate both of these within a film. His own personal secretary and assistant, Lucille Martin (who was hired in 1964), recalled: “Walt was sentimental, too. He went to the dailies every afternoon, and if there were touching scenes he was not ashamed to dab his eyes. ‘Gotta remember to bring the Kleenex,’ he’d say.”

Walt Disney’s Guide to Disneyland (published 1961) invited guests to “go back to the pre talkie days” and “see silent stars in action at the Cinema on Main Street.”‍ ‍

By the winter of 1961-62, the Main Street Cinema was operating 7 hours each day. The “Ride Operating Schedule” effective October 3, 1962 described the attraction having one operational unit and a 528 Guest capacity during winter weekdays, winter week end days, and maximum days.

By the summer of 1972, the days of the silent-art flicker pictures lived on at the Main Street Cinema where filmed classics and selected subjects were presented simultaneously and continuously, including: Main Street Cinema operated daily showing Steamboat Willie (As a tribute to the mouse that started it all), Dr. Jekyll and Mr. Hyde starring Sheldon Lewis, The Rounders starring Charlie Chaplin and Fatty Arbuckle, Crashing Through featuring the Keystone Kops, The Great Train Robbery, and Old Time Slides.

From March 26 to April 3, 1973 the Main Street Cinema was closed for a 1-week rehabilitation.

During September 15, 1987, the Main Street Cinema became the stage for five Disney Sunday Movie introductions which were filmed in succession during the day. During the session, Disney Chairman Michael Eisner played the Host to several Disney characters, and during breaks, even made the opportunity to sign a few autographs for fans!

“Walt Disney’s Mickey Mouse on Six Screens”

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.

Steamboat Willie first opened at the Colony Theater in New York, on November 18, 1928. Eighty years later Mickey’s films were part of a “Cartoon Festival” shown in the Fantasyland Theatre. More than a decade later the Fantasyland Theatre was no more, and by 1996, Mickey Mouse cartoon classics would be shown on six different screens at Main Street Cinema. As a tribute to the mouse that started it all, the Main Street Cinema continually played Steamboat Willie and one of the two cartoons that were finished before it, Plane Crazy (the other film was The Gallopin' Gaucho). In the present, Mickey Mouse cartoons are still part of the grand show at the Main Street Cinema in the original Disneyland. Little Mickey Icon-shaped footlights lead the way up the steps inside.

In 2008, WDI master planners entertained the concept of an update - a synergy project with Blu Ray and BVHE.

“Main Street Cinema Hostess Tilly”

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.

It’s our pleasure to introduce Main Street Cinema Hostess Tillie (of Marceline, Missouri).

Tillie gives a lot of attention to reflecting the “Disneyland Look” to our guests. Her grooming is uniform with everyone and handled in such a way so as to add to the show and not detract from it.

Hostesses Tillie’s hair is neatly combed and arranged in an attractive, easy-to-maintain style that is neatly packed and shaped. She uses no extreme colors, and minimal teasing.

Main Street Cinema Hostess Tillie holds the world record for selling the least amount of tickets in a straight 24-hour-period.

“Main Street Cinema Legacy”

The Main Street Cinema is one of several timeless Disneyland attractions! In one of his final publications, Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), included Main Street Cinema among “the only attractions still at Disneyland today that were there on opening day, July 17, 1955.” [Disney Facts Revealed by Dave Smith, 2016] Owing to this, Main Street Cinema had a legacy at the Magic Kingdom at Walt Disney World where guests could enjoy classic films of the silent screen era, shown continuously.

Main Street Cinema also has had a legacy through other Disney Parks, like Tokyo Disneyland. Main Street Cinema of Hong Kong Disneyland features the short “My Journeys with Duffy” which was screened beginning in 2017.

In 1988, the Main Street Cinema was memorialized as an illuminating collectible ceramic miniature sold through the retail giant department store chain.

Today, Disneyland’s Main Street Opera House is known for its main attraction (and the last remaining Main Street U.S.A. exhibit from Disneyland’s “free exhibit era”) - Great Moments with Mr. Lincoln. But as far back as Disneyland’s developement & construction (and its “fabulous first decade”), the Main Street Opera House has served many other lesser-known (and forgotten) functions.

“Blue Sky for the Disneyland Pharmacy”
Back in 1948, Walt Disney visited the 1948 Chicago Railroad Fair with his friend animator Ward Kimball. On the way home, the two “railfans” also made a visit to Henry Ford's outdoor museum tribute to Americana called Greenfield Village, located in Dearborn, Michigan. It was Walt’s third visit to the history museum within his lifetime. Ward later recalled that Walt enjoyed the entire experience so much that it was all he talked about on the train back to Los Angeles. When Walt Disney returned home, he composed a memo which laid out in great detail some of his earliest ideas for a themed amusement center. In describing his earliest vision of a frontier town, Walt prominently mentioned an Opera House in addition to other attractions like a drugstore with a soda fountain, a toy store, horse cars, and a railroad station. This concept of a recreation of a frontier town would continue to develop over time.

On August 31, 1948, Walt was still dreaming about his Park (to be located across the street from the Studio in Burbank). A memo was circulated among artists of the Walt Disney Studios. Some thoughts in the “Mickey Mouse Park” prospectus made mention of an “Opera House.” [“The Spirit of Disneyland”]

Pictured Above : Mattel “Disneyland Musical Map” Record Set Illustration, 1955. This illustration (produced for an early licensed Disneyland product), granted a glimpse of the Opera House located in the Town Square of Disneyland’s Main Street!

Eventually, Walt’s visions of a themed amusement center evolved into Disneyland, and by 1954, the first definitive piece of art was produced and included an Opera House. You may have heard of Herb Ryman’s iconic “Aerial Over Disneyland” concept drawing. This and a portfolio of colored sketches by Herb Ryman, Bruce Bushman, Harper Goff, and others was prepared for Dick Irvine and Nat Winecoff to take back East to sell the Disneyland concept to prospective licensees. A subsequent document entitled “The Disneyland Story” was produced (on September 3, 1954), in order to tell the story of what guests would experience upon 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 OldOpera House.”

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

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

“Not Your ‘Run-Of-The-Mill’ Opera House”

As far back as Disneyland’s creation (and its “fabulous first decade”), the Main Street Opera House has served many other lesser-known (and forgotten) functions. This soon came after “the giant earth-moving undertaking was completed, the building crews took over. Soon, the rat-tat-tat of riveters was shattering the air, and sparks were flying from welders’ torches as the steel frameworks, capable of withstanding the ravages of time and the elements rose above the newly formed ground. While carpenters hammered and masons laid row upon row of brick and stone and mortar, the permanent buildings began to take shape and form,” according to “The Disneyland Story” published 1955.

From groundbreaking until opening, the construction of Disneyland would start about July 17, 1954 and be completed by July 17, 1955. One of the first buildings to be constructed was the Main Street Opera House, which was first utilized as a Mill. However it took some time according to newspaper inserts published in July of 1955. “The construction department was following hard on the heels of planners… on December 18, an order came through to set up a lumber mill on the site… By January 3rd, about $50,000 worth of machinery had been installed, but power was not available until Jan. 17, and the mill went into production on that date.”

Scotty Cribbes read about Disneyland in the papers when he was living in Santa Ana (home of the grapefruit label), and put in an application. He started with the McNeil Construction Company as a carpenter and after a week he went to the Mill as a foreman.

George Mills recalled: “On January 3, 1955 I came to Disneyland and worked for McNeil Construction Company, raising steel and pouring concrete. For the most part, the Park was built in six months. Our mill was where the Opera House is now and the workers wore blue jeans and white T-shirts.”

First, a concrete foundation and slab floors were prepared. Earl Anderson recalled how his first job was helping to build the lumber storage building. “I would get down on my hands and knees in the rain and mud to work on the foundations.” The foundation was followed by wood frame construction (while store units would have a combination wood and rigid steel frame).

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

The entire Main Street Building # 700 (including the Maintenance and Construction Mill) possessed complete fire sprinkling systems, as did each on Main Street U.S.A. 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.

Once complete, the 14,000 square foot Maintenance and Construction Mill generated the woodwork of Disneyland - from the functional to the aesthetic. The Mill temporarily included the Plaster Shop which created ornamental pieces for structures like Sleeping Beauty Castle. But most of all, approximately three and one-half million board feet of lumber went into the Park’s construction - much of it processed here by Lawrence G. and Bruce W. McNeil’s McNeil Construction (the Prime contractor), and fashioned into the surrounding structures of Main Street U.S.A.! Disneylander and “55er” Stan Gomez recalled carrying lumber on his back up and down Main Street and taking saws to be sharpened.

Sometime later, in a somewhat “tongue in cheek” manner, “The Disneyland Story” (prepared 1963) divulged that “The Mill is the Disneyland Carpenter Shop. With the tools and talents located in this section, one could request and receive anything from an ornamental toothpick to a boat or house.” There, “Cabinet-makers carved and painted the accurate reproductions that furnish the buildings.”

Some of Disneyland’s original carpenters (Cliff Carothers, Earl Anderson, George Williams, George Le Fevre, Scotty Scribbs, L.H. Anderson, John Yorber and a certain “Harry”) recollected fond memories of the original Mill’s role in Disneyland development to LINE Magazine : “when many complete buildings were built down by the Old Mill [not on Tom Sawyer Island]…but Main Street, and taken to the field. For example, the Railroad Tower at the entrance to Disneyland was built in the Mill and then set up, as was the Draw Bridge at the Castle.”

When Ed Winger came to the Park as a Hod Carrier, working for Herrick and Herrick, the only building on Main Street was the Opera House and the skeleton of the Train Station. Decorative elements were soon added to facade, as the posts which support the awning and marquee. These are actually lampposts, similar in origin to those which line Main Street. One authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell of Disneyland Inc., by May 25, 1955) listed “official and authorized nomenclature” of Disneyland, and distinguished the “Buildings in Civic Center” : “Disneyland Police Department, Disneyland City Hall, Disneyland Fire Department, Disneyland Opera House.”

By July 17, 1955, the structure was still not completed. A contributing writer with The Daily Oklahoman (on July 17, 1955), noted: “Everywbere there were the last minate rush. A painter put final touches on the marquee of the Disneyland Opera House.”

“Original Site Plans and Developments”

“Walt had always intended that television would play a major role in the Disneyland show, and this was especially true during the first decade. One of the requirements in the initial site survey was that a clear television signal could be beamed out of the Park. Plans were also made for the construction of sound stages and the implementation of regular telecasts,” according to Disneyland LINE (Vol. 12, No. 27 ; July 3, 1980).

In “WALT DISNEY PRODUCTIONS ANNUAL REPORT to Shareholders and Employees” published for the Fiscal Year Ended October 2, 1954, Walt Disney personally stated: “The Disneyland the park, which will be the physical base for the ABC telecasts, is now well under construction for opening this summer. Its various features of amusement, education and audience participation will also provide rich material for televiewers. Facilities to accommodate 40,000 visitors and 10,000 autos daily on the 160-acre site near Anaheim, California, indicate its entertainment potential and its reciprocal influence on our other interests.”

Some Site Plan (or Plot Plan) Drawings (produced during October of 1954) depicted or detailed a “museum”, “cartoon studio”, and 20,000 Leagues Under the Sea set pieces (including a walkthrough of a giant Nautilus, and a walk-through Salon with the terrifying Squid) planned for this space. The “cartoon studio” detail may have been one reason why a journalist for the Anaheim Bulletin (published Saturday, May 1, 1954) described Disneyland as a “fantasy-playground and television plant.”

Back in October 1954, the Walt Disney Productions report for shareholders announced: “Disneyland the park, which will be the physical base for the ABC telecasts, is now well under construction for opening this summer. Its various features of amusement, education and audience participation will also provide rich material for televiewers. Facilities to accommodate 40,000 visitors and 10,000 autos daily on the 160-acre site near Anaheim, California, indicate its entertainment potential and its reciprocal influence on our other interests.” Early licensed merchandise even featured the Main Street Opera House being utilized as a television sound stage where a show was recorded and transmitted to the folks back at home watching from their televisions.

Though live television broadcasts would occur many times at Disneyland through the early years (i.e. on July 15th, 1955, July 14th, 1959, April of 1962, etc.), the Main Street Opera House was not utilized as a sound stage, and was ultimately first used for other necessary functions as early as May of 1955. During one Pre-Opening Day interview (with Bob Thomas of the Associated Press), Walt divulged that “we’re using it [the Opera House] for a mill now, but eventually I plan to make it a motion picture exhibit.”

“The Disneyland Public Address System”

While the 14,000 square foot Backstage portion (of most of the first floor) continued to be utilized as the Mill, the 3,354 square foot second floor came to efficiently house several necessary functions in a maximum utilization of space. First of all, the Park Public Address System was housed here, where announcements could be broadcast and heard throughout Disneyland. Announcements included Park opening and closing announcements, as well as event showtimes (e.g. those of the Mickey Mouse Club Circus). As a “sidelight,” Town Crier Bud Coulson would announce important events for the day, like Disneylander’s birthdays. If you visited Disneyland during the 1960’s you may have heard the voice of Ben Harris (Production Coordinator ; Wardrobe) making announcements over the system. All the while, the Disneyland Sound Department was responsible for maintaining the Park Public Address System.

The Main Street Music which helped establish the ambiance of the area, was also controlled from this location.

“The Disneyland ‘Private Branch Exchange’”

In 1954, the Disneyland telephone system had its beginning with a two-position, manual 555 Bell System Cord Board. The Main Street Opera House held a 560 square foot Disneyland Telephone Office known as the PBX (or, Private Branch Exchange) Offices of Disneyland Telephone Operators in mid-May of 1955. According to the Los Angeles Mirror (published June 10th, 1955), “the Disneyland telephone exchange, opened only three weeks ago… enlarged three times already, and still can’t get enough trunk lines… The switchboard girls, Pat Zimmerman,… Clarabelle Maxwell,… and Mona Harvey… are swamped with calls from people who want to know the opening date, prices and other data.” An insert published in area newspapers mentioned how: “The switchboard at Disneyland, according to telephone company, had an average of 900 incoming calls per hour during peak construction per riods. This amounted to 42,000 incoming calls a week, figured on an 8 hour day, 6 day week.”

A month after this article was published (and during Dateline Disneyland, which aired July 17, 1955), some of these very Disneyland PBX Operators can be seen waving from the second -floor windows (as some of the windows were ajar during the hot summer month)! The fact that the PBX Operators had a fantastic view of Town Square, is impressed by the following historic anecdote. “A few guests complained at City Hall that the clock on the Main Street Train Station was incorrect, and had caused them to miss their bus. A maintenance man was dispatched, and after checking the mechanism, he called the operator for the correct time. A few days later, guests complaints were still being received. Maintenance again dispatched a man, who checked the mechanism and called the operator. Guests complaints continued - the clock was wrong. In exasperation, the procedure was gone over, step-by-step it turned out that Maintenance was calling the Disneyland operator, who would look out from her switchboard above the Opera House, glance up at the clock tower, and read the time on the dial to the man inside,” according to Disneyland LINE (Vol 12, No. 29 ; July 17, 1980)

“Disneyland Cast Call Time”

In addition to inquiries by employees, the PBX office (and its first “555” telephone switchboard system) received many other types of phone calls. “According to the park’s chief operator, Mickey Mouse is one of the most frequently called Disneylanders. Explaining with obvious regret, she says, ‘Mickey’s personal appearance schedule prevents him from taking the many calls for him. We wish he could, especially when the young caller is phoning long-distance, which many do’”, according to Disney News (published Winter 1967-1968). Calls of this sort were just some of the 2,850,000 calls received during the 1967 year. Things had not changed a decade later, as guests still “requested to speak to Mickey Mouse”, according to Chief PBX Operator (c.1968-1976) Becky Morris.

By 1976, the Disneyland PBX Department held a staff of 12, with only 4 working the switchboard at a time. About this time you may recall hearing the voices of Betty, Connie, Dorothy, Jane, Janet, Judy, Reva, Ruth, and Virginia.

Soon the PBX Department held the Dimension System leased by AT&T for a number of years, and individual Cast Members suddenly had (not just Comm. lines, but) their own personal extensions. This came in handy when Disneyland received a brand new number for guests seeking hours and show information - (714)778-2552. Then (on April 27, 1979). On April 28, 1979, the implementation of the Dimension 2000 made the telephone system at Disneyland one of the finest and most innovative in Southern California.

With the addition of the Dimension 2000 came 25 incoming truck lines, 14 out-going local lines, 27 foreign-exchange lines, 20 tie lines, 920 extensions, and 1583 total instruments. The old “cord board” was done away with and Joe Berezny (Pacific Telephone’s Lead Installer) replaced the “cord board” with an SL1 System, which tied directly into Walt Disney Productions, WED, MAPO, and even Walt Disney World. By the time the department was known as “Communications Services” (around the late 1980’s), a brand new Northern Telecommunications Meridian System was installed. In addition, other bright ideas led to developments (like the installment of direct lines for convenience and speed). Unbeknownst to most guests, all of this was happening (for decades) from the upper floor of the Main Street Opera House!

“Other Disneyland Offices Back of House”

By the Press Preview Day of June 17th, 1955, the Lost and Found was located “above Opera House, Town Square” in those early days, according to “A Complete Guide To Disneyland” (published 1956). Over the next few years, other functions were based from the second floor of the Opera House. By January of 1958, the second floor of Main Street Building #700 housed a 165 square-foot Photo Lab, the 245 square foot Photographic Department Office, the 221 square foot Customer Relations & Public Opinion Office and Disneylander Office, the 1,582 square foot Merchandising Offices, in addition to 581 square feet of stairs and a hallway. By September 28, 1958, Bank of America appraised the Main Street Opera House Building (considered a Park Asset) and valued it at $258,398. In 1959, Allen Malmstem’s Food Services Office was added to this location. All of these were once situated on the entire oft-unseen second floor of the Opera House which totaled 3,354 square feet.

Guests prepare to board a Horse Drawn Streetcar and depart for a ride down Main Street U.S.A., not far from the Main Street Opera House in Town Square.

“Grand Opening”

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: “Electric Signs: All are in work - with the exception of the shoe store and the Bank of America, all will be completed.”

Art Linkletter (while hosting Dateline Disneyland, aired July 17, 1955) implied that the Grand Opera House was a location “where Jenny Lind [a Swedish Opera Singer] or a Chautauqua [adult educational] lecture might take place.” Though (during the first few years), the doors were usually closed to guests, music would still emanate from the Main Street Opera House. During the early years, it’s sidewalk area under the awning was prominently used by the Disneyland Marching Band for concerts. In fact, those Disneyland PBX operators (stationed upstairs) received a free concert every morning, as the Disneyland Marching Band played right in front of the Main Street Opera House doors! During the latter part of the “first fabulous decade,” the Shoeshine Boys often performed near the entrance. You probably couldn’t hear the sound of the Mill (which operated until about 1960). During later winter seasons, the Disneyland Christmas Carolers (under the direction of Dr. Charles C. Hirt and lead by Mr. Robert G. Hasty), also known to perform near the “Lincoln” theater 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]

During the early 1960’s the 450 square foot Main Street Opera House Lobby was utilized as a “Sponsor’s Headquarters” for representatives of senior classes attending Grad Nite at Disneyland. It seems (during this time) that there were many ideas as to what purpose the Main Street Opera House Lobby (comprising some 450 square feet) could serve at Disneyland. Over time, The Main Street Opera House on the 600 block of Main Street in Town Square, came to house a number of popular displays (as originally intended). One of the first events held inside was a publicity event for Walt Disney’s Zorro television show. A few years later (during November of 1962), Milt Albright entertained the idea of dividing the Main Street Opera House into a “Birthday Village” comprised of six areas. The area would have been rented for a period of (approximately) 45 minutes, and the package would potentially include lemonade and birthday cake, an overall photograph with their guests, and perhaps a special hat. With the thoughts of lemonade in mind, we turn our attention to the Main Street Opera House’s first memorable (and “Mother Goose”-inspired) exhibit…

You may recollect Walt’s Pre-Opening Day interview (with Bob Thomas of the Associated Press), where he divulged that “eventually I plan to make it a motion picture exhibit.” More than six years after Walt spoke those words, one of the first special exhibits to be displayed inside the Main Street Opera House was the Babes in Toyland Exhibit, from December 17th, 1961 to September 30, 1963 (with a brief closure during the winter of 1962). This was a walk-through exhibit featuring giant-size motion picture sets recently used in the filming of Walt Disney’s 1961 theatrical musical Babes In Toyland.

Babes in Toyland was quite an achievement itself, as the Walt Disney Studios had first entered negotiations in with Merian C. Cooper in 1933, to produce an adaptation of Victor Herbert's 1903 operetta Babes in Toyland. By 1957, Walt Disney shared how “planning product for today's changeable theatrical market in the United States is not easy. Theatre goers have become very selective. But we are firm believers in the basic desire of people for good theatre fare-good stories, well told.” Still, Walt expressed much enthusiasm for the “important new project slated for production” at his Walt Disney Studios. In the 1957 Walt Disney Productions Annual Report to Shareholders and Employees, he described Babes in Toyland as “a live-action spectacular to be built around the classic Victor Herbert music.”

The set pieces for Babes in Toyland were created under the Artistic Direction of an established and renowned Hollywood Art Director Carroll Clark and Marvin Aubrey Davis (both of whom would go on to Direct the Art of many live-action Walt Disney Productions through the 1960s). The massive fantasy sets were also created under the Set Direction of Emile Kuri (the Academy Award Winning Set Director of Walt Disney’s 20,000 Leagues Under the Sea), and Hal Gausman (who had recently served as Set Director for Walt Disney’s Absent Minded Professor, and would later serve as Art Director for Walt Disney’s Mary Poppins)! Emile’s work had previously been a constant and popular feature of Tomorrowland!

Once through the Forest of No Return, “all roads lead to the magical, merry” Mother Goose Village Square! Guests could see “the pumpkin house of Peter, Peter, Pumpkin Eater ; the Queen of Hearts Tart Shoppe, the Shoe in which the Old Woman lived ; … and the Toymaker’s Toy Shoppe”. In addition, there was “Mary’s Cottage and garden ; a storybook castle and a little greystone church”, and in the distance (far outside of town) the crooked house of the “crooked old man” Barnaby villainously looms at the top of the hill. One of the sections of this “3 Wonderful Ways to Experience Disneyland” leaflet advertises some of the explorable locations of the “Babes In Toyland Village”. “See Mother Goose Square, The Toy Factory, [and] The Forest of No Return.”

The Forest of No Return could be a little scary for younger guests. It’s been said that “those who stumble in, those who fumble in, never can get out.”

Here, a father holds his child as they ignore the signs reading “Go Away” and “Get Out”, and make their way through the encircling trees. Beware, as Barnaby’s cohorts (Gonzorgo and Roderigo) may be following closely behind!

By the time we arrive at Mother Goose Village, it appears that a Gypsy caravan has also arrived!

Many guests were sure to not miss Disneyland’s newest attraction - the “Babes in Toyland Village”, featuring actual picture sets from Walt Disney’s latest musical! Table IV of the ”Ride Operating Schedule” (effective October 3, 1962) reported a maximum capacity of 1,200 guests daily. The cost of admission was the same as Walt Disney Productions’ other feature film exhibit, the 20,000 Leagues Exhibit - 10 cents, or one “A” Coupon.

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

Guests who wished to commemorate their visit to the film’s set (and prove that they actually set foot in Mother Goose Village) could have their souvenir photo taken near the house that Jack Built - that of “Jack-Be-Nimble” (of candle-jumping fame)!

After visiting the exhibit, guests may find a memento of their experience in a location not advertised - the neighboring Toy Shop. Many souvenirs (found in contemporaneous c. 1961 shops) were themed around the Babes in Toyland characters - wooden frame tray puzzles (by companies like Jaymar) featuring memorable scenes from the film, vinyl Disneyland records and books featuring popular songs from the film, cute “Twistable” toys, hand puppets, “punch-out” figure books, and small plastic Marx Disneykins figures of toy soldiers.

During 1963, Grad Nite Chaperones used teh space as their greenroom and dined among the set while Grads explored the Park.

By the time this attraction had ceased operation, a grand total of 436,070 guests had experienced a stroll through the Village set pieces of Walt Disney’s latest live-action feature film [according to Admission Media Rides and Attractions Reports, published by Disneyland Research Department, April, 1971].

The Main Street Opera House housed a J.H. Miller Company Mold-A-Rama "Disneyland Toy Factory" machine.

Before guests even set foot inside the technicolor fantasy world, towering Toy Soldiers in Candy-striped guard houses guarded the entryway into the Main Street Opera House, as George Brun’s storybook-inspired music tracks could be heard in the distance! Decades after these giant wooden Toy Soldiers briefly stood guard outside the Babes in Toyland exhibit, we had the pleasure to see one in person at one of Van Eaton Galleries’ prior pre-auction exhibitions! As a “sidelight”, you may notice that the soldier’s straps also form an “X” across their back. This was done with intent, as their creator was the legendary animator Francis Xavier Atencio!

The earliest concepts of Walt Disney’s Disneyland included descriptions of a Mickey Mouse Club attraction! This was likely due to the fact that the “The Mickey Mouse Club” television show was preparing to launch during the fall of 1955, and Walt (being a big believer in corporate synergy) was planning to use Disneyland as a stage to introduce his newest sensation! According to “Disneyland” (a document prepared for Disneyland Inc. by WED Enterprises), “Mickey Mouse, the best known personality in the world has his Mickey Mouse Club headquarters at Disneyland. Located on Treasure Island, in the middle of the river, a fantastic hollow tree and treehouse serves as the Club meeting place. The hollow tree is several stories high, with interesting rooms and lookout spots for Club members. There is a Pirate cove and buried treasure on the Island…and direct from this location the Club presents The Mickey Mouse Club Television Show.”

Disneyland partially owes its existence to the Mickey Mouse Club. According to Walt’s own words (in a Disneyland, Inc. Merchandise Association Meeting held Wednesday, January 25, 1956): “A year ago we were praying that we could have Disneyland open by July, then wondering if we would have enough money to open it. I reached a point where I needed a few more milion dollars, so took on quite a chore and started a new TV show - the Mickey Mouse Club… My budget for 100 hours of programming for the Mickey Mouse Club was $2,000,000,00 and I spent more than that… Money from this program was used to help finish Disneyland. Today the show has a 25 rating which is the highest rate of any day time show and compares very favorably with some of the night time shows. We use this to publicize Disneyland.”

Now, “The Mickey Mouse Club” television series had two runs up to this point - a one hour run for two years (from October 3, 1955-1957), and a half-hour run (from 1957-1959). During the latter run, Nielson ratings over a 52-week period (of 1958 alone) showed “The Mickey Mouse Club” was viewed by a total of 15-million Americans, five days a week.

By 1963, ”The Mickey Mouse Club” television series had recently become syndicated, and thus offered a wonderful opportunity - a “cross-pollination” promotion opportunity between Disneyland and Walt Disney Productions! Ultimately, the Mickey Mouse Club, would be regularly shown throughout the world.

Now, following the Babes in Toyland exhibit (which closed on September 30th, 1963), the Main Street Opera House briefly hosted the Mickey Mouse Club Headquarters - from September of 1963 to September of 1964! During this time, the Mickey Mouse Club Headquarters was open daily at Disneyland - from dawn until dusk - with varied opening hours, ranging from 8:30 am (or 9:30 am) to 5:00 pm! The entire adventure had a 900-guest capacity.

Here, the doors of the official “Mouseke-Club” were opened by Disneyland Guided Tours Hostesses (like Maggie Albright, Chief Hostess of the Mickey Mouse Club Disneyland Chapter). Then, “boys and girls from far and near” were “welcome as can be,” and everyday was “Guest Star Day.” Older Mickey Mouse Club Members (and Guests) “proudly put on their Mouseke-ears,” and experienced becoming honorary Mouseketeers (receiving their very own Charter Membership Certificate, Official Membership Card, and souvenir button). Fans of the series could have a souvenir photograph taken with Mickey Mouse (on their birthday), and guests of all ages found exclusive Mickey Mouse Club Headquarters souvenirs and miniature press photographs featuring the original cast were sold in the Mickey Mouse Club Shop (as it was referred to in Walt Disney’s Guide to Disneyland)! Just through the Opera House doors, the “Disneyland Toy Factory” Mold-A-Rama would produce plastic-injected molded figures of Mickey Mouse and friends.

“Guest Star Day”

Once entering, you stroll down a path with barns and the various days of the week on them (i.e. Guest Star Day). Some of television’s Mouseketeers would meet and greet guests near these barns. It wasn’t uncommon to see Roy Williams drawing caricatures, Jimmy playing his Mouseguitar, or other Mouseketeer Alumni visiting the exhibit. Of course, the most popular Mouseketeer was “the leader of the club that’s made for you and me“ - Mickey Mouse!

In addition to all these guest stars, Mouseketeer Ginny Tyler regularly recorded live 15-minute daily segments inside Disneyland’s Mickey Mouse Club Headquarters, which was broadcast on locally on KTTV as part of the syndicated “The Mickey Mouse Club” series. Comedians “Hub and Bub” (later known as Skiles and Henderson) made an appearance on one such segment. While many of the live televised segments featured the Backstage areas of Disneyland (i.e. the Mill, Model and Paint Shops, Decorating, the Monorail Shed, and the Train Roundhouse), one segment in particular highlighted “the inner workings of the Main Street Cinema.”

A Toy Soldier in a candy-striped guardhouse still stands guard before the entrance of the Main Street Opera House’s next exhibit!

Who’s “the leader of the club, that’s made for you and me” ? Mickey Mouse welcomed new honorary Mouseketeers to the Mickey Mouse Headquarters, while Disneyland Hostesses (occasionally referred to as “Mickey Mouse Club Girls,” seen in the background) also welcomed guests!

As late as April of 1964, the “mousekegirls” of “The Mickey Mouse Club” television show worked at the location. During this time, a total of 3,162 free souvenir birthday pictures (taken with the visiting cast) were given out to guests.

“The Mickey Mouse Club Headquarters”

Signage like this would hang around the interior of the premises, announcing the temporary headquarters to Park guests. This was not the first time Mickey Mouse Club Membership was offered at Disneyland. During the winter of 1955, Wonderland Music Store in Disneyland offered an Official Mickey Mouse Club Certificate with a subscription to Walt Disney’s Mickey Mouse Club Magazine. Now, due to such an increased advertised presence, The Mickey Mouse Clubhouse Headquarters at the Opera House in Disneyland boosted membership during its tenure (membership of the Mickey Mouse Club Disneyland Chapter being promoted as early as 1962).

Guests visiting the Mickey Mouse Club Disneyland Headquarters would receive this Charter Membership Certificate (signed by “the Chief Mouseketeer [of] International Headquarters” - Ginny Tyler), welcoming them to the club! Even after this temporary experience would disappear, some guests would cherish their membership certificate for a lifetime.

With increases in postage and first class mail shipping beginning in January of 1963, both Milt Albright and Ed Ettinger worked together to cut costs of the Mickey Mouse Club Disneyland Chapter (under the oversight of Jack Lindquist). It was Milt Albright who recommended the format for what you received in the mail - the “window” type of envelope, and not using a “form letter,” but “having the membership card be a ‘pop-out’ at will,” to increase savings. All these details were not even finalized by December 20th, 1962.

These “snap-out” Mickey Mouse Club documents were different from the ones acquired through the Disneyland headquarters.

But ultimately, these little perforated “snap-out” Mickey Mouse Club Disneyland Chapter Membership Cards were sent to members approximately 2 weeks after their applications were received. There was no charge for Mickey Mouse Club Disneyland Chapter Membership. However, membership was limited to Southern California residents within the KTTV viewing area. Though the club had no age limit, it was designed to appeal to youngsters under the age of 16 years old.

In the end, Mickey Mouse Club “Weekly Activity” Reports showed that Mickey Mouse Club Disneyland Chapter Memberships (of Local Members, Honorary Members and new Members signed into the Clubhouse) hit peak numbers on Saturdays and Sundays at Disneyland. By April 29, 1964, the there were 191,473 Local Members, in addition to 53,448 Clubhouse Mail-ins, 122,735 Honorary Members, and renewals factored in, totaling in 367,656 Mickey Mouse Club Members. Of these, 328,724 were serviced at the Clubhouse located at Disneyland! Tommy Walker (head of Disneyland Public Relations) would often send weekly Inter-Office Communications, relaying Mickey Mouse Club Disneyland Chapter Activity Reports to “those concerned” - i.e. Card Walker, Donn Tatum and Vince Jeffords (at Walt Disney Studio), and Ed Ettinger, Bob Wormhoudt, Vern Croft, Wally Wade, Ted Crowell, Jack Lindquist, Linda Morse and Milt Albright (at Disneyland).

Since the beginning, Disneyland has synergistically worked with Walt Disney Studios to keep the Disney characters before the public and provide settings for television programs. This would not be the first time that segments of ”The Mickey Mouse Club” were filmed at Disneyland. On a most recent occasion, at least one segment of ”The Mickey Mouse Club” TV show was filmed in the Park during the month of January, 1963. But this routine filming of ”The Mickey Mouse Club” television show at Disneyland would take months to plan and develop. Now by July of 1963, Ben Harris began to select and pick up music (from local shops) and inspecting sound and recording facilities that would be utilized for the television recording. A few months later (during September of 1963 ; the same month that the Babes in Toyland Exhibit closed), a promotional parade (of which Ginny was a guest of honor), was held in neighboring Garden Grove. This was (of course), in advertisement for the upcoming Mickey Mouse Club Headquarters in Disneyland and the new segments of “The Mickey Mouse Club” television series which would be filmed at Disneyland!

Scripts written for Ginny Tyler also introduced promotional Disneyland offers for Mickey Mouse Club members who visited the Park.

Proposed dates and locations for filming the Mickey Mouse Club Television Show in Disneyland are listed on this Inter-Office Communication. The dates ran every Saturday in the month of November, 1963.

By February of 1964, Ben Harris (of the Disneyland Production Department) held near-daily production discussions at the nearby Gourmet Restaurant (with the production companies and individuals like MMC Director Bob Lehman) pertaining to the forthcoming tv segments. One tentative shooting period ran from Saturday to Sunday, February 1 & 2, 1964, when the crew hoped to “get six or seven segments done.”

By March of 1964, the search was on for various “action props,” “bowling equipment,” and “physics equipment” to be used as screen on-screen props. Electrical equipment and musical equipment was also selected, rented and purchased. While these were acquired (either purchased or rented), physical set-up and staging began around mid-March.

As mentioned earlier, Mouseketeer Ginny Tyler soon (on March 28th, April 11th and 12th, 1964) recorded some of the first (of a series) of 15-minute segments inside Disneyland’s Mickey Mouse Club Headquarters, which was broadcast as part of the syndicated “The Mickey Mouse Club” series. According to Ben Harris’ account, some “105” of these segments would be filmed at Disneyland.

The Mickey Mouse Clubhouse Headquarters in Disneyland also sold an increased amount of merchandise during its tenure. Buttons and tin lapel clips were common pieces of “The Mickey Mouse Club” merchandise sold through the Merchandise Headquareters. Non-birthday-related pictures were sold at 75 cents each, and by April 19, 1964 a total of 1, 846 had been sold. There were also Free souvenir birthday pictures (when the Mousekagirls worked on the television show). Perhaps one of the more popular merchandise was the new “The Mickey Mouse Club TV Show” LP released by Disneyland Records in 1964.

Now that ”The Mickey Mouse Club” was back on television (and the Mickey Mouse Club was Headquartered at Disneyland) the was the perfect opportunity for Benay Albee to bring their popular Mouseketeer Cap to Disneyland!

“The Mill Moves”

By the summer of 1965, a “new mill had to be built to handle all the business,” according to Bill Bealer of Backstage Disneyland magazine, Vol.4, No.4 ; December of 1965. The new MILL AND SHEET METAL SHOP (and even a Mill Annex) would eventually find a home in the Backstage West Service Area behind the Frontierland berm. By that time of Tencennial celebration, there were many new skilled craftsmen who had come to Disneyland after extensive experience. However, some of Disneyland’s original carpenters (Cliff Carothers, Earl Anderson, George Williams, George Le Fevre, Scotty Scribbs, L.H. Anderson, John Yorber and a certain “Harry”) still worked in a similar capacity with the Park. These men recollected fond memories of the original Mill’s role in Disneyland development.

*Some sources (as the “Disneyland Admission Media Rides and Attractions Report” published 1971; “Disneyland Rides & Attractions and Attendance Report,” 1981, page 50) cite July 16th, 1965.

As with any new ideas and American dreams, Great Moments with Mr. Lincoln (with its Audio-Animatronic star) was not created in “a day.” It was “perfected and proven only after long experience and trial.”

“A Few Great Moments in the Imagineering of Mr. Lincoln”

The idea of automated figures dates back to the 1600s and 1700s, when the kings of France (like Louis XVI) commissioned automated orchestras to be built. Two hundred years later (but still a decades prior to the conception of Disneyland), Walt began his childhood fascination with the United States President. According to Walt, “Ever since I was a small boy in Illinois, I've had a great personal admiration for Abraham Lincoln.” In fact, as a child, Walt even donned a stovepipe hat and portrayed Abraham Lincoln for a school project. This admiration of Abraham Lincoln continued for decades.

As for mechanical figures, they enter the Walt Disney story six years before Disneyland would premier to audiences. In 1949, Ken Anderson created a Disneylandia concept that consisted of an old-fashioned Barbershop Ensemble with a quartet of mechanical singers. In September of 1950, the famous sculptor Charles Cristodoro had joined the Walt Disney Studio, and a few months later he found himself busy carving the little figure of Buddy Ebsen. But how would Walt animate the figures?

The following year, on July 6, 1951, Walt, Lillian, and daughters Diana and Sharon Disney arrived in Le Bourget Airport, Paris, France. Diane Disney noticed that “Dad went out shopping on his own when we were in Paris. He came back to the hotel room with two large bags from a toy store filled with wind up toys. He unpackaged them, wound them all up, and studied them as we looked on, amused, but puzzled. 'It's amazing that you can get such interesting movement from a very simple mechanism, he explained.” Walt returned home with his Le Zoo Mécanique souvenirs from Paris. In 1951, Walt also returned from New Orleans with an antique mechanical Bontem’s bird automaton. All of these souvenirs would continue to progress Animatronics technology.

These would inspire Roger Broggie (a Walt Disney Studio Camera Repair Department machinist who had assisted with the fabrication of Walt’s Carolwood Pacific Lilly Belle engine) and Wathel Rogers (another of Walt’s character animator’s with a knowledge of the mechanical) to fashion the first ever “cam and lever” Audio-Animatronics figure (a 1/8 scale tap dancing Buddy Ebsen figure) for Walt Disney’s “Disneylandia.”

Walt Disney Studio artist Charles Levy (in interview with Bill Davidson of The Saturday Evening Post, published for November 17, 1964) recalled a momentous occurrence he observed when first employed in 1954: “I remember seeing him at the studio then, and he was a wrapped up in something mysterious he was doing with Buddy Ebsen who, in those days, was a fine dancer. He had Buddy do a dance number, and there were men in the room punching holes in what seemed to be a mechanical piano roll. Then I saw Walt playing with little Buddy Ebsen dolls, which were attached by electric wires to a huge console-machine. The men would feed the piano rolls into the console like a continuous I.B.M. card, and the little Buddy Ebsen dolls would repeat the dance steps I had seen Ebsen himself do. It didn't work because those were the days before transistors and the equipment was too cumbersome, so Walt put the whole thing aside.”

Roger Broggie recalled: “We got as far as building the guy in the chair and the barber behind him,” said Broggie. “Then the whole job was stopped.” While there were some frustrations and the project was aborted, this Imagineering feat led to other research and developments some six years later.

In 1957, The Disneyland Report to Anaheim and Orange County (prepared before August of 1957) mentioned future developments called Liberty Street with the Hall of Presidents, and Thomas Edison Square all planned for 1960. Meanwhile, Walt commissioned a Mr. Lincoln Audio-Animatronic figure prototype in 1958. Walt once recalled: “I had him on what we called Mark I and I had him under manual control. we could make him stand up and put his hand out.” However, the “Lincoln” project was also not completed, because, in Walt’s own words: “I figured it would take me 10 years to get Mr. Lincoln going.” Work continued and by October 1960, Marc Davis had prepared a “Reference for Animated Human Figures”, a sketchbook that explored how anatomy could be replicated with machines created by the Studio Machine Shop. This book was created at the personal behest of Walt Disney.

However, the project was “shelved” for five more years (until after the debut of Walt Disney’s Enchanted Tiki Room bird cast). But during this time, Mr. Lincoln would receive a visitor. Walt remembered how “Robert Moses was getting the World’s Fair going, and he came out. He came and visited Disneyland. He wanted to visit the Studio. He was trying to decide on what could be done. So I had him meet Abraham Lincoln. I said, ‘would you like to meet Mr. Lincoln?’ He gave me a funny look. I said, ‘well come on in - meet him.’ So when he walked in the door, I said, ‘Mr. Lincoln meet Mr. Moses,’ and Lincoln put his hand out and Moses went over and shook hands with him. Well Moses is quite a showman and he said I’ve got to have a Lincoln at the Fair. But I said this is 5 years away anyway. But Moses wouldn’t take no for an answer.”

Soon, a few “great moments” occurred in (not a meeting of Disneyland, Inc., or Walt Disney Productions, but) an Illinois Commission meeting (c. 1963) pertaining to their contribution to the upcoming World’s Fair. It was decided that their particular New York World’s Fair pavilion would be entitled - “The Land of Lincoln!” The highlight of the attraction would be none other than a three dimensional representation of the nation’s 16th president. Walt remembered: “The next thing I knew he had gotten with the State of Illinois and was trying to sell them on a Pavilion. And before I knew it, I had my arm twisted and I said yes.” After some negotiations and special agreements, the synergistic partnership was formed. Walt was soon interviewed by Fletcher Markle (on September 25, 1963), who revealed “the next step beyond the birds… to do the same kind of programming with human beings… and especially America's 16th president - Abraham Lincoln.” The State of Illinois would have their “Weenie” for “The Land of Lincoln” which would draw guests into their pavilion at the New York World’s Fair. In turn, Walt Disney would gain the funding to develop the necessary technology to run the show in New York and once the two years were complete (and in some cases, by 1964), Walt would have a brand new attraction for Disneyland.

By now there existed a Disney-patented technique of electronically synchronizing voices, music and sound effects to animated figures and objects. Walt continued: “We now had to get Mr. Lincoln on the road, I think, in about 13 months.” So immediately, some of Walt’s artists (with a diversity of backgrounds and skills) were transferred to WED Enterprises, Inc. in order to work with Audio-Animatronics - artists like Bill Justice (a former character animator who had assisted with the “come to life” Character designs for Disneyland in 1961), and Wathel Rogers (Walt Disney Studios animator who was a previously assigned to develop the miniature barber shop quartet for project “Little Man”). Both Bill Justice and Wathel Rogers would be among those assigned to bring life-like animation to the towering Mr. Lincoln. Studio retiree Jim Algar created Lincoln renderings & designs. Other contributors like Victor Greene of WED Enterprises, Inc., provided visual art direction. They were joined by John Hench (a c.1954 WED Enterprises hire, and old sketch artist from the Hyperion Avenue Studios, in 1939).

“Recreating the ‘Head of State’”

It was found that several of Walt’s shows being developed for the forthcoming 1964/1965 New York World’s Fair (like the General Electric Carousel of Progress and Great Moments with Mr. Lincoln) involved complex Audio-Animatronic heads. And so during the latter part of 1962 (while the Mickey Mouse Club Headquarters was still located on Main Street), another sort of “Head-Quarters” would take form - the Figure Head Shop (known in the present as the Figure Head Animation Shop)! Sculptor Blaine Gibson (who had been with the Disney Team since 1939, and became a WED Enterprises Sculpture Designer in 1954) now began exhaustive research on the Lincoln head while he was still pulling shifts animating. Blaine and other artists got to work, visiting libraries and museums in order to make Walt’s presentation of Abraham Lincoln’s representation as accurate as possible. According to Dave Smith (Chief Archivist Emeritus), “Disney’s Imagineers spent five months researching Lincoln’s exact measurements and physical appearance. There was intensive study of many photos, paintings, and written descriptions, including passages from Mary Lincoln’s diary.” [Disney Facts Revealed by Dave Smith, 2016]

As to his approach to figure sculpting, Blaine once commented : “When we do a figure, we’re thinking of a character - a living, breathing character.” This being the case, Blaine would look into the writings of William Henry Herndon (Lincoln’s old law partner) which were only recently published during the early 1950’s, and described in “microscopic” detail many things about the look of his friend, Abraham Lincoln. For example, Herndon “described Lincoln as having a long head with a ‘tall’ forehead, sloping backward. The forehead, he adds, was narrow but high ; ‘the cheek bones were high, sharp and prominent ; his jaws were long, up curved and massive, looking solid, heavy and strong ; nose large, long and blunt, a little awry toward the right eye ; chin, long, narrow, sallow and cadaverous. . . having on his face a few hairs here and there ; cheeks leathery and saffron colored ; ears large and jutting ; lower lip thick, hanging undercurved or down-curved ; little gray eyes.” Clearly, Herdon’s memoirs would be an invaluable source when bringing Abraham Lincoln to life. After the “Disney artisans” labored for five months, “their tender care… [was] evident in Mr. Lincoln’s face,” according to one official Souvenir.

The face of the Audio-Animatronic Mr. Lincoln was also partially fashioned after a bronzed reproduction of sculptor Clark Mills’ life-mask of the 16th President of the United States (which was created some 60 days before the President’s assassination in 1865). As a “sidelight,” this bronzed reproduction had resided with the Smithsonian Institute since the 1950’s, and was featured in an issue of “Natural History” magazine (February of 1953), which was part of The Walt Disney Studio Library.

Still, yet another life mask (created earlier in 1860, in Chicago, by sculptor Leonard Volk) was also accessed and studied by artists. This particular mask preserved Lincoln before he was President and before he had a beard. Soon, Lincoln was sculpted in what Vacationland (Fall, 1965) called a “plastic clay.” Yes, “the skills of the sculptor and the talents of the artist” would soon enable audiences “in the presence of a man whose spirit guided the nation through a time of turmoil. Whose words inspired generations to follow.”

In addition, photographic evidence was collected, and from this, it was gathered that Abraham Lincoln towered over officers (as in a photograph taken at Antieam, in 1862). So, the entire Audio-Animatronics figure would need to be built to a scale that would at least simulate his true-life stature, of six foot- four inches tall. Some creative designs of the Audio-Animatronics figures (with a little creative license) were provided by members of the Disneyland Staff Shop. It was decided to increase Lincoln’s height by three inches to make him seem more imposing, so the height of the figure on the drawing is an impressive six feet, seven inches tall. The final figure would stand approximately six feet, four inches.

“Designing the Great Movements of Mr. Lincoln”

Now, this figure was to be far different than the static figures that were planned and in development for the “Pirate Wax Museum” at Disneyland. Mr. Lincoln would be animated, rising from his chair; his hands in contact with a chair until he could no longer reach; his arms swing forward as the figure reaches full height;

…and the figure finally taking one step forward, the leg, moving forward until the figure reaches the center of gravity. Marc Davis assisted with the design of this detailed A.A. Figure animation.

“Construction of Mr. Lincoln”

Bob Gurr remembered : “We had to figure out how do you do an animated human and design all the mechanical parts, and all the motions… We’d take the details to the Studio, and the Studio would make the parts. No time to explain how it’s going to work. They’d just build it on faith and see if we could make it run.” Many parts were constantly refined by the Walt Disney Studio Machine Shop (as “Lincoln’s Hands,” which were first produced during April of 1964, and the mechanics and aesthetics of which were refined greatly by May 3, 1965).

Bill Justice recalled “The original Audio-Animatronics figures were strictly mechanical. They were filled with cams, push rods, gears, pulleys and hydraulic lines. Their costumes had to be changed periodically because of oil leaks. Much of the mechanical equipment was located in the only large space available - the chest cavity. From there push rods and cables would go to the head and arms. The programmer's first lesson was to stay a safe distance away. The figures are all heavy enough and contain enough hydraulic pressure to break furniture. Or break heads. When you're learning how to move an arm and you don't quite know where it will go, it's best to stay well out of arm's reach.”

Robert H. Gurr (the very same engineer who helped redesign the Autopia Mark I chassis in 1955) was tasked with designing Mr. Lincoln’s “ribcage” (among other “skeletal” parts). “Remember, I’m a car guy. Lincoln has no wheels.” Bob accomplished this formidable and challenging task (with the help of Hogsett (a draftsman), and today he still (proudly) owns one of the life-size blueprints of Lincoln (he approved).

“Programming Mr. Lincoln”

Bill Justice [“Justice for Disney”, page 75] recalled: “The original programming system was a harness arrangement worn by the programmer. He would move the way he wanted the figure to move. The harness would sense these motions and pass them on to the figure. That's how my mentor and colleague Wathel Rogers programmed the original Mr. Lincoln. Visitors would watch Wathel work and accuse him of overacting. He had to overact - the harness could sense only about two thirds of his movements. It was a pretty crude arrangement.” So instrumental was Wathel Rogers (of WED Enterprises Systems Development), that on January 11, 1966, an additional pay increase of $25 per/week (to his current personnel salary of $350/week) was deemed warranted and approved by both Mel Melton and Walt Disney.

The magic of Walt Disney’s patented Audio-Animatronics human figures soon made their debut though several televised previews. In one “Wonderful World of Color” episode (airing May 17, 1964) Walt Disney introduced the world to Audio-Animatronics with the help of animator Wathel Rogers (who wore the electronic rig of controls, which captured his own movements, and then recorded them on 35mm magnetic tape). Further, “sync marks” (would allow the movements to be analyzed, corrected and timed to keep the various animations in well-ordered synchronization). This impressive display was far more complicated than those remote controlled Tiki Room Birds, and this way, Wathel gave a televised demonstration of programming the movements of the “Father” figure for the General Electric Carrousel of Progress.

Walt Disney’s Mr. Lincoln would be no mere “talking statue”. These techniques would now be employed to give natural movement to the complex figure of Abraham Lincoln. According to Walt Disney (in a c. 1963 interview with Fletcher Markle), “Now, we’re making these… dimensional human figures move, we make animals move, we make anything move, through the use of electronics. It’s a tape mechanism. The tape, its like programming and sequencing when… they’re sending some missile to the moon. At different stages, at different times, things must happen. That’s all programmed - pre-determined. So our show’s put on that tape, programmed from this tape. And we run it off a little 1-inch tape that has 14 tracks. On each track, we can get up to 16 signals. Now, those little signals go and impulse this figure and make the figure move make the figure talk, and everything.”

“Recording Great Movements of Mr. Lincoln”

An Animator’s Console was used for programming the movements of the Audio-Animatronics® figures. Mr. Lincoln’s music and effects were pre-recorded on a 1-inch magnetic tape (capable of controlling hundreds of actions) and then synchronized with impulses. These impulses are simulated by transmissions sent from the magnetic tape to numerous pneumatic and hydraulic tubes running through his body. According to Backstage Disneyland (Vol.6, No.1 ; published Spring, 1967), “The heart of Mr. Lincoln is a one-inch-wide tape that contains 11 tracks of pulses. This, combined with a complicated hydraulic oil and air system, provides the smooth body movements seen in the show upstairs.“ The end result - through the magic of Audio-Animatronics, the great Abraham Lincoln comes to life before audiences, for a memorable six minute address - with “48* separate body actions with the figure’s 17 head motions and facial expressions” (*or, 48 separate body actions, by some accounts)! In fact, according to “The ‘Audio-Animatronic System’ : A New Concept in Entertainment,” “some 275,000 combinations of actions can be programmed for the Lincoln figure.” “With even more realism in sound and movement, the figure of the Civil War President is seated in thoughtful dignity in his White House office. He rises slowly to deliver his address, with complete coordination and movement, speech and mannerisms of Abraham Lincoln,” according to an excerpt from "Walt Disney's Vacation in Disneyland" A Gold Key Comic, Published 1965.

According to Disneyland LINE Magazine [October 28, 1994 ; Vol. 26, No. 42], “The Figure Head Animation Department came into existence in the latter part of 1962 to meet the demands of Disney’s exhibits at the 1964 World’s Fair,” which included the Cast of It’s a Small World, the General Electric Carousel of Progress, the Ford Magic Skyway, and Great Moments with Mr. Lincoln. The same article continues : “These exhibits introduced Audio-Animatronics technology on a grand scale. Two of the exhibits, Great Moments with Mr. Lincoln and the GE Carousel of Progress, had complicated animated heads. The Head Shop team was established to assemble them.”

The Audio-Animatronics head is covered with butyrate, a transparent, rigid, and easily malleable plastic used as a “shell.” Over the butyrate was a flexible latex “skin.”

In order to find a resilient and flexible figure skin compound that could endure the rigors of performance after performance, Walt and company turned to Bart Thompson (a chemist for rival studio MGM), who had a knack for these sorts of things. Bart had previously helped develop the latex “skin” for one of Walt’s first Audio-Animatronic human figures (that of Confucius, for a scrapped Chinese restaurant project, that was to be located off Main Street at Disneyland). Now, Lincoln would be covered with a “flexible ‘skin’ in order to maintain the original details.” Such a flexible figure skin was pliable and capable of being “buttered” - worked with a hot iron. Finally (above), note the lip ring and upper and lower “pinch arms,” eye snaps, and screws for attaching the “skin” to the Head Assembly.

Meanwhile, “the hair and beard were created by a professional wig maker… eyes were created by WED artists, using techniques similar to those employed by prosthetic eye manufacturers, and dental techniques were used to design the gums and teeth,” according to Vacationland magazine (Fall, 1965).

The dentures fabricated for the head were even scrutinized, as attested to in this letter to Walt Disney Productions from a contemporaneous, local Hollywood-based dentist who acted as a consultant for Mr. Lincoln.

All of this facial detail was essential, because the complex Mr. Lincoln Audio-Animatronic would be unlike any other - a human character that would speak!

Last (but not least important) was the score, which was composed by Buddy Baker (who would later become renown for his compositions for both Adventure Thru Inner Space and the Haunted Mansion). Buddy had most-recently provided the score for the attraction at the State of Illinois Pavilion.

“Great Words of Mr. Lincoln”

James Algar (a veteran of Walt Disney’s True-Life Adventures documenting people and places) was assigned to write the script for Great Moments with Mr. Lincoln. Soon, Walt Disney (and company) reached out to Ralph Newman (an avid and respected Civil historian). Though James had researched much material and drafts were completed (as early as August of 1963), many subsequent meetings and Inter-Office Communications took place on the subject of what Abraham Lincoln should say. According to Walt’s own words, “When we set out to select the speeches and writing for the monologue in the show, we decided to bypass the Gettysburg Address, even though its poetic qualities and poignant message are unexcelled. Because it is so familiar to every American, we felt that it would not contribute significantly to our purpose - an in-depth fresh presentation of Lincoln’s principles, ideals and philosophies.”

So, it was ultimately decided to not select any one of Lincoln’s deliveries (as The Gettysburg Address) for the monologue, but to write his words as some actual composite of President Lincoln’s speeches. Among the sources included were (1) the Address at Sanitary Fair, Baltimore, Maryland -April 18, 1864, (2) the Speech at Edwardsville, Illinois -September 11, 1858, (3) the Address before the Young Men's Lyceum, Springfield, Illinois -January 27, 1838, (4) the Address at Cooper Institute, New York city, New York - February 27, 1860.

“New York World’s Fair Debut and Response”

The results were ready in a few short months, and by April 5, 1963, Fairfax Cone (New York World’s Fair Illinois Commission Chairman) flew out to Walt Disney Studio. At the sight of Lincoln talking and moving, Fairfax soon thereafter wrote Walt : “I am sure you know that I was overwhelmed by the realism of the Lincoln figure that you showed Mrs. Cone and me last Friday. The possibility of our using the Lincoln figure and the effect of this upon visitors to the New York World’s Fair have not left my mind during any of my waking hours since I saw it. I am going to New York tomorrow to discuss the Illinois participation with the Fair people, and I expect to be in touch with Jack Sayers shortly to further explore this subject.” Soon after, the Governor of Illinois (Otto Kerner) appointed a new New York World’s Fair Illinois Commission Chairman - Mr. Ralph Newman. Ralph Newman was a known Lincoln enthusiast, and swiftly flew out to Walt Disney Studio, and was also so impressed with the Lincoln figure, that he had many good things to report to the Illinois Governor.

Around WED Enterprises, Inc., Audio-Animatronics purely served entertainment purposes. However, the art and science of Audio-Animatronics had taken such a great leap forward, that (by June 11th, 1965) the company had even been invited (through a certain Cornell University program) to submit a bid to the United States Navy. This bid was for a contract to develop a related “exoskeletal device” which would enable a man to “lift 1,500 pounds to a height of six feet and carry that load twenty-five feet in ten seconds.” It was clear that WED Enterprises, Inc. had come a long way in the field of Audio-Animatronics, by the 1960’s! More than two decades later (in 1984), WED designers met with scientists from the University of Utah's Center for Biomedical Design. Based upon Audio-Animatronic technology, a stunning new advancement was developed, creating incredibly life-like movements.

Complications (regarding syncing the tape and figure’s movements) prevented Mr. Lincoln’s scheduled debut at the 1964 New York World’s Fair, and Robert Moses went on record stating, that he wouldn’t “open the fair without that exhibit.” If the movements were not synced just right with the audio track, “It was sort of like a needle jumping the groove [on a record]. The result was, Lincoln would go into a complete spastic fit,” according to Bob Gurr. But, once these were fixed, Mr. Lincoln opened at the New York World’s Fair on April 6th, 1964 (some twelve years after the creation of the miniature barber shop quartet).

“‘Unbelievable’ and ‘inspiring’ were some of the words fair goers used to describe this new portrayal of Lincoln.” Understandably, “during the fair’s two six-month seasons, 91 percent of those who paid fair admission - nearly 47 million people - visited one or more of the quartet of Disney shows created for General Electric, Ford Motor Company, Pepsi Cola and the State of Illinois.” [“Information on America Sings,” prepared by Disneyland Marketing Division, 1974]. In reference to the popularity of the marvelous shows created for the 1964/1965 New York World’s Fair, Walt Disney once told Ray Bradbury, “Nothing has to die.” True to those words (and following the 1964 season of the New York World’s Fair), all four of Walt’s presentations were redeveloped by WED Enterprises, Inc. for relocation at Disneyland. Of these, work was soon wrapping up to make Great Moments with Mr. Lincoln presented by Lincoln Savings and Loan Disneyland’s 48th major attraction!

“Imagineering the Disneyland Show”

On February 3, 1965 WED Enterprises was no longer personally owned by Walt Disney, but was now incorporated as a subsidiary of Walt Disney Productions. MAPO was also soon incorporated on July 23, 1965. Before long WED Enterprises, Inc. and MAPO would work together to produce the Disneyland Show. WED Enterprises, Inc. would master-plan, design, and engineer the concepts. MAPO, Inc. would take those plans and fabricate, assemble, and test the show’s prototype systems and components (including those of the Audio-Animatronics figures). New parts were fabricated, including “a duplicate Audio-Animatronics Lincoln, because the original one was still running at the fair,” according to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives). [Disney Facts Revealed by Dave Smith, 2016]

A new six foot, four inch figure (weighing 140 pounds) was completed, capable of some 48 body actions, 17 head motions and facial expressions, and 438 separate actions. In fact, the refined figure was capable of a total of nearly 275,000 possible movements. At long last, “tomorrow's technology, married with the sensitivity of today's Disney artisans” would let audiences relive a few Great Moments with Mr. Lincoln!

The new figure would become the star of a brand new $1.5 million, 499-seat theater (or, “501-seats” in 13 rows, according to Vacationland magazine), with walls “lined in bone-white acoustical veneer for excellent sound control.” Therein, ‘Mr. Lincoln’ would deliver an inspiring address, with the entire show (voice-over narration, animations, lights, curtains, even the motion of the twelve entrance doors and twelve exit doors) recorded on a magnetic tape capable of holding 438 separate actions. The tape would be transmitted from the Audio-Animatronic Control Room under the Lincoln exhibit, which would feature a high-tech fire-proof system involving bell alarms, automatic door locks, and a temperature control system capable of lowering the temperature to 100 degrees below zero. In addition, many aesthetic details of the theater show were analyzed and effected like “mosque-gold” carpeting, deep red upholstery, new Hostess dresses (designed at Disneyland and made locally or in San Francisco). All these Show elements (and more) were being finalized, assembled, and finally installed during the summer of 1965, the latter under the oversight of Orlando Ferrante (a recent WDI hire who would go on to lead Project Installation Coordination). The cost of the new theater would bring the Park’s total investment to $53 million, but be well worth it. Five twelve-minute shows per hour could accommodate 2,500 guests per hour.

According to Marty Sklar, “Imagineering is the blending of creative imagination with technical know-how.” While he believed that Pirates of the Caribbean was “the quintessential attraction that expressed that,” the rollicking adventure undeniably owed its existence to the progress first made with Audio-Animatronics figures during the development of Great Moments with Mr. Lincoln.

“Setting the Stage”

Walt is known to have said, “If you could see close in my eyes, the American flag is waving in both of them and up my spine is growing this red, white and blue stripe.” So, it isn’t a wonder that Walt responded to Herb’s presentation with the following suggestion. By May 13, 1963, Sam McKim had prepared a charcoal sketch of teh second stage curtain reveal and a grand star spangled sunset behind Mr. Lincoln. Fellow artist Herb Ryman (who previously created one of the first official drawings of Disneyland, and subsequent “One Nation” attraction concepts in 1954) divulged: “At Walt Disney’s urging, and in three an done half hours allowed me, the six sequential drawings from the main scenes, the graphics, the color and the stagecraft were all completed. The formula that was to stage the entire production right down to and including the rather ‘corny’ but effective ending with the symbolism of the ‘dawn’s early light’ sky and clouds dissolving into the American flag as background from the majestic capitol dome touched by an amethyst glow of dawn. Wrapping this all up and sticking it onto a story board, I waited Walt’s critique, as I had expected and anticipated that Walt would inevitably interject, ‘Now, Herbie, I’m going to tell you how I’m going to top it!’ I waited and I waited, knowing these words would come, and was, of course flattered and somewhat amused that his best efforts at ‘topping’ the presentation was this announcement: ‘I’m going to have the Mormon tabernacle choir in the finale, singing ‘The Battle Hymn of the Republic’ as the curtain closes. There was not attempt to add any visual climax to my very frantically and speedy three and one half hours of visualizations.” [“A Brush with Disney,” by Bruce Gordon and David Mumford, page 197.]

Yes, some seven years after Herb Ryman and Sam McKim first imagined this imagery in mixed media for the Liberty Street attraction, Walt Disney Imagineers and ACME Glass would bring to life this stunning show-stopping climax! Disneyland News (published Summer of 1965) described this scene in the following way: “In the background the audience will see a model of the Capitol dome as it was in the time of Lincoln. A dramatic, soul-stirring finale finds Lincoln again seated, now silhouetted against the imposing dome of the United States Capitol. It is dawn, and the early morning sun casts rays through a profusion of white clouds. A chorus of voices, joined in harmony, seem to move through the theater in an invisible procession, immersing the audience in a stereophonic choral presentation of The Battle Hymn of the Republic. Gradually, the crimson and white clouds behind Lincoln dissolve into a symbolic representation of the American Flag with the last stars.”

“Richard Hall Kent was Vice President of Fentron Industries, Incorporated. We were a family business, started by my maternal grandfather. We weren’t based in [Southern California]…We were a Seattle (Ballard) operation which did work all up and down the West Coast…We did curtain wall for commercial, glass for residential.

Our glass company was ironically named Acme Glass! Our company created the one way glass that allowed the flag sunrise [toward the end of the performance of Great Moments With Mr. Lincoln]. When he was a subcontractor on Great Moments [with Mr. Lincoln]…he would always have a tuna sandwich [at Chicken of the Sea] and nap next to the rock.

Our company [also] created the one way glass [in the Haunted Mansion] that … allows Madame Leota, the ballroom, and (my fave) the hitchhiking ghosts at the end. We lived in West Covina for a year (1965-1966) while he oversaw those projects, plus the UC Irvine Campus, the Nabisco Headquarters (next to I-5), and the Technicolor ‘skyscraper’ at the entrance to Universal. I call it that as it was used for exterior shots in several Universal TV shows (Kojak, McCloud, McMillan and Wife, etc.).”

By 1966, WED Enterprises, Inc. opened Project number 034-53-00 relating to the preliminary design of posters for five new Disneyland attractions. These attraction posters included Great Moments with Mr. Lincoln, It's a Small World, New Orleans Square, Tomorrowland, and the Primeval Diorama. On June 17, 1966 an allowance estimate of $25,000 was allocated toward the cost of project number 034-53-00. By October 1, 1966, an actual cost of $10,000 was calculated with a $10,000 write off for project number 034-53-00.

The original “Great Moments with Mr. Lincoln” poster was based on posters of Lincoln’s day. According to one Main Street Opera House plaque, “It offered a personal invitation from Walt Disney to all young people, so that they might ‘become better acquainted with one of the greatest figures in American history.’” In fact, Disneyland ticket books included a free admission ticket to the show for every child and junior visitor.

Red, white, and blue bunting decorated the Main Street Opera House, including the banners featuring the 13-starred 1777 “Cowpens” flag (an early United States flag), and miniature current United States flags (featuring 50 stars).

Now, complications prevented the show from opening (as planned, during June 1st) at Disneyland, and as a result, many Disneyland Cash Control and Admissions employees actually spent a great deal of time removing the Mr. Lincoln tickets from books for this very reason. Despite this, Great Moments with Mr. Lincoln - “one of Disneyland’s most dramatic and awe-inspiring presentations” - would open “in an impressive new theater on Disneyland’s Town Square as a high point of the Park’s year-long tenth anniversary celebration.”

“The Grand Opening of Great Moments with Mr. Lincoln”

This 1965 Disneyland debut (came some “100 years after Lincoln left his indelible impression on our American culture”, and) was contemporaneous with the presentation’s “second season at the New York World’s Fair”. As the Disneyland marching band played on, Disneyland’s first Disneyland Ambassador Julie Reihm would assist Walt and Lillian Disney in the ribbon-cutting ceremonies in July of 1965! According to Walt Disney (in “Disneyland Through the Seasons”), “Ever since I was a youngster, I’ve had a great personal admiration for Abraham Lincoln. So when we decided to bring to Disneyland’s visitors some great moments in Mr. Lincoln’s life, we began an exhaustive research. We studied his mannerisms, his gestures, and even his voice characteristics. Above all, we wanted to create a faithful physical likeness in this audio-animatronic figure of Mr. Lincoln. When we held the opening ceremonies, it was a great occasion for all of us.”

“55er” Earl Anderson recalled: “When we opened up Mr. Lincoln, Roy was standing at the exit, watching people come out...and looking at their faces Some of the people had tears in their eyes. Roy said to me, 'Earl. this is going to catch on...it's going to be a good show!'”

The new $1.5 million Show was one of several additions that brought total Park investments to $53 million. At that time, the cost of admission for seeing Mr. Lincoln come to life and deliver his ten-minute speech in this world-acclaimed attraction was exactly one “E” coupon, or 75¢ for adults. However, young people up to 17 years old received a complimentary ticket with their Disneyland admission. By the following July 16th (one year after the opening) the outstanding free show and exhibit - a tribute to the United States of America’s 16th President - had performed for more than two million people (surpassing the record breaking attendance of the show during the 1964 New York World’s Fair season). The show continued to run (with the aforementioned sponsor) from July 18, 1965 to January 1, 1973.

Guests of all ages were inspired by Great Moments with Mr. Lincoln, including Ray Bradbury, author of the short story “Downwind in Gettysburg.” The attraction caused a change in the tour route, and by 1965 some guest reactions and Hostess experiences were preserved in Backstage Disneyland magazine (Vol.4, No.4 ; December, 1965, page 11) :

“We know Uncle Walt is a stickler for detail, but we rarely stop and consider how observant are our guests. A lady leaving the theatre, approached MARY DALESANDRO and said, "I was greatly impressed, but did you know that the left point of Mr. Lincoln's vest is caught under his watch chain.’ Upon checking, it was discovered that the point of the vest had bent back due to Mr. Lincoln repeatedly standing up and sitting down.

SHERI MAXWELL was probably nervous as she led her first group of guests into the main theatre, but in a clear voice she started her announce- ment. "Ladies and Gentlemen, in order to preserve the dignity of this occasion," and then she tripped and fell flat on her face. The guests either impressed by the sincerity of her voice or the grandeur of the theatre, never uttered a snicker. She picked herself up and went on with her speech. ‘We respectfully request, etc.’”

There is a sign behind the Illinois Booth that reads: FREE LAND OF LINCOLN PUBLICATIONS & INFORMATION. LUCINDA LYTLE tells us that guests sign their names and addresses expecting to receive FREE LAND.

One woman, talking to CARLA BLANK, insisted that the animated figure only slightly resembled Lincoln, but was identical to Royal Dano, who has played the part of Lincoln on Omnibus on T.V. and who’s voice is used in our Mr. Lincoln.

CINDY BROWNING overheard a family discussing the Capital Building. The little boy said, ‘Daddy, is that where Mickey Mouse lives?’ The father looked at his son and replied, ‘Some people think so.’

JOAN DANIEL was sitting in the last row of the theatre shortly after opening day, and heard a strange ticking sound. Upon investigating, Joan discovered a strange looking object chained to one of the seats Thinking that it probably was a time bomb, she reported it to WES DEMMONS. Security was then called and after checking, it was discovered that the ‘time bomb’ was an instrument used to measure the humidity in the theatre. Besides the guys and gals mentioned above, our night foreman, EARL SMICK, and our lovely hostesses JILL REPPERT, MARCLA DANNERBERGER, ROSANNE PIREES and KATHY WARD, join me m wishmg all of you a Merry Christmas and a Happy New Year.”

A number of Disneylanders worked Lincoln like Jim Patton (1967).

Unseen, Disneyland Sound Mechanics and Projectionists are perhaps the best hidden of the craftsmen in Maintenance. They are truly “backstage” but you'll also find them below the stage as at Lincoln. Behind the scenes the Disneyland Sound Shop Technicians (like Jerry White, hired 1957) assured that the shows were operating properly, monitoring Lincoln’s two separate tape systems and six t.v. monitors.

During a rehabilitation the MAINTENANCE SERVICES DEPARTMENT may have “Started out the day by picking up Mr. Lincoln in a casket at the Lincoln Theatre and moving him to Warehouse.”

Magic making MAINTENANCE MACHINISTS were challenged by unique new problems each day. A typical maintenance request representing part of a day's work may sound like: “There is gas in Mr. Lincoln… check out immediately.”

A new sign over the Main Street Opera House would feature a cameo of Abraham Lincoln, along with the attraction’s sponsor - Lincoln Savings and Loan! In addition, Great Moments with Mr. Lincoln resulted in a new “stop” along the Guided Tour of Disneyland.

The following year, on Thursday, August 18, 1966, some Walt Disney Studio photographers (under the direction of Hamilton Luske) took a few shots of the Main Street Opera House (with added horizontal and vertical bunting) for use as background plates. In a related matter, Ben Harris (Disneyland Production) visited the Walt Disney Studio in Burbank over the matter of “historical Lincoln filming.”

These Disneyland Coupons (generally admitting “children” ages 3-11 or “juniors” 3-17 ; pictured above) had no letter designation (or value) meaning that they could not be exchanged for any other attraction. These coupons were only valid for admission to Great Moments with Mr. Lincoln. One of these special coupons was included in each coupon book (in addition to purchase of other “letter” coupons). Note the important mission statement of this free exhibit and show, which was printed on each special coupon. According to “Walt” (a Cast member Exclusive and compilation of Walt Disney quotations, published 1975), “Our heritage and ideals, our code and standards - the things we live by and teach our children - are preserved or diminished by how freely we exchange ideas and feelings.”

“Great Rehabilitations for Mr. Lincoln”

There have been several additions and changes to the main show, as well as the exhibit hall. Bill Justice was involved in programming Mr. Lincoln’s movements sometime after Walt’s passing. After this (and through the years), routine maintenance has been essential to retain a high Show Quality standard of Great Moments with Mr. Lincoln. According to Backstage (Vol.6, No.1 ; published Spring, 1967), “Personal appearance is just as important to Mr Lincoln as it is throughout the rest of the Park. Each morning, Wardrobe checks to see if his hair is combed, pants pressed and shirt cleaned. Four shows are then run in the basement to check Mr. Lincoln’s ‘delivery’. An elevator then lifts him to stage level. During winter months, Mr. Lincoln is ‘put to bed’ eight hours or 48 shows later.”

According to the “Disneyland Dictionary” (compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968), “This personal experience with history is Walt Disney’s tribute to a man who still lives on today in the hearts of all freedom-loving people everywhere. Featuring the lifelike, life-size ‘Audio-Animatronics’ figure of the Sixteenth President, Great Moments With Mr. Lincoln presents a message as applicable today as it was a hundred years ago. Located in the Opera House in Town Square, this presentation includes the nation’s capital in ‘capsulized realism,’ Lincoln memorabilia, a narrative of Lincoln’s life illustrated with full-color art murals.”

Other updates came later (as in 1984), when a more sophisticated version of the show originally presented by Walt in the State of Illinois Pavilion at the New York World’s Fair was introduced. Technology developed primarily for artificial limbs at the State of Utah would now influence the Show.

When the New York World’s Fair completed its second season (of 1965), “Great Moments With Mr. Lincoln” (currently sponsored by the State of Illinois) was “brought home” to Disneyland. As was the habit, a Disneyland Participant sponsored the new Disneyland show. Now, I would like to present one of the original “Great Moments With Mr. Lincoln” Disneyland attraction posters, featuring the original sponsor - Lincoln Savings and Loan!

As another sidelight, I would like to recall the Souvenir LP 33 rpm records of Walt Disney’s Great Moments With Mr. Lincoln, which were released by Buena Vista Records in 1964. These were once sold through the Wonderland Music Shop at Disneyland (c. 1964) for $3.98 plus tax. Spoken words of the record album were based on Lincoln’s Address at Sanitary Fair in Baltimore, Maryland on April 18, 1864 ; his speech at Edwardsville, Illinois on September 11, 1858 ; his address before the Young Men’s Lyceum at Springfield, Illinois on January 27, 1838 ; his Eulogy to Henry Clay at Springfield, Illinois on July 6, 1852 ; and his address at Cooper Institute in New York City on February 276, 1860. The narration was written by James Algar, with a score composed and directed by Buddy Baker. The voice of Abraham Lincoln was performed by Royal Dano (who had previously portrayed Abraham Lincoln in James Agee’s “Mr. Lincoln”), with Narration by Paul Frees, under the production of James Algar. The record also included “Illinois” (words by C.H. Chamberlain ; music by Archibald Johnston), and “The Battle Hymn of the Republic” (words by Julia Ward Howe, music by William Steffe).

The original version of Great Moments with Mr. Lincoln “continued to run until it was replaced by ‘The Walt Disney Story’ in 1973,” according to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives). [Disney Facts Revealed by Dave Smith, 2016]

“Audience Waiting Areas” are especially designed as part of the attraction to make the guest's time waiting in line as comfortable as possible. Through the years, some “great” Pre-Show Exhibits have prepared audience’s hearts and minds for the presentation of “Great Moments with Mr. Lincoln” at the Main Street Opera House. You may recall “hanging in the outer lobby next to the Mad Hatter’s Shop,” was “an original oil painting of Lincoln, his wife and three sons.” This painting was based on a “smaller black and white work by F.B. Carpenter” and was “on loan to the Park by the New York Historical Society.” [“Disneyland - Did You Know?”]

Below we will explore many more Pre-Show displays (crafted by a variety of artists), which were as relevant yesterday, as they are today. We will also take a look back on a few seasonal rotating exhibits, courtesy of The Disney Gallery.

As we arrive at our first stop (“Young Lincoln” by Sam McKim) some of the narration of Abraham Lincoln echoes in our minds : “He removed from Kentucky to what is now Spencer County, Indiana in my eighth year. It was a wild region, with many bears and wild animals still in the woods. There I grew up. We settled in unbroken forest. And the clearing away of surplus wood was a great task ahead… I was large for my age and had an ax put into my hands at once. And from that until my twenty-third year was almost constantly handling that most useful instrument, less of course in plowing and harvesting seasons.”

In the original version of Great Moments with Mr. Lincoln Pre-Show, this image was included in the original six-minute autobiographical presentation screened in the Blue Room (the second exhibit after the United States Capital Panorama in the Foyer). According to Vacationland (Fall, 1965 ; Vol. IX, No.3), the presentation was “taken from Lincoln’s own words. His story is illustrated by full-color art murals, especially created by Walt Disney Productions.These murals are projected onto a 28-foot-long screen. After learning about Lincoln’s early life leading up to the White House, the guests are. invited into the theater to spend a few ‘Great Moments with Mr. Lincoln.’”

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“After moving to Los Angeles during the Great Depression, Sam McKim began his career in front of the camera, doing bit parts in [western] films with stars like Spencer Tracy, John Wayne, and Gene Autry. But he always knew that he wanted to be an artist. Between stints in the service, first in World War II and then Korea, he studied at Art Center College of Design and Chouinard Art Institute.” By this time, Sam was more thoroughly immersed in the visual graphic arts. In 1953, Sam had taken “a job drawing story sketches at 20th Century Fox over a role opposite Tyrone Power and Maureen O’Hara in a John Ford film.” In 1953, 20th Century Fox loaned him to Walt Disney “for what was supposed to be a couple of weeks. It ended up being 32 years.” Finally, Sam found his dream job, creating inspirational sketches for Disney theme parks.

Sam Mc Kim began working for Walt Disney's W.E.D. Enterprises (now Walt Disney Imagineering) in 1954, as an imagineer, doing original sketches Great Moments with Mr. Lincoln. Sam recalled, “Many studios wanted the art quick and dirty,… Disney didn't… Many times we were given the very basic idea of what was wanted and then were allowed to play with it.”

Today, Sam McKim “is best known as the creator of the Disneyland souvenir map illustrations, but his contributions to theme park attractions are legendary. Pirates of the Caribbean, Haunted Mansion, and Hall of Presidents were all touched by his spirited storytelling style. In this painting [pictured above], the story of Abraham Lincoln’s boyhood seems to spring to life.”

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Herb Ryman graduated from the Chicago Art Institute with honors, before moving to Hollywood in 1932 and storyboarding some of MGM’s greatest films, like “Mutiny on the Bounty” and “David Copperfield”. But then he met Walt Disney, and the rest is history. He became one of Walt’s most trusted partners in the development of Disneyland. Not only did he create the iconic illustrations that sold Walt’s unique theme park idea to bankers, but he also went on to help design some of its most famous feature, like Sleeping Beauty Castle and New Orleans Square. Imagineering Legend Marty Sklar says that Herb had an uncanny ability to intuit Walt’s ideas, and in his sketch of Abraham Lincoln campaigning, he captures the man of “immortal principles, ideals, and wisdom” that Walt envisioned.

The Main Street Opera House plaque divulges a few details about Richard Broderick (the creator of the “Lincoln Portrait”). “An eclectic arts education that included studying with Disney animators, and even apprenticing in the outdoor billboard industry, led to Richard’s unique ability to paint realistic and emotionally powerful portraits. During his career he painted everything from 20-foot portraits of David Bowie and Arnold Schwarzenegger for the Sunset Strip, to animation storyboards. He then joined Walt Disney Imagineering, where he worked for 10 years on concepts for Disney’s California Adventure, Hong Kong Disneyland, and Disneyland Paris. He has taken advantage of his retirement to fine tune his painting technique, and his portrait of Lincoln demonstrates his desire to ‘go beyond a mere likeness and capture the personality.’”

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Although he grew up in the 1920s when movies were in their infancy, John DeCuir Sr. would become fascinated by them. Against the wishes of his parents he studied art, becoming a student of the art at Choinard, and went on to become one of the most highly regarded film designers in Hollywood history. He almost single-handedly defined the term “motion picture spectacle” in the 1950s. “South Pacific,” “The King and I,” and “Cleopatra” all exhibit his lush, larger-than-life vision. He was nominated for all 11 Academy Awards during his career, but eventually he developed another fascination - for theme park design. He helped design both the Magic Kingdom and EPCOT ; in this emotional watercolor of Abraham Lincoln in the White House, his genius is apparent. Within his trademark larger-than-life panorama, we sense the lonely burden of the Presidency.

Around 1970, John DeCuir Sr. would go on to produce some of Herb Ryman’s concept paintings of “Battle Bull Run,” “Attack at Fort Sumter,” and “Surrender at Appomattox” for The Hall of Presidents in Liberty Square, Magic Kingdom, Walt Disney World.

John Pomeroy has made notable contributions as a character animator toward both feature and short films (like “Winnie the Pooh and Tigger Too”, “Pete’s Dragon”, “The Rescuers”, “Pocahontas”, “Atlantis : The Lost Empire”, and “The Small One”). He served as Directing Animator to the latter. He has occasionally been known to give discourses on animation, and has also created numerous color illustrations for the picture biographical publication “Walt’s Imagination - The Life Of Walt Disney”. Disneyland Park-going fans of John Pomeroy may also know him by his “To All Who Come To This Happy Place, Welcome” limited edition artist proofs (coinciding with “45 Years of Magic” at Disneyland)!

The layout and art of “Lincoln’s Gettysburg Speech” (and positioning of the flags and cameo) is similar to that of “Abraham Lincoln and His Emancipation Proclamation”, published 1888.

A number of cast pieces pay tribute to Abraham Lincoln. For instance, the eagle bearing the olive shield and arrows located over the stage first appeared in Civil War-era news papers as a symbol of the extents gone to in order to establish freedom.

You may notice that many plaques featuring Braille, have been added around the exhibit.

During Disneyland’s “first fabulous decade”, the Park often displayed collections and artwork within Disneyland, which were not the creation of Walt Disney Studio artists. For example, Jimmy Starr’s Show Business Souvenirs (1956-1959) featured a collection of authentic props once used in film production, while the Davy Crockett Frontier Arcade housed a collection of more than 50 historic guns and arms on loan by the N.R.A. Now, we will take a look at one particularly amazing Walt-era exhibit which still remains in the Park to this day - “The United States Capitol in Miniature”.

The creator of the small scale model, George Lewellyn Lloyd (1879-1962), was born in Wales, of The United Kingdom. George built more than models, and was a true-life Stone Mason and sculptor of monuments (as his forefathers before him). Over his lifespan, George made notable contributions to historically relevant structures - the House of Parliament (in Ottawa, Canada), the Cathedral of Saint John the Devine (in New York), and Rockefeller Chapel (in Chicago) to name a few locations.

But incredibly one of his smallest works would perhaps gain the most attention. It’s origin goes back to 1918, when George saw a photograph of the U.S. Capitol Building in a Philadelphia newspaper, and decided that he would create a model of it. A few years later (while the United States was amidst its greatest economic depression), George found himself unemployed. It was at this time (c. 1929) that George decided to stay occupied with his art project, soon first visiting the Capitol Building in Washington, D.C. in order to see it in person.

In order to make sure that this (“3/16 of an inch to the foot”) representation was faithful, he enlisted the help of David Lynn (the Capitol Architect who retained blue prints and photographs of the historic U.S. building). As for the medium, George chose one large block of French Caen Limestone, for its color and soft texture. In 1932, George began work on the miniature in Belleville, New Jersey, working up to 16 hours most days and nights. The intricate model (with its more than 500 hand-carved “columns, pedestals, caps, cornices, pediment, carvings, and dome” spread out across its eight sections) was finally completed by 1935. The dome alone, took three years to complete.

The United States Capitol in Miniature made its debut at the World Trade Fair (of Minneapolis, Minnesota), before touring major cities across the United States of America. It was during one of these tours (during August of 1955) when George’s model (of Caen limestone) was on display at Robinson’s Department Store, that George’s model attracted the attention of Walt Disney (who had an affinity for miniatures). Herb Ryman [in “Working With Walt - Interviews With Disney Artists” by Don Peri] recalled that “the man [George Llewellyn Lloyd] resembled Walt’s father. Walt met him and liked him. He said, ‘I’m going to buy that.’… [Herb, who was present] said, ‘What are you going to do with it?’ He said, ‘I don’t know, but we’ll find something.’” After some conversation, George sold the model to Walt Disney for $6,099.

Now, not only was this 1955, but Walt Disney’s Disneyland was not even open yet. In fact, the Mr. Lincoln Audio-Animatronic figure would not debut at Disneyland until 1964 - nine years away. Clearly, Walt was looking to the future when he purchased George’s model, keeping it preserved for almost a decade, before the model became part of the Pre-Show of Great Moments with Mr. Lincoln at Disneyland.

Take a closer look at the figures of (one of three) neoclassical pediments (that triangular-shaped element above the columns). The true-life U.S. Capitol features three different sculptures within each of the three pediments - over the Central Portico, over the Senate Wing, and over the House of Representatives. George made sure to add these little faithful elements to his miniature.

Finally, upon entering the foyer of the Main Street Opera House, guests were “greeted by a large picture window gracefully framed in red drapes. Stepping up to the window, they look out over a magnificent panorama of the United States Capitol with its beautiful surroundings. Countless diamond-like lights shine from Capitol windows and city as twilight settles over Washington,” according to Vacationland (Fall, 1965 ; Vol. IX, No.3).

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

During the late 1950s and early 1960s, Walt was interested in developing the area behind the East side of Main Street into a brand new land. Sam McKim maps of the era feature some of these concepts (a yellow-orange circle with an “x” inside often used to symbolize a “Future Developement”). Evidently, the U.S. Capital in Miniature was to be retained as part of one “Future Development” called Liberty Square. George died in 1962, but it is quite possible that he was aware of these plans (involving his model) before his death.

Looking over even this small map excerpt, you will note more than a few elements (“colonial shoppes”, and the Liberty Tree, for instance) which were utilized more than a decade later, to bring Liberty Square (of Walt Disney World Magic Kingdom) to life! The U.S. Capitol in Miniature by George Llewellyn Lloyd seems to be the only attraction which has kept the “spirit of Liberty Square” alive at Disneyland up to our present day!

*(April 8, 1973 to February 15, 1973, according to “Disneyland Rides & Attractions and Attendance Report,” 1981, page 50).

After his passing, Walt Disney was posthumously honored in many ways. On March 25, 1969, Walt Disney was presented a gold medal by President Richard M. Nixon, accepted by Lillian Disney. The Disney image was also preserved when The Legacy of Walt Disney exhibit (which was displayed in the old Wurlitzer building from January 15th, 1970 to February 11, 1973), was moved to the Main Street Opera House. Only a few months after the grand opening of the exhibit, the Walt Disney Archives was established on June 22, 1970.

Owing to the newly formed Walt Disney Archives, The Walt Disney Story exhibit would open with a brand-new exhibit, marquee, an official dedication, and much fanfare during Easter week, on April 14th, 1973, attended by Disneyland Ambassador Bonnie Drury, Mickey Mouse, and Lillian Disney Truyens (former wife of Walt Disney). The opening coincided with the Park’s celebration of “fifty happy years of family entertainment,” and was also advertised as part of Disneyland’s “New Sights & Bright Lights” during the summer of 1973! The dedication at Disneyland predated the dedication of the Walt Disney World incarnation which occurred on May 6th, 1973.

The show was free to Park guests of Disneyland, courtesy of the Gulf Oil Corporation. Once inside, guests followed Walt Disney from his boyhood, to the creation of Walt Disney World as told through nostalgic photographs, intriguing displays of awards and honors, rare film footage, and priceless memorabilia. One screen (surrounded by photographs taken during the construction of Disneyland) shows a short film of the Park’s construction (sped-up, of course). Guests may especially recollect the exact reproduction of Walt Disney’s Formal Office once used for appointments with special guests. There were props from Walt Disney’s popular television productions, including Zorro (the cape, mask, and sword of the title character) and The Mickey Mouse Club (an original Mouseketeer hat).

One accompanying 28-minute film (partially narrated by Pete Renaday and Walt Disney himself), contained ”multi-media highlights of the life and accomplishments of Walt Disney, featuring rare film footage [like clips from the ‘Alice’ series, Walt Disney’s ‘Silly Symphonies’, ‘Steamboat Willie,’ and ‘Walt Disney’s Mary Poppins’ ; a rare treat during the pre-internet era]… photographs from family archives with Walt himself narrating the many milestones in Disney entertainment.” In the same short film,“He also explains the philosophy behind the ‘Audio-Animatronics’ figures developed by Walt Disney Productions for use at Disneyland and Walt Disney World.” According to the Press Release “utilizing excerpts with Walt, together with photos from family archives and vintage film footage, the wide-screen motion picture follows Disney from his humble Midwestern boyhood through his rise to International fame.” As aforementioned, this new show was on a 28-minute cycle (as opposed to five twelve-minute “Lincoln” shows per hour). This meant that The Walt Disney Story” was capable of accommodating a maximum of 1,000 guests per hour, as opposed to “Great Moments’” 2,500 guests per hour.

Much like Great Moments with Mr. Lincoln, this distinguished new attraction was free to all guests (though the Walt Disney World Magic Kingdom incarnation required a coupon for admission). The exhibit was successful, running until February 17, 1975 (with The Walt Disney Story film closing a few days earlier, on February 12, 1975). Four months later (and after a rehabilitation), The Walt Disney Story Featuring Great Moments With Mr. Lincoln presented by Gulf Oil Corporation (a free attraction with Audio-Animatronics figures) would return on June 12, 1975, and run until 2000. The Walt Disney Story still followed Walt Disney from his boyhood through the creation of Walt Disney World. Visitors could see rare film footage, narrated by Walt himself. This version of the show also featured the original form of the Great Moments with Mr. Lincoln Show which opened at Disneyland.

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 Walt Disney Story required a walk-through after closing for the removal of debris. At this time any defects were noted.

Depicted above is Walt's studio offices, recreated with the same items he used for 26 years. Kept as it was when he used it, everything from the wood paneling to the furniture was from the original Burbank, California, office.

In 2001, a photo shoot inside Walt Disney's Office in the lobby of Great Moments with Mr. Lincoln was auctioned off at the 2001 Official Disneyana Convention at Disneyland Resort. The Estimate was $500 - $1000. The lucky winner and two Guests had their photo shot in the formal office on the morning of Saturday, September 8, 2001. They also received a personal tour of the office by Dave Smith, Director of the Walt Disney Archives.

Around 1968, Gulf Oil sponsored quite a few episodes of Walt Disney’s Wonderful World of Color. Now, the new marquee of the Main Street Opera House advertises The Walt Disney Story Featuring Great Moments With Mr. Lincoln presented by Gulf Oil Corporation. You may have noticed that two (of four) of the original lamps were removed to accommodate the larger marquee.

Owing to contemporaneous advancements in Audio-Animatronics technology, new Audio-Animatronics figures of “The Walt Disney Story” (June 12th, 1975) and the 31 figures added to the Jungle Cruise (in December of 1976), the WED Enterprises Imagineering Audio-Animatronic Maintenance Manual (first published 1977) was revised in 1978.

A poster for "The Walt Disney Story", the former Richard Kraft Collection. You may notice the logo of proud exhibit sponsor Gulf Oil Corporation near the bottom of the poster. During their era of sponsorship, the Gulf Oil Corporation ran advertisements in Vacationland magazine.

The Walt Disney Story : From Mickey Mouse to the Magic Kingdoms was presented by sponsor Gulf Oil! By 1972, Gulf Car Care Center (open seven days a week, 6 a.m. to 12 midnight) was located near the Disneyland Parking Lot at the corner of Katella Avenue and West Street. The Gulf Car Care Center was a complete automotive service center, which included a automated car wash and wax. Welcome to Disneyland brochures of the era advertised this convenience in the Information section.

“From Mickey Mouse to the Magic Kingdoms”

From Mickey Mouse to the Magic Kingdoms presented by Gulf Oil Corporation was a limited exhibit that ran during 1975. Walt Disney had been awarded “nearly 1,000 plaques, scrolls, Emmys and Academy Awards for his work,” according to “Disney News” (Winter 1975/1976). “The Walt Disney Story at Disneyland’s Main Street Opera House exhibits many of these awards in honor of the man who always remembered that ‘it all started with a mouse.’”

According to a Press Release: “One wall of ‘The Walt Disney Story’ pre-show area is dedicated to Walt's most famous creation, Mickey Mouse. Included in this area are photos from some of Mickey's most memorable screen appearances and a case filled with vintage Mickey Mouse merchandise material from the 1930's.” A wide variety of collectibles were on display, including a copy of “Mickey Mouse’s 25th Birthday” (by John Hench, 1953), a poster heralding United Artist’s distribution of Mickey Mouse shorts in Technicolor, lithograph stills of memorable moments from Mickey Mouse short films, and the production artwork that would become the iconic logo of the Walt Disney Archives.

From Mickey Mouse to the Magic Kingdoms presented by Gulf Oil Corporation was a limited exhibit that ran during 1975. Many early examples of licensed Mickey Mouse merchandise were also on display.

From Mickey Mouse to the Magic Kingdoms presented by Gulf Oil Corporation was a limited exhibit that ran during 1975. “The highlight of the attraction for many is a capsule history of Walt Disney’s career. The short film features Disney himself as he tells the story in his own words,” according to “Disney News” (Winter 1975/1976).

This Los Angeles Times publicity photograph (by Deris Jeanette) accompanied an article about some of the rare Mickey Mouse collectibles that were temporarily loaned for the duration of the exhibit. According to the accompanying caption, “Mickey Mouse fan Jerry Muller, at left, clutches a 1934 Mickey Mouse doll while using the latest Mickey phone, two items of the Mickey Mouse memorabilia he will be displaying at the Bowers Museum in Santa Ana, California to mark Mickey’s 50th birthday. At Muller’s right, an artist paints a facsimile of Mickey in ‘Steamboat Willie’, his cartoon debut, generally used to determine his birthday.”

This portion of the exhibit showcased a few of Walt Disney’s wartime contributions including government-funded short films, United States Bond Certificates, illustrations utilized on bills and wartime insignia (featuring Walt Disney’s characters) provided to various branches of the United States Special Forces.

Another part of the exhibit displays artifacts pertaining to Walt Disney’s various contributions toward the (World War 2-era) war efforts. Some of these pieces related to training films, artwork featured on war bonds, and artwork created for insignia.

From Mickey Mouse to the Magic Kingdoms presented by Gulf Oil Corporation was a limited exhibit that ran during 1975. Another exhibit highlighted moments of “Walt Disney’s Dream Come True” - Disneyland! “One of the most intriguing displays of The Walt Disney Story concerns Disneyland. Surrounded by photographs taken during the building of the Park, a small viewing screen shows a speeding-up movie of the actual construction. Thus, the one-year-plus-one-day construction project, which turned an orange grove into a Magic Kingdom, is seen in only three minutes,” according to “Disney News” (Winter 1975/1976).

By 1981, The Walt Disney Story was a free attraction with a cycle time of 14.52 minutes, they show capacity of 500, and the capacity of 2000 Guests per hour.

“Main Street Opera House (or ‘Lincoln Theater’) Special Exhibits”

The late 1970s began to bring unique exhibits, attractions, and events to the Main Street Opera House! “Candidates for the City of Anaheim’s 1978 City Council elections” appeared at the Main Street Opera House [at 7:30pm] on April 6th, 1978, “as part of our Community Affairs Department - sponsored ‘Know Your Home Town.’”

During the ninth annual “Festival Japan” (October 12 & 13, 1985), Kookyu and Kumiko Serizawa’s Doll Exhibit was housed in the Great Moments with Mr. Lincoln Lobby from 9a.m. to 6p.m. Guests were inspired by the exhibit like Charra DeMarco (a contemporaneous Disneyland Word Processing Specialist) who became interested in doll making during a previous Festival Japan event held at Disneyland, and soon signed up for a class taught by Kumiko Serizawa. Charra’s teacher was so impressed, that “the DeMarco’s dolls were chosen to be in the exhibition… in the Park.” [Disneyland Line, Vol. 17, No. 41] As brief as this exhibit was, it would inspire an interest in Japanese culture within Disneyland Cast Members and guests, and would pave the way for other cultural events and exhibits showcased at the Main Street Opera House!

In addition to the special exhibits and shows, the “Lincoln Theatre” also became the stage for the occasional special Cast Member Exclusive presentation.

For instance, the EPCOT Center Project Update was presented at the Lincoln Theatre in Disneyland from July 11-16, 1982. The presentation was hosted by Ron Dominguez, and showcased the film “Epcot Behind the Scenes”. The presentation also featured the latest construction slides along with theme music from Pavilions, gave updates about Operations and Entertainment/Marketing plans.

“Film Festivals”

Throughout the year, Cast Activities arranged for Cast Members and their families to have the opportunity to attend special showings of Disney films. Each spring and fall, a series of five “classics” was lined up for viewers to choose from, with showing times established around Park operating hours. In addition, new Disney films were previewed for Cast Members, generally before the film was released to the general public, through our Cast Film Premieres.

Tickets for all films were complimentary. Disneyland Cast Members may recall ticket information was often advertised through the covers and pages of Disneyland LINE magazine, while tickets were usually distributed On Site, through the Center (before Company D opened December 2, 1988 ; and Company D II soon followed, offering tickets as well).

Back in the 1960s, the Fall Film Series was presented (usually from the Mickey Mouse Theater). In the late 1970s, seasonal film festivals (twice a year, in the Spring and Fall) brought Cast Premiers of Walt Disney Productions to the Main Street Opera House.

Some of the earliest showings (held during the weeknight of the spring of 1977) were Walt Disney’s Sleeping Beauty, The Shaggy D.A., Freaky Friday, and The Love Bug (which had recently been released theatrically). The Fantasyland Theater also hosted showings (as Walt Disney’s Pinocchio), and all the films were shown with Walt Disney’s short films (like “Moose Hunters,” “Moving Day,” “For Whom the Bulls Toil,” “Boat Builders,”and others. The Song of the South was shown (from November 14th - 17th), with The Third Man on the Mountain being the last show of the Fall Family Film Festival, during 1977.

The following year, (March 13, 14, 15, and 16, 1978) brought Walt Disney’s “The Parent Trap” to both the Lincoln Theater and the Fantasyland Theater.

The Fall Film Festival of 1980 (for instance), brought “The Last Flight of Noah’s Ark” (the first Fall Film Festival showing of the year), “White Wilderness” (the True-Life Adventure), Walt Disney’s “Dumbo” with “The Brave Little Tailor”, and even Walt Disney’s “Song of the South”. As you can see, the feature-length films presented were eclectic - from Walt Disney’s classics to recent releases, and from live-action to animated! The year 1983 saw Cinderella (in February), while 1986 saw The Flight of the Navigator, Ruthless People, and Tough Guys shown on the big screen. Fast forward to the year 1987 (when the Cast Activities Disneyland Family Film Festival tradition still continued), bringing Cast Premiers of Walt Disney Productions (like “Peter Pan,” “Cinderella,” and “The Fox And The Hound”), Touchstone Pictures (like “Stakeout”, “Can’t Buy Me Love”, and “Adventures In Babysitting”), and “Benji The Hunted” to the Lincoln Theater and the Videopolis Stage. The Disneyland Hotel Grand Ballroom was also occasionally used as a theater (as for the August 24th, 1988 Special Cast Premier of “The Rescue”), but the “Lincoln Theater” (or Main Street Opera House) was still the preferred venue for the showings.

Fall Film Festivals (at the “Lincoln Theater”, at least), would briefly cease for a rehabilitation. During the 1990s, the 40-year-old original facade of the Main Street Opera House was given an “opulent” makeover - parts were recast in fiberglas and details (like the theater masks and filigree) were stripped and a glaze was added to enhance the original sculpts. After so many years, the awnings over the windows were removed, and it was decided to leave them off, in order to show off the detail around the windows.

Once the new Main Street Opera House was re-opened, the “Lincoln Theater” hosted the “35th Anniversary Cast Celebration” - “an exciting preview of future events and projects with your hosts Dick Nunez, Ron Dominguez, and Hideo Amemiya”. Refreshments were served, and reservations [to 1 of 18 showtimes, spread across January 6th - 9th, 1990] were made in the name of each current Cast Member. After the “35th Anniversary Cast Celebration”, there again occurred a special synergistic arrangement between Walt Disney Studios and Disneyland! Disneyland Cast Members and their immediate family members were once again treated to Walt Disney Film Festivals - opportunities to watch Walt Disney Pictures and Touchstone Pictures on the silver screen (in most cases) before their national release dates. Among the films shown were animated feature length films Walt Disney’s Snow White and the Seven Dwarfs and Walt Disney’s The Jungle Book. Live action feature length films that the whole family could enjoy - Blank Check, White Fang, A Far Off Place, The Mighty Ducks, The Rocketeer, Cool Runnings, Cool Runnings, Swing Kids, and many, many, more! Other Touchstone Pictures and Hollywood Pictures as The Distinguished Gentleman, Three Men And A Little Lady, Green Card, Run, Scenes From A Mall, The Color of Money, and Ruthless People were rated “R” (and as children under 17 were not permitted without a parent or guardian), Disneyland Cast Members had to decide whether or not they would bring their entire family to the special screenings. Admission for all showings required the purchase of a ticket through The Center, and a display of their Cast member I.D. and Main gate Pass. As a “sidelight”, during the same era, Disneyland Cast Members could also purchase Walt Disney Home Videos of feature-length films in VHS and Beta formats, available at the Center.

By 1996, The Walt Disney Story, featuring “Great Moments with Mr. Lincoln” was a Lobby show presenting the story of Walt Disney and The Walt Disney Company, while the Audio-Animatronics® theater show still honored the 16th President of the United States.

You may have seen some of these scenes before. Slides include imagery like Herb Ryman’s Immigrants at Ellis Island (a 51”x93” oil painting) originally produced c.1982 for The American Adventure at EPCOT Center.

In 1999, Master Plans included a “Muppet Theater” located here.

A new slide show and Audio-Animatronics animation was added in 1984, enabling Mr. Lincoln to hold a paper in his hand for the first time. In addition, to two new songs originally written for The American Adventure, part of the American Pavilion at EPCOT Center. “Golden Dream” (with orchestration by Robert Moline, lyrics by Randy Bright & Lynn Hart, and vocals by Richard Page and Siedah Garrett), and “Two Brothers” (a traditional folk song with orchestration by Irving Gordon and lyrics by Ali Olmo).

Show Enhancement - “In 2001 the show was changed to focus on the Civil War,” according to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives). The short film told the tale of “Two Brothers,” who fought on separate sides of the American Civil War. The show featured glass magic lantern slides of true-life Civil War-era images, to “Two Brothers” (with orchestration and lyrics by Irving Gordon).

“Two brothers on their way,…”

“Two brothers on their way.”

“One wore blue and one wore gray.”

“The fife and drum began to play, all on a beautiful morning.”

“One was gentle, one was kind. One came home…”

“…one stayed behind. A cannon ball don’t pay no mind. A cannon ball don’t pay no mind, if you’re gentle, if you’re kind.”

“It don’t think of the folks behind…”

“It don’t think of the folks behind, all on a beautiful morning.”

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

The original Royal Dano voiceover and Paul Frees narration were removed for the newly enhanced show in 2001. The show also featured “Lincoln reciting the Gettysburg Address,” according to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives). [Disney Facts Revealed by Dave Smith, 2016] Even more, the impresario of Garner Holt Productions was contacted to update the Lincoln figure, and dynamic scenic illustrator John Rayburn enhanced the painted colors of the theater, Abraham Lincoln’s chair, and even the man himself.

In commemoration of Disneyland’s 50th Anniversary, new exhibits were created, and the film Disneyland : The First Fifty Magical Years debuted at the Main Street Opera House on May 5, 2005, and run until 2009. During this time, Mr. Lincoln would take a hiatus.

During the 2005-2009 closure, the Mr. Lincoln Audio-Animatronics figure was removed and ultimately repurposed as the Indian Village Shaman who appears along the Rivers of America. Here’s where it really gets interesting - the Shaman has been programmed with some of the very same animations (movements) programmed for Mr. Lincoln.

Also during the time of closure (in 2008), WDI master plans entertained a concept which included a presentation of America the Beautiful featuring Great Moments with Mr. Lincoln. At this same time a new Pre-Show involving the second floor of the Opera House was also being researched as an option. This was to coincide with Abraham Lincoln’s 200th birthday on February 12th, 2009. However, the Imagineering of these concepts was not seen through. Lincoln did return, but with “a shortened version of the original speech,” according to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives). [Disney Facts Revealed by Dave Smith, 2016]

Eventually Mr. Lincoln would return in The Disneyland Story presenting Great Moments with Mr. Lincoln in 2009.

In the meantime, a number of exhibits were showcased, like a model of a c.1955 Disneyland. While the model is rather simple in some regards, there are so many amazingly accurate details. Some who had the pleasure may recall the Adventureland Bazaar (and adjacent canal), the original Mickey Floral Portrait, the Court of Flags, Tomorrowland Lake, and the original Autopia Track.

In addition to the Onstage details, most Disneyland Cast Members will note the (1) original Backstage Disneyland Employee Cafeteria and First Aid tents, (2) original Administration Building comprised of the old Callens and Dominguez residences, and (3) Backstage Adventureland/Frontierland.

The eight-part harmony of “the Voices of Libery” (a Walt Disney World tradition) was lifted in a limited engagement on the stage of the “Lincoln Theater” during the Disneyland Diamond anniversary! The members provided Atmosphere Entertainment complimenting the theme of the area and entertaining Guests on an immediate and personal level.

Well, it looks like things have come full circle for the old Main Street Opera House, which continues to serve one of its original intents - showcasing gallery exhibits and displays. Sometime after The Disney Gallery opened in the former Bank of America Building (in 2009), the Disney Gallery would soon expand to the Great Moments with Mr. Lincoln Lobby. In recent years, new exhibits (presented by The Disney Gallery) would feature both artwork and props featured in production of Disney Parks attractions, and even Walt Disney Studios feature length film productions.

Some of the art featured included Marc Davis’ designs for the Snow Queen - star of the c.1970s Enchanted Snow Palace ride concept.

Just through the doors, Walt Disney’s toy is still told through a few special exhibits and displays featuring true-life artifacts from Park history. Gone are the “Disneyland Toy Factory” Mold-A-Rama Machines, and in their place are Disneyland Pressed Penny Souvenir Machines, offering another type of commemorative collectable.

Despite what this plaque suggests, there are at least three known surviving Griffith Park Merry-go-Round benches - at The Walt Disney Family Museum, the Griffith Park Carousel, and inside the Main Street Opera House!  Walt Disney may have sat on any (or all) of these benches as he dreamt up Disneyland.

Souvenirs cost 51¢.

“Preface”

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

“The Story of the Steamboat and True-Life Frontierland”
The story of the Mark Twain attraction starts more than 100 years before the spark that lead to Disneyland. Walt described Frontierland as “a tribute to the faith, courage, and ingenuity of the pioneers who blazed the trails across America.” Many types of Flatboats were once commonly constructed and utilized to transport cargo down the Ohio and Mississippi Rivers, and these soon joined the river traffic of canoes, keel boats, and canal boats. An example of American ingenuity was the steam-powered paddle wheeler, the only recognized form of mass transportation invented in the United States.

The steamboat also has its origins set deep in American history, (and much like Walt) by a pioneering inventor whose invention was doubted by the masses. While the steam engine came from England, the hull was made in America, by Robert Fulton. Once called “Fulton’s Folly,” the Claremont (launched down the Hudson River in 1807), was soon considered the first successful steamship in America. A few years later (in 1819), the first steamship even crossed the Atlantic Ocean. Soon after, the sternwheel became a typical sight on the Ohio and Mississippi Rivers, transporting passengers and goods as residents of this country moved West.

Before the approach of the mid-19th century, a young Samuel Longhorne Clemens (1835-1910) grew up in Hannibal, Missouri, along the shore of the Mississippi River. He would pen many stories like “Tom Sawyer” and “The Adventures of Huckleberry Finn” under the name “Mark Twain” - a borrowed name inspired by the “nom de guerre” of a particular old captain who once published river conditions in the New Orleans Picayune.

“Walt & Company Recollect Riverboats”

The last sternwheelers were built in the U.S. approximately around the year 1900, so some of Walt’s own staff would be familiar with true-life riverboats. For instance, c.1954 hire Van Arsdale France once had a job as a dishwasher on a river boat going from Pittsburgh to New Orleans.

Walt Disney had a fondness for riverboats. In fact, in October 1931, Walt and Lilly Disney set out on their very first vacation together, and went first to St. Louis, where Walt planned to take a steamboat down the Mississippi. More than two decades later, Walt shared his most romantic expressions toward riverboats this way:

“One of the biggest joys of my life is sitting on the levee in the Frontierland section of Disneyland, our park in Anaheim, California. As I gaze to the north, I can see the smokestacks of the steamer Mark Twain belching smoke and skirting along toward the top of Tom Sawyer Island. Then the boat moves into view ; the crowd line against the white railings. It moves majestically along, the stern paddle churning up the river foam. The captain lets the whistle blast, signaling his attention to land, and the Dixieland band on the shore swings into a ragtime tune. I thrill all over every time that happens. Other people have told me they too get a big kick out of the Mark Twain swinging in to shore, but I doubt it if anybody could enjoy it as much as I do. You see, I go back a long way with stern-wheelers ; back to the Missouri River in the 1910’s. When I was growing up in Kansas City, there were still two stern-wheelers plying out of that town. They were called the Chester and the Majestic, and they were handsome boats to see. They ran down the river to St. Louis, but on Sundays one would be in port and would take customers on river excursions for a dollar a head. I was on hand for a cruise whenever I could scrape together a dollar from selling newspapers. The Missouri River boats had to be stern-wheelers because there were so many sand bars. When they ran aground they could reverse the wheel and pull off, something a side-wheeler couldn’t do. One of the thrills of my young life was when one of the excursion boats I was riding struck a bar. It remained there for an hour while the deck hands pushed long poles into the sand and the wheel churned mightily. Finally with a great whoosh and swirl of foam, the boat pulled itself free. These boyhood memories are the reason for my fondness for Frontierland. Of course, all the realms of Disneyland intrigue me - Fantasyland, Adventureland, Tomorrowland, and Main Street. But Frontierland evokes a special response because to reminds me of my youthful days on the Missouri.” [“Frontierland” by Walt Disney, True West magazine ; June, 1958, page 10].

“Master Planning, Research & Developement”
Custom rides were created that would be subordinate to story and setting. And so naturally, some of the earliest drawings of Walt Disney’s “Mickey Mouse Park” featured a steam ship navigating a river! Can you imagine seeing the smoke stacks of a steamboat from the 11-acre triangular plot of land on other side of Riverside Drive in Burbank California? This almost became a reality, courtesy of these early drafts and proposals.

Then in 1952, Walt Disney founded a company called WED Enterprises, Inc. in order to master-plan and design his his dreams of a Park. The company was staffed by Animators, Art Directors, Artists, Artisans, Architects, Set Designers, and Planners from the Studio. Early thumbnail sketches and other concept artwork seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process. Some of these viable project Concepts (as above), were supported by a well-developed business case and built expectation.

“A Lil’ Inspiration”

Walt soon began to inquire about the acquisition or production of a steamboat. This was carried out through Richard Irvine (a new c. 1952 hire of W.E.D. Enterprises), in a January 6th, 1953 letter addressed to Mr. W.J. Hardiman (of Arrow Development Co., Inc.). In the letter, Dick requests information about a 30-passenger boat which was being tested in the Anderson Reservoir before going into operating in a lagoon off Lake Merrit in Oakland, California. Arrow’s Lil’ Belle sternwheeler steam boat - authentic in many details was far smaller than the Mark Twain would be; by comparison (the Lil’ Belle was only 8 feet wide, 24 feet in length, and 14 feet high). Later, on April 17th, 1954, Walt Disney travelled to Children's Fairyland (along with Nat Winecoff and C.V. Wood), and it’s a possibility that he saw the Lil’ Belle in operation on nearby Lake Merritt during his visit.

“Herb Ryman’s Aerial Over Disneyland and the Mark Twain”

Walt’s plans (with audiences in mind) continued to involve a steamboat, as indicated by Herb Ryman’s “Aerial Schematic View” over Disneyland, which was created under the watchful eye of Walt Disney, originally produced September 26 & 27, 1953. Though the sternwheeler and “sidewheeler” riverboats were flowing backwards (in a counter-clockwise fashion) in Herb Ryman’s drawing, many story elements were present, that would help imaginative artists and engineers further the design of the riverboats and the design of the river itself. This and a portfolio of colored sketches by Herb Ryman, Bruce Bushman, Harper Goff, and others was prepared for Dick Irvine and Nat Winecoff to take back East to sell the Disneyland concept to prospective licensees.

According to Magic Circle magazine (June, 1956): “Translating an idea into a real object usually isn’t a simple task at best, even when you know exactly what you want to produce. Take Frontierland’s river boat Mark Twain, for example. Here, the idea-into-object task was not further complicated by the idea being an original one. There have been thousands of river boats built. But not lately. There had been no sternwheel of the Mark Twain type built in the United States for half a century,” around 1900. The Mark Twain was based on true-life river boats like the Natchez and Little Rufus, but at 5/8 scale (similar to the Horseless Carriages and the Disneyland Railroad trains).

“Designing the Disneyland Sternwheeler”

By May 18-19, 1954, John Stoos of WED Enterprises had prepared 1/4 scale drawings of a “Typical Sternwheeler.” By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement.

Soon, Mark Twain designs were so far along, that a Mark Twain float even appeared in the 1954 Anaheim Halloween Festival courtesy of Yale Gracey. By that time (in 1954), some of the earliest suggestions and concepts of Walt Disney’s “Disney Land” included descriptions of a “Riverboat Ride.” According to “Disneyland” (prepared for Disneyland Inc. by WED Enterprises), “At the end of Frontier Street is the boatlanding for Riverboat Ride. The old stern-wheeler takes you downstream on a nostalgic cruise past the romantic river towns, Tom Sawyer’s birthplace, and the old Southern Plantations.”

Once a design had achieved approval, it went to the model shop for one-dimensional cutout mock-ups in black and white medium.

“The Hull”

Soon, the watertight five-compartment steel hull was being constructed (in November of 1954) by Todd Shipyards in San Pedro, California (with Todd Shipyards maintaining the rights to the original drawings off the hull). Wheeled mechanisms were built into the hull to interact with the underwater guide rail, and guide the boat on its tortuous course.

“The Paddlewheel”

The 9-ton paddlewheel (with paddles made of Douglas Fir, and spokes of mahogany) was also built by Todd Shipyards in Wilmington (San Pedro), California. According to one Kaiser publication: “The big beams that drive the paddle wheel on the 105-foot Frontierland steamboat had to be light to keep down above-decks weight, yet strong enough to withstand 22,000 pounds of alternate pull and thrust pressure. Aluminum I beams 13 feet long with 10-inch webs proved to be the solution.”

“The Engines”

The stern wheel propelled by twin horizontal, noncondensing steam engines (with a diesel fuel boiler). The engines were engineered by Dick Bagley. The engines were then built from scratch in The Walt Disney Studio Machine Shop, which was referred to as “a machine shop in the local area with qualified past experience,” according to “Building A Dream,” prepared by Disneyland, Inc. Public Relations Department, c. 1955. “Special construction was also called for in fitting the boiler into the hold,” according to “News From Disneyland” (a c.1956 press release document). This feature particularly impressed “the head of a tugboat company from New York,” according to Herb Ryman [in “Work With Walt” by Don Peri].

“Construction and De-Construction at Walt Disney Studios”

The Mark Twain paddlewheeler was a collaboration of Roger Broggie (the WED employee behind some of the Santa Fe & Disneyland Railroad’s engines), Dick Bagley, and Roland Peterson. Details and the super-structure of the vessel were manufactured by employees on the king-sized Stage 3 of the Walt Disney Studios, “where only a little while back, Davy Crockett was battling the soldiers of General Santa Ana,” (as seen in the televised Disneyland episode “Pre-Opening Report From Disneyland”) and 20,000 Leagues Under the Sea was partially filmed. “Since the deck slopes from one end to the other, each piece of wood had to be individually cut and fitted. To make sure it was completely authentic, we called in a supervisor - a Mississippi riverboat captain, who had spent a lifetime running just such a boat. Constructing such a large boat inside a building, 50 miles from water caused a lot of raised eyebrows. But unlike the fellow that built a boat in his basement, and couldn’t get it out, we had a plan.” The decks (sans hull) were entirely assembled on the “20,000 Leagues” soundstage. Scenes of these processes can be seen briefly in A Pre-Opening Report from Disneyland. It is worth mentioning a little-known fact, that “Walt’s father, Elias Disney, participated as a building contractor on the construction of the Mark Twain,” according to “Disneyland - A Treasure Chest of Trivia,” prepared by Walt Disney Productions, 1990.

“Re-Construction at Disneyland”

Because of its massive size, the Mark Twain (108 feet long, 150 tons, was much too large and heavy to move through the doors of the giant sound stage of the Disney Studio. It was built only to be disassembled for shipping to Disneyland. According to “Walt Disney Disneyland” (published 1964): “It was… dismantled and trucked over the freeway, piece by piece.” This towing via truck, to Disneyland, from Todd Shipyard can be seen in “Homecoming - Destination Disneyland” by Carlene Thie ; photos by Mel Kilpatrick.

Soon the entire boat would be assembled and completed at Disneyland under the direction of Rear Admiral Joe Fowler, USN (Ret.) Vice President of Disneyland, Inc. and Director of Construction and Maintenance Division. The hull was the first component to arrive at the Joe Fowler’s Dry Dock in Frontierland, (even before the Rivers of America were filled with water. Once the decks arrived near the Frontierland Dry Dock at Disneyland, A.E. Fowler & Sons’ 20-ton Lorraine crane was used to place the assembled 5/8 scale decks on top of each other, eventually comprising the 150-ton vessel. In an amazing feat, the hull and decks fit together perfectly. This can be briefly seen in the Disneyland anthology episode entitled “Pre-Opening Report From Disneyland.” Other assembly was performed on site, and this is briefly preserved on film, in “Disneyland - The Park,” a Disneyland anthology television series short film (originally aired in 1957). Some of Mel Kilpatrick’s photographs of the smokestacks being placed on the Mark Twain with the help of a crane can be seen in “Homecoming - Destination Disneyland” by Carlene Thie, with photos by Mel Kilpatrick. According to the narrator of the aforementioned short film, “well-coordinated planned assured a perfect fit for all parts.” Walt inspected the construction near the Dry Dock, as seen in “Homecoming - Destination Disneyland” by Carlene Thie ; photos by Mel Kilpatrick.

“Illumination and Ornamentation”

LIGHT magazine (July and August 1956; published by the Large Lamp Department of General Electric, 1956) “shed some light” on the illumination. The Mark Twain, was “outlined in a thousand 7½-watt lamps for a gay and decorative effect. Power for lighting” was “generated by equipment right on the boat.” These 1,000 7½-watt lamps outlined the structure, each with porcelain sockets and open wiring.

“Marine equipment houses were searched over the nation for the gimble lights,” according to The Disneyland News (Vol.1, No.1 ; for July of 1955). Custom-built props - firefighting buckets and racks, gimble lights, smoke bells, and running lights - (of the period and size required), ornamented the vessel. The finished ship would hold what were once described as “ornate and plush cabins… on the upper decks,” including a captain’s quarters, wheelhouse, lounges. Including all this elegance (and Guests), the steam-powered ship would draw “about two feet of water” as it traveled the five-foot-deep Rivers of America, according to “News From Disneyland” (a c.1956 press release document).

To top off the proud American “Queen of the River” off, several 1861 34-star flags were flown from the top. According to Herb Ryman [in “Work With Walt” by Don Peri], “No steamship that ever plied the Mississippi River was as elegant as that little jewel that Walt built for Disneyland.”

“Working Title Announced & Studio Staff Preview”

Soon, one authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell of Disneyland Inc., May 25, 1955) divulged the working title of the “300 passenger sternwheeler” to Disneyland, Inc. employees as the “MarkTwain,” and elucidating the attraction the following way : “the S.S. Mark Twain takes you on a romantic story book cruise of the Rivers of America.”

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: “River Boat: Okay.”

Lastly, the Mark Twain (though incomplete) was dressed with patriotic bunting for a 4th of July party held for members of the Walt Disney Studios and their families. According to inserts in area newspapers, “Mickey Mouse enjoyed a trip with Walt aboard the Mark Twain as she got up steam and the nine-tone paddles turned for the first time.” The Mark Twain would embark on (what would become) a routine 20-minute journey, along a 2,450 foot-long guide rail located at the bottom of the Rivers of America. At 11:30 that night the Mark closed up and Walt invited the entire crew to a party at the Golden Horseshoe.

“Union Negotiations”

As the deadline neared, some unions descended on Disneyland. Among these was the Inland Boatmen’s Union who wanted jurisdiction over the Mark Twain Pilot operators, according to the recollection of Van Arsdale France. After negotiations with the Orange County Central Labor Council there was (what Van France referred to as) a “shotgun marriage” and a resulting total of 29 unions at Disneyland. But the talk of unions could not out a damper on what happened next.

By June 25, 1955, the Mark Twain Riverboat was mostly finished. But before the Mark Twain Riverboat was christened, several important events were scheduled.

Marc Davis and others from the Walt Disney Studio attended an exclusive preopening party for Disneyland on July 4, 1955. The Mark Twain was nearly ready for that event, a photo in “Marc Davis in His Own Words,” page 7, testifying to its near-complete condition. Then another event was scheduled.

“The Mark Twain and Walt & Lillian’s Tempus Fugit Celebration”

According to Van France, “Walt had been working… at the Park, and welcomed the chance to relax with his friends and co-workers and show off Disneyland.” Five days before Disneyland opened to the public, Walt and Lillian Disney celebrated their 30th wedding anniversary with a star-studded party on the decks of the Mark Twain. Of this happy occasion, Bob Thomas once wrote: “The completion of Disneyland coincided with Walt and Lilly’s 30th wedding anniversary… and an invitation went to 300 people for the ‘Tempus Fugit Celebration.’

Where: Disneyland… where there’s plenty of room.

When: Wednesday, July 13, 1955 at 6:00 in the afternoon.

Why: Because we’ve been married 30 years.

How: By cruising down the Mississippi on the Mark Twain’s maiden voyage, followed by dinner at Slue-foot Sue’s Golden Horseshoe!

Hope you can make it… we especially want you and by the way, no gifts, please… we have everything, including a grandson!

-Lilly and Walt.”

Despite the fact that the invitations read: “6 o’clock,” many guests had not arrived. According to Van France’s recollection, “Jack Sayers was with Walt at the Main Gate at six o’clock… and nobody had shown up. I remember his escaping for a while to tell me… ‘God, Walt keeps saying, ‘Where is everybody?’ and I don’t know where they are. He’s blaming me because the guests are probably hung up in traffic.’”

Meanwhile, “using the Mark Twain that night made Joe Fowler very nervous. He had had a dream the previous night that the river had once again sprung a leak and gone dry. And the stern-wheeler had not yet been tested on the river, leaving a wide opening for Murphy's Law (if anything can go wrong, it will go wrong).

Fowler slipped away from the raucous party an hour before the planned excursion and headed for the ship landing. There he ran into a woman frantically sweeping shavings from the deck. Handing the startled admiral a broom, she said, ‘Come on, hurry, let's get this thing cleaned up!’ Together Fowler and Walt's wife, Lillian, gave the Mark Twain a ‘spit and polish’ cleaning for its maiden journey.” [Disneyland Inside Story by Randy Bright, page 93]

Finally, the cleaning was completed, and the party guests arrived. Mint juleps were served to the Disney’s closest friends aboard the Mark Twain! Then, the ship set off for its maiden voyage around the River. According to the recollection of Van Asdale France, Dick Nunis “served as a bartender at the party. And… if I know Dick, he ended up the evening doing janitorial work… counting and securing the liquor and sweeping up the Mark Twain.”

“55er” Joyce Belanger recalled “The night before opening the Mark Twain ticket booth was not finished windows were dirty all over... there was a lot that still looked unfinished.”

“The Press Preview of Disneyland and the Mark Twain Dedication”

Walt insisted on including a “romantic riverboat” in Frontierland and, though he had to pay out of his own pocket, The Mark Twain made it to opening day. Once Disneyland opened to the public, the Mark Twain would hold the place of 1 of 22 initial major attractions at the MAGIC KINGDOM®!

On Press Preview Day, selected Guests reported to the boat landing of the Mark Twain in Frontierland at 4:00 P.M. These ones redeemed their “Special Pass for the Maiden Voyage of the Mark Twain” – Attraction Admission Tickets which had been issued in advance. No one was admitted to this special ride without this ticket, and the ticket was not good for admission after the boat left. Next, Guests were loaded onto the boat, and it circled the river before the TV show went on the air. Then, the Mark Twain was officially dedicated by actress Irene Dunne of “Show Boat” (1936) fame (a plaque located behind the boat’s engine continues to commemorate Irene’s role in the dedication). This was more than appropriate, as Irene’s father “used to be supervising general of steamships in America” and her “grandfather used to build boats like this,” by her accounts to Art Linkletter.

“Art Linkletter called upon actress Irene Dunne to christen the Mark Twain with a bottle containing waters culled from the great rivers of the country. ‘My, it's listing,’ she noted, as a big crowd stormed on board the vessel. Dunne mistakenly called Linkletter ‘Walt’ and Art referred to the bottle's contents as coming from ‘the rivers of the world - of America, that is!’” Actually, Irene christened the Mark Twain, with a flask of water from all the true-life “leading” rivers of America, which was broken open (instead if the traditional bottle of champagne).

With that, Art Linkletter scurried off the deck, and while Admiral Joe Fowler blew the whistle (from the Wheelhouse) the Mark Twain departed for its half-mile maiden voyage plying the Rivers of America, at about four knots per hour! Actual capacity was reached with so many guests aboard, that Dick Nunis recollected, the Mark Twain was “overloaded and sinking,” that very day. According to one publication, “water washed up on the deck of the overcrowded Mark Twain Steamboat.”

“Since the Mark Twain had no set load limits, operators kept waving on guests until the deck neared the water line. During one trip along the sparsely vegetated river route, the ship almost capsized as passengers stampeded from one side to the other to view the riverbanks' few attractions. Immediately, the park established maximum capacities, which are still in effect today.” To top it all off, “a window fell out of the upper deck of the Mark Twain onto a man's head.” [“Mouse Tales: A Behind-The-Ears Look at Disneyland” by David Koenig]

However, after riding the Mark Twain, guests could enjoy the Mark Twain Special - a hearty, man sized stack of tangy Aunt Jemima Buckwheat Cakes.

“Grand Opening of Disneyland and the Mark Twain”

Cecil Gibson was the first engineer on the Mark Twain and recalled Opening Day: “There were 14 operators aboard and seven of them were 'Break Men. There was NOTHING on the River... and only a pile of earth for the Island. But the people thought it was great just to be riding on a steamboat!“ “55er” Homer Holland recalled: “I was supposed to be working on the Mark Twain, but they still didn't have my uniform by opening day. Well, the Mark Twain had too many operators and the jungle didn't have enough, so I went to the jungle for a year.”

Generally, the guide rail and a precise water level (of the Rivers of America) would assure that the vessel did not float off of the rail or drop onto the guide rail and break it. Almost. Disneylander and “55er” Dick Galentine recalled “One black winter night, many years ago, I was making my tour of the Park. I came aboard the Mark Twain to make a routine inspection of the fire fighting equipment. It had been raining very hard for a couple of days and the river was extremely high. While I was doing my duties, the Mark floated right off of her guides and the ship moved out several feet from the dock. All this was unbeknownst to me as I stepped off, right into the river! The water sure was cold, but the razzing I got was hot!”

“Response - The Mark Twain Makes the News”

Now, it was said that “Disneyland is News” as innumerable publications and journals reported on Disneyland just during the “first fabulous decade” alone. As really as 1956, “Motorboating” (a “nationally distributed magazine for yachtsmen and boat buffs”), published an article on the Mark Twain, written by Stewart Robertson, for June of 1956. As a result of the press reports, even more “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” including the Mark Twain. [“Disneyland 1st Anniversary Souvenir Pictorial”, 1956, page 9] Among the first four million visitors to step though the Main Entrance Gate turnstiles and take a romantic river excursion was Groucho Marx and his family.

The Mark Twain was part of the Disneyland show that heightened the bar for the entire amusement park industry. The Mark Twain even directly inspired similar attractions at other theme parks around the world. For instance Freedomland (in New York) had two 110-foot, 400-passenger sternwheelers. These boasted to be the “last sternwheel steamers to be built in the United States,… specially constructed for FREEDOMLAND by Todd Shipyards.”

Tom Sawyer Island didn’t open until June 16th, 1956. This was the sparse scene along the shore of the Rivers of America when Disneyland opened. The feel of the journey was similar to taking a true-life steamboat cruise down the real Mississippi River.

But eventually, the Mark Twain was open to the public and guests waited their turn at the Frontierland Dock (next to the Ice House), as the riverboat ran its course through the Rivers of America.

Eight early American flags were flown from the related Mark Twain Steamboat Dock. Among them were the Kings Colors (English Flag), Continental Flag, Betsy Ross (original 13 stars & 13 stripes), Grand Union Flag or Cambridge Flag, the John Cabot or St. George Cross flag flown over the Jamestown Settlement in 1607, the Pine Tree Flag or Washington's Cruisers Flag first carried by the ships of the American Navy, the first "Old Glory" (24 stars & 13 stripes), and the “Star Spangled Banner” (featuring the fifteen stripes and fifteen stars that inspired Francis Scott Key to write the national anthem). This is the only fifteen star flag that flies in Frontierland, as the rest have thirteen stripes of red and white. One version of the blue and gold Disneyland Flag (featuring Sleeping Beauty Castle, the Disney “D,” and six stars) manufactured by Hortie Van also flew over the Mark Twain Steamboat Dock (this one was different from the one flown from the Mark Twain).

Among the early American Flags flown are the John Cabot Flag flown over the Jamestown Settlement in 1607, the Pine Tree Flag first carried by the six initial ships of the American Navy, and the “Star Spangled Banner” (featuring the fifteen stripes and fifteen stars that inspired Francis Scott Key to write the national anthem). This is the only fifteen star flag that flies in Frontierland, as the rest have thirteen stripes of red and white.

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. These curate the American flag exhibit.

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. Disneyland painters repainted every prop in the Park every two years. By 1969, these signs were eight of 20,000 signs of various sizes and shapes and colors that needed to be maintained in their original condition.

One version of the blue and gold Disneyland Flag (featuring Sleeping Beauty Castle, the Disney “D”, and six stars) manufactured by Hortie Van also flew over the Mark Twain Steamboat Dock (this one was different from the one flown from the Mark Twain).

As a representation of a “Betsy Ross Flag” hangs over the dock, we are immediately transported back to the time of the mid-19th century - a time of steam-powered river boats on the romantic tree-lined Mississippi River. From the sound of the Mark Twain’s whistle blowing, it sounds like they’re close to arriving at the dock.

There was plenty of entertainment for guests awaiting their voyage near the Mark Twain Steamboat Dock. During the mid-1950s (c. 1958, for instance) an orchestrion was housed near the dock.

Disneyland “queue lines” (or Audience Waiting Areas) were designed as part of the attraction to make the Guests' time in line as comfortable as possible.

We wait on the dock of the New Orleans section of Frontierland, next to cargo “boxes, barrels, wooden buckets and sacks of cotton bales,” as the 1870’s paddle wheeler Mark Twain docks.

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

“Audience Waiting Areas” were especially designed as part of the attraction to make the guest's time waiting in line as comfortable as possible. Since the beginning, queue areas were equipped with live entertainment to set the mood for the forthcoming show. Before Shoeshine Boys (Teddy and Kenny) there was Wayne and Bill, Shoe Shining Co. Around the winter of 1956 and 1957, they performed for Guests near the Mark Twain Dock on Saturdays and Holidays (from 9:30 AM until 4:00 PM). In 1956, they entertained every other day from Saturday the 15th until December 31st.

Safety has always been key to the Disneyland Show. Related to this, the Foremen of attractions had the responsibility of checking out a Handie-Talkie radio unit (using the Radio Log) before reporting to their respective attractions each morning. The battery operated radios were carried via belt and holster. In Frontierland, the units were located at the Mark Twain and Columbia Sailing Ship (on main line), Mark Twain Dock (Mark Twain foreman, located at turnstile), and Tom Sawyer Island. The Handie-Talkie radio units were housed in a charging unit when in operation on the Mark Twain, Mark Twain dock, and the Columbia.

While waiting for the Mark Twain to arrive (or simply enjoying the waterfront scenery), many guests have used the opportunity to take a memorable photograph of their experience in Frontierland.

“IT LOOKS PRETTY GOOD” - Former Indian Village performer Cheryl recalls, “I remember [my father] …was working at the naval shipyard in Long Beach at Todd Shipyards part time. There were contracts a number of companies working at that time in Long Beach. He had between one and two jobs at a time to support us. My dad never bragged, but he just mentioned it later to us.” While visiting Disneyland with her father one day, they were passed by the Mark Twain, to which her father joked, “Well, it looks pretty good now.” As it turns out, he was a welder, and had worked on the hull construction of the Mark Twain, while it was in Todd Shipyards, San Pedro, California! Cheryl continues : “He never knew we were going to be working at Disneyland. It wasn’t a job he was searching for. It just happened. I remember that was a biggie when he said that he worked on the Mark Twain.”

The Mark Twain takes on passengers, as its crew prepares to embark on passage through the waters of the Rivers of America!

As we step aboard, we’re welcomed : “Howdy folks!…I’d like welcome you aboard the MARK TWAIN - the “Queen of the River Boats”. Our journey today will take us up the Rivers of America and into the western frontier. Along the way, I’ll be pointing out some interesting sites and tellin’ ya a few stories!” Leadsmen shout their safety calls “by the Mark” , to beckon the start of our journey, and we’re off!

Ahead of us, lay a romantic, nostalgic, “circuitous” trip into the rustic “splendor of the Old South and Early America” as it once was on the Mississippi, (as described by many early press publications)!

Perhaps you can recollect the “feel” of experiencing the Rivers of America for the first time, from the Main Deck of the Mark Twain. Maybe you can recall the sights of passing the tree lined riverbanks, the smell of the water, and sounds from the performing Dixieland bands. Walt had an affection for these elements and always loved the Mark Twain, later divulging to Joe Fowler, “When things get hectic, we can always get on the Mark Twain and just ride around the Rivers of America.”

The Promenade Deck (the second floor) once had a bar where guests (and performers) could order non-alcoholic refreshments (like Mint Juleps). These were served “during summer months,” according to the “Disneyland Dictionary”, compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968. Here, a shutterbug has managed to capture Michael Delay (of The Young Men From New Orleans) getting a quick refreshment from the Promenade Deck Bar.

There were many positions within the rotation - the set order of operating positions established by the attraction's Working Lead. The Promenade Deck Bar would not have functioned without Disneyland Employees (above) who both stocked and served Disneyland audiences.

The Mark Twain Riverboat is one of several truly timeless Disneyland attractions! One 1958 appraisal by Bank of America made the following statement: “While the bulk of the improvements are 3 1/2 years old they have been considered as effectively new due to exceptional maintenance and slight obsolescence. Improvements to the real property including the landscaping and also the Columbia and Mark Twain have been given an economic remaining life of 40 years.”

In one of his final publications, Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), included the Mark Twain Riverboat among “the only attractions still at Disneyland today that were there on opening day, July 17, 1955.” [Disney Facts Revealed by Dave Smith, 2016] Dave continued : “It would be very difficult to make a count [of how many trips the Mark Twain Riverboat has sailed around the Rivers of America since the Park first opened], because many factors would have to be taken into consideration : the number of trips per day, the fact that Disneyland was closed on Mondays off-season from 1955 to 1957 (and on Mondays and Tuesdays from 1958 to 1985), the various rehabs of the attraction, the days on which the Mark Twain was cycled with the Columbia, and weather closings of the Park and of the attraction. Perhaps someone will attempt an estimate someday.”

By the 1960s, the Guided Tour of Disneyland included “a leisurely cruise on the Rivers of America aboard the elegant paddle-wheel steamer Mark Twain.” This seems like an appropriate time to share a few sidelights about the Mark Twain Steam Boat.

Scale : 5/8

Height : 28 feet tall (from Keel to Pilot House)

Length : 108 feet, unassembled 105 feet, (according to the televised Disneyland episode “Pre-Opening Report From Disneyland”)

Draft: 2 feet, 3 inches

Weight : 159 tons

Displacement : 125 tons

Beam : once 26 feet, 6 inches; 27 1/2 feet

Decks : 4 (From bottom to top - Main Deck, Promenade Deck, Texas Deck, Pilot House)

Crew : 1 Captain, 1 Engineer, 1 Deckhand

Passengers : 350 (c. 1955) ; 300 (current maximum)

Speed : Four Knots per Hour

“By The Mark, Twain.”

A few talented voices have been heard in this role through the years including Pete Renaday (providing the voice-over narration of Mark Twain).

Disneyland Guests Hilda and Lucille & Jim Roberts ride as passengers aboard the Mark Twain during their Tour of Disneyland! The Texas Deck was so named for the grand vantage of the northern Texas river bank granted to passengers of boats navigating the Rio Grande River!

The Texas Deck offers one of the highest vantages to be enjoyed by most guests (aside from the Wheelhouse). The Texas Deck also features the lower level of the Wheelhouse with a recreation of the Captain’s Quarters.

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

“55er” electrician George Short recalled meeting Walt : “I would run into him quite frequently on the Mark Twain. He would like to spend some time in the cabin below the pilot house.”

From the Texas Deck, we can see the Wheelhouse where the Captain controls and steers the Mark Twain. We use the term “steer” loosely, as the Mark Twain is guided by rails running 2,450 feet in length around the Rivers of America.

The Wheelhouse Host/Hostess has two primary responsibilities - Safety and show. Safety is always of primary importance, nevertheless show is also very important in creating quest happiness and enjoyment. Many responsibilities are observed by the wheelhouse Host/Hostess. They are the “eyes” of the Mark Twain. Because of the numerous other river craft and potential hazards, they are to be alertat all times and ready to respond to any situation with the appropriate action, using a two-way radio, emergency bell signals, intercom, life preservers, etc. From a show standpoint, their role is that of a riverboat Captain in frontier America. They play any spiels on cue, ring and blow the whistle, and steer the ship.

Each day brings a new adventure and new passengers to the Wheelhouse Host/Hostess. Cecil Gibson (the first Mark Twain Engineer) recalled: “I remember when an elderly, grey haired man with a yachtsman's cap came up to me and said that he never saw a man handle a boat on landing like that young whippersnapper up in the Pilot House. The man had been a steamboat captain back on the Mississippi. Now he stood shaking his head at such good landings.”

“55er” Roy Brem recalled “the day the Beauty Pageant girls came aboard the Mark Twain!… They were all over the boat, getting pictures taken and up in the wheelhouse steering the boat with me.”

The Mark Twain Riverboat is unique (along with the Disneyland® Railroad) among Disneyland attractions in that vehicle operation is performed by facilities Cast Members, not operations Cast Members.

So many Disneylanders worked the Mark Twain. For instance, Hank Block worked on the Mark Twain longer than any Disneyland employee. By 1966, Dick Wells was a Mark Twain Captain and went on to become an Assistant Supervisor of Frontierland.

You may have acquired your Moon Pilot License, or Autopia Driver’s License. Since the 1950s, those permitted to step inside the Wheelhouse were often made Honorary Pilots.

A great deal of licensed merchandise was inspired by the Mark Twain like the Riverboat Board Game and the Strombecker Paddle Wheel River Boat model kit. The latter was initially modeled by Herb Lozier, with designs drawn by Don Miller (both of Walt Disney Productions’ Character Merchandise Division, suggested and prepared from 1954-1955.

Designs for an acetate and styrene Mark Twain model were prepared by Strombeck-Becker. Details were created of the filigree, bell, and wheel of the pilot house, paddle wheel, smoke stack, flag pole and more.

Mark Twain fare changed over the decades. Admission during 1958 was one “jumbo” “D” coupon (the price of 35 cents, for one child), the same as the Jungle Cruise, Indian War Canoes, or the Tom Sawyer Island Rafts. On one day in the month of August, 1958, Disneyland's visitors took a total of 5,600 boat trips on the Park's nine (9) water rides (including the Mark Twain Steam Boat). By the very same year of 1958, the Mark Twain attraction (still popular as ever) was appraised, the ride structure valued between $47,500 and 50,000 and the equipment, scenery, props, and associated chattel valued between $280,200 and $260,000.

By 1959, Joe Fowler was Vice President of Disneyland Operations Committee and Doc Lemmon of Disneyland Operations was overseeing Operators of Rides & Amusements (like the Mark Twain Steam Boat), Livestock, Parking Lot, and Ticket Sellers.

By June 22, 1965, the Mark Twain carried 18,040 guests, beating the old record of 15,969.

At Disneyland, Atmosphere Entertainment compliments the theme of the area and was often staged to entertain Guests on an immediate and personal level. Since Walt and Lillian’s “Tempus Fugit Celebration,” the Mark Twain has been the scene of such live entertainment!

During the first year of operation through the late 1960s, the Disneyland Band often marched through Disneyland (from 11:20 a.m. to 12:15 p.m.), ending with a concert aboard the Mark Twain Riverboat. A selection of Dixieland folk melodies performed by the Disneyland Band often could be heard emanating from the Main Deck of the Mark Twain as it circumnavigated the River. This common sight was reminiscent of “Walt Disney’s Disneyland Band Concert” (the Disneyland Band’s 1956 “on location” record album cover. We can almost hear the Riverboat Medley (“Waitin’ For The Robert E. Lee”, “Cruisin’ Down the River”, and “Here Comes The Showboat”) now!

“The Mark Twain Stage - For Television”

Since the beginning, Disneyland has synergistically worked with Walt Disney Studios to keep the Disney characters before the public and provide a source of material for television programs. Around Disneyland, the name Mark Twain became so synonymous with live entertainment, that the vessel began to be utilized as a set piece or stage for numerous television shows filmed at Disneyland. The Mark Twain has even been the Stage for numerous productions captured on film for motion picture usage, including television specials, commercials, and even music videos. Twice, the Mark Twain acted as the main stage for the production of “Meet Me At Disneyland” (during the 3rd and 12th episodes) airing on ABC television in August of 1962. The “Rhythm of the River” episode (partially filmed aboard the Mark Twain) starred The Excelsior Banjo Band and The Young Men From New Orleans, while “Dixie On The Delta” (filmed almost entirely on the Mark Twain) starred the Hot Jazz Society Marching Band, the Albert McNeil Choir, Voices of the Hope, The Young Men From New Orleans, and Kid Ory! After this, Louie Armstrong performed aboard the romantic river steamer during the Disneyland After Dark television special in 1963.

The Mark Twain was also staffed and operated for television advertisements. An RCA commercial (filmed April 9th, 1963) featured the Queen of the River. Then, the 26-minute “The New Christy Minstrels” (episode 4) sponsored by Ford, was recorded in front of the Mark Twain on August 3, 1964, and broadcast on NBC, August 13, 1964.

On Thursday, August 18, 1966, some Walt Disney Studio photographers (under the direction of Hamilton Luske) took a few long shots of the Mark Twain (and New Orleans Square from the Mark Twain) for use as background plates. During the 1970s, E.J. Peaker performed and sang aboard the Mark Twain during a segment of “Disneyland Showtime” (a c.1970 Wonderful World of Disney episode).

“Special Performances Aboard the Mark Twain”

During Friday and Saturday nights of the summer of 1962, The Young Men from New Orleans Dixieland group performed from the Mark Twain during Disneyland After Dark. Also during the 1970s, the Banjo Kings provided happy music to accompany your “first class circuitous” journey down the Rivers of America. During the winter of 1976, the Kids of the Kingdom performed a show while riding aboard the Mark Twain. They were followed by more Kids of the Kingdom performing aboard a a Keel Boat, and the Rivers of America Water Pageant (a fireworks display set off from three separate barges around Tom Sawyer Island)!

The Mark Twain was once even the site of the first Disneyland wedding reception aboard an attraction, on Sunday, September 24th, when a “Just Married” banner was unfurled from the stern of the vessel in honor of the union between Patricia Gazda and Kevin Sullivan.

Of course, the most entertaining aspects of the adventure are the scenery as the Mark Twain circumnavigates the Rivers of America. Many sights have come and gone since the maiden voyage of the ship - Cascade Peak, Big Thunder Falls, Twin Sisters Falls, Burning Settler’s Cabin, Catfish Cove, the Cider Mill, and the Indian Village Burial Grounds.

“Here Comes the Showboat”

1960 - The first annual Dixieland at Disneyland (featuring performances by six bands aboard rafts) was held October 1st, 1960, on the Rivers of America and other locations around Disneyland. The “two-beat Dixieland Jaxx and riverboat rhythms” of very first Dixieland at Disneyland attracted an attendance of 9,000 Guests (and drew “acclaim from guests and reviewers” according to The Disneyland Diary). According to Amusement Business magazine, “nearly 15,000 people… paid from $75,000 to $80,000 for admissions” to watch the shows. According to the same publication, “The Albert McNeil Choir of 50 opened on Tom Sawyer’s Island in the play of spotlights. Using river rafts as moving stages, Teddy Buckner and His Disneyland Band, Matty Matlock and His Dixieland All-Stars, The Firehouse Five Plus 2, The Young Men From New Orleans” and others were among the talent. Disneylander and “55er” John Gerlack recalled: “In my 20 years, I was most impressed by the show put on on Tom Sawyer Island for a Dixieland Night. there were pinwheels, rockets, everything. I thought the whole island was going to blow up!” “55er” electrician George Short remembered “The most exciting event was a big Dixieland Night on the River. The Mark Twain came around, blacked out except for hundreds of people with sparklers. The massed bands of Bob Crosby, Louis Armstrong, Teddy Buckner played on the bow.. and the fireworks on the Island!”

1961 - The second annual ‘Dixieland at Disneyland’ was held Saturday, September 30, 1961, from 8pm to 2am, bringing 14,000 guests. The event souvenir program cover featured the Mark Twain with good reason, for the advertised “conclusion” starred Louis Armstrong leading “the array of bands on rafts down the Rivers of America in Frontierland, followed by the ‘Mark Twain’ with 50 musicians playing ‘When The Saints Gio Marching In’ aboard.” Of the featured bands was “The Young Men From New Orleans,” (Johnny St. Cyr on banjo, Paul Barnes, Mike Delay on trumpet, Alton Redd on drums, with Monette Moore and by some accounts Harvey Brooks on piano), who performed their “St. Louis Blues” while “Floating Down the River.” By this time, The Young Men from New Orleans was considered a “permanent” band at Disneyland by 1961, appearing earlier from the deck of the Mark Twain, during Date Nites at Disneyland events, held during the Summer of 1961, (Fridays ‘til midnite and Saturdays ‘til 1:00a.m.). They would also perform their “pure” Jazz on Easter Sundays. Other headliners of the Second Annual Dixieland at Disneyland included Edwin “Kid” Ory, Teddy Buckner and his Dixieland Band, Matty Matlock and his Dixieland All-Stars (Eddie Miller, Moe Schneider, Dick Cathcart, Stan Wrightaman, Nick Fatool, and Ray Leatherwood) with special guest Louis Armstrong performing at the 20,000 Leagues Stage (and a specially designed floating Raft stage with crown atop), “housebands” The Firehouse Five + 2 (Eddie Forest, Danny Alguire, George Probert, Dick Roberts, Frank Thomas, and Don Kinch) at the Plaza Gardens, The Albert McNeil Choir (comprised of 50 voices) and The Disneyland Strawhatters (Warren Gale, Johnny Schmidt, Jim Barngrover, Ed Erickson, Sonny Anderson, and Jim Martin) at the Golden Horseshoe.

1962 - Louis “Satchmo” Armstrong would return alongside other musicians for Dixieland at Disneyland of 1962. Before that, the “Disneyland After Dark” live television broadcast (airing April of 1962) featured the previous (1961) appearance of Louis Armstrong singing “Up The Lazy River” aboard the Mark Twain.

1963 - “Dixieland at Disneyland” (of 1963) included “Al Hirt and a cast of 300 in a musical Mardi Gras”, and “drew 18,000 music lovers.”

The entertainers of the Fifth Annual Dixieland at Disneyland (of September 25 & 26, 1964) included Louie Armstrong joined by two of his “hot five,” (Kid Ory and Johnny St. Cyr of The Young Men from New Orleans), Sharkey Bonano and His Kings of Dixieland, Sweet Emma Barrett and Her New Orleans Jazz Band, Ben Pollack and His Dixieland All-Stars, the Clara ward Gospel Singers, the Elliot Brothers and their Big Band Dixie, and the Firehouse Five Plus Two. All appeared in “All That Jazz” staged on the Rivers of America in Frontierland, with a huge stage “being erected on the tip of Tom Sawyer Island for the production numbers staged and choreographed by Burch Mann. The entire river becomes a part of the stage as the starring musical groups drift by on colorfully decorated floats with settings taken from the streets and bistros of New Orleans. The climax comes when the entire cast of over a 100 is assembled together as the huge sternwheeler Mark Twain rounds the bend loaded with a full orchestra and hundreds of performers spinning lighted sparklers. At this moment a giant fireworks display is unleashed into the air and across the top of the water. It’s a thrilling sight, and one that will be remembered for years to come. Never in jazz history - even in New Orleans - have so many all-time greats gathered together for such a performance at that planned for this year’s ‘Dixieland at Disneyland.’” [as reported by Small World Newsletter, September 23, 1964, page 2] Film coverage of some acts took place on Thursday, October 1st, 1964. Maybe you recall the scene: “the riverboat Mark Twain steams round the bend twinkling with sparklers from bow to stern as Louis Armstrong leads 50 Dixieland jazzmen into When the Saints Come Marchin’ In.” [Walt Disney Disneyland, published 1964]

During the third week of January (c. 18th - 10th), of 1965, Tommy Walker, Card Walker, Ed Ettinger and Ben Harris (and others) spent some time at a Disneyland Staff Planning Meeting in Palm Springs. One of the subjects that was discussed was the forthcoming Dixieland at Disneyland event of 1965. While there, they met with Ben Pollack and His Five Piece Dixieland Band (at Ben Pollack’s Palm Springs home) over their appearance in Dixieland at Disneyland of 1964, as well as their ideas for 1965.

On September 22nd, 1965, a Ford car was prepared (washed and gasoline put in the tank) to pick up Louie Armstrong.

Dixieland at Disneyland was held Saturday, October 1, 1966 from 8pm to 2am.

The 1967 edition of Dixieland at Disneyland occurred Saturday, September 30, from 8 p.m. to 2 a.m. The edition starred Louis Armstrong and his band, Eddie Condon, Teddy Buckner and his band, Doc Souchon and his New Orleans All-Stars, the Firehouse Five +2, the Young Men from New Orleans, the Southern California Hot Jazz Society Marching Band, and the New Dixie Band (winner of Disneyland’s recent youth Dixie Band contest). Advance sale tickets (at $6 each) were available at the Disneyland Box Office, with $7 tickets available at several locations like Bank of America, Desmond’s stores, Wallich’s Music City, and the Disneyland Box Office.

Dixieland at Disneyland (Saturday, September 28, 1968, 8:30 pm to 2 am) brought Louis Armstrong and His Band, Turk Murphy and His Band, Teddy Buckner and His Band, the Firehouse Five + 2, and The Young Men From New Orleans! Louie Armstrong performed “Ten Feet Off the Ground” from “The One and Only, Genuine, Original Family Band”. This song was the third Sherman Song that Louis Armstrong recorded - first, in 1937, Robert “On A Little Bamboo Bridge.” Then, in 1955, Dick’s “Christmas In New Orleans.” And “Ten Feet off the Ground”!

During 1972, Banjo Kings (Sonny Helmer) performed.

Even after Dixieland at Disneyland ended its run, other bands (like The Banjo Kings, c. 1978) would perform from the Mark Twain.

According to the Guided Tour Script of 1962 : “On weekends and holidays the Young Men of New Orleans, an authentic Dixieland Jazz Band, play for your dancing and listening pleasure as you float down the river.” It has been said that Harvey Brook’s Young Men From New Orleans “evoke memories of Fate Marable” as they perform “A Variety Musical Treat” aboard the Mark Twain Stage, on the Main Deck of the Steamboat!

A second dance floor was added on the upper Texas Deck of the Mark Twain for entertainment during the summer of 1961. The Disneylander (VOL. 5, NO. 6; JUNE, 1961) announced: “The real ‘show stopper’ is likely to be the newest addition authentic old New Orleans Dixieland jazz played in a setting to match the music aboard the Mark Twain. A dance floor has been added on the top deck of the stern wheeler and as it steams along the Frontierland river, ‘The Young Men From New Orleans.’ will rock the ship with all the Dixieland favorites.” According to the Guided Tour Script of 1962 : “On weekends and holidays the Young Men of New Orleans, an authentic Dixieland Jazz Band, play for your dancing and listening pleasure as you float down the river.”

The immortal Young Men From New Orleans (the legendary Johnny St. Cyr occasionally on banjo, Harvey Brooks leading on piano, Alton Redd on drums, Joe Darensbourg on Clarinet, Aldolphus Morris on bass, and Michael Delay on trumpet) were the genuine article “long-time greats, and each member is over 60” (in fact some of them 70 years of age) according to Vacationland (Summer, 1961). The Young Men of New Orleans appeared on the third episode of “Meet Me At Disneyland” (airing on ABC) alongside The Excelsior Banjo Band, beginning in June of 1962. They also were part of the 1962-63 Winter Holiday Talent Schedule.

They also performed their “St. Louis Blues” while “Floating Down The River” during several important celebrations like the New Year’s Eve Special Party of January, 1963, and Grad Nite of 1964. During late 1960s Date Nites at Disneyland, The Young Men From New Orleans generally played sets of two-beat “Dixie Melodies” from the Mark Twain’s stage (pictured). Guests gathered to either dance or just listen as the stern-wheeler made its way down the river. This evening entertainment generally lasted from 5 p.m. to twelve midnight, so heaters were regularly set up on stage to accommodate the musicians.

During the 6th edition of Dixieland at Disneyland, the Young Men from New Orleans (Harvey Brooks on piano, Alton Redd on drums, Joe Darensbourg on clarinet, Adolphus Morris on bass, and Michael Delay on trumpet) entertained aboard the Mark Twain in Frontierland.

During the 7th edition of Dixieland at Disneyland (which was also incidentally the Third Camp Pendleton Night at Disneyland), the Young Men of New Orleans (Harvey Brooks on piano, Joe Darensbourg on clarinet, Michael Delay on trumpet, Alton Redd on drums, and Bernard Carrere on bass) performed from the Mark Twain on the night of Friday, September 29, 1967 from 8:00p.m. to 1a.m.! The Young Men From New Orleans also performed seven shows daily, from the Promenade Deck during the winter (from December 16, 1967 to January 1, 1968). The following Disneyland “Spring Fling” (occurring April 6th, 1968) brought The Young Men From New Orleans to the Mark Twain, and that is possibly the event that has been captured in this Vintage View (above).

Other bands performed from the decks of the ship. For instance, Disneyland’s own Banjo Kings performed from the Mark Twain, in “American Music on Parade” on Memorial day, Monday, May 29, 1972. From November 26, 1972 through May 26, 1973, the Banjo Kings performed from 5:00 PM - 12:00 M.

The Mark Twain was used as a set piece or stage for numerous television productions. Twice (during the 3rd and 12th episodes), the Mark Twain acted as the main stage for the production of “Meet Me At Disneyland”, airing on ABC, in August of 1962. The “Rhythm of the River” episode (partially filmed aboard the Mark Twain) starred The Excelsior Banjo Band and The Young Men From New Orleans, while “Dixie On The Delta” (filmed almost entirely on the Mark Twain) starred the Hot Jazz Society Marching Band, the Albert McNeil Choir, Voices of the Hope, The Young Men From New Orleans, and Kid Ory! After this, Louie Armstrong performed aboard the romantic river steamer during the Disneyland After Dark television special in 1963.

The Mark Twain was also staffed and operated for an RCA commercial (filmed April 9th, 1963). The 26-minute “The New Christy Minstrels” (episode 4) sponsored by Ford, was recorded in front of the Mark Twain on August 3, 1964, and broadcast on NBC, August 13, 1964. On Thursday, August 18, 1966, some Walt Disney Studio photographers (under the direction of Hamilton Luske) took a few long shots of the Mark Twain (and New Orleans Square from the Mark Twain) for use as background plates. During the 1970s, E.J. Peaker performed and sang aboard the Mark Twain during a segment of “Disneyland Showtime” (a c.1970 Wonderful World of Disney episode).

The Mark Twain was featured in numerous pieces of promotional media and advertisements. Ten years after the first day of operation, the Mark Twain was featured in a Look Magazine photo shoot (in conjunction with new Disneyland 3-D post cards) on May 23, 1966.

During the 1970s, E.J. Peaker sang aboard the Mark Twain during a segment of “Disneyland Showtime” (a c.1970 Wonderful World of Disney episode). Karen and Richard Carpenter utilized the front of the lower deck during the filming of several scenes of their “Mr. Postman” music video released in 1975.

The Mark Twain inspired many things. In 1960, Freedomland opened in New York with a Great Lakes Cruise by sternwheeler, boarded from its Chicago 1871 area.

The Mark Twain Sternwheeler’s single wheel propels the paddle-river steamboat down the Rivers of America.

We wait our turn at the dock, as the Mark Twain Steamboat passes Swift’s Chicken Plantation restaurant before heading deep into “Frontier” territory.

Get ready for a nostalgic ride down the Rivers of America!

The Mark Twain rounds the southern bend of Tom Sawyer Island and the Rivers of America, passing the Chicken Plantation House.

Fort Wilderness (the last stand between the unfriendly Indian camp and civilization), stands tall above the forest of Tom Sawyer’s Island.

The Mark Twain offered transportation down the Rivers of America when other craft were in periods of seasonal non-operation.

“Rehabilitations and New Ideas Enhance Show Quality & Safety”

Safety has always been important to Show Quality at Disneyland. “55er” Ray Schwartz recalled: “One time on the Mark Twain when Walt was aboard, he saw a bilge pump handle lying around. He picked it up, saying, Somebody's going to get hurt one of these days. The matter was very soon taken care of.”

The attraction was down for rehabilitation from Apr. 22-May 24, 1963.

After his purchase of WED in 1965, Walt wished to retain the Santa Fe and Disneyland Railroad trains, the Mark Twain, and the monorail trains. So he formed RETLAW Enterprises, Inc. for his privately held and owned vehicles and assets. Especially since that time, many changes and adjustments would continue to contribute to a safe show. For instance, by 1969-1970, one Motorola 2-way radio (Handie Talkie HT 200) Frequency 154.60 MHz. was assigned to the Mark Twain. This was in relation to River of America operation of the Mark Twain and to be used for emergencies on the river, breakdowns and first aid requirements. The price/unit was $646.00 without battery and antenna. Model #H23 DEN 3100 A.W. Also a By 1969-1970, two R.C.A. 2-way 2-frequency radios (Personalfone 150) Model # C.P. C. JIPNHTOA were assigned to the Rivers of America Mark Twain Dock. The price/unit was $546.00 with batteries and antenna.

Then, from March 5 to April 13, 1973 the Mark Twain was closed for a 6-week rehabilitation.

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

As for the boat, though the paddle wheel’s parts had been replaced, the same paddle wheel (originally manufactured by Todd Shipyards) had churned the waters behind the steamboat for 32 years, until it was entirely replaced in 1987. According to Supervisor Frank Thomas, the Mark Twain was not in their plans when they went to take care of the usual rehabilitation in January of 1987. But when it was inspected, it was noticed that the wood had begun to rot after sitting omg the water for 32 years. Upon examination, it was decided that the entire structure needed to be replaced, so Todd Shipyards was contacted, and the original drawings of the paddle wheel were utilized. The old mahogany spokes of the paddle wheel were replaced with kapur wood (a native of Malaysia, and new to Disneyland - being used for the first time in the construction of a bridge in Adventureland during the 1980s). Douglas Fir was again utilized for the paddles, due to its density and resistance to torque forces at work. The wood was dipped in water sealant for extra protection. Then, the entire assembly took place in the Machine Shop with the help of hoists. U-Bolts (specially fabricated), clamps, and wedges were replaced, fastened, and then painted for a final touch (by employees like Bob Metz and Rudy Alvarez of the Paint Shop). The entire construction only took four weeks, and the wheel was back in action during February of 1987.

By 1989, Disneyland Plumbers used chemicals and processing to create the soft water necessary for the Mark Twain Steamboat.

Even the riverside scenery has changed through the years, to include unique vantages (from all decks) of New Orleans Square, Tom Sawyer Island (and Pirate’s Lair), and Critter Country!

“Routine Inspections”

Since it costs a fortune to drain the ride, Machinists (or highly skilled craftsmen) would learn scuba diving, and dive down to where the action is to check the equipment and the rails.

While some new structures have sprung up on that uncharted island, the Mark Twain receives some necessary repair work in Joe’s Ditch across the river. Just look at that construction scaffolding around the decks of the ship!

At the Frontierland Docks (along the New Orleans Square section of Frontierland), cargo of boxes, barrels, buckets, sacks, and cotton bales wait to be loaded aboard the steam ship.

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

Later (in 1965), the cast of admission for a ride aboard the gleaming sternwheeler was exactly one “D” coupon, or 60¢.

“Legacy”

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

Swift Market House (July 18, 1955 - 1965)

C&H Sugar Market House (1965 - 1970)

The Market House (1971 - present)

Starbucks (September, 2013-present)

“Swift’s and Company & Walt Disney”

Walt Disney and Gustavus F. Swift’s Swift’s and Company grocery business have been acquainted as far back as 1938. At the time, Walt Disney had several arrangements with other competitors of Swift’s, like a tie-in with Snow White and the Seven Dwarfs entitled “Ham What I Am” for Armor & Company. In a special arrangement between Walt Disney, Allsweet Oleomargarine, and Swift & Company seed assortments of “dwarf varieties of Calhopsis, Godetia, Marigold, Nasturtium, Dianthus, Aster, [and] Phlox” - were “christened by Walt Disney for one of the characters in his fascinating movie of ‘Snow White and the Seven Dwarfs’”! According to the “Mickey Mouse Merchandise” catalogue: “thousands of Oleomargarine box tops were received from amateur gardeners anxious to receive the ‘Snow White and the Seven Dwarfs’ flower seeds.” These were offered through Swift’s and Company grocery outlets.

Two decades later, and in advance of the (June, 1955) release of Walt Disney’s “Lady and the Tramp”, Swift’s Pard Dog Food (manufactured by Swift’s) ran magazine advertisements featuring the popular dog stars from the feature film. In addition, 25¢ and two Pard labels (or, one Pard Meal Box Top) sent to Pard’s Chicago P.O. Box got the consumer one three-foot “Lady and the Tramp” mobile!

Now 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. By July 1, 1954, Russel Tippett of Disneyland Inc. Advertising oversaw Exhibitor’s Space Sales and Lease Agreements. It was intended that Disneyland feature “the turn-of-the-century shops and stores - the photographer's shop, ice-cream parlor, penny arcade, bakery, drug store, music shop, butcher, grocer, many of which are sponsored by outstanding American companies whose names are familiar ‘household words.’” In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names in the Park as they provided services and shows. 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.

Many free exhibits of Main Street U.S.A. were sponsored by one of the United States’ “old reliable firms, which have been in business fifty years or more. Here they can show how they started and reproduce their first place of business.” [Disneyland Prospectus, 1954] Several of these turn-of-the-century pioneers, “reliable old firms” sponsored the “abundance of restaurants devoted to pleasing all tastes and all budgets,” according to “The Story of Disneyland”, published 1955. As a result, “shopping has been a part of the Disneyland scene since opening day, 1955, when just 45 employees worked in the Park’s five stores and stands,” according to Disney News (Fall, 1966). The same publication called Walt Disney’s “Magic Kingdom actually… like a huge specialty shopping center, with thirty Disney-operated stores catering to every taste and purse. In addition, some of America’s most famous ‘name brand’ merchandise is sold in the stores of Park lessees.”

One of those lessees - Swift Meat Company (and its subsidiary, Derby Foods, manufacturer of Peter Pan Peanut Butter) - was an appropriate sponsor of “Disneyland” the television show. Swift Meat Company would sponsor the Market House at Disneyland and the synergy was perfect for the old corporation. Swift’s (founded in 1855) had been celebrating their centennial during the time Disneyland (and Swift’s Market House) first welcomed guests to “dine at Disneyland”! Yes, by the time Disneyland’s construction was moving forward (in 1955), Swift’s Premium brand boasted more than 100 table-ready meats, some of which were served exclusively at Disneyland. Swift’s even manufactured “Swift’s Meats for Babies,” which was assured to keep “a baby busy growing.” Some of Swift’s products (Swift’s Premium Bacon and Allsweet Margarine) were being advertised in television commercials (as those starring actress and vocalist Fran Allison), which were aired during 1954 - 1955.

A decisive day came one morning in May of 1955, when the Vice President of Bank of America met for a presentation at the West Street Training Office (which Van Arsdale France had decorated with fan cards and Disneyland renderings from the Walt Disney Studios). Walt was not present, but Roy, and some executives from Eastman Kodak and Swift & Company were. 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.

Eventually (by June of 1955), a definitive list of Disneyland lessees was prepared by the Public Relations Department of Disneyland, Inc., listing Swift’s & Company’s three Disneyland locations (including their “grocery & market” on the “600 block” of Main Street).

“Design and Draw Concept”

Early thumbnail sketches and other concept artwork of Disneyland seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Though guided by Walt, his artists appeared to engage in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process. In designing the Market House and the rest of Main Street, there was a lack of 20th-century architectural reference material at the time of the conception of Disneyland, so some Walt Disney Studio artist (Ward Kimball) made the contribution of rare books of drawings from his own collection.

“Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ As early as 1953, artists Harper Goff, Herb Ryman, Sam McKim, Dale Hennesy, Harry Johnson (who was good friends with Herb Ryman, and whose designs were most influential), and others created many conceptual pieces for Main Street and it’s shops. Herb Ryman (who was an Illinois native, the same as Walt), “had a lot in common while discussing and developing Main Street” for the midwest visitors, according to “A Brush with Disney” by Herbert Ryman, page 148. Herb Ryman would create the first “Schematic Aerial View” over Disneyland (including Main Street USA), originally produced September 26 & 27, 1953.

Other contributing artists were 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”) and Wathel Rogers were instrumental in translating the two-dimensional artwork into detailed miniature models of Main Street. Such models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent.

On a leave of absence in 1954, Chuck Myall joined WED to help create some of the Main Street facades.

Lesser known artist Ed Held is of particular note, for preparing the architectural elevation facade and 2,152 square foot floor plan drawings for the Swift’s Market House by February 19, 1955. Fred’s architectural drawings helped define all designs, production and construction strategies, costs, schedule, and resource requirements. His drawings were soon checked (by a “GMB”), approved (by two individuals), and revised (by an “HGS”) by March 23, 1955.

“Construction”

“When the giant earth-moving undertaking was completed, the building crews took over. Soon, the rat-tat-tat of riveters was shattering the air, and sparks were flying from welders’ torches as the steel frameworks, capable of withstanding the ravages of time and the elements rose above the newly formed ground. While carpenters hammered and masons laid row upon row of brick and stone and mortar, the permanent buildings began to take shape and form,” according to “The Disneyland Story” published 1955. One of the first buildings to be constructed was the Main Street Opera House, which was used as the Mill. Here, the woodwork of Disneyland was generated - from the functional to the aesthetic! Approximately three and one-half million board feet of lumber went into the Park’s construction. Much of the wood was processed here by McNeil Construction (which formerly constructed Walt Disney Studio sound stages in 1947 and 1953), and under the direction of George Mills Sr. (the Prime General Contractor and Mill Foreman). Then, under the direction of Joe Fowler (Construction Supervisor), as well as Charles Alexander and Ray Conway (Construction Field Supervisors), the lumber was soon fashioned into the framing belonging to the very first buildings constructed at Disneyland - primarily the Main Street Complexes (on each side of the street).

In constructing each building, 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 first fabricated steel for the Main Street buildings arrived November 8 and was erected,” according to the narrator of “Disneyland - The Park,” a Disneyland anthology television series excerpt, first aired 1957 and Disneyland LINE (November 22, 1979). The roof covering was a variable, dependent on the architectural design.

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 building (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.

Ray Van de Warker (who became Department Manager of Office Support Services) remembered the distinct look of Main Street when he first came to work. “Main Street was dirt. Some of the buildings didn’t even have facades on.” (to Disneyland LINE, Vol.25, No.28, published July 16th, 1993). But soon the storefronts were erected. According to Florabel Muir (of the New York Daily News) divulged after a pre-opening (July 9th) tour by Walt, “the buildings are not false fronts as are seen on every studio backlot in Hollywood… Walking down Main Street, I saw a photographer’s shop, ice cream parlor, penny arcade, bakery, drug store, grocery and a butcher shop. These stores will be operated as concessions by well known U.S. firms. Swift & Co., for instance, will run the butcher shop, though instead of real pork, beef and lamb, they’ll sell candy imitations of their products.”

As with all of Disneyland’s Opening-Day landmarks, rides, and attractions, small local businesses provided materials, labor, and skills. Steel was provided by Triangle Steel & Supply Company (of Los Angeles). Newbery Electric Corporation gave electricity to Disneyland. “The electrical installations were supervised by Roy J. Gruendler, manager of Newbery's Orange County district office located at 1335 Santiago Ave, Santa Ana.”

Southern Counties Gas Company provided economical and clean gas, buildings were roofed by Pioneer Roof and Shingle Company (of Westminster, California), Mc Neil Construction Company provided labor, Evans and Reeves Landscaping Inc. (of West Los Angeles) achieved“the perfect landscape for Disneyland,” and so forth.

Forced perspective makes the buildings on Main Street appear taller than actually are. On Main Street the buildings are not full scale. Ground floors are built about 9/10ths scale. Second floors measure up to 7/10ths scale. Scale on the uppermost floors is smaller still.

The buildings of Main Street (Market House included) were soon after described by an appraiser as “all very ornate, with variable embellishments. The basic construction, consists of concrete foundation and slab floors, wood frame construction, (store units also have a combination rigid steel frame) roof covering is variable, being dependant on architectural design. All buildings have complete fire sprinkling systems.” “Some of the cresting and railing to be seen in… Main Street came from old plantations in Nashville and Memphis, Tennessee. Other furnishings came from San Francisco, Oakland and Sacramento, dating back to the ‘49 gold rush days,” according to an article published in The Disneyland News (Vol.1 - No.1 ; July of 1955). [“Building A Dream”, Disneyland Public Relations Department]

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.

Lastly, a 45-star flag was flown atop the roof in keeping with the turn-of-the-century era.

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 #602 - Swift: Will be completed. Electric Signs: All are in work - with the exception of the shoe store and the Bank of America, all will be completed.“

Some of these viable project Concepts (as above), were supported by a well-developed business case and built expectation. Readers of newspapers were treated to previews of Swift & Company’s Market House at Disneyland, by way of a supplement published July 15, 1955 (e.g. “Register” of Santa Ana, California).

Then the big day arrived! A contributing writer of The Daily Oklahoman (who visited 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.” Here on the 500 block of Main Street, we discover one such merchant house, the Market House, which was managed by the Red Wagon Company, which also operated the Red Wagon Inn, Plantation House, and the Snack Bar in Holidayland (once it opened). According to Bob Cummings (host of Dateline Disneyland, aired July 17, 1955), Swift’s Market House is “where all of us ‘ham actors’ will end up.”

In 1955, Swift’s Premium Meats were also served at Carnation Ice Cream Parlor at Disneyland.

The Market House was an old fashioned general store with jams and jellies, barrels of dill pickles, nuts, and goodies (like horehound and other hard “penny candies”), natural food snacks, cider, and a game of checkers just waiting for a couple of players. “Your grandmother shopped in a store like Swift’s Market House on Disneyland’s Main Street”, according to the Los Angeles Examiner, July 15, 1955. “Here we find the old-fashioned butcher in straw hat and cuffs, the pot-bellies stove, and shelves lined with authentic old-time meat and grocery products. Swift & Company, whose quality meats are served exclusively in Disneyland, is the sponsor of this exhibit.” According to Florabel Muir (of the New York Daily News) divulged after a pre-opening (July 9th) tour by Walt, “Swift & Co., for instance, will run the butcher shop, though instead of real pork, beef and lamb, they’ll sell candy imitations of their products.” You may recall the package of Swift’s Market House “candy meats” like the “Red Wagon Yummy Weenies Candy” which looked very much like a package of hot dog links. By the release of the “Disneyland 1st Anniversary Souvenir Pictorial” in 1956, the shop was reckoned among the “stores whose shelves bulge with worlds of distinctive merchandise.”

The pot-bellied stove was the center of conversation during the good old days.

The Market House created tangible memories for Guests through Merchandise and Show.

Merchandise licensing fed concessionaires into the Park, and Disneyland turned concessionaires into licensees. You May recall purchasing old time toilet soap. Products like Vanity Fair Toilet Soap (a lanolin and hexachlorophene creme bar) was sold by the box, and a popular seller.

Guests of Disneyland were well familiar with Swift’s brand meat products - such as Swift’s Brookfield Pork Sausage, Swift’s Bologna, Swift’s Hard Salami, Swift’s Premium “Brown ‘N Serve” Fully Cooked Sausage, and Swift’s Premium Franks - as some of these products were “made fresh daily at local kitchens” and served at restaurants around Disneyland. Not only were Swift’s meat products found in the Swift’s Market House, but guests could once order a Swift’s Premium Cheeseburger or a Swift’s Premium Frankfurter at the Carnation Cafe in Disneyland. The aforementioned products could be purchased wholesale (with the help of a “Wholesale Price List” - complimentary Disneyland souvenirs courtesy of Swift’s)! By 1955, Disneyland visitors who were pet owners, were aware of Swift’s products, as the company even manufactured a line of dog food under the label Pard (which enjoyed a brief advertisements with “Lady”, star of “Walt Disney’s Lady and the Tramp”). Foreign guests were also soon familiar with the Swift’s brand, as (by 1958) the company was sponsoring some of Walt Disney Productions’ television programs represented in foreign markets.

In an age of free souvenir literature courtesy of Disneyland free exhibit sponsors, Swift’s Market House offered the 13-page “Swift’s Wholesale Price List No. 4” - a list of U.S. Government inspected quality meats for sale through Swift’s! Look for popular “delights” (as the Winchester Breakfast Bacon or Fancy Summer Sausage), or exotic articles (Swift’s Beef Fluid, Lamb Tongues, or Ox Lips).

Occasional recipes containing Swift’s Premium products were published in editions of The Disneyland News.

On December 10, 1955 the Swift & Co. provided food for the First Annual Christmas Party.

The window displays of Swift Market were maintained with a “fresh look” according to Disneylander (October 1957).

Placemats and other complimentary items like this are a prime example of “the possibilities for a sponsor to capitalize on this association” with Disneyland. The many ways of “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.

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

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

By January 1, 1958, the 2,152 square-foot Swift’s Market House was located in Main Street Building #600. The corporate synergy was good for a time. Some DISNEYLAND table service restaurants offered Swift‘s brand products in their recipes. For instance, Hills Bros. Coffee House offered Swift’s sliced baked ham on a sandwich.

As for DISNEYLAND, the institutional lessee Swift and Company yielded some revenue for Disneyland Inc. - $43,000 for the fiscal year ending September 29, 1957 and $43,000 for the fiscal year ending September 28, 1958.

Owning to Jack Sayers (of Lessee Relations), Swift & Company was a contributing sponsor for Disneyland ‘59! By October of 1959, the company was (1) of over sixty-eight other firms playing a vital part in the team effort to bring happiness to Disneyland’s Guests. Some were small, specialized individual operators; some were huge companies such as Swift & Co. - the Bank of America - United Paramount Theaters (which you hear as UPT) - Carnation - Richfield - General Dynamics - Crane - and many others. These companies used the park to publicize their wares, leased space in the Park to sell their wares, and Disneyland collected advertising fees from them. By 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.

Outside, guests could step aboard the Swift & Company Wagon for a photo opportunity. This free exhibit was similar in fashion to the Carnation Farms Milk Truck, the Bekins Wagon, and the Global Van Lines Truck. The Swift Wagon was a “horse-drawn replica of the 1890’s that services all eating establishments in Disneyland with Swift fine foods.” When not parked near the Market House, the little “Red Wagon” could also be found stationed on East Plaza Street, near the Red Wagon Inn.

This exhibit helped Disneyland audiences understand the mode of transport (or, drayage) for the delivery of manufactured products (e.g. ice, milk, baked goods, meats, etc.) to small towns across the U.S.A.

It seems that Swift & Company’s c.1910 horse drawn wagons were pulled by a six horse hitch. One model of Swift’s red wagons may have still been in use for drayage of Swift’s products by the time the International livestock exposition was held in Chicago (from November 26th - December 3rd, 1927).

When Walt Disney Productions Background Artist Walt Peregoy visited Disneyland, he spent his time creating colorful studies of the Park, and at least one of them featured the Swift Wagon.

During C&H’s sponsorship, the Market House was an “old-fashioned general store complete to cider and dill pickles,” cookies, candies, natural food snacks, coffee and cider. Next door (but, technically located in the Swift Market House), the C&H Sugar Corner (sponsored by the Californian and Hawaiian Sugar Refining Corporation), featured a variety of penny candies and unique colored decorator sugar crystals. Other specialty items included Vanity Fair Toilet Deodorant Cream Soaps containing lanolin and Hexachlorophene.

Swift’s contract was soon to lapse in 1966, so before that happened, Walt Disney Studio artist Dorothea Redmond began to create Market House concepts in 1964. The new shop and exhibit contained many original items and equipment collected from all over the world.

By 1970, the Market House (Main St. General Store) was sponsored by Swift & Co., C&H Sugar Corner and Sunsweet Growers.

Among Dorothea’s designs that were realized was “a pot-bellied stove and recorded party-line phones that [would] provide many chuckles for guests,” according to the “Disneyland Dictionary” (compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968).

By 1969, an inventory list was maintained by the Disneyland Decorating Department and was perhaps the most unique manifest of items existing anywhere. It contained about 35,000 items of various sizes, shapes, and values with 4,000 items on Main Street alone.

At the Market House, the potbellied stove is an original. In the rear of the store stood a distinguished looking Seeburg upright grand piano built in 1910. The coffee grinders were authentic antiques and really worked.

Amidst it all, a memorable prop was the checker board, which was still a constant feature by the 1990s. This game offered Guests the rare opportunity to become part of the Atmosphere Entertainment of the Market House, complimenting the theme of area, and staged to entertain other Guests.

The area near the old potbellied stove was a great place to enjoy an old-fashioned game of checkers, or (as the “Main Streeter” of Vacationland magazine preferred) to “sit and spin yarns about the Magic Kingdom with all my friends visiting the Park from all around the country.”

Of course, there were other ways which ones could “get an earful” while visiting the turn-of-the-century Market House…

Among these was the installment of the half-a-dozen Party Lines, Swift’s Market House has been “the best place to listen in on the neighbor’s chatting,” according to Vacationland magazine (published for Winter/Spring of 1965). “Original bins that used to hold coffee beans and grains are placed around half a dozen old wall telephones where you can lift a receiver and hear conversations of years ago. All of these telephones had to be wired for conversation because they were authentic telephones of the turn-of-the-century era,” according to “Did You Know” (published by Disneyland in 1991).

These phones (and their party lines) may have inspired Wally Boag to “have an idea” which was submitted to Dick Irvine, on May 22, 1966. Wally’s idea was related to the Haunted Mansion which was still under construction, with a sign posted near the gate. Wally submitted :

“I hope you don’t mind if I make a suggestion. I notice that many people really remember too little about the Haunted House, even after reading the sign. I thought there might be a chance for a little pre-opening publicity. I’ve enclosed a script which might be used for a special gimmick out in front of the house. You could put an old-fashioned house phone by the gate. The first part of the script could be repeated over and over again until a guest pushes a button which starts the second tape. Once it had finished, the first tape comes back on, waiting for the next guests. With proper background, music, and effects, this could be a real gimmick for the Haunted House and would effectively publicize the attractions.”

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

As a sidelight, if guests needed to make a true-life phone call, telephones were located on East Center Street between Swift's Market House and the Gibson Card Shop.

Unbeknownst to most guests, functional offices were hidden (from guests) toward the back of the entire building, in a Backstage Area. As a final touch, one of five 45-star flags in Disneyland flew atop the door, to complete the picture of a typical turn-of-the-century American Market House building.

By 1984, Market House hosted by Sun Giant--An old-fashioned general store featuring cider, coffee, pickles, cookies, natural food snacks, and stamps.

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… Marty professes that everybody who works as an Imagineer is a disciple of Walt… It's not our name on the front door, it's still ‘Walt Disney.’ He notes that even today, most people don't know ‘who we are individually’ at Imagineering and admits that there are some people who can't work that way. Some have big egos and want their name in lights, and they soon leave. Some pretty talented people have left Disney to do their own thing, and, you know, I appreciate that and am alright with it. I'm still close to a lot of them. Some of them even come back and do consulting work for us.”

However, a few outstanding individuals have been publicly recognized for their contributions and even ceremoniously honored by the Company.

According to Magic Kingdom Club (Fall of 1970) : “With the envied Disney penchant for artfully avoiding the direct or obvious in favor of the cleverly obscure, Walt had fun assigning to many of the Main Street window names ‘occupations’ or pursuits that often sidestepped reality. For instance, in his goldleaf salute to Ken Anderson, veneered to a glass pane above the Market House at 122 Main Street, Walt listed him as proprietor of a bait company. Anderson, still one of the Studio’s finest artists and, therefore, one of the best in the business, designed many Disneyland elements. He also happens to be a champion fly-caster and dedicated fisherman. Thus : ‘Ken Anderson Bait Co.’ By 1990, Ken Anderson was still serving as consultant for Walt Disney Imagineering.

‘Bushman and DaGradi, Ship Models’ is another tenant of the Market House.”

“Robert Wisky, Stone Mason” was the result of an accidental change of the window’s wording to “Robert Whisky.” By 2016, his name had been restored at both Parks. Robert Jerome Washo aka Bud Washo (still known today as “Bud”) was Disneyland’s Buildings Manager. Bud headed the Staff Shop (which made the concrete, plaster, and plastic work for the Park). This, Bud did since Disneyland’s construction phase, until his retirement. According to Dave Smith (Chief Archivist Emeritus of The Walt Disney Archives), “Bud Washo (1923-1999) originally served in the staff (manufacture of interior and exterior ornamentation in fiberglass, etc.) and plaster shops at Fox, Columbia, Universal, and Paramount Studios. He joined Disneyland in 1954 as supervisor of the staff-and-plaster shop, and later moved to Walt Disney World to hold the same position.” [Disney Facts Revealed by Dave Smith, 2016].

“Seb.” (Sebastian) Morey (of the Disneyland Decorating Department, from 1956-c.1995). Originally, this window read “Bob Mattey - Taxidermist” from 1955-1969.

“From the Park’s earliest design stages to the time he retired, Emile Kuri contributed decorating talent to many of its settings. He supervised the Studio’s Set Decorating Department, and regularly assisted in creating Academy Award-winning stage settings. He is remembered with the window: ‘Emile Kuri, Interior Decorator,” according to “Disneyland - A Treasure Chest of Trivia,” prepared by Walt Disney Productions, 1990.

“‘W.H. Dennis Cottrell, Detective Agency, Private Investigator. We never sleep.’ ‘Bill’ Cottrell is the retired President of Retlaw Enterprises, a private firm owned by Walt’s family. He was the President of the newly formed Walt Disney Imagineering when Disneyland opened. Mr. Cottrell was an ardent collector of items and information on Sherlock Holmes, which led Walt to ‘convert’ Bill into a detective for the window honor,” according to “Disneyland - A Treasure Chest of Trivia,” prepared by Walt Disney Productions, 1990.

The Market House tradition lives on through other Disney Parks worldwide. For instance, the Market House Bakery at Hong Kong Disneyland (Hosted by Maxim's) features delicious pastries.

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