Since the 1930s, the Walt Disney license has been extended to shoe manufacturers.

“The Search for Participant Sponsors of Disneyland”

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

By July 1, 1954, Russel Tippett of Advertising oversaw Exhibitor’s Space Sales and Lease Agreements. Individuals like Nat Wyncoff provided the essential orientation for curious lessees, selling them on the idea of Disneyland using various visual aids like sketches and one of Herb Ryman’s oil paintings of Disneyland. Soon, “A cross-section of American industry…[was to be] represented in Disneyland. Each of these companies… [would expose] its institutional advertising and public relations message to Disneyland guests through various forms of participating exhibits and displays. In each case, the exhibit… [was to be] related to the theme of the ‘land’ in which it is located, and is woven into the overall concepts and themes of Disneyland,” according to “Disneyland, U.S.A.,” published 1958. As Walt described to Bob Thomas (of Associated Press), “some industries will have exhibits, but all of them must be in keeping with the era.” As intended, many of the free exhibits located on Main Street U.S.A. came to be 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,” [according to one draft of the Disneyland Prospectus, published 1954].

Several of those “old firms” (which leased spaces) specialized in apparel for men, women and children! The Hollywood- Maxwell Intimate Apparel Shop (a fairly “young” firm), presented by the Hollywood-Maxwell Brassiere Co. of Los Angeles, afforded guests the opportunity to view “early day corsets and foundation garments.” Another shop (located North of Coca Cola Refreshment Corner) originally housed merchandise offered through the swimwear manufacturer and retailer Cole of California. Fantasy of Disneyland also carried clothing - like a large selection of designer little cardigan sweaters, party dresses, “Hollywood Knits,” and jumpers (by vendors like Johnny Lee of California, or Nob Hill of California). These were just a few of the shops that were located inside Disneyland, and there were many others that came to be located at the Disneyland Hotel! Yes, “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.” Soon (possibly owing to Harry Karl of Karl’s Shoes and Shoe Corp.) the GallenKamp Stores Company would become a Disneyland Participant sponsor and open their doors at 208 Main Street!

“Architectural Designs by Lessees”

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

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

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

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

“Construction”

“Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ F. M. Franz, manager of operations for McNeil Construction expressed: "We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.”

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

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.

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 #510 - Blue Bird Shoes: This one is doubtful. However if we do not make it, it will be an easy one to block off and dress.”

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

The buildings (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.

“Ev’ryone Would Have a Dozen Blue-Birds”

As Van Arsdale France (founder of the University of Disneyland) explained in a presentation for potential Disneyland Participant sponsors in May of 1955: These top executives of major American corporations were “here not to make money” but because they were to “create happiness!” This is evident by the income received by Disneyland, Inc. due to the corporate Participant sponsors and lessees. For example, three years later (in 1958), Bank of America appraisers figured of the total income received from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food.

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.” Two days prior (and before Disneyland opened), an article published in Pacific Coast Review (published July 15, 1955), briefly and ambiguously mentioned that “Other names in this advertisers wonderland include Gallen Kamp shoes.”

Clearly the Participant sponsors and lessees were here to create happiness. Gallen-Kamp had recently won commendation by Parent’s magazine, and so parents may have been happy to discover that this particular Disneyland specialty shop offered a wide selection of their “all leather” children’s footwear. Among the c. 1955 stock was undoubtedly the “Gallen Kamp’s Saddle” (retailing $4.99), which was advertised as a “school shoe.” These were offered in all-black, all-white, as well as a variety of two-toned color schemes (including brown & white, blue & white, red & white, green & white, pink & black, pastel pink & white, and pastel blue & white). Another popular model (for girls) was the Patent Leather Strap, which can be seen in this c. 1955 advertisement below.

Like many Main Street exhibits, complimentary souvenirs were offered - maps of Disneyland. The souvenirs of Blue Bird Shoes for Children featured these Gallen-Kamp advertisements on one side.

Some of the first window displays were created for the winter of 1955 when Main Street windows carried out Nursery Rhyme themes. The Shoe Store window showed “The Old Woman Who Lived in a Shoe.”

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 “Disneyland 1st Anniversary Souvenir Pictorial,” encouraged visitors to “browse through stores whose shelves bulge with worlds of distinctive merchandise.” From the Swift’s Market House to the Tomorrowland Art Corner, Disneyland shops of the first fabulous decade often offered shipping for merchandise, and Gallen-Kamp merchandise could also be shipped to another address for guest’s convenience.

Disneyland celebrated its first year of operation with the “Disneyland 1st Anniversary Souvenir Periodical” in 1956. While many Disneyland Participants and Lessees that hosted “show exhibit demonstrations” were spotlighted in a special section, those who leased space for shops were not. However, Blue Bird Shoes for Children is prominently seen in one large photograph of Main Street featured on the second page (pictured above).

Soon 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.”

Many parents (and many children) enjoyed the thrill of purchasing shoes at Disneyland. Blue Bird Shoes for Children created tangible memories Guests through its merchandise and show. And so, Blue Bird Shoes for Children would last the longest among a first wave of apparel-related lessees to depart from Disneyland, joining the ranks of “Grandma’s Babies Infant’s Clothes & Knitwear” Shop (July, 1955 - September, 1955), the Hollywood-Maxwell Intimate Apparel Shop (July, 1955 - January, 1956), and Cole of California (1955 - 1957). While other Gallen-Kamp locations would continue to offer those “fine leather shoes,” this particular Blue Bird Shoes for Children location would close its doors on September 13, 1957.

While this was the last shoe shop in Disneyland, Walt Disney Productions continued to partner with shoe manufacturers. For instance, during the era of Walt Disney’s Swiss Family Robinson, Walt Disney Productions partnered with Buster Brown for a line of Pirate-themed children’s footwear.

“Where Is That Bluebird?”

The location which Bluebird Shoes for Children occupied was swiftly replaced by Wonderland Music Company (until c.1959), and then consumed by Kodak Camera Center.

Plaza Hotel (1955)

Plaza Apts. – a Tourist Information Center and Guest Registry Center (1955 – 1956)

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement.

“Design”

“Disneyland is unique in that some of the world's foremost creative artists and architects control all design at 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. Like some advanced “High Concept,” final designs were quickly generated and approved.

Next, architectural drawings helped define all designs, production and construction strategies, costs, schedule, and resource requirements. Models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent.

“Architectural Designs by Lessees”

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

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

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

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

“Construction”

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

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

Many companies participated in its construction, (possibly) including ABC Roofing Company (of Westminster, California), Universal Homemakers Inc. (a drywall interior, ceiling and floor specialist from Van Nuys, California), and Arthur Pizzinat (Venetian Terrazzo and Mosaic Company, Inc.) to name but a few.

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. All fixtures were placed in their correct motif and many light fixtures were authentic antiques.

The buildings (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.

Lastly, a 45-star flag (one of five in Disneyland) was flown atop the roof of the quaint and comfortable Plaza Hotel, in keeping with the turn-of-the-century era. Once complete, The Plaza Hotel was located on the current 500 block of Main Street U.S.A.’s East Side, near the hub of DISNEYLAND®, though the address over the door read “222” back then!

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the status of individual sections of the Park and Opening Day. C.V. reported that the shadow gags had been ordered. Painted signs, window, curtains, and shades were projected to be completed on time. The sound equipment was be installed, with completion of the tape recordings appearing to be fairly tight. The electric signs were “in work,” and with the exception of the shoe store and the Bank of America, all would be completed.

Sometime after Disneyland’s first day of operation in 1955, the Plaza Hotel was soon converted into the Plaza Apartments, maintaining its same address (of 222). The Plaza Apartments’ doors were finally opened on the corner of Main Street and East Plaza, situated not far from Ruggles’ China Shop, and down the street from the very first incarnation of the Art Corner on East Plaza. Here, Disneyland guests were invited into a plush 1900-era foyer (from 10a.m. to 7p.m.), which efficiently served as Disneyland’s Tourist Information and Guest Registration Center.

“For Your Information”

General questions about DISNEYLAND were asked, granting opportunity to assist by responding in a positive manner. For out of town visitors, the center offered both reservation and general information about the Disneyland Hotel. Information Brochures about motels and trailer parks were also available here.

Since 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.

Disney formed contractual relationships to a group of companies called “Participants” who agreed to sponsor various attractions and facilities in the Park in return for specific rights and privileges. In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names in the Park. Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities.

Soon, “a cross-section of American industry…[was] represented in Disneyland. Each of these companies… [would expose] its institutional advertising and public relations message to Disneyland guests through various forms of participating exhibits and displays. In each case, the exhibit… [was be] related to the theme of the ‘land’ in which it is located, and is woven into the overall concepts and themes of Disneyland,” according to “Disneyland, U.S.A.”, published 1958. 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]

In turn, Disneyland, Inc. received income. For example, in 1958, Bank of America appraisers figured of the total income received from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food.

By 1956, this Plaza Apartments free Disneyland exhibit gained a sponsor - Insurance Company of North America (or, INA) and a new name - the Carefree Corner (though the location’s sign would still temporarily read Plaza Apartments). At Disneyland, each Guest needs to be assured that you CARE! The Insurance Company of North America (or, INA), and its affiliate PEG (Pacific Employers Group) were proper sponsors for Main Street U.S.A., as the parent company had been providing proper business, home, car, life, and health insurance for quite a time (by 1967, they were celebrating their 175th anniversary). For now, the “Care Free Corner” (and the 945 square-foot space) fit well with INA’s current advertising slogan - “For a more care-free life at all times, be sure you and your family have the proper insurance protection.”

“Service à la Disneyland”

Here, an increasing number of visitors would stop by the Carefree Corner, official information center maintained by INA-Insurance Company of North America - and its 20,000 local agents and brokers in the United States and Canada. Carefree Corner administered information for Disneyland, travel reservation Information for surrounding area, Bus and Helicopter schedules, and motel and trailer park information.

More than that, Hostesses created tangible, delicious memories Guests through its merchandise and show. They handed out information books at the entrance and through the doors, guests could “rest a spell” on the round, velvet banquette, while waiting their turn to approach the registry desk and sign the leather-bound Disneyland Guest Register. Beginning in 1959, the Disneyland Guest Book highlighted the 50 states and numerous international locales. By October of 1959, free copies of the Declaration of Independence were available on request.

Actress Spring Byington (of “December Bride) and child actor Bobby Diamond (of “Fury”) were photographed registering (Spring, for Colorado and Bobby, for California) for their 1956 “TV Radio Mirror” photoshoot at Disneyland. At least some members of the “National Association of Amusement Parks, Pools, and Beaches” likely visited the INA Carefree Corner during their tour of Disneyland, from September 18-20 (Tuesday through Thursday), of 1956 (one of whom was the President, George F. Schott, who once served as advisor of Disneyland planning, construction, and operation). According to the Official Guide to Disneyland (published 1956), “more than 800,000 people have signed the Disneyland Guest Register…giving their home towns and addresses.” By the following year, “A Complete Guide To Disneyland” (published 1957) states that “more than 900,000 people have signed the Disneyland Guest Register, located at the Plaza Apartments on Main Street, giving their home towns and addresses.” The latter source continues : “40% of all Disneyland visitors are from out of state, including visitors from 63 foreign countries.” Soon, Donna Rochelle of the Carefree Corner reported to Vacationland magazine, that the “guest registry books now include names of people from every state and more than 100 foreign nations.”

Each Guest is regarded as a VIP: a Very Important Person. Early Disneyland Cast Members represented all of Disneyland, and promoted goodwill between Disney and the VIPs. As seen in the previous Postcard images, lovely Hostesses maintained the INA Carefree Corner at Disneyland! These hostesses offered friendly service, which included a souvenir gift (an information booklet, also available at the Main Entrance), directions to Disneyland attractions, and travel and reservation assistance. The INA Hostesses would even help guests plan their Disneyland visit, supply road maps, provide hotel-motel information, and give directions to other Southern California attractions or cities of interest. “The insurance companies of North America have provided travel information for your convenience and brochures from California, Nevada, and Arizona ; maps of many parts of the West ; and bus, helicopter, airline and train schedules.” You may personally recall taking home an INA (Insurance Company of North America) pamphlet from one of the displays. Of course, the INA Carefree Corner’s most memorable brochure was “Your Guide to Disneyland,” provided as “a free service” by INA. The guide featured maps of each land, and showed the location of Disneyland’s free shows & exhibits, shops and stores, services, refreshments, telephones, restrooms, ticket booths, and information and assistance facilities. Also listed, were the current attractions (with brief descriptions), as well as their price of admission and corresponding “letter” of Disneyland coupon. Disneyland Cast Members have always been well aware of general information regarding restaurants, shows, parades, events, and directions, and (aside from the Guides) the INA hostesses were “the creme of the crop” in this regard! For guests who had not arrived yet, the Tourist Information Center and Guest Registry Center could also be reached via phone (by calling KEYSTONE 5-8171).

During 1957, an INA advertising campaign included a series of photographs featuring families enjoying the magic of happiness while exploring various attractions of Disneyland - including Spacemen, the Mark Twain Steamboat, and the most iconic Sleeping Beauty Castle. The campaign relied on the peace of mind or happiness experienced at Disneyland to promote various package policies available through INA. Promotional contests were also run in coordination with the Tomorrowland Art Corner, awarding free Disneyland “originals” (production cels and drawings) to winners selected at random.

By January 1, 1958, the 945 square-foot shop space in Main Street Building #500 was still occupied by the Insurance Company of North America. Finally (by 1958), the location was given its official name in print for perhaps the first time - the Carefree Corner, within the Official Guide to Disneyland (published 1958)! The corporate synergy was good for a time. Institutional lessee North America Companies yielded some revenue for Disneyland Inc. - $22,534 for the fiscal year ending September 29, 1957 and $22,708 for the fiscal year ending September 28, 1958.

Owning to Jack Sayers (of Lessee Relations), the Carefree Corner (and INA) would soon be included in a list of Disneyland Participants which sponsored “Disneyland’s second opening” - “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.

The Guided Tour Script of 1962 highlighted the Carefree Corner “sidelight” to groups along the tour this way : “There are many interesting and unusual shops along Main Street I’m sure you’ll want to visit later. You might also like to stop by Carefree Corner, the official information and registration center here in the park. They have a registration book from each of the 50 states. They will be happy to present you with a souvenir copy of the Declaration of Independence.” By 1964, “Disneyland’s official Registration Center, presented by the Insurance Company of North America” offered “every guest…a copy of the United States Bill of Rights,” according to Vacationland magazine (published for Winter/Spring of 1965).

During 1965, the “Tencennial Newsletter” reported on the INA Guide to Disneyland published for Park guests:

“‘Your Guide to Disneyland,’ a 32-page booklet covering all aspects of the Magic Kingdom, is now being presented free to all Park visitors. Sponsored as a service to Disneyland guests by the Insurance Company of North America, 375,000 copies of ‘Your Guide to Disneyland’ were printed for distribution from October to January, 1966. The pocket-sized booklet features a photograph and welcoming message from Walt Disney on the cover. Highlights of the guidebook include information on shops, exhibits and restaurants in Disneyland, individual maps of each ‘land’ and a listing and explanation of each of the 50 attractions and adventures in the Park. Also included are sections of ticket books, the Guided Tour and future developments for the Magic Kingdom. A copy of the guidebook is given to each group that purchases any form of admission media. Due to the souvenir value of the publication, Disneyland officials estimate that exposure to the booklet's Park information and INA's institutional message on the inside front, and outside back, cover will exceed six million people annually.”

The Carefree Corner name would remain intact for 16 years, and during this time, guests could visit the free exhibit and pick up their complimentary copy of the Declaration of Independence, before leaving Disneyland. Employees of the mid-1970s may recollect that INA held their offices Backstage near the Pony Farm. INA - Insurance Company of North America and a few of its 20,000 local agents maintained the Carefree Corner at this time!

Alas, Disneyland Participant Affairs and Participant INA could not negotiate a new cooperative agreement to maintain their ongoing relationship. While, INA’s sponsorship of Carefree Corner ended in 1974, the purpose of the Carefree Corner remained the same for some time! INA would go on to briefly sponsor another exhibit, from their offices in a certain apartment overlooking New Orleans Square.

By 1974, Disneyland Guest Relations (most of them, Disneyland Tour Guides and Hostesses) began to staff the facility, continuing to “maintain the registry and still answer the millions of guest’s questions,” according to Disneyland LINE (Vol.18, No.14 ; April 3, 1986). Three years later (during 1977), Travelers Insurance Company took over INA’s account with Disneyland, offering new policies and benefits to Disneyland Cast Members. Though many positive changes had been made, the presence of long-time Disneyland Participant Insurance Company of North America would be missed. As for the Carefree Corner, the location continued to serve a similar function for 11 more years, but operating under the name of Hospitality Center (from 1974 to the Spring of 1985).

The Carefree Corner occasionally served a station where Disneyland guests could meet and greet their favorite Disney Characters. Here, a guest rests on a settee with King Louie, in the foyer of the Carefree Corner.

Three years later (during 1977), Travelers Insurance Company took over INA’s account with Disneyland, offering new policies and benefits to Disneyland Cast Members. Though many positive changes had been made, the presence of long-time Disneyland Participant Insurance Company of North America would be missed. In the background, note the Sleeping Beauty Castle emblem (which represents Disneyland) in the place of the former INA logo over the doors. As for the Carefree Corner, the location continued to serve a similar function for 11 more years, but operating under the name of Hospitality Center and Disneyland Information and Registration Center (from 1974 to the Spring of 1985). The reason was that (in 1974) INA had moved into a particular Royal Street address overlooking New Orleans Square.

First time guests (as this group of French National Naval Officers) could always find some direction and information at the Official Disneyland Information and Registration Center!

From 1985 to 1988, a new sponsor would “greet” guests in this stately location on the hub - Gibson Greeting Cards! The old lobby was transformed into a cozy new shop that would briefly (and, appropriately) be called Card Corner for the next three years. The shop was still shared with Disneyland Guest Relations (and its Disneyland Tour Guides) who continued to staff the facility and answer guest’s questions and address guest’s inquiries. The lobby would take on a whole new look and function - that of a shop where guests could purchase greeting cards, gift wrapping paper and other gift items.

According to Disneyland souvenir guides (published 1988), during this time, the shop still served as the Disneyland Information & Registration Center where guests signed their name in the Disneyland Guest Book and could pick up information on other Southern California attractions.

The Carefree Corner would return to Main Street U.S.A., during November of 1988. When lessee Gibson Greeting Cards departed from Disneyland, a form of the Carefree Corner briefly occupied the “apartments” as the “Official Disneyland Information and Registration Center”. This time the location was operated by Disneyland Tour Guides of the Disneyland Guest Relations Department.

Often the Carefree Corner (of this era) was used as a prize redemption center for contests, as during anniversary celebrations or events like the “Discover America” contest of Celebrate America (1983). In addition (by 1990), the Carefree Corner was also a location to find plush, greeting cards, stationary, gift wrap, and party supplies featuring the Disney characters. During August 20 - 29, 1993, the “first names first” program allowed customers to input their name into a computer and have the meaning of their name printed on special paper. The meaning could then be printed on a mug, stein, keychain, desk plaque, baby sipper, or certificate.

Before long, the Main Street Photo Supply Co. briefly opened in this prime location. Guests could now claim photos with tickets here. A contemporaneous (c.1994) Disneyland Line magazine commented: “Carefree Corner no longer operates as an information center; it is now strictly a merchandise location. Guest services previously provided at Carefree Corner are now available at City Hall or The Bank of Main Street, with the exception of the Guest Registry Books, which are no longer available for signing.”

But Carefree Corner was not gone for good, and would briefly return to Main Street U.S.A., during November of 1988.

Custom colors were assigned to the shades, lace curtains, stucco, and even the Renaissance glaze over the finial and rosette of the Carefree Corner facade.

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

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

One type of original free exhibit still remains to our modern era - that of the Main Street Window Honor! There are thousands of windows at Disneyland. Above, three Legendary artists who helped visually develop Disneyland are honored in one window over the Carefree Corner - Herbert Ryman, John Hench and Peter Ellenshaw. “The three designers are listed as ‘Instructors’ for the ‘Plaza School of Art,’” according to “Disneyland - A Treasure Chest of Trivia,” prepared by Walt Disney Productions, 1990. By 1990, John Hench was serving as the Senior Vice President of Walt Disney Imagineering, Peter Ellenshaw had retired, and Herb Ryman had served as a consultant until his death in 1989. Herb (in “A Brush with Disney”) reflected: “Whenever I went to the park, I was aware of the contributions I had made, as I’m also aware of contributions by Bill Martin, Marvin Davis, John Hench, Ken Anderson ad all who were playing Disney’s orchestra… The names on the Main Street windows are the people to whom Walt wished to give credit, the people who helped create Disneyland…My name is there, with John Hench and Peter Ellenshaw. And that’s what we do, we give art lessons. I realize that participating in Walt’s dreams has Brought joy to millions of excited people which why work alone would never have been able to do. No matter what individual talent each of us has, working under the auspices of Walt Disney we’ve really contributed something to the world.”

As of October 21, 2021, the Plaza Point Holiday Shoppe opened in this piece of real estate, on the Central Plaza Hub of Disneyland.

Today, Plaza Point (located on Main Street, U.S.A. at Disneyland Park) is the place where “the festivities begin” and guests “shop year-round holiday décor—including ornaments, housewares, linens and accessories, and discover Christmas-themed merchandise every day of the year.”

Since the creation of Mickey Mouse, Walt Disney had extended numerous licensed character arrangements with manufacturers of ice cream like Southern Dairies and Balian Ice Cream.

Back in 1951, Walt Disney and Art Linkletter visited the famous entertainment complex Tivoli Gardens in Copenhagen. He was researching and talking notes to build a family entertainment center and Tivoli was much like what he envisioned. It was clean, directed to the entire family, fun, entertaining and educational. Walt noted how important it was to have a lot of places for guests to sit down and a wide variety of eating spots that served excellent meals.

During 1954, Walt began searching for participants to lease shop and restaurant spaces and help generate the necessary capital to fund construction of DISNEYLAND®. In a synergistic relationship, the companies (in turn) could sell their products and advertise their corporate names in the Park 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.

Back then, (July of 1954), Raul Grizante of Disneyland, Inc. was overseeing food philosophy, area & location, food specialties, and beverages for Disneyland. Also, original “55er” Rima Bruce (who started with Jim D'Arcy in Food Services when all foods were Lessees) typed memos and menus. She recalled that “the phone never stopped ringing with everybody trying to get a food lease in the Park.“ 

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

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” , [according to one draft of the Disneyland Prospectus, published 1954]. Several of these “reliable old firms” sponsored the “abundance of restaurants devoted to pleasing all tastes and all budgets,” according to “The Story of Disneyland,” published 1955. In turn, Disneyland, Inc. received income. For example, in 1958, Bank of America appraisers figured of the total income received from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food.

The “legen-dairy” Carnation Company (whose origins pre-date the turn-of-the-century), was one such “reliable firm,” and an appropriate choice for Disneyland sponsor. Carnation Company founder Elbridge Amos Stuart began processing evaporated milk in 1899 in Kent, Washington. During the early 1900’s Mr. Stuart developed “the famous Carnation line of Holstein-Friesan dairy cattle” with the ability to produce extraordinarily large quantities of milk. This the cows did, from a stress-free and peaceful pasture, ensuring their health and happiness.

Now 55 years after that important development (and a great deal of dairy research), the “milk from contented cows” would soon both content and bring happiness to visitors to Walt Disney’s Disneyland! This was all thanks to a partnership between Elbridge Amos Stuart’s son (Carnation Company Chief Executive Officer Elbridge Hadley Stuart).

This souvenir menu page (pictured above) is 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.

“Master Planning a ‘Place Setting’ to Dine At Disneyland”

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

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 the earliest Main Street site plans prepared, depict an American Motors - sponsored exhibit in this space of the 400 block of Main Street U.S.A. The same plans intended for a Carnation Farms - sponsored exhibit, but on the 500 block of Main Street U.S.A. (across the street, on the East side). As things continued to develop, it was decided that the American Motors’ exhibit would be best housed in an exhibit hall in Tomorrowland. As for the space on the south side of Main Street’s 400 block (and the corner of West Center Street), it would be inhabited by Carnation Farms’ free exhibit.

“Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ Disneyland Inc. furnished an artist's conception of such a parlor, which was being duplicated in every phase. For instance, a photograph was supplied from the Disney Library showing a soda fountain back bar that was actually in use during that time. Engineers devoted considerable time to further research and were able to procure a book of the history of the soda fountain industry.

As Walt described to Bob Thomas (of Associated Press), “some industries will have exhibits, but all of them must be in keeping with the era.” A year prior to opening, Carnation's ice cream parlor was a sketch in Disney's studio. But soon, Disneyland guests would be able to visit an authentic turn-of-the-century sweet shop, or ice cream parlor thanks to other talented artists and skillful craftspeople. Under the supervision of Ray Keplinger of Carnation Company, Disneyland, Inc. artists created site plans and other designs for the c.1890’s themed Carnation Ice Cream Parlor exhibit which would also function as a restaurant with waitress service.

“Architectural Designs by Lessees”

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

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

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

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

Next, architectural drawings helped define all designs, production and construction strategies, costs, schedule, and resource requirements. Models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent.

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

“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.

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

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.

The buildings (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.

King Electric Contractors performed the electrical job on site.

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the status of individual sections of the Park and Opening Day. C.V. wrote: “Building #401 - Carnation: The best estimate available today is that they should be able to complete. However, it is going to be very tight due to the time required for fabrication of the fixtures.” By July 2, 1955, shadow gags were ordered. Painted signs, window, curtains, and shades were projected to be completed on time. The sound equipment was be installed, with completion of the tape recordings appearing to be fairly tight.

One of the first buildings to be constructed was the Main Street Opera House, which was used as the Mill. There, the woodwork of Disneyland (including the wood framing of the Main Street complexes and the Carnation exhibit) was generated - from the functional to the aesthetic! Soon work began on the 8,833 square-foot Main Street Building #400 (at the intersection of Main Street and West Center Street).

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.

After construction of the building complex, work began on the 1,672 square foot Carnation Ice Cream Parlor and 274 square foot storage space). Only three weeks before the grand opening, its interior looked as if a hurricane had hit it. But soon, faithful decorative elements were brought in and installed, like diamond-paned-type windows. Under the guidance of Fresh Milk and Ice Cream's Southern California assistant manager for sales, C. J. Noell, Carnation Company's own unusual part in Disneyland was readied.

The restaurant was designed to handle a 77 Guest seating capacity. All fixtures were designed to give fast short-order service and placed in their correct motif. Wire backed chairs, wireframe tables, leather tufted seats, island benches, and the mirrored-back bar behind the carved marble fountain counter top are all authentic in 1890s design. Those circular island seats were decked out with planters and a sunburst-type the reflector for each light bulb being a poinsettia. Many light fixtures were authentic antiques and additional lighting was by Chinese lanterns. “25-watt clear glass lamps are used in specially designed fixtures that have the flavor of the past, and 100-watt inside frosted lamps are used in the lanterns.” All of these were under gay red-and-white candy-striped metal awnings inside.

To duplicate faithfully such an establishment, Carnation commissioned Dohrmann Hotel Supply Co. to supply the furniture and fixtures. Ostrander Manufacturing crafted the hardwooden furniture, and much of this fine (and beautifully crafted) carpentry was both performed and overseen by Cliff Carothers. The very same aforementioned publication references their contribution (though not by name) this way : “Cabinet-makers carved and painted the accurate reproductions that furnish the buildings.” Metal castings of hand-turned wooden valves and faucets were produced, and “mirrors were hand-cut and framed in the popular hardwood of the 1890s, Honduras mohogany.”

The bar was of Honduras mahogany embellished with hand-cut mirrors and ornamental lights, and black and gold Italian marble topped with snowy Alabama marble. The marble-top may have been crafted by Frank Silveri, a Santa Ana tile & marble contractor.

Special silver holders for soda glasses were to be used to further the 1890 theme.

Finally store-front signs give the appearance of Gay Nineties lighting but use improved equipment.

However, not everything about this ice cream parlour would draw back to mind grandfather’s day. The latest serving equipment featured valves and faucets turned out of wood and duplicated in metal to gain the appearance of originals of the period. The ultra modern kitchen measured 231 square feet full and completely arranged with the best equipment obtainable, including equipment from Hobart Mfg. Co. and a Waste King garbage disposal. It had a seven-foot griddle, reach-in refrigerator, work-pantry-table and automatic dishwashing equipment.

There was a sherbet dispensing cabinet and two special cabinets for ice cream cone dispensing. Under the counter was a modern marvel of 20th century technology - the Everfrost refrigerated 60-gallon two station stainless steel soda fountain unit (bearing a compartment and three temperature controls) that dispensed ice. There were two complete sets of draft arms, three separate temperature controls, automatic soda water carbonator, and accurately gauged syrup pumps to dispense accurate measurements of flavor into the sodas.

“Just about the only [other] thing that isn’t as it was over 60 years ago is the ice cream. It’s better than ever! In each spoonful of Carnation ice cream is the experience of more than a half-century in producing the finest quality foods.”

The costumes of thousands of Disneyland employees were designed by Choinard Alum and soon-to-be Oscar-winning costumer Renie Conley. Conley created numerous thematic costumes for the Main Street Front Gate Hostess, Engineer and Brakeman, Piano Player, Jungle Cruise Boat Captain and Crew (for the Burma Irrawaddy, Nile Princess and Amazon Belle), Canal Boat Captains (French, Dutch, etc.), Frontierland Station Agent, Tomorrowland Rocket to the Moon, Cashiers for Mad Hatter’s Tea Party and Fantasyland and many other Cast Members.

Waitresses wore specially designed uniforms combining present day practicability with 1890 style additions such as modified mutton leg sleeves. They were in green and white stripe and green tie and head bow, completed by a dainty square white apron.

Some elements of the original custom (and authentic) wardrobe of Hosts and Hostesses were possibly provided by Warren Ackerman’s House of Uniforms (yes, “uniforms”), then located in Beverly Hills, California.

“Your Disneyland: A Guide for Hosts”, published 1955, reminded Disneylanders of a few simple rules of personal appearance: “We feel better when we look our best… Cosmetics should emphasize naturalness. Use only conservative nail polish and avoid heavily scented perfumes. Hair should be neat and well groomed. Hands and nails should be clean and well kept. If you wear a costume furnished by Disneyland, it must be clean and fresh at all times… Shoes should be shined and heels straight. The host should have a fresh shave and a neat haircut - both essentials of good grooming. Our Disneyland look should emphasize our natural good qualities, and our habits of neatness and cleanliness.”

As far as those Disneylanders who would fill the wardrobe (and the roles) representing both Walt Disney Productions and lessees on a person-to-person basis, Walt later expressed the following confidence: “What you do here and how you act is very important to our entire organization and the many famous names of American business represented among our exhibitors… Your every action (and mine also) is a direct reflection of our entire organization… For our guests from around the world the curtain goes up on an all new show at Disneyland everyday and you, as a host or hostess, are truly ‘on stage.’ I know you will give a courteous and friendly performance.” Five months before the premier opening of Disneyland, Hal Hensley (of the Disney University Orientation Program ; under the Direction of Van France and his assistant Dick Nunis) held classes (which would become a Disneyland “tradition”). These classes would instruct some 1,200 Disneylanders (including those fulfilling roles at the Carnation Ice Cream Parlor) in some of Walt’s personal philosophies, as well as the policies which would “create happiness” for visitors! Despite their 1890 On Stage setting, Hal wanted to ensure that Disneylanders to “get a ‘new world’ feel about this place.” The result was that even at its foundation in 1955, Disney University was producing specialists in the field of outdoor theme entertainment.

The Carnation Ice Cream Parlor table service restaurant would be managed by Bill Slamina and overseen by Jim Baker of Disneyland, Inc. Waitresses (like Carolyn Moody of Garden Grove, Cal.) served Guests. Woody Woodworth was hired before the grand opening recalled: “You couldn't get too much to eat and the only place you could get a sandwich was Carnation.”

The 1,672 square foot restaurant was one of Disneyland’s eating facilities which was estimated to serve a capacity of 300 guests per hour (according to facts prepared by the Disneyland, Inc. Public Relations Department), and thus predicted to contribute to accommodating the Park’s overall potential of “15,000 persons daily, hitting a peak of 60,000 on holidays and week-ends.” The same documents predicted that Carnation Ice Cream Parlor would be one of “twenty restaurants and snack bars, capable of saving 8,000 hourly,” at least according to “Building A Dream” (prepared by the Disneyland, Inc. Public Relations Department).

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.”

Since the beginning, a number of Main Street, U.S.A.’s antique vehicles were a nostalgic reminder of “the good old days” of product delivery to small towns across the U.S.A.! Disneyland sponsors Swift & Company and Bekins had their Horse Wagons, while Global Van Lines and Carnation Farms would have their trucks. While early articles suggested the truck would be used for deliveries around the Park, the old-time Carnation delivery truck - complete with horn - would come to be displayed outside Carnation Ice Cream Parlor, as a favorite picture-taking prop.

Some have wondered : “Why did Carnation Farms choose a truck (rather than a horse wagon) to represent their free exhibit at Disneyland?” According to an article published one year after the vehicle’s debut, “Anticipating that the demands of a warm summer day might exceed their available in the store supply of ice cream, they contacted the Disneyland management and suggested some sort of delivery service be arranged to the store from their off site facilities. A modern day truck would clash with Main Street’s 50 years ago flavor.” It was believed that a Carnation GMC truck (similar in style to the one that made the first Transcontinental round trip from Seattle to New York, and back to Los Angeles in 1916) would best represent the company before Guests that would remember this tremendous feat!

Walt and company may have agreed. Note the truck among this collection of antique Automobile models (from 1903-1915), that was purchased by Walt during the earliest days of the Disneyland project, in order to research vehicles for Main Street, U.S.A.

According to Walt (in interview with Bob Thomas (of Associated Press), “We have built nearly everything from scratch. When you buy old cars, trains and boats, you have a terrific upkeep problem.” And so, “the assignment to build a special truck was given to Bob Gurr, young mechanical wizard of the Walt Disney Studio Construction Department. Bob, who had already met a major challenge by designing ‘the car of the future’ for Tomorrowland’s Autopia, was more than equal to designing a ‘car of the past. The idea that a car of that vintage, in suitable condition, might be found was quickly discarded.”

As the Carnation Farms Delivery Truck was reckoned a Horseless Carriage of WED, Enterprises’ design, it shared many similarities with some of Main Street’s other vehicles, while it was also the “only auto of its kind.” According to “Main Street Vehicles”, published 1966 by Disney University, “The Horseless Carriages are sometimes called the ‘1903’s’, but you could pick any year - 1904, ‘05, or ‘06, and be just as accurate. These little cars are of WED ‘composite’ design. On the basis of extensive research, Studio designers created a horseless carriage which was a composite of the design and size of many gas-driven cars of that early period in automobile history. And our Horseless Carriages are a little bit of everything. The two-cylinder engines are actually not auto engines, but have the horsepower, the sound - and even a slight case of the shakes - as did the originals. WED designers selected today’s most efficient two-cylinder water pump engine. Some of the external parts, such as lights are authentic.” Some of these same things ring true with the Carnation Farms Delivery Truck.

The Carnation Farms Milk Truck was designed by the legendary Bob Gurr to be a reproduction of the delivery trucks used by the Carnation Company from 1910 to the 1930s. Certain elements were patterned after particular vehicles, like the “1908 model car Ford” which inspired the design of the “high fenders, running board and hood,” according to a Carnation Company Press Release document dated July 17, 1955. “Carnation’s crew also constructed its ‘special delivery’ body from 1890 era designs.” However, a full-scale truck would have certainly looked very strange. So, this mobile (and free) Disneyland exhibit would be both designed and fabricated at a “3/4 scale” (according to Carnation Company Press Release), so as to not clash with the 5/8 scale of Main Street U.S.A.’s buildings.

Similar to the design of the Horseless Carriages, the Carnation Farms Milk Truck was to be of “composite design” in this regard. Bob went on to design “the body by following guidance provided in his old automobile book Antique American Cars by Floyd Kramer. He also sought out old automobile magazines in the studio’s library,” according to “Eat Like Walt - The Wonderful World of Disney Food” by Marcy Smothers. Then, a “2-inch stack of engineer drawings” was delivered to Ray Groom (FM and IC division fleet superintendent) and Frank Renta of the Carnation Company’s Glendale metal-working and service shop (in Los Angeles), which was located not too far away from Walt Disney Studio in Burbank.

The project began with an early 1931 Ford Model "A" chassis, which was “shortened with axles and frame altered to fit.” Next, both hand-made reproductions and antique stock parts were acquired. Both the stock and “hand-made parts… [were] checked against specifications by Groom and Frank Renta,” according to Carnation Magazine (March-April, 1956).

Many Ford Model “A” and Ford Model “T” parts (like Model T wheels, and a Model “A” four cylinder motor) were utilized for the moving exhibit. For instance,“special two wheel brakes were built by Groom’s mechanics to more modern standards for greater safety.” A Model “A” motor block was rebored. According to the Santa Ana Register (published July 15, 1955), the truck (following Bob Gurr’s designs and Frank Renta and Ray Groom’s specifications) also featured “a special panel body, brass headlights and radiator, high pressure tires, tufted leather upholstery”. “The cherry wood dashboard, fenders and hood were hand made ; and the lemon wood steering wheel, salvaged from a 1902 vehicle (Buick) , was rebuilt to fit,” according to one Carnation Farms Press Release (July 17, 1955). As a “sidelight,” a photograph published in Carnation Magazine (March-April, 1956) depicted Ray Groom and Carnation Shop Foreman Dean Klippert sanding the lemon wood steering wheel from the 1902 vehicle.

Other parts were also salvaged and modified. According to one newspaper article (“Main Street Dilema - Ice Cream Delivery Poses Unique Problem”), “The steering wheel was adapted from a [sic] 1902 Buick and the brass headlamps… [were] from another car of the same era.” Yes, a “month’s search produced these coal oil brass headlamps found by Groom in [a Los Angeles area]… antique shop ; the bulb-type horn came from a [Altadena] Horseless Carriage Club Member.”

The Press Release document adds : “Also authentic and hand-made, gas and spark controls, radiator and dummy coil box. Old fashioned hand rails, head lamp brackets and crank were reproduced in brass. In keeping with tradition, a leather thong to secure the crank, was made.” The vehicle also had brass headlights and radiator and high-pressure tires to match the Main Street decor.

One final detail gives homage to the exhibit’s creator. “An amusing sidelight of the construction of the Carnation Delivery Wagon concerned its naming. Affixed to the exterior radiator shell is an oval brass plate describing the machine as a ‘Gurrmobile,’ after designer Gurr. When casting about for a name for the machine the Carnation people heard the story of how Bob had been kidded during his school days by classmates because of his habit, during otherwise dull lectures, of drawing automobiles on his notebooks. At the time, the story goes, Bob was accused of attempting to design his own car and the name his fellow students gave to his doodles was the ‘Gurrmobile.’”

After “eight weeks of determined shopping and careful, loving workmanship to build the Gurrmobile,” the Carnation Farms Milk Truck was ready (and parked Backstage near Tomorrowland Lake) by the time that the LIFE Magazine photographer arrived to take pictures for the soon-to-be published pictorial. Press Releases (for Immediate Release on July 17, 1955) divulged every detail of the vehicle.

Very soon, the Carnation Farms Milk Truck made its way down the turn-of-the-century thoroughfare, for the Press Preview Day Parade held on July 17th, 1955! However, due to a limited amount of time and the placement of the Carnation Truck (at the very end of the parade), it was not seen by television viewers.

After this, the Carnation Farms Milk Truck frequently appeared parked on Main Street. The Carnation Farms Milk Truck would go on to become one of the most photographed of the Disneyland exhibits! “The Carnation Wagon was an instant hit from day one, though Walt had one objection: the plaque behind the driver’s seat read CARNATION. Walt knew hundreds of pictures a day were taken of kids sitting behind the wheel, so he had it replaced with one that said DISNEYLAND,” according to “Eat Like Walt - The Wonderful World of Disney Food, by Marcy Smothers. By the time this took place, guests had already taken countless photographs in front of the old plaque (testifies to in the following Vintage Views).

The morning is damp on Main Street U.S.A., and as the last of the water is brushed away by Custodians, guests begin to make their way toward the shops and restaurants. Accessible ramps have been laid down and the doors have been opened. It’s time to welcome guests at the little Carnation Cafe on the corner!

The following day (July 18th), the Carnation Company invited specific members of the press and their families to be their “special guest at their Ice Cream parlor located on Main Street.” It appears that the big Grand Opening Ceremony was initiated when Elbridge Hadley Stuart Jr. (the grandson of the Carnation Company’s founder) and Walt Disney drove the Carnation Truck down Main Street U.S.A., arriving at the shop and“unloading ice cream and milk from the vehicle.”

According to Elbridge Hadley Stuart Jr., driving the Carnation Company Truck required much skill and great care, watching for both guests and the rails of the Main Street Horse Drawn Streetcar (in which the truck’s wheels had a tendency to get stuck). It sounds like they could have used some “cheese” - those orange rubber wedges used to fill trolley tracks during parades. Of Walt’s overall actions (as depicted in these Vintage Views), Bill Cottrell later noted that “Walt had an ability to put himself in the shoes of the common man… He wanted people to be treated the way he expected to be treated himself.”

Above: Children from seven youth groups watch Disney and Hadley Stuart, grandson of Carnation's founder, unload the the first ice cream at the formal opening.

On the first day 4500 hungry and thirsty people were served in its 1890-style ice cream parlor.

According to a column appearing in Milk News (Vol. XLV, No. 15 ; July 29, 1955) :

“Still another wonder was piled on the multitude of wonders at the nation’s newest entertainment center today, when two dozen youngsters affiliated with Los Angeles and Orange County youth organizations were given ‘run of the fountain’ at Carnation’s 1890 Ice Cream Store…

Inside the store, the youngsters were shown the various syrup wells, where located, how to use a syrup scoop and then told to concoct their own combinations.

Many of the finished dishes were new concepts of flavor combinations which had the regular fountain personnel scratching their heads in bewilderment. Most of them were top-heavy with garnish, but the youngsters agreed they were all delicious when they had lapped up the last spoonful at the tables in the company’s picturesque old-time ice cream parlor.

Linda Blakely of Anaheim, a Brownie, was designated ‘Champion Fountain Specialist’ after all the dishes were judged by a panel of experts for her concoction which consisted of a scramble of various flavored ice creams, several syrups, a couple of toppings and whipped cream. One more ingredient - Linda added a banana for good measure.”

Reports of these ceremonious events were swiftly published. As a result, in the days and weeks that followed, Carnation Ice Cream Parlor continued to receive visits by many notable VIP guests, from Richard Nixon (whose brother was a Carnation Sales Manager) to actress Shirley Temple.

Ice cream desserts made by the Boy and Girl Scouts and other Community Chest agency children were judged by the head chefs of three leading Los Angeles hotels. Each child was Carnation's guest at Disneyland for the day.

Above: Carnation's key men in Disneyland, reading the special menu, are, (L. to R.) R. A. Keplinger, C. J. Noell, F. A. Nelson, G. Eyestone. Not pictured is store's manager, W. C. Slanina.

According to The Daily Oklahoman: “The first visitor to Disneyland sneaked in one day early and got some special treatment from the boss. She's Blaine Long, 3, and her host for an old-fashioned ice cream delight in the Gay Nineties ice cream parlor is Walt Disney himself.”

According to Pacific Coast Review: “Christine Long didn't let the ostrich-plumed picture hat interfere with her attack on a Lillian Russell parfait as she helped in the recent opening of Carnation Company's 1890-style ice cream parlor in Disneyland near Anaheim, California.”

Gail Davis, (television's Annie Oakley) cohosted a party for more than 1,000 newsmen in the old-fashioned parlor at a preview on July 17th. She and Mr. E. Hadley Stuart, Jr. (grandson of Carnation's founder) took part in American Broadcasting Company's national telecast of the pre-view. Millions saw Carnation's TV star, Annie Oakley ride horseback in the national telecast.

Carnation would also serve 15 wholesale customers who operated restaurants and snack bars in Disneyland.

The first Disneyland Dictionary (printed in October of 1959) noted “Old-time Carnation delivery truck - complete with horn - is displayed outside, and is a favorite picture-taking prop.” You may notice that the “bulb-type” horn is present in the preceding Vintage View, while it was removed at some time (perhaps to prevent guests from squeezing it to produce a honk).

In the previous Vintage View, you may be wondering where those noticeably absent shiny brass headlamps are?

The Carnation Co. contributed food to the First Annual Disneyland Christmas Party on December 10, 1956.

Many Disneylanders would serve as Hostess like Mary Alice Duncan.

The corporate synergy was good for a time. Institutional lessee Carnation Company Ice Cream Parlor yielded some revenue for Disneyland Inc. - $30,329 for the fiscal year ending September 29, 1957 and $33,440 for the fiscal year ending September 28, 1958. In addition commercial lessee Carnation Company Ice Cream Cone Bar yielded $4,059 for the fiscal year ending September 28, 1958.

Earlier that year (during April of 1958), Carnation helped Disneyland Guests celebrate Dairy Day!

As far back as 1955, such“Disneylandish delights as a Mad Hatter Sundae, Amazon Special, Old Timer, and T.W.A. Rocket Ship Special” were offered at the counter, according to KEY Magazine, 1955. Some were Character themed like the Snow White Sundae, while others were themed after the character of lands - Amazon Special, the Main St. Victorian Banana Split and the Lover's Delight, and the TWA Rocket Ship Special (four scoops of ice cream, an ice cream cone, cherry sundae topping and whipped cream).

On July 28, 1955, Disneyland received a visit by Cal Farley (of Texas) and his group of 200 Boys Ranchers (comprised of boys from 42 different states and three foreign countries). They enjoyed the Carnation Cafe’s Santa Fe Special (Three scoops of ice cream, smothered in three different fruit syrups, with sugar water and fresh sliced bananas on the side and topped off with marshmallows and whipped cream).

Through the years, other deserts were inspired by adventures at Disneyland. During the 1960s, guests may remember the delicious Carnation “I Scream Sundae” inspired by Disneyland’s Haunted Mansion.

Guest Pat Nolan vividly remembers the debut of this monumental menu item : “My brother ordered - and finished the Matterhorn Mountain Special on the day the new ride was opened. It had 13 scoops of various flavors of ice cream and sherbet. I resisted and merely enjoyed a delicious banana split. We were there as a prize for Los Angeles Herald paperboys.”

A merchandise was a tangible memory for a Guest.

By 1958, Carnation had a definite presence at Disneyland. By January 1, 1958, appraisers took note of the 1,672 square foot Carnation Ice Cream Parlor (with its additional 274 square-foot rear storage), the 186 square foot Carnation Cone Bar, and the 216 square foot Carnation Side Walk Cafe (an exterior area also occupied by the lessee; similar to the contemporaneous, 312 square-foot Coca-Cola Side Walk Cafe). The lessee nearly occupied the most square footage of the 8,833 square foot Main Street Building #400.

By September of 1958, Carnation was also contributing a routine portion of accounts receivable to Disneyland, Inc.

Owning to Jack Sayers (of Lessee Relations), Carnation Farms was a contributing Participant in Disneyland ‘59! The first Disneyland Dictionary (printed in October of 1959) noted Carnation Ice Cream Parlor operated by Carnation Company served “Carnation ice cream in every form, and lunches.“ 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.

As a sidelight, by October 1959, Jim Baker (of Merchandising) was overseeing the Disneyland Food Administration and Souvenir Sales. By that same year of 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. To celebrate what was billed as “Disneyland’s Second Opening,” Carnation Ice Cream Parlor carried new special themed menu options.

After the success of Disneyland, developers of the amusement centers saw the benefit of an Ice Cream Parlor in their parks. On June 19, 1960, Freedom Land, U.S.A. opened in the Baychester Area of Bronx, New York, an entertainment center “founded on the inspiring story of America and its people”. One of its opening day attractions was an Ice Cream Parlor in its “Little Old New York: 1850-1900” Area.

The main attractions were the “ice cream specialties” - giant sundaes and satin-smooth sodas, made with famous Carnation ice cream and fresh milk! Old timers would immediately note the phosphates, sarsaparillas, and parfaits! There were other traditional desert offerings on the menu, like the Lover’s Delight and the Banana Split. For those early morning visitors, breakfast was served until 11:30 a.m. Other menu items included hot and cold sandwiches, health food sandwiches, soup, salads, and beverages. In a move of corporate synergy, the Carnation Ice Cream Parlor was one of 16 Disneyland “eating places” which featured “fine food with fine coffee - Maxwell House!” In turn, “good coffee deserves Carnation,” and so Carnation products were offered at those 16 dining locations (including Maxwell Coffee House).

Though some Carnation products could be found at Ice Cream Carts (as Carnation held exclusive rights on milk, ice cream, and other dairy products in Disneyland), this was the only location that carried such a diverse amount of flavors. Such wonderful flavors as Rainbow, Fresh Peach, and Pineapple are but a few of the countless tempting treats served up in the gracious manner of the 90s to all who pause for refreshment during a day at Disneyland. Garnishes included sherbets and cottage cheese.

Though Carnation had exclusive rights on milk, ice cream, and other dairy products in Disneyland, this was the only location that carried such a diverse amount of flavors. By the end of Disneyland’s Tencennial celebration, Carnation continued to be the only ice cream sold in Disneyland for 10 years!

Better Homes and Gardens "Famous Foods from Famous Places" (published by Meredith Press, 1964) pages 206-208, spotlighted a number of Carnation Ice Cream Parlor treats.

An “old favorite” (left) and a “fancy sundae” (right) are pictured above, while two “suggestions from Main Street” are pictured below. Maybe some of you will remember eating some of the best banana splits at Carnation Ice Cream Parlor.

An area adjacent to Carnation Ice Cream Parlor was used as a Disneyland Grad Nite Photo Location for several years through the 1960’s.

“Fun and Flavor Sweepstakes and Other Promotions”

During 1967 and 1968, Disneyland supported the “Carnation Fun and Flavor” campaign. Disneyland Ambassador Sally Sherbin made an appearance on the “Carnation Fun and Flavor Sweepstakes” program. In addition, Mickey Mouse, Sally, and other members of Disneyland’s staff (like Disneyland Hostesses) made more than 100 appearances on television, radio, and in-person at local supermarkets to assist the Carnation campaign!

“You’re In Good Company” (A Report To Disneyland Lessees, Summer ‘68) commented about the campaign this way :

“Many lessees through the years have promoted their association with Disneyland with outstanding results. One of the most ambitious - and successful - of these tie-ins came this spring [of 1968]… Carnation’s Fun and Flavor Sweepstakes. Here was a vast and complicated campaign that not only had the full cooperation and assistance of Disneyland’s marketing division, but also the cooperation of several other Park lessees [as Eastman Kodak, General Electric, and United Airlines] in a partnership promotion. ‘We won’t have the final results for awhile yet,’ said Charles E. Pritchard, Carnation’s marketing manager, ‘but I can tell you that overall it’s been the most successful promotion that we ever had. Our tie-in with Disneyland has given our sales staff a tremendous morale boost by providing them with a valuable tool to attract a great deal of attention and interest. Our first quarter sales were the highest in the fresh milk and ice cream division’s entire history. ‘What we’re looking for,’ Pritchard continued, ‘was a connection for our 1968 advertising campaign that would be of interest to our markets on a local level. In our western United States region, we have 23 separate marketing areas, each virtually autonomous, and each requiring intensely localized promotion. Carnation has always been associated with flavor - 38 in ice cream alone - and Disneyland has always been synonymous with fun. We wanted to tie the two aspects into one thought… Carnation - Disneyland, partners in fun and flavor.”

Part of that previous advertising campaign, was the complimentary “Tips for Teens” handbook. Now, “‘Tips for Teens’ isn’t a sermon. It is a reminder that the whole people-world lives by some rules and accepts certain responsibilities, including some of the things you hear about from your family daily.

Carnation people feel they have a responsibility to you. That’s why ‘Tips for Teens’ tries to keep up with you, your brightness, your broader horizons and your up-to-date outlook. To keep up with the newness, we’re constantly changing too…

That [‘squirrel in a cage’] feeling needs relaxation and a change from routine to cure it.”

And so a whole two pages of Tips for Teens was dedicated to Walt Disney’s Disneyland!

If you would like to read more about the Carnation Ice Cream Parlor, 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 (like the Carnation Ice Cream Parlor) 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.”

Notice all the little indentations on the impressionable metal radiator filter, which was not easy to rehabilitate.

Just outside the Carnation Cafe, Disneyland guests could purchase life-like carnations at the Main Street Flower Mart!

In 1966 (50 years after that aforementioned Transcontinental round trip), the trip would be restaged, in a promotion “to dramatize 50 years of progress in transportation and nutrition”. By this time, many of Main Street U.S.A.’s antique vehicles were a nostalgic reminder of the good old days! The sponsors of those vehicles (like the Swift’s Horse Wagon, or the Carnation Milk Truck) had replaced the archaic modes of transportation with modern vehicles. “This modern GMC diesel highway tractor with a 40-foot Utility semi-trailer, dubbed the “Golden Pacemaker,” shows how far commercial highway transportation has advanced since the first continental round trip. The first Seattle-to-New York leg of the original trip took 73 days. The re-run is expected to take slightly over three days, with drivers scrupulously observing all safety and highway courtesy rules.”

As an advertisement for this event, this publicity shot (featuring a few Carnaco Truck Drivers) was arranged with the Carnation Company Truck exhibit in front of Disneyland!

In addition to the Dapper Dans, the Disneyland Christmas Carolers (under the direction of Dr. Charles C. Hirt and lead by Mr. Robert G. Hasty), were also known to perform on “the Carnation Patio” 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]

Since the beginning, the Four Keys of the DISNEYLAND Show (operating priorities in presenting the DISNEYLAND Show) have been present - Courtesy, Safety, Show, and Efficiency. Guided by these Four Keys, are Walt Disney Imagineers, who are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures.

“Maintenance”

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

“Rehabilitation”

By the year 1977, the Carnation Company remained a Disneyland Participant (providing Disneyland with its “name and quality food products”). However, management of the Table Service restaurant had long since been assumed by the Park. At this time, the Carnation Restaurant received new designs including a new entryway, a new waitress station, waiting area, and flow-through area to alleviate street traffic during parades, all courtesy of Tony Deleese of Planning. The rehab was performed by the staff of Disneyland Shops (The Maintenance Division at Disneyland).

During this time, the turnstile was eliminated, the front portion of the serving counter (which previously cured toward Sunkist Citrus House) was shortened and squared-off, the front portion of the restaurant was sectioned off by a decorative etched-glass partition, and the restaurant was now accessed by three sets of double doors (instead of just one main door). In addition, Disneyland LINE magazine (February 24, 1977) announced : “The street area between Carnation and the Clock and Candle Shops, once occupied by the Flower Market, will be filled in to provide a more complete outdoor dining patio. (The Flower Market has been moved across the street into the area between the Market House and Hallmark.) A three-foot, eight-inch high wooden fence will surround the patio, separating it from Main Street proper.” The Carnation Truck (which was moved rarely) was now parked near the Disneyland Central First Aid Center after the c.1977 restaurant rehabilitation.

By 1981, the Carnation Main Street breakfast menu offered:

•Traveler's Favorite (breakfast steak served with two eggs, golden brown potatoes and toast with butter and jelly)
•Conductor's Treat (Oscar Mayer ham served with two eggs, golden brown potatoes and toast with butter and jelly)
•Hometown Favorite (choice of bacon or sausage and two eggs served with golden brown potatoes and toast with butter and jelly)
•Turn of the Century (two eggs served with golden brown potatoes and toast with butter and jelly).

The Carnation Main Street Luncheon and Dinner menu offered:

•Grilled Steak Sandwich (grilled strip sirloin served open-faced on sourdough bread with a garden green salad and golden brown potatoes)

•Steak Monticello (grilled chopped steak topped with cheddar cheese, bacon crisps and served with garden green salad and golden brown potatoes)

•Count of Monte Cristo (sandwich of sliced turkey, ham and Jack cheese dipped in seasoned egg, grilled to a olden brown, sprinkled with powdered sugar, and served with fruit compote)

•From the Crossroads of America (pioneer favorite sandwich combining ground beef, diced avocado, onion, garlic and spices, stuffed in warm pita bread, topped with lettuce and tarato salad)

•Chicken Pita Sandwich (slices of tender chicken with American cheese, stuffed in warm pita bread, topped with diced avocado, lettuce and tomato salad)

•Avocado and Turkey (thin slices of turkey, combined with California avocado and lettuce on toasted whole wheat bread)

•Chicken Salad Sandwich (toasted whole wheat bread with chicken salad, crisp lettuce, alfalfa sprouts, carrot sticks and pickle spear)

•Avocado and Alfalfa Sprouts (a meatless sandwich with avocado, American cheese, lettuce, tomato and alfalfa sprouts with safflower mayonnaise, carrot sticks and pickle spear

•From the Kingdon of the Deep (tuna salad on rye bread served with pickle spear and corn chips)

•Egg Salad Sandwich (toasted whole wheat bread with egg salad, crisp lettuce, alfalfa sprouts, carrot sticks and pickle spear)

In 1981, the Carnation Main Street tum-of-the-century ice cream parlor with its breakfast and lunch menus produced $1,180,000 in revenue for Main Street Food. This was owning to VIPs of Disneyland (guests), its Main Street Foods hosts and hostesses (totaling 176 summer/118 fall), two Main Street Foods Stage Supervisors, and Main Street Foods Area Stage Supervisor.

In 1985, a big change occurred when the Carnation Company was purchased by Nestle* (the largest marketer of food products in Europe). A year later, Carnation Ice Cream Parlor continued to occasionally host special events like Private Parties (e.g. GM and Hughes Employees, January of 1986).

By 1986, Carnation on Main Street was one of two Park locations that served breakfast for the convenience of Guests.

Four years later (by 1990), the Carnation Ice Cream Parlor was one of several locations contributing to the purchase of more than 3.2 million servings of ice cream annually at Disneyland. That same year (1990), individuals (like Pete Clark of Disneyland Participant Affairs Division, hired 1957) were maintaining the ongoing relationship between Disneyland and four lessee operations, as well as 20 participants like Carnation Farms. That year, Pete offered plaudits for Carnation (to Disneyland LINE Magazine, Vol. 22, No. 11 ; March 16, 1990) : “The name Carnation means quality to people. Guests are comfortable with it and expect and get a special experience.” About this same time, healthier menu options were made available to guests through Carnation - Avocado and Alfalfa Sprout Sandwiches, Marinated Boneless Breast of Chicken (Conductor’s Treat), and Avocado and Turkey Sandwiches. As a Participant, Carnation was also a co-sponsor of the Disneyland Baby Care Center, as its baby formulas were made available to visiting guests during this era.

*As a sidelight, Nestle signed an 11-year licensing agreement with The Walt Disney Company, in January of 1990. The Walt Disney Company 1990 First Quarter Report divulged that “by early 1991 Nestle will be Disney’s exclusive food products and promotional licensee in Europe and the Middle East.”

The synergistic Partnership lasted seven more good years, owing to Pete Clark (Senior President of Disneyland Participant Affairs Division), Jennifer Gray (Participant Relations Manager), and their team. But alas, Disneyland Participant Affairs and Opening Day Participant Carnation Farms ultimately could not negotiate a new cooperative agreement to maintain their ongoing relationship). All good things must come to an end, including the Plaza Gardens hosted by Carnation, the Main Street Cone Shop hosted by Carnation, the Stroller Shop hosted by Carnation Infant Formula, and the Carnation Ice Cream Parlor and Restaurant hosted by Carnation. However, Carnation’s departure opened the doors for a new Disneyland Participant sponsor.

However, this isn’t the end of our Carnation-Disneyland story!

Soon, the quick-service Blue Ribbon Bakery food operation hosted by Nestlé Toll House occupied the address and space (opening March 21, 1997).

The “cherry on top” of the Disneyland-Carnation story, is that several artifacts of the Disneyland Carnation Ice Cream Parlor are being preserved and are on exhibition at the Carnation Farms Carriage Museum in the town of Carnation, Washington! Included are numerous rarely-seen Press Release photographs (from Carnation Farms Museum Archives), Creation Ice Cream Parlor menus, and even a Carnation Ice Cream Parlor Tray (once used to pay the bill).

The exhibit also preserves the “Disney Look” of the memorable original Carnation Ice Cream Parlor Hostess Costume.

In the preceding photo, the Carnation Truck “Special Delivery Body” section has been removed from the chassis and is prepared for stripping.

There is no doubt that the crowning artifact of the Carnation Farms Museum is the Carnation Company Truck Exhibit which once supported the Carnation Ice Cream Parlor at Disneyland! Please step this way, as we examine a few “highlights and sidelights” of this wonderfully restored Disneyland museum piece.

If you ever walked about this exhibit during its Disneyland days, the smallest of details may be impressed upon your memory. You may recall the unique shape of the original radiator filler cap and flange, or the words “Carnation Company Ice Cream Truck - Disneyland” painted on the side. There are however, a few differences in the present.

The old Gurrmobile is currently still outfitted with“narrow high pressure tires,” though these are brand new. Also, the original red wooden spokes have been sanded (during restoration), to reveal the original wood grain underneath. As for the original license plate and number (which read “1639”), as well as the original rear lamps, all have been replaced.

The Carnation-red high fenders (and running board) of this Gurrmobile were designed with a slight upward flair - more so than true-life c.1908 Carnation Ford delivery trucks.

When the Carnation Farms Museum Staff restored the Truck Exhibit, it was decided to retain the size of the original Carnation Company Plaque (fastened in the very same rivet holes). Most visitors will not notice, that while the font is also very similar, it was decided to reposition the letters slightly, varying from those of the Disneyland-era.

The windows, step plate, as well as clutch and brake pedals look familiar. But gone are the original “resplendent set of brass coal oil head lamps” (which seem to have disappeared sometime after the truck was relocated to the Backstage Disneyland “Boneyard”) as well as the old “bulb-type” horn (which seemed to have vanished similarly).

While the addition of a bulb-type horn was not included in the rehabilitation, the lemon wood steering wheel (as well as brass steering column assembly and spark throttle lever) was restored to its original luster!

The original brass engine crank handle had also disappeared before the exhibit was acquired by the Carnation Farms Museum Archives. However, the engine (though restored with some new parts) is similar to the original.

The gasoline tank (seen from the undercarriage in the bottom image) was conveniently accessed by lifting the driver’s bench cushion (seen in the upper image) in early Ford truck models. Bob Gurr and Carnation Shop Staff approved this feature in their designs. A battery is similarly tucked away next to the gasoline tank.

A look at the undercarriage reveals just a glimpse of the original shortened chassis (with axles and frame) as well as all those rarely seen parts - most noticeably, the transmission case, joint and spline, and other moving parts.

You may remember that the word “Gurrmobile” was once carved on this metal “nameplate” on the front of the Radiator. According to Elbridge Stuart (the son of E. Hadley Stuart, Jr., the truck ornament read “The Gurrmobile Company - Los Angeles.” The official Press Release (prepared by Bob Riverbark of Carnation Company Headquarters, c. 1955), elaborated : “Carnation Company… put a small ‘Gurrmobile’ name plate on the truck to honor Bob Gurr, Walt Disney’s Director of Special Vehicle Development who produced the two inch stack of engineer and artist drawings from which it was built.”

Alas, by the early 1970s, Bob’s name had been polished away by Disneyland Maintenance Department Staff, and in the present, no trace of this one-time homage remains.

A whole lot of work went into restoring and rehabilitating the Carnation Truck Exhibit to its current state. Much of this was headed by Carnation Farms Museum Volunteer and Archivist Bob Costers.

There is so much more to see! Other Carnation Farms Museum exhibits preserve chapters of Elbridge Amos Stuart’s Carnation Farms story through true-life artifacts placed in diorama recreations. If you would like more information about the Carnation Farms Museum, Museum hours of operation, or learn how you can support this wonderful Disneyland-related exhibit, please visit the Carnation Farms Museum official website - CarnationFarms.org!

The Carnation Cafe would have a legacy through the character elements and menus items of other Ice Cream Parlors at Disney Parks. For instance, when Tokyo Disneyland opened on April 15, 1983, the Ice Cream Parlor would feature desserts like a Sweetheart Sundae and the Victorian Sundae.

By 1991, Carnation sponsored three locations at Disneyland - Carnation Ice Cream Parlor was a table service restaurant that offered Lean beef patties, nutritional sandwiches, soup, salads, beverages, ice cream specialties, in addition to Breakfast. Carnation Plaza Gardens offered lean beef patties, ice cream cones and sundaes. Finally, the Main Street Cone Shop was also hosted by Carnation, offering chocolate, vanilla, and strawberry ice cream, orange sherbet plus the flavor of the day, root beer floats, and other beverages.

The Carnation Cafe would have a legacy through the character elements and menus items of other Ice Cream Parlors at Disney Parks. For instance, when Tokyo Disneyland opened on April 15, 1983, the Ice Cream Parlor would feature desserts like a Sweetheart Sundae and the Victorian Sundae.

By 1991, Carnation sponsored three locations at Disneyland - Carnation Ice Cream Parlor was a table service restaurant that offered Lean beef patties, nutritional sandwiches, soup, salads, beverages, ice cream specialties, in addition to Breakfast. Carnation Plaza Gardens offered lean beef patties, ice cream cones and sundaes. Finally, the Main Street Cone Shop was also hosted by Carnation, offering chocolate, vanilla, and strawberry ice cream, orange sherbet plus the flavor of the day, root beer floats, and other beverages.

Though the Carnation Ice Cream Parlor closed on January 4, 1997, the name “Carnation” would continue to be affiliated with Disneyland (sort of). The Carnation Cafe (also named after the flower that graces each table) would open on Main Street, March 21, 1997. While the Carnation Company name departed from Disneyland in 1997, a derivative atmosphere and menu inspired in part by those of the previous participant was established in the new Carnation Cafe! Guests could order Mickey-shaped waffles, Sirloin Steak and Eggs, and Classic Eggs Benedict all day long!

The Carnation Company saw its share of “Golden Vaudeville Routine” performances, with the Dapper Dans (and the occasional seasonal wandering caroler group) performing from the foyer.

During the 2000s, Carnation Cafe was expanded and completely redone, with plenty of seating indoors and on the heated patio. Deep red and biscuit colors, gas lamp-style fixtures, beautifully carved wood details, and framed sepia-toned photos of an early-era Disneyland created a wonderful setting for breakfast, lunch, dinner or dessert treats.

Breakfast options included Apple-Granola Pancakes, Huevos Rancheros, Steel-Cut Oatmeal, Mickey-Shaped Waffles, and more. Lunch & Dinner options included Green Chile Cheeseburgers, Romaine Salad with Shrimp, and more; plus Walt Disney's personal favorites: Homemade Meatloaf, Chicken-Fried Chicken, and the Fresh Catch of the Day. Special Treats included Creamy Milkshakes and Glowing Character Punch.

Oscar (the namesake chef) of the “Oscar’s Choice : All American Breakfast” (Two eggs any style accompanied by Cafe Breakfast Potatoes served with hickory-smoked bacon or chicken-apple sausage links and your choice of toast)! We’ll be adding Oscar’s story here soon!

When the Disneyland Resort Food and Beverage Team worked together to exceed Guest, Cast and financial goals, they celebrated Spoon's Victory, often commemorated by taking a photo in front of Sleeping Beauty Castle.

“Carnation Company Exhibit Window Honors”

Another highlight about the Carnation Ice Cream Parlor exhibit is the building exterior. Long before Disneylanders of note could only dream of having their likeness commemorated on pressed pennies, Walt began honoring such ones with their names emblazoned in gold leaf paint on Main Street window glass. This tradition has continued to the present.

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

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

There are thousands of windows at Disneyland. Here, is exhibited perhaps one of the most important window honors in all of Disneyland (in my personal opinion), that of Royal “Mickey” Clark (whose window can be seen to the left, in the previous Vintage View). Royal Clark was named WED Enterprises, Inc. Treasurer by Walt Disney before later becoming RETLAW Enterprises’ Treasurer, and was most essential to the funding of Walt’s various ongoing projects.

In addition to the window honors, there is another “sidelight” related to the Carnation Ice Cream Parlor Building. The roof of the Carnation Company Building was often utilized to station cameras during parades and other special events held on the Main Street Stage.

“Wally Boag, on elf the former stars of THE GOLDEN HORSESHOE REVUE (the longest-running stage show in the world with over 50,000 performances) is honored with a window: ‘Theatrical Agency. Golden Vaudeville Routines. Wally Boag, Prop.’,” according to “Disneyland - A Treasure Chest of Trivia,” prepared by Walt Disney Productions, 1990.

At Disneyland® Park there is a "story behind the story" of every attraction, every attraction is a living experience for the guest. Disneyland ride-through attractions or adventures have officially been defined as an “individual show, ride, or exhibit designed to produce an entertaining Guest experience. Disney attractions stir the imagination, enliven the senses, and provide the participants with positive, innovative entertainment, which is the essence of the DISNEYLAND Show.” It is important to review the story of the attraction, tell the story, explain it, and create interest. This is the story of Casey Junior Circus Train in Walt Disney’s original Magic Kingdom - Disneyland!

“Inspiration”
Walt once admitted: “I suppose I have always loved trains,” in interview with Railroad Magazine (October 1965). Even long before the "little train who thought he could" took Guests on a tour of Storybook Land, several forms of anthropomorphic locomotives graced Walt Disney Productions. These included trains featured in “Mickey’s Choo Choo” (released 1929), “The Brave Engineer” (released 1950), and “Dumbo” (released 1941). Then there was Walt Disney’s home (on Carolwood Drive) which was also circumvented by railroad tracks. So naturally, Walt’s earliest visions for his amusement center would include a train.

“Blue Sky for the Casey Jones Junior Coaster”
In December of 1952, Walt Disney founded a little company called WED Enterprises, Inc. (the architectural and engineering design division of Walt Disney Productions) in order to master-plan and design his his dreams of a Park.

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. According to “Disneyland: Then, Now, and Forever” by Bruce Gordon and Tim O’Day:“The seemingly benign Casey Jr. Circus Train… began its life not as a charming and delightful railroad journey through Storybook land but as a rollicking and thrilling roller coaster - the first one ever designed for Disneyland. Initial plans called for the little train to race through the barren hills of Fantasyland."

At least one detailed rough plot plan depicts the Casey Jones Junior Coaster's Station and Loading Area, and its track through tunnels with dips and curves, climbs, "looped track" and "dummy track" with submerged engine, "stalled engine", broken trestle, and "man in trestle". The entire ride through 1,135 feet of track to the final brake block and loading area would have taken 2 minutes at 6.5 miles per hour. It seems that a total of 8 engines were planned for the Casey Jones Junior Coaster at that phase of development.

"However, after test runs were conducted, concerns were raised about effectiveness as a roller coaster and the accompanying maintenance issues that would be involved, so Casey Junior quickly lost its status as Disneyland’s first thrill ride,” according to “Disneyland: Then, Now, and Forever” by Bruce Gordon and Tim O’Day.

The concept of the Casey Jr. Circus Train attraction was back on the Disneyland “drawing board” and in development from 1953 to 1954, and holds the place as being one of Disneyland’s earliest conceived attractions, to become fully realized! Walt knew that it would require the assembling of a coalition of talents to Imagineer his “Casey Junior” attraction at Disneyland. Soon, Art Directors, Artists, Artisans, Architects, and Planners from the Studio made the transition to WED, where some of them began to develop the “Casey Jr. Train Ride” concept.

Among the team of artists making contributions, one artist began to distinguish himself – Bruce Bushman. Bruce worked for the Walt Disney Studios when Fantasia was in production, and had since gone to work for an amusement design company called Bradley & Kaye. Bruce returned to the Walt Disney Studios, where he fulfilled a new role as the Mickey Mouse Club television show Art Director. But Bruce soon transitioned to WED Enterprises to help develop Walt Disney’s Disneyland Park.

Some may find it odd that an entire Disneyland attraction would be themed around one of Walt Disney Studio’s shortest and least (monetarily) successful films to be released more than a decade prior. However, it is important to note that when Bruce Bushman was creating these designs, he (as many other contemporaneous concept artists) based many of them on the depths of the Walt Disney Studio’s full catalogue of characters from both feature-length and short films (like Walt Disney’s Silly Symphonies). For example, Bruce Bushman created attraction designs featuring thematic elements and characters from such Walt Disney Productions as “The Reluctant Dragon,” “Little Toot,” and “The Old Mill.” So it seems, that it wasn’t so far-fetched to utilize the character of Casey Junior from Walt Disney’s Dumbo released back in 1941.

While at WED, Bruce Bushman prepared some of the first cleaned-up drawings of a narrow gauge train engine and cars based on character model sheets of Casey Jr. In fact he designed the cars of two trains. Like some advanced “High Concept,” Bruce’s final designs were quickly generated and approved. Some of his viable project Concepts (as depicted above), were supported by a well-developed business case and built expectation among investors.

In addition to Bruce’s early concepts, Marvin A. Davis’ “Proposed Diagramatic Layout of Disneyland” plot plan, produced for WED Enterprises, by September 12, 1953, confirmed that Casey Jr. trains were still assuredly “a-comin’” to Disneyland! Details on the plot plan described a “1/2 Scale Train Ride” as part of a “Lilliputian Land” on the Northeast side of Disneyland.

Then, there was Walt’s old employee Herb Ryman, whom he persuaded to spend an approximate 42-hour period, developing the first full “Schematic Aerial View” of Disneyland. That was accomplished under the direction of Walt Disney, during the weekend of September 26 - 27, 1953. Therein the detailed layout, was a miniature, narrow-gauge train ride in Fantasyland.

Other WED Enterprises Inc. artists also drew detailed concepts for these potential Disneyland attractions. Some of the more outstanding ones were included in a portfolio. The contents colored sketches by Herb Ryman, Harper Goff, Bruce Bushman and others was prepared for Roy Disney, Dick Irvine and Nat Winecoff to take back East to New York in September 1953. This art would sell the Disneyland concept to prospective licensees.

“Schematic & Design Development”

Next, Bruce Bushman’s finalized and approved concept drawings were used to create the schematic drawings for further development of the attraction’s vehicles. The architectural drawings helped define all the designs, production and construction strategies, costs, scheduling, and resource requirements. Models explored the various dimensional relationships, site-lines, flow patterns, ergonomics, and visual appeal to convey the desired creative intent. John Stoos (also of WED Enterprises, Inc.) created some of these technical elevations and other drawings (c. January of 1955), in order for Amusement Park ride designers and manufacturers Arrow Development to create the train that would run atop the 30” (762 cm) gauge, 1,840-foot-long railway.

“Bushman whom Disney assigned to develop many of the… rides for Fantasyland, was a big husky man. Walt took one look at him and decided that his proportions would guide the pattern for all etc seats at the Park. ‘If it fits you, Bruce, it’ll fit anybody,’ said Walt, eyeing the broad Bushman beam,” according to “Disneyland - Inside Story” by Randy Bright.

Meanwhile the development of the track layout and surrounding thematic area persisted.

Custom rides were created that would be subordinate to story and setting.

Bruce Bushman didn’t just design the Casey Jr. Train, but an immersive “Circus Eating Area” resembling a circus backlot, menagerie and midway. This concept would have seamlessly connected Casey Jr. Circus Train with Dumbo Flying Elephants.

This drawing (above), and many of the following “detail” designs were prepared by Bruce Bushman when he was employed for Bradley & Kaye Amusement Company of 8506 Beverly Blvd. Los Angeles 48, Calif; Oleander 5-8029.

As you can see in the plans on the bottom of the drawing, the Circus Eating Area Wagons would have had picnic benches inside of them. The top of this drawing contains calculations of measurements for black pipe, “plain ends”, and corrugated aluminum materials.

Bushman previously contributed layout to Pigs is Pigs (1954), where he may have drawn ideas for the Westcot Rail Station that inspired his new designs for the little Casey Jr. Depot. Now, Disneyland’s queue lines were designed as part of the attraction to make the guests' time in line as comfortable as possible.

Meanwhile, engineers ofthe Arrow Developement plant (of Mountain View) wereconstructing six rides for Disneyland - Mad Tea Cup Ride, Snow White’s Adventures Dark Cars, and Mr. Toad’s Wild Ride Hot Rods, Dumbo The Flying Elephant, King Arthur Carousel, and Casey Jr. Trains (despite the first Disneyland Dictionary stating the trains were “designed and built at Walt Disney Studios.” Arrow fabricated and constructed two gasoline driven engines and train cars for the line. Each Casey Jr. engine was powered by a different type of engine - one a Plymouth and the other a Chrysler industrial engine (engine I.D. #37173).

This construction was accomplished at Arrow Development Co., 243 Moffett Blvd., in Mountain View, California. Scenes of this can be seen briefly in A Pre-Opening Report from Disneyland.

Arrow also manufactured four chariots (constructed from the carriages belonging to the same 1875 Sunnyside Park Dentzel merry-go-round that was utilized for King Arthur’s Carrousel), four animal cars, two Calliopes, and two cabooses. This is verified by one authorized “Disneyland Information & Nomenclature List” (prepared by Bill Cottrell of Disneyland Inc., May 25, 1955) which announced the working title as the “Casey, Jr.,” describing“the little circus train from Dumbo that takes you over rivers on trestles and bridges and climbs mountains.” The same document adds that the “two trains. Each train consists of : 1 engine, 1 calliope, 2 animal cars, 2 chariots, 1 caboose.”

Once completed, the construction cost of the cars totaled $15,965 (or, $1,550 per car, plus an additional 3% tax). The unpainted cars were brought to the Walt Disney Studios backlot as seen briefly in A Pre-Opening Report from Disneyland.

Casey’s pilot and “Practical” headlight cover haven’t even been attached, for this memorable Vintage View captured during the attraction’s construction phase. This pair of painters behaved extra-careful while capturing this memory, which is probably why we never saw any “polka-dot railroad ties” under Disneyland’s smiling Casey Jr. Circus Train!

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement.

It looks like its “time for lemonade and Cracker Jack,” as our same two painters sit in one of Casey Jr. Circus Train wild animal wagons on their lunch break. Now we’ve “seen ‘bout ev'rything”!

Some licensed Disneyland merchandise was released before July of 1955, giving a preview of the Casey Junior Circus Train.

A number of other licensed products were specifically inspired by the Casey Jr. Circus Train and were both suggested and designed. These included coloring books (pictured above) and even a “Casey Jones, Jr. Train” locomotive and train model assembly kit by the Strombeck-Becker Mfg. Co.

This design was also manufactured as a coin bank, and sold as Disneyland-licensed merchandise through through Disneyland Park.

Walt Disney’s Casey Junior Locomotive by Strombecker was in production by May 1955 before being advertised, and promoted for its “sturdy wood construction” and “harmless lacquer finish”. The design of this cute little toy was overseen by Walt Disney Productions Character Merchandise Division Art Director Louis Lispi and C.S. Olsen of Strombeck-Becker Mfg. Company.

Louis MARX and Co. manufactured their own Casey Junior The Disneyland Express, a tin-lithographic toy.

Back in October 1954, audiences received one of the earliest previews of the attraction when a Casey Junior Circus Train float appeared in the Anaheim Halloween Parade.

Walt loved trestle bridges. Back in September of 1950, local Los Angeles structural engineer James E. Lill had engineered a redwood timber trestle with trussed beam and two-story bents for Walt’s own Carolwood Pacific Railroad. Naturally, one notable feature of the Casey Jr. Circus Train’s route was the elevated all-wooden trestle bridge (Pictured above). The bridge was constructed of regularly placed bents, which carried the rollicking engine and its cars over the Canals of the World. The wood of the bridge was soaked in creosote (in order to preserve it and make it sturdier). After all, the bridge was such an important part of the attraction, that it was featured on those c. 1955 “Acres of Fun” souvenir paper fans!

By the time this press photograph (pictured above) was shot, the words “Casey Junior Circus Special” had not been added to the Calliope Car, so someone added the letters for publication.

“‘I Thought I Could’ - Casey Jr. Circus Train Makes the Grade!”

Things sounded optimistic as of June 2, 1955 when 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: “Casey, Jr. - We will have one train running and a good chance for both of them. We will push the landscaping as also plan on having this whole section green for opening.”

Casey Jr. had difficulty moving up a 45 percent grade and had tipped backwards. Later, Casey Jr. had difficulty making a 40% grade hill, even considering his six cylinder, gasoline-driven engine (hidden within each Casey calliope car). The solution was simple - cogs underneath the train would grip a teeth of a chain between the tracks, allowing Casey Jr. (and his colorful circus gondolas) to climb the hill with ease! Also, the grade wild be reduced to 25 percent.

Still, the Los Angeles Examiner excerpt (published July 15, 1955) advertised, “Who wouldn’t love - and ride - the Casey Jr. train? All the excitement of a circus as Casey Jr. puffs merrily up hill and down dale, weaving around the Canals of the World.” The train was predominantly built for younger guests, and “built to take steep hills like a roller coaster...It’s one of the few trains that will take a 40% grade in complete safety,” according to the narrator of the televised Disneyland episode “Pre-Opening Report From Disneyland”). While the Casey Junior was “built for younger guests,” this attraction was reckoned among “Disneyland rides and amusements” that “will delight the very young, the teen-ager, young married couples, the middle-aged, and grandparents alike,” as some of the Vintage Views testify [Anaheim Bulletin “Premier Souvenir Edition - Walt Disney’s Magic Kingdom - Disneyland” Insert ; Friday, July 15th, 1955]. This (variety of weight loads) being a factor, engineers tested the Casey Jr. Circus Train’s tracks numerous times, from July 14th (pictured), to the morning of the 17th, 1955.

As the televised opening ceremony date neared, actor Jerry Colonna was scheduled to operate the engine during the live television broadcast. When Arrow Development employees explained the situation (of the engine’s difficulty gaining the traction to climb the 40% grade), Colonna bailed at the last moment, and Arrow Development employee Karl Bacon stood in for Jerry Colonna. Despite Colonna’s decision, during the very same broadcast, the Don DeFore family, Margaret Whiting, and Marjorie Main (or, Mary Tomlinson) were among some of the first notable passengers. Disneyland's opening was a zoo. Ed had his hands full with Show White's Adventures. “I was with Casey Jr,” says Karl. "Everything went to hell that day.” Ed abd Karl recalled “a nervous Walt Disney running around with his celebrity guests, trying to schmooze away the technical delays and long lines.”

However, the attraction was closed sometime thereafter (according to “The Disneyland Diary”). One contributing writer for The Daily Oklahoman (who was present on July 17, 1955) noted: “There was a flying circle of Dumbo elephants, Mr. Toad's motor car ride, Casey Jr.'s ride, etc. Some were not yet functioning for the premier but workmen were feverishly getting them ready for the public opening Monday.” Some of these things are preserved through Opening Day documentation.

“Ever Faithful, Ever True, Nothing Stops Him, He’ll Get Through”

However, due to some further safety-related concerns, Casey Jr. was still closed on the following day, which was the Grand Public Opening and First Day of Operation - July 18th, 1955. This closure was due to safety inspections. According to Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), “There were 20 attractions open on July 17. A few others that were not quite ready (such as Casey Junior Circus Train)…opened within the next few weeks.” [Disney Facts Revealed by Dave Smith, 2016] A little more than a week after Disneyland Press Preview Day and the Public Opening, guests could finally (safely) step “all aboard” the bright gay circus train who “knew he could” when the “Casey Jr. Ride” (1 of 22 initial major attractions at Disneyland) reopened, on July 31, 1955. Tickets (during this time) were purchased at a booth next to each ride, and the Casey Junior Circus Train was no exception.

Disneyland employee Immogene Brinkmeyer was the very first ticket seller at this particular location, while Disneyland Tour Guide Anne Daniel would be the last employee to work this ticket booth!

Soon, “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 Casey Junior Circus Engine. [“Disneyland 1st Anniversary Souvenir Pictorial”, 1956, page 9] Among the first four million visitors to step though the Main Entrance Gate turnstiles and step aboard were Esther Williams with Ben Gage, and June Allyson with Dick Powell.

Among the earliest notable guests were also actress Margaret O’Brien (who played the part of the wild animal in one of the wagons). Ride Operator Boyd Diaz vividly recalled: “I was working on the loading dock of the Casey Jones Jr. R.R., when in came the train with Marjorie Main riding in the Wild Animal cage. She was wearing one of her great big fancy hats and as she got out of the cage, she knocked her hat off onto the dock. As I bent over to pick up her hat my Casey Jr. overalls split from top to bottom. I had to stand with my back to the wall until quitting time!”

Whether (or not) he paid the price of admission, comedian Red Skelton had the pleasure to “take over” as engineer for a photo published in “The Disneyland News” (March 10th, 1956).

“All Aboard - Let’s Go!” - The $50,000 Casey Jr. Circus Train attraction finally opened July 31, 1955! In advance, the Los Angeles Examiner (published July 15, 1955) advertised, “Who wouldn’t love - and ride - the Casey Jr. Train. All the excitement of a circus as Casey Jr. puffs merrily up hill and down dale, weaving around the Canals of the World.” Though many of the “hills” and “dales” were un-landscaped, it was projected that the attraction could theoretically attract a maximum guest capacity of 720 guests per hour. The attraction was still well worth the original 1955 price of admission (one “B” Coupon or 25 cents) - the same admission price as a spin in the Mad Tea Party or a show at the Mickey Mouse Theater! The Casey Junior Circus Train maintained the “B” Coupon fare as long as Ticket Books were employed at Disneyland.

Soon, one contributing writer to the Los Angeles Examiner (published Sunday, August 21, 1955) briefly mentioned how “Casey Junior, the happy circus train, rollicks about its bumpy track.”

In the early days, Guests could catch views of a passing Casey Jr. Circus engine and its stock, from the path behind the Chicken of the Sea Pirate Ship.

In the early days of Disneyland, Jim Quigley (who would later serve as Supervisor of Disneyland Accounting Control) recollected that Keller’s Wild Animal Act tent was originally housed nearby Health Services on Main Street. By the time this Vintage View was captured, the tent seems to have been moved to yet another location. Beyond the realm of Casey Junior Circus Train, stands a true-life circus tent (previously utilized for the Mickey Mouse Club Circus) which now solely featured “Keller’s Jungle Killers” - the big exotic cats of Professor George Keller!

At a meeting of the Disneyland Merchant's Association (held January 25, 1956), the momentous announcement was made regarding Fantasyland developement: “We are making several new developments on this ride at a cost of approximately $125,000.00. This ride will be exciting and portray a ‘story book’ land, with villages at about 1/2 scale and crazy quilt landscape idea. This should be completed by April.”

Soon, the bright gay circus train who “knew he could,” would travel a new scenic route above Storybook Land!

On the technical side, the narrow-gauge 30” tracks lead the Casey Jr. Circus Train on a four-minute journey, around a 1,840-foot layout. In addition, a spur line leads to a Train Storage Area, located behind the attraction, which houses both of the five-car trains (valued near $16,000 each). Later (c.1989), the two Casey Junior Circus Trains were serviced by the nine mechanics (including Shop Foreman Bib Carbines, Jeff Stephenson, and Bill Pearson) of the Disneyland Service Garage (also called the Autopia Garage). There, the vehicles received daily maintenance and cyclical rehabilitation. Meanwhile, the Cycle Shop would refurbish the body with a new coat of paint.

While work on the floral Lullabyland Patchwork Quilt (on the hillside of the former Canals of the World) begins to take place in the foreground, Casey Junior looks more confident after performing that old 40% grade many times each day!

Soon the little train would takes Guests over rivers, trestles and bridges and climbs mountains in Storybook Land.

Casey Jr. looks to be the busiest character in Storybook Land in this early Casey Junior Train Postcard Image!

Three years later, Casey Junior was still thrilling “every Jack and Jill,” as guests of all ages payed fare to board the diminutive stock bound for a grand circle tour of Storybook Land!

The admission for Casey Jr. Circus Train was one “C” Coupon (35 cents) - the same admission to sit behind the wheel of a Junior Autopia car or to explore Sleeping Beauty Castle’s walkthrough attraction!

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

The “B” Coupon (cost of admission) increased by 5¢ during this era.

Casey Jr. makes his way over “hill and dale”!

As mentioned earlier, Disneyland employee Immogene Brinkmeyer was the very first ticket seller at this particular location, while Disneyland Tour Guide Anne Daniel would be the last employee to work this ticket booth!

Yes, a ride aboard Casey Jr.’s Circus Train is equated with a show at the newly renamed Fantasyland Theater and a flight inside the newly renamed Tomorrowland Jets!

Though the track was completely replaced during 1989, the Casey Jr. Circus Train’s layout has remained relatively the same since its opening in 1955! The attraction’s soundtrack includes the original c. 1942 Academy Award winning song (with composition by Frank Churchill, and Oliver Wallace) and lyrics (by Ned Washington, with some consultation with Joe Grant and Dick Huemer). Finally, new Circus Ringmaster spiels were added (voiced by Ray Temple, performing a variation of Herman Bing’s original character voice).

The following four statistics are based on the results of Disneyland Attractions Time Studies gathered in 1968 (for 1 Unit & 2 Units) :

Theoretical Hourly Capacity (What the attraction should yield under ideal conditions) : 375/750

Instantaneous Capacity : 30/60

Audience Control Capacity : 101

Capacity Per Unit : 30

Cycle Time (From the time a unit passes a given point and returns to the same point) : 4:45

Unload Time : :45

Load Time : 1:00

Trip Time : 3:00

Dispatch Interval : 4:45/2:23

Trips Per Hour : 12.5

Distance Travelled : 1760 feet

Speed in Miles Per Hour : 6.4

Length of Load-Unload Track : 61 feet, 10 inches

“I bet ya thought a train could never travel over the Swiss Alps!” The Casey Junior Circus Train makes its way through the mountain pass over the little Italian Village that Gepetto and Pinocchio call home (since they got away from Monster the Whale). Behind the mountain range stands the majestic Matterhorn mountain in the distance!

It once seemed that Walt Disney’s Rainbow Road to Oz was still going to end in Storybook Land, converging with the Casey Junior Circus Train rails. Despite the status of Walt Disney’s Oz film project, by April of 1960, Bob Thomas (of Associated Press) divulged Walt’s Disneyland plans : “Next year he plans to add a Wizard of Oz section full of dancing figures and a mountain top of trees shaped lie animals.” Alas, “Rock candy Mountain was originally planned for Fantasyland until the model, made of real candy, began to melt and was pecked to pieces by the local birds - and by the model makers,” according to “Disneyland: Then, Now, and Forever” by Bruce Gordon & Tim O’Day.

The attraction was down for rehabilitation from Apr. 22-May 3, 1963.

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

“55er” Jim Cashen recalled: “we poured a cement dock on Casey Jr. to eliminate a lot of work there every year.”

During 1984, a report showed that the Casey Jr. power unit weighed 3,950 lbs.

Speaking of coupon tickets, Disneyland celebrated the opening day "Disneylandmark" with the Fantasyland Ticket Booth Limited Edition Trinket Box released through Disneyland Resort in a limited to an edition of 1,500. The team of Jody Daily, Kevin Kidney, and William Babington crafted this amazing miniature homage for the “The Happiest Homecoming on Earth” - the 50th anniversary of Disneyland!

Walt Disney’s Casey Junior has occassionally been the subjct of licensed products through the years. Tomy (Tomica) released the Casey Junior die-cast toy during the 1970s and Politoys Polistil of Milan, Italy released Treno Di Dumbo, a Casey Junior train featuring Dumbo and Timothy riding aboard the tender.

The Casey Jr. Circus Train is one of many “senior” Fantasyland attractions that continues to delight generations of guests - old and young!

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

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

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

”Participant Sponsorship”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Across the Bridge…”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Songs of the South”

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

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

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

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

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

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

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

(July, 1955 - January 3, 1967)

Walt Disney designed Disneyland with a theatre concept in mind, so the presentation of the CirCARama (sir•kuh•RA•muh) was a natural choice and became a distinct feature of the vast DISNEYLAND “stage”. It’s premier was amidst an era when movies were typically projected on a screen before you, so Circarama Theater would be outstanding, allowing audiences to experience “movies that surround you”!

“Blue Sky for a ‘Cyclorama’”

In 1953, 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. But by 1953, neither Herb Ryman’s first aerial drawing of Disneyland nor the original prospectus for Disneyland even hinted at a concept for a circular theatre. While some sources [“Disneyland: Inside Story” by Randy Bright, page 89] say that Walt had experienced the Cinerama system at the Hollywood Pantages theater, that theater is not open its doors until 1963. So where did Walt Disney and company get the idea for an immersive, circular theatre?

By 1954, Disneyland still taking shape and Walt and company were developing something called a “Cyclorama”. About this time, Walt requested a meeting with Walt Disney Studio camera technician Roger Broggie and his associate Eustace Lycett, a special-effects and lens expert, to his office. During the meeting, Walt asked: “If they can put three screens together, why can't we do a full circle?”

“Research & Design”

Walt contacted his old friend Ubbe Iwwerks (Ub Iwerks) about his idea to build a circular theatre screen and present a film which could fully surround an audience. Ub worked with Eustace Lycett and came up with a solution: (1) The needed to fabricate a horizontal rig capable of holding eleven 16mm Kodak CineSpecial cameras, mounted atop a common circular base plate, with their lenses “radiating outward like spokes in a wheel”. (2) The film’s presentation would be equally impressive – respectfully commanding eleven semi-circular screens. These would be arranged in a circle, with small gaps in between the screens, allowing for projection across the theater to the screens on the opposite side. The result would be a virtually seamless, continuous 360-degree movie.

The processes of photography and presentation were further developed by Ub Iwerks and Walt Disney Studio technicians. Like some advanced “High Concept,” final designs were quickly generated and approved, and patent illustrations were prepared for submission. Then technicians began the task of constructing the system billed as the “Panoramic Motion Picture Arrangement”. Soon Roger Broggie’s team began to work with Ub Iwerks to assemble a rig comprised of eleven 16-millimeter cameras.

“The Search for a Participant Sponsor”

Disneyland commanded high-quality, long-term corporate sponsors which would provide the necessary capital to fund the construction of Disneyland. Subsequent incremental income from participant sponsors would also potentially offset some operating expenses, fund enhancements to the sponsored show, and enable the future growth and new attractions for Disneyland. In turn, these companies selling their products and advertising their corporate names in Walt’s Park. So, the partnership was designed to be synergistic, with both parties capitalizing on marketing opportunities.

Early in 1954, Walt’s people were embarking on the careful search for industrial corporate sponsors to lease shop and restaurant spaces at Disneyland. One of their candidates was the Nash-Kelvinator Corporation - a merger of Nash Automobiles and Kelvinator Appliance Company (manufacturer of home appliances). By January 1954, a historic partnership was developing between Nash-Kelvinator and Hudson Motor Car Company. By May 1954, the corporate merge was complete, resulting in the American Motors Corporation. Soon, popular episodes of Walt Disney’s Disneyland (like “Davy Crockett, Indian Fighter,” airing Wednesday, December 15, 1954) presented on the ABC Television network, were being sponsored by the American Motors Corporation.

Amidst all this, representatives of Kelvinator were likely shown some of the viable concepts for the “Cyclorama” and other attractions, which, supported by a well-developed business case, built expectation among the potential investors. Kelvinator showed interest in Disneyland Park, around 1955, as advertising agent Jack Lindquist recalled. “One of our accounts was with Kelvinator. We were going to sponsor something or other at a place l'd never heard of, called Disneyland. Well, the promotion was all put together and ready to go, when one day I got a call from a guy named Ed Ettinger. He said the deal was all off as Disneyland didn't have that kind of promotions. I said that the deal WAS on and it WAS going to go.”

“Architectural Designs by Lessees”

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. By that time, American Motors (jointly presented by Nash, Hudson, and Kelvinator) began to produce the “Cyclorama” show, featuring an adjoining American Motors Corporation exhibit, and now respectfully billed as CirCARama.

Disneyland, Inc. printed materials for Lessees governing the specifications for architectural designs of exhibit spaces sponsored by lessees. These materials were revised by March 16, 1955, and issued to Lessees. All of the interior architectural drawings were done by competent, registered architects or an approved display house of the lessee's choice. All of the designs submitted by the lessee's architect, whether for buildings or construction of interiors in DISNEYLAND, were approved as to the theme and general plan of DISNEYLAND as established by WED Enterprises, Inc.

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

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

“Photography”

The completed rig, capable of holding eleven, 16-mm cameras, had been attached to the roof of a car - and not just any vehicle, but an American Motors Nash Rambler. The working title of the film itself was “A Tour of the West”, a moving documentary tour of the western United States, filmed in Technicolor. Around this time, the show was given a new name - CirCARama U.S.A. While the title was a portmanteau of “circle” and “cinema”, this was also a fitting name because of sponsor American Motors and the fact that a car was utilized to obtain the film’s footage.

Peter Ellenshaw was selected for the director of the film, after Walt had previously been tasked with Artistic Direction over the reshoot of the problematic squid scene featured in 20,000 Leagues Under the sea. Now, principal photography of the Walt Disney Production began, under the direction of Peter Ellenshaw.

The photography presented many challenges. For instance, “finding scenery that was beautiful in a 360-degree sweep was almost as difficult. Time after time Ellenshaw would come upon magnificent mesas and buttes on one side only to discover flat, dull desert and electric power lines on the other.”

Then, “while shooting the short film, … Ellenshaw and his crew drove the car at fifteen to twenty miles per hour. But when they reached stately Wilshire Boulevard in Los Angeles, they wanted to create the illusion of a high-speed chase. They achieved their effect with an old, but effective Hollywood trick. While they travelled down the street at a sedate twenty miles per hour, they slowed the speed at which the film traveled through the camera. This meant that fewer frames of film were shot, and when these fewer frames were projected back at normal speed, everything looked like it was racing by. ‘The effect was astonishing,’ said Ellenshaw. ‘Suddenly we were hotrodders, racing down Wilshire at a hundred miles per hour, jumping out at green lights, and crashing to a stop only inches from the cars in front.‘ The Wilshire ‘race’ became the major highlight of a stunningly unique film experience that thrilled audiences from the day Disneyland opened.” [“Disneyland: Inside Story” by Randy Bright]

“Show Building”

The very first buildings framed at Disneyland (after the Mill), were the Main Street Complexes, on each side of the street. Construction crews hadn’t begun work on Tomorrowland until six months into the Disneyland project. About this time, Nash Ramblers bearing the “Disneyland Insignia” navigated the acreage that would become Disneyland, and this construction-era hand-drawn Disneyland map (pictured above) highlighted the proposed location of the American Motors exhibit at the junction of West Center Street and Main Street.

Meanwhile, Herb Ryman’s designs for the Entrance to “Tomorrow Land” were becoming a reality.

“Construction of Tomorrowland Exhibit Hall”

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

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

The North Rotunda Building was a graceful and futuristic exposition building at the left of Tomorrowland’s entrance, just past the World Clock. Further, it also featured air-conditioning technology, which would prove practical to controlling dust - essential in an attraction where projection equipment and film was used. So, by June 1955, American Motors was no longer affiliated with the space on Main Street, but it was decided to house the exhibit inside the more-than-3,000-square-foot North Rotunda Hall in Tomorrowland!

“Installation”

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

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. This communication focused on the individual sections of the Park and projections of whether they would be completed by Opening Day. C.V. wrote: “American Motors: Walls and donut tight but we should make it. Whether the film will be complete or not is still unknown.”

“Press Preview Day and Grand Opening”

CirCARama, U.S.A. sponsored by American Motors (Nash, Hudson, and Kelvinator), was one of the free attractions that opened in Tomorrowland, at Walt Disney’s Disneyland, on July 17th, 1955. The completed main show - “A Tour of the West” (also, more appropriately billed “Around the West”) - took audiences on a tour of western America. Sights included The Grand Canyon, Las Vegas, Newport Harbor, and Monument Valley, all around a “complete 360-degree screen.” Disneyland News (August 1955) described the show this way: “the picture - eight feet high and 40 feet in diameter - opens with a shot of a bathing beauty walking around the audience to dive into a Las Vegas pool. Cowboys ride from one screen to the next without a break in the continuity, and another portion of the viewer seemingly drives on a busy Los Angeles thoroughfare, watching the traffic both ahead and behind him.”

The motion picture was projected from 11 synchronized 16mm projectors and was presented across a 360-degree circular “screen”, measuring eight feet high and 40 feet in diameter. In actually the “screen” was comprised of 11 smaller screens, blended to achieve the effect of complete “circle vision”. Audiences enjoyed the feature presentation from the center of the circle inside one of Tomorrowland's “graceful and futuristic” exhibition buildings.

“Post Show - Cars of Today and Tomorrow”

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

“Response”

A press release of June 27, 1955, described the experience as “an advanced motion picture development… consisting of a continuous image focused on a 360-degree screen… introduced at Disneyland Park on July 17th by American Motors Corporation, producer of Hudson, Nash, and Rambler automobiles, Kelvinator appliances.” This attraction was reckoned among “Disneyland rides and amusements” that “will delight the very young, the teen-ager, young married couples, the middle-aged, and grandparents alike,” as some of the Vintage Views testify [Anaheim Bulletin “Premier Souvenir Edition - Walt Disney’s Magic Kingdom - Disneyland” Insert; Friday, July 15th, 1955]. George Romney (President) commented: “This combination of photographic skills and entertainment talents promises an unusual spectacle for visitors to Disneyland. We're happy to have a part to play in making Circarama possible. As it represents added pleasure and value for the public, sponsorship of the Circarama is another forward step in our program to make American Motors mean more for Americans.”

By 1956, it was said that “CirCARama gives the motion picture fan the last word in cinematography,” according to the “Disneyland 1st Anniversary Souvenir Pictorial,” published 1956. According to “A Complete Guide to Disneyland” (published 1956), “American Motors presents an exciting travel picture on a 360-degree movie screen.”

By Summer 1960, the experience of the CirCARama theatre was so unique, that Vacationland reported it was the “only one of its kind in the United States.” Nearly a decade after its debut, it was expressed that the motion picture still placed one in the center of the action, so that viewers could see where they were going, and where they had been, and the scenery in-between. [“Walt Disney’s Disneyland”, published 1964]

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

By the year 1958, CirCARama was one of 15 free educational shows and exhibits at Disneyland. By that same year of 1958, Bank of America appraisers figured of the total income received by Disneyland Inc. from leases at 16.02% derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food. Now (by 1958), Disneyland Participant Affairs (or, “Industry Sales”) and the American Motors could not negotiate a cooperative agreement to maintain their ongoing relationship, so American Motors would depart from Disneyland on September 28, 1958, at a lease termination expense of $75,923.

After American Motors departed as a sponsor, CirCARama continued to be presented from June 14, 1959 - March 14, 1960. Though American Motors departed, Nash would continue to have a relationship with Disneyland. As late as 1988, “The Grand Nashional” (Nash preservation and restoration Car Club of America) would hold conventions at Disneyland, featuring a “Nash Banquet” and a “Nash Display” in the Disneyland Parking Lot.

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

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

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

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

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

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

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

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

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

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

“The Bell Telephone Hour”

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

Red Skelton’s Red-E-O Tape, was a mobile unit of trucks that carried cameras, engineering and generators, supporting the entire production of a television show live on location. The Disneylander continues: “…and the show will be video-taped on Monday, November 14th. This Bell Telephone Hour will be the first big all musical show to originate at Disneyland and will be shown on NBC around Easter.”

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

Special records were sent to editors of television stations, requesting nine minutes of their time and the use of their record players.

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

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

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

“Pre Show”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

According to “Disneyland Attractions Time Studies 1968”:

Theoretical Hourly Capacity - 3,000

Capacity of Theater - 1,000

Capacity of Pre-Show - 600

Capacity of Post Show - 200

Cycle Time (“fill and spill”) - 20:00

Theater Load Time - 1:00

Show Time - 18:00

Theater Unload Time - 1:00

Dispatch Interval - 20:00

Shows Per Hour - 3

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Architectural Designs by Lessees”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Things Go Better With A Coke”

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

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

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

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

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

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

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

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

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

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

“Honky-Tonkin’”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

There are thousands of windows at Disneyland.

“Illumination”

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

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

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

“The sign of good taste” in the present.