Regarding most any project pursued, Walt Disney (knowing his audience) once said: “We have always tried to be guided by the basic idea that, in the discovery of knowledge, there is great entertainment as, conversely, in all good entertainment there is always some grain of wisdom, humanity, or enlightenment to be gained.” Many contemporary DISNEYLAND© Park adventures, attractions, experiences, or shows seem to focus on joy and inspiration, but don’t seem to embody the spirit of true-life discovery, wisdom, humanity, and enlightenment. However the story was far different during earlier formative years of DISNEYLAND©.

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

And so we present the story of Monsanto’s Adventure Thru Inner Space.

“Master Planning ‘A Science Feature from Tomorrowland’”

Early thumbnail sketches and other concept artwork for Disneyland seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Guided by Walt, his artists engaged in “free-thinking,” as if implementing the modern “Blue Sky” Imagineering process to generate potential ideas. A fantastic example is the page of Herb Ryman’s “Blue Sky” notes and concept art for Tomorrowland, which alluded to the world of “Microcosmos.” While these notes were “voided,” Disneyland opened and the MONSANTO-sponsored Hall of Chemistry, gave Disneyland Guests a view of the building blocks around us.

“Concept Development”

Perhaps you have heard the following thoughts of Walt’s (as if they were “suspended in the timelessness of Inner Space”): “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.”Soon, a brand new adventure was being developed that offered guests a glimpse into the world of “our friend the atom” and beyond! According to the Disneyland Merchant's Association Meeting minutes (recorded January 25, 1956): “General Dynamics Board of Directors is meeting this week and we feel sure that they are going to approve the plan for a Mall of Science in Tomorrowland. This should be ready by next November.”

Not long after, a 1957 episode of the Disneyland anthology television series entitled “Our Friend the Atom” elucidated the benefits of nuclear power, starring notable physicist Heinz Haber. Not long after (as early as 1957), the Disneyland Executive Policy and Planning Committee and Walt’s team of artists were already hard at work recommending and planning the next big Monsanto-sponsored adventure. “The concept… was the result of a collaboration between Walt Disney and Dr. Charles Allen Thomas, of Monsanto. It was created and designed by the staff at WED Enterprises, Inc.,” according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967).

One Associated Press article “Plan Trip Into Drop of Water, Liberty Square for Disneyland” (by Bob Thomas, published April 20, 1957) even briefly divulged “Big projects coming to Tomorrowland, including a protozoa ride that would take patrons into a drop of water as seen through a microscope.” A few months later, the Disneyland Report to Anaheim and Orange County (prepared before August of 1957) mentioned a future development called Science Land, planned for 1960. By the following month on September 28, 1958, Disneyland, Inc. job number 4063-508 (for a new Overall Master Plot Plan of Disneyland detailing general new area development) was in progress, a financial asset valued at $15,625. This Master Plot Plan included the next adventure to be presented by Monsanto.

Viable project Concepts (as seen above), were supported by a well-developed business case and built expectation. Some artwork created during 1958 exhibited the General Motors name above the Adventures in Science pavilion building, as the industrial brand met to discuss potential relationship with Disneyland as a Participant sponsor. A year later (by 1959), “Adventures in Science”… was seemingly “still in the ‘dreaming’ stages,” according to illustrations published within Walt Disney’s Guide to Disneyland [published for 1959]. The description was vague, only stating : “While actual dates of their installation cannot be promised, some of them may be here for you and your family to enjoy on your next visit to Disneyland.”

“Schematics and Design Development”

Plans progressed during the next few years. Eventually by 1966, WED Enterprises, Inc. had opened related projects (No. 0054) the “Magic Microscope” exhibit for Monsanto and (No. 0055) the Disney-designed OmniMover vehicle systems. The “Magic Microscope” exhibit project involved designing and constructing tracks and cars (adaptation of the “Omnimover Transportation System”) and a Preshow reception area & product display exit area.

“Feasibility”

By May 5, 1966, the WED Enterprises, Inc. Board had approved an allowance of $100,000.00 (withstanding a $115,000 write-off; approved by October of 1966) for project #0054 - the Monsanto Exhibit in Tomorrowland. According to the Summary of Project History, the scope of this was a “To design and construct an exhibit for the Monsanto Chemical Company. ‘Magic Microscope’ Adventure. ‘Tracks and Cars - adaptation of the Omnimover; Preshow reception area & product display exit area.” Construction was to be completed on June 6, 1967.

By May 25, 1966, a Total Cost Allowance of $100,000 was allocated to the Magic Microscope project (No. 0054). By October 1, 1966, a Total Cost Write Off of $115,000 (Facility, $12,000; Show $103,000) had been approved for the Magic Microscope. It was estimated that the “Magic Microscope” exhibit would be completed by June 1, 1967. The “Omnimover” Transportation System (No. 0055) was also being developed at WED. By July 14, 1966, a Total Cost Allowance of the Ride was allocated, at $125,000. On October 6, 1966, $83,000 and $81,000 was allocated toward the budget cost.

Internal materials described the “Monsanto Exhibit - A dark ride exhibit that will be both exciting and educational to the guest.”

During this time Walt visited the Park. “55er” Joyce Belanger recalled seeing Walt “just before he went to the hospital for the last time. He was standing, watching the attractions… almost like he knew he'd never see them again.”

“Design and Implementation - Without Walt Disney”

Facility Design & Engineering had begun.

Internal materials published in 1966 mentioned: “With four major new attractions nearing completion for summer, 1966, openings at Disneyland, Walt and his staff af WED are looking toward 1967 - 1968.“ However, the unexpected happened a few months later. 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.”

And so 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… Monsanto contracts.”

“You Are About To Explore The Realm of The Molecule And The Atom’”

Soon after, “men with dreams (both X. Atencio and George McGinnis) were furthering what nature” (and Walt) first began, designing and visually developing what would become a focal point of the show - a giant microscope (attributed to George)! Disneyland schematics (e.g. the c.1967 WED Imagineering Plot Plan, pictured below) came to officially label the would-be 21,733-square foot attraction as Monsanto’s Magic Microscope. However, the official working name of the attraction would become “Adventure Thru Inner Space.” The idea was, after passengers boarded Atomobiles, they would steadily shrink, en route for a thrilling journey through the dark reaches of the Mighty Microscope!

Dimensional Design and models have always played an important role in development. It’s much easier for people to visualize a concept in three dimensions. A model maker is probably the first to take a concept and make it real. Models are also used in presentations, to sell the idea of the attraction. A model is a time-saver because construction problems can be worked out ahead of time. A finished model is also a useful reference at the construction site.

During 1966, Ray Aragon and Xavier Atencio created show scene concepts for the staging, or the basically presenting the scenes, or actions.

“The OmniMover Ride System”

Obviously, the fastest way to move people over the extended areas of Disneyland is with moving vehicles. Today, Walt Disney Imagineering designs and fabricates ride tracks and guide systems, electronic ride control system, and ride vehicles like cars, cages, boats, locomotives, gondolas, and clam shell pods. This design and fabrication process includes related sculpting, tooling, and plastics.

In Adventure Thru InnerSpace, guests would be transported through the use of the technologically innovative OmniMover Ride System! The Omnimover was a vehicle whose seat could be turned to direct the passenger's attention while continuously moving through an attraction. This was not the first mention (or, use) of the OmniMover at Disneyland Park, as you may recollect that early descriptions of Tomorrowland (published within what has been labelled as “the Disneyland Prospectus”) mentioned moving sidewalks as part of this vision of the future of 1987. Disneyland audiences would only need to wait a few years (until 1957) to see this realization in the Stephens Adamson Speedramp OmniMover System at the Tomorrowland Monorail Station. That particular OmniMover was then utilized to transport Guests to the elevated Tomorrowland Monorail Platform.

And so by October of 1966, WED Enterprises, Inc. had opened Project Number 0055-003 for the “Omnimover transportation system.” The ride had an allowance of $125,000. By that time, the design, equipment, and general requirements of the project were calculated at a Total Actual Cost of $182,016, and after write-offs of $83,399 and $80,799, a Cost of $17,838. Now (two years before the doors of the Haunted Mansion would creak open, and 15 years before Spaceship Earth began to send time travelers on a 40,000 year journey), Adventure Thru Inner Space would become the first attraction to employ the efficient Omnimover Ride System (a WEDway Transportation System) to move guests for 6 minutes and 6 seconds, atop the 681-foot-long guideway through its very own show scenes!

“Load/Unload Guest Conveyance”

Today at Walt Disney Imagineering, “Load/Unload Guest Conveyance” encompasses the design and production of pneumatic tube systems, conveyors, elevators, moving stairs/ramps/ walks, etc. used for guest load/unload associated with a specific ride.

In the development of Adventure Thru InnerSpace, each of the individual 123 Atomobile units (with a two-and-one-half passenger capacity) were “pre-programmed to rotate up to 360 degrees to point the vehicle in various directions, thereby drawing attention to special points of interest in the show. Atomobiles move through the attraction without stopping, at a capacity of up to 3,275 guests per hour. Guests step from a turntable platform which revolves in sync with the smoothly moving cars,” according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967). The Turntable System relied on two pairs of 8.5 horsepower General Electric motors to achieve this 51 second total rotation, from both the Load Area and Unload Area.

During the first six months of 1967, the Atomobile transportation system was still being continuously developed, fabricated, and tested. This was quite a task, as (aforementioned) there were a total of 123 Atomobiles, according to “Monsanto Trivia Pages.”

“Audio-Animatronics, Animation, and Special Effects”

Walt Disney once commented about how “the animated cartoon can set forth anything from world in evolution to the whirl of electrons invisible to human eyes.” Proving this was the visual nature of the ride (and each backdrop color and every bit of styling) which owed itself to Studio artists. Notable among these were Legendary set designer and background artist Claude Coats, as well as master WED Inc. visual effects artist Yale Gracey, and also Francis Xavier Atencio in some capacity.

While there were no Animated or Non-Animated Figures, the adventure featured numerous animated props brought to life with Audio-Animatronics® - the Disney-designed system that combines sound, mechanics and electronics for three-dimensional animation. All of this aforementioned artistry was being accomplished by the electrical mechanical technicians of MAPO, Inc. (a subsidiary division of WED Enterprises, Inc.), then located at 1432 Grand Avenue in Glendale, California.

During the first six months of 1967, the show’s animated and non-animated props and other special effects, devices, and illusions were still being “illusioneered.”

“Air Conditioning”

Where attractions are not air-conditioned in “nature's own design” (which can get a bit uncomfortable), Disneyland air-conditions them to make them more comfortable. On a hot day, the guest may extend his stay, since he has many places to get in and cool off. It was also important that Show Areas were dust-free. Air-conditioning controlled dust, and a practical mechanical application of the technology was essential in the attraction where projection equipment and film was used.

“Audio Production”

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.” And so Walt Disney Imagineers began composing, recording, editing and producing voice and music media.

Music, as a basic ingredient of showman-ship, covers the Park. On May 31, 1967, WED Musical Director Buddy Baker (along with 45 musicians) recorded about 47 pieces of music. As a sidelight, the work of Buddy Baker was known for his method of composition based on a five scale theory rather than traditional major and minor scales. Previously (for 28 years) Buddy Baker had contributed to 28 films and 150 television features.

The Sherman Brothers created an original show song that would be heard throughout the Pre-Show and Post-Show Loading Areas, entitled Miracles from Molecules.

Narration voice-over by Paul Frees was recorded in addition to some minor “Traffic Control” spiel voice-over work by Pete Renaday. This was piped through the 3 speakers installed on each of the individual 123 Atomobile units (for a total of 369 speakers).

Next, Imagineers technically developed and produced tapes, records, disks, etc. for audio systems. These systems included audio hardware that was designed, fabricated and installed - amplifiers, speakers, tape decks, etc. for the show audio systems.

“Grand Opening”

American company Monsanto had been a headliner with the Disneyland show since opening day, July 17, 1955. Guests of the friendly stage of Disneyland would thrill to Monsanto's Hall of Chemistry and Monsanto's House of the Future.

Monsanto’s Adventure Thru Inner Space opened August 5th, 1967, one of eight new attractions which supported the Disneyland Show and carried total Park investment to $95 million. “At the time of New Tomorrowland’s opening, John Gillis, Vice President of Monsanto, said that Disneyland had become an important part of an overall identity program to augment Monsanto’s worldwide image,” according to “A Report To Disneyland Lessees, Summer ‘68.” “Perhaps the entire halo that surrounds the whole world of Walt Disney is what appealed to us,” Gillis said. “We like people to think of us as being first rate in every sense, and we think that the association with Disney is a good showplace for us. We attract people here from all over the world. This operation has a practical value to us in becoming able to entertain our important customers, suppliers, friends and their families when they come here, and all of them seem to come sooner or later.”

Monsanto’s Adventures thru Inner Space (housed inside) was one of the first Tomorrowland attractions to greet guests along the southern side of the entrance! Beyond the (40-foot-high and 44 foot-long) sculptured metallic surfaces “symbolizing the world of tomorrow”, was “a new 21,733-square foot building at the entrance to the all-new Tomorrowland area”.

The PeopleMovers headed thru the Monsanto’s Adventure Thru Inner Space Show Building, granting passengers a view of the “Mighty Microscope”, as well as the miniaturization and magnification processes that occurred.

Before we head inside, we must make an honorable mention about the designer of the Show Building’s Architectural Facade.

"From fairytale castles to extraordinary buildings", the settings and stages of Disneyland and Disney Parks are brought to life in part, due to their "architecture with a plot", as expressed by Beth Dunlop, Author of "Building a Dream: The Art of Disney Architecture".

“Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ At least one early concept drawing (once in possession of Stan Jolley) created for Tomorrowland, was perhaps inspiration for Mitsuo’s Sculptured Murals more-than-a-decade later. The elevation featured details describing a “Metallic Screen Mural” extending “approximately 16” out from” one exhibit hall wall, consisting of “fused colored plastic applied detail.” Another WED, Inc. publication “Information on Disneyland’s New Tomorrowland - A World on the Move” elaborates: “On either side of the entrance to Tomorrowland are two sculptured reflective surfaces that face guests entering this new land in the Magic Kingdom. For two major pavilions, metallic facades, in the form of sculptured murals symbolize the world of tomorrow in an abstract design. Each mural is 40 feet high by 44 feet long.”

One source describes the inspiration behind Tomorrowland’s most iconic fountains of the late 1960’s. “Forefront of each reflective mural [which ‘symbolizes the world of tomorrow’] is a water fountain composed of several seemingly suspended abstract forms that symbolize inner and outer space (15 feet at highest points),” according to “Information On Disneyland’s New Tomorrowland - A World On The Move” (a “New Tomorrowland” press release document, released 1967). You too may have paused “for reflection” (and a quick photograph), upon seeing these “Sparkling Water Fountains” at the Entrance to Tomorrowland!

Once realized, Tomorrowland’s landscape has often been accentuated by its water features (like the Guest-activated faucets and valves of the “fun” Crane Plumbing Company’s Bathroom of Tomorrow exhibit, the serene Alpine Gardens in the shadow of the Mighty Matterhorn’s cascading waterfalls and Glacial Pools, or the Cosmic Waves of the massive churning six-ton Kugel Fountain)! During the late 1970s, another unique type of futuristic fountain marked the exhibits and attractions at Tomorrowland’s Entryway (including the facade of Adventure Thru Innerspace)!

Though these fountains are highly recognizable and memorable, what is often not mentioned, is the name of the brilliant Japanese-American artist that created these fountains - Mitsuo Natsume! Before this timeless Disneyland contribution, Mitsuo made many contributions to other memorable projects. Mitsuo worked on the Ford Magic Skyway model for the Ford Pavilion of the 1964 New York World's Fair. As for the New Tomorrowland of 1967, Mitsuo also prepared a concept model of the exterior of Space Mountain,as well as a model of Flight to the Moon.

But perhaps his greatest artistic contributions toward the Park, were the facades, WEDway PeopleMover support structure, and “bench design that doubled as a raised planter bed”. This would effect a wide, clear, and uncluttered feel to Tomorrowland’s entryway and paths!

According to his son, “One of the last projects he worked on at WED was Thunder Mesa. The ride had a runaway train as its theme. The idea was later re-born as Big Thunder Mountain. Unlike Mits' Thunder Mesa model, a copy of the Big Thunder Mountain model exists in the Frontier Tower Lobby at the Disneyland Hotel.” You can read more about Mitsuo HERE.

The Mitsuo facade and fountain served as planters during another era. The works were still popular background elements for Guest’s commemorative photos in Tomorrowland.

“Pre-Show”

Disneyland queue lines (or “Audience Waiting Areas”) are designed as part of the attraction to make the guests' time in line as comfortable as possible. As we enter the Pre-Show and move through the queue in the lobby, we note the impressive 12 foot-high and 37 foot-long Mighty Microscope, through which 40 miniature Automobile cars make their way through the aperture, and into Inner Space. Much like the “wienie” beyond the Central Plaza Hub at the end of Main Street, the giant microscope has been described as “the marquee or primary focal point inside the Monsanto pavilion in Disneyland.”

According to one “Monsanto’s Magic Microscope” prospectus (revised September 15, 1966): “Strategically located display pods will show the molecular structure of various Monsanto man-made fabrics in the room. Each display pod will be a reminder to the visitors that they are about to be shrunk beyond the size of a molecule.”

“Act 1 - The Journey Into A Snowflake”

“Welcome to an Adventure Thru Inner Space…Molecule, Atom, Nucleus, Electron - building blocks of our daily lives. Welcome to the world of inner space! You are about to explore the realm of the molecule of the atom…you will see that all ‘solid’ matter is really porous - - even the ice crystal…You will see that the ice crystals in a snowflake are composed of millions of water molecules…You will enter the microcosmic ‘solar system’ - an atom through a shower of electrons…Imagine that you are shrinking beyond the smallness of an atom - the smallest building block of matter.”

“An unusual experience begins in the pre-show area at the moment Disneyland's guests enter the Monsanto Pavilion. To the strains of the Monsanto theme song, ‘Miracles from Molecules,’ guests will proceed toward a Mighty Microscope, the primary focal point of the attraction… On a walk-way of Monsanto product they move past a huge electronically annotated control board that will track their progress through various phases on their journey into the vastness of inner space found within a tiny fragment of a snowflake. Monsanto's guests will board one in an endless chain of ATOMOBILES from a platform that rotates at the exact speed as the approaching vehicles and proceed into the eye-piece of the mighty microscope.“

According to one prospectus: “To the people waiting to board, it appears that the atomobiles are actually becoming smaller as they proceed along a translucent section of the tube. A beam of light from the 'objective-lens' end of the giant microscope pierces a transparèt sphere containg a swirling snow storm, creating the illusion the the Atomobiles have actually been reduced to the size of a snow flake.” Another publication describes how the “entrance to Monsanto’s adventure is the Mighty Microscope - 37 feet long, 12 feet high - which ‘miniaturizes’ guests. Those waiting to board the line of Atomobiles which will carry them into the microscope can see inner space travelers apparently shrinking as they move through a translucent section of the microscope. As guests approach the boarding area, their trip is plotted on a massive, 33-foot long by 16-foot high electronic tracking board in a snowflake pattern, which covers an entire wall in front of the microscope. The snowflake, one of nature’s most beautiful and scientific creations, was chosen as the subject for examination of the world of molecules and atoms,” according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967).

No Flash Photography was allowed inside the attraction.

“A secondary marquee, a huge electrically annotated control chart will show the tracking of the Atomobiles through each phase of their journey into the vastness of inner space. Here the off-stage volces of the tracking crew will be heard, speaking in their typical technical jargon.”

The voices of Traffic Control are heard “as they establish contact with Atomobiles penetrating into the vastness of inner space”: “All phases lower resolvable separation as Atomobiles proceed through through crystalline stage”…”Compensate shrinking factor”…”Phase yellow : hue angle increased to 85 degrees, approaching practical limit”… “Phase yellow, hold with 90 degrees and stand by to convert to immersion fluids.”

“To the people waiting to board, it appears that the Atomobiles are actually becoming smaller as they proceed along a translucent section of the tube.”

“A pulsing beam of light from the ‘objective-lens’ end of the Mighty Microscope pierces a transparent sphere containing a swirling snow storm, creating the illusion that the Atomobiles have actually been reduced to the scale of a snowflake.”

“Act 2 - The Universe of the Molecule”

The thought waves of the first traveller resonate from speakers behind us :

“You will see that all solid matter is really porous - even the ice crystal.”

“From this tiny viewpoint, I can see that nothing is solid, no matter how it appears. And still, I continue to shrink.”

“You will see that the ice crystals in a snowflake are composed of millions of water molecules.”

Soon “The towering walls of solid ice take on a porous character and the ATOMOBILES proceed into an enormous, shimmering, almost forbidding labyrinth.” Beyond, “the ATOMOBILES proceed into total darkness. A certain rotation of the vehicles and an undulation of the track would simulate a floating sensation.”

“Imagine that you are shrinking beyond the smallness of an atom - the smallest building block of matter.” Here, the Nucleus “resembles a sun.”

“Act 3 - The Vastness of Inner Space”

The continuous line of Atomobiles moves through “A world of Inner Space without an end.”

“Guests Return to the ‘Bigger World’…”

“The reverberated voices of the tracking crew interrupt the narrative with a note of urgency. Tracking Crew (reverberated): ‘Snow Flake melting - stand by for re-entry.’ The shadowy form of a huge Instrument can be seen through the bubble and water effects. As the ATOMOBILES pass beneath it they see a huge animated eye looking down at them.”

“Act 4 - The Return to Normal”

Adventure Through Inner Space involved Guests in a story-one in which they could participate.

For about the first five years of operation (by the summer of 1972), Adventure Thru Inner Space presented by Monsanto operated as a Free Shows and Exhibits at Disneyland! Sometime in late 1972, the attraction began to enter the tiered coupon system - at a “C” coupon status.

Count Worksheets were printed forms used to record turnstile readings and courtesy admissions. During 1972, that Monsanto (and their representative Monsanto Exhibit Manager Carolyn Olsen) welcomed and greeted the honored 25 millionth visitor (9-year-old Heather and the Lorne Walsh Family) aboard the Adventure Thru Inner Space!

“Post Show”

“Now men with dreams are furthering, what nature first began, making modern miracles, from molecules, for man.” Much like the small displays of Monsanto’s Hall of Chemistry, this fact was elaborated on through the spectacular spectacular “Fountain of Fashion” (and the Glycerin Fountain’s 720 strands total ; pictured right) and 24 small glass-encased dioramas featured in alcoves in the walls of the lobby! These displays featured just a few of the more than 2,000 Monsanto-manufactured products, and were originally rotated “continuously to create a Rainbow of Products”, according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967).

Adventure Thru Inner Space had a post show - an area passed through by exiting guests that provides information in addition to the main show. One 1967 “New Tomorrowland” Press Release document described this room as “a handsome room displaying Monsanto products, and some products of its many customers.”

“Five animated cartoon posters show situations representing five of the major markets Monsanto serves - agriculture, home furnishings, apparel, transportation, and construction”, according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967).

“Visitors of the attraction hear a catchy new tune composed especially for the show. It is entitled Miracles From Molecules, and is heard interspersed with the voices of the invisible tracking crew detailing the trip, and again in the post-show area”, according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967).

Pictured Above : Monsanto World Clock Post Card

And where were some of these wonders dreamt up and created? Monsanto’s World Clock (not to be confused with the antiquated Timex Clock of the World, in the old Tomorrowland entryway hub), was “an unusual and quick way to check the time around the world” and view “Monsanto’s worldwide locations”. This display was very similar in nature, to one found in the old Monsanto Hall of Chemistry (which impressed upon Guests, the corporate sponsor’s growth during the early-to-mid-1960s). Now, the “12-foot-high world-wide clock…shows locations of 90 Monsanto facilities around the globe. The illuminated instrument depicts the world in an extended North Polar view and shows the time of day for any given point on the world map,” according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967).

Monsanto was “on the move,” and in addition to all this, by 1969, the Monsanto Corp. had “signed a development contract for an exhibit in Tomorrowland of Disney World Magic Kingdom,” according to one prospectus (published by Sales Meetings/Bill Publications, c. July, 1969).

Who doesn’t love a bit of Disneyland-related trivia? The facts and figures contained in “Monsanto Trivia Pages” may have been less fascinating to contemporary Disneyland audiences, but especially useful to Disneyland Maintenance Staff.

“Custodial Maintained the Magic”

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

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.

“Maintenance”

If it weren't for “Maintenance, the beautiful magic of Disneyland would soon be lost. Disneyland's fresh, unique beauty would suffer. To maintain any show played on 70 acres is a big task. But to maintain a unique WED-created one-of-a-kind show requires a bit of magic in order to maintain the magic.”

Refurbishment work has much impact on the Guest experience. If the sound and animation on an attraction was not working right...or are not coordinated...the show was not up to Disney standards. The guest was being shortchanged. Refurbishment work has much impact on the Guest experience.

Maintenance of equipment was the responsibility of the Maintenance Division, and the working foreman was responsible for regularly checking to make certain everything was working O.K. The foreman would notify the supervisor and indicate any problems on the Daily Maintenance Report. Disneyland was the only place in the world where Academy Award winning designers checked every detail of every foot of its huge stage. The working foreman would find out how the stage settings were designed. Then, it was part of his duty to check to make sure that they remain that way.

“Rehabilitation”

Since the beginning, the Four Keys of the DISNEYLAND Show (operating priorities in presenting the DISNEYLAND Show) have been present - Courtesy, Safety, Show, and Efficiency. Walt Disney Imagineers are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures! In the present, the “WED word” occasionally used to refer to this process is “rehab” - the maintenance rehabilitation or overhaul of an existing attraction.

Knowledge of lesser-known and forgotten “rehabs” (repairs and refurbishments) to the Tomorrowland South Exhibit Hall have been preserved through publications like Disneyland LINE Employee Newsletter or Disneyland Backstage magazine. These sorts of repairs would occur frequently, but downtimes during holidays and special events were avoided.

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

“I Have An Idea Program”

Further participation in the Disneyland Show was encouraged through our version of the ‘employee suggestion’ concept known as the ‘I Have An Idea’ program. Through this system, Cast Members invited to become an ‘Imagineer’ at Disneyland... to put their creative thinking and imagination to work... helping them to improve the Disneyland show. No one knows their role or how to improve the show better than Cast Members and the "I Have An Idea” program was established to help bring the cast’s suggestions to the appropriate people for consideration, involving individual recognition and incentives.

Many ingenious ideas pertaining to Adventure Thru Inner Space were developed through the staff of Disneyland Shops (The Maintenance Division at Disneyland), like the Cycle Shop. For instance, Leigh Van Driessche proposed the idea to “install a U-shaped clamp over each wheel and through the track of the Omnimover Systems” (for both the Adventure Thru Inner Space and Haunted Mansion attractions).

Then there were the six sliding glass doors that would occasionally jump off their tracks (if you pushed them into the storage area), and members of the Mill’s Carpenter Crew were often called to remedy the situation. However, the solution to this problem would not occur until a suggestion was made by Hans Bekerthy (of the Disneyland Mill) through Disneyland’s Creative Idea Program, more than a decade after Monsanto’s Hall of Chemistry was replaced by Monsanto’s Adventure Thru Innerspace.

In July of 1969 “Preview of Disney World” announced: “Monsanto Corp. which has the ‘Adventure Thru Inner Space’ attraction at Disneyland, has signed a development contract for an exhibit in Tomorrowland of Disney World Magic Kingdom.”

By July 16th, 1973, Monsanto had welcomed its 30 millionth visitor. Four years later (in 1977), Terry King (Monsanto’s Adventure Thru Inner Space “Working Leader”) and Mickey Mouse welcomed the attraction’s 100-millionth guest - Anders Frederiksson of Sweden, “who was on his first trip to Disneyland,” according to Disneyland LINE (published for July 28, 1977). After this momentous event (and after 22 years), Disneyland Participant Affairs and Participant Monsanto could not negotiate a cooperative agreement to sustain their ongoing relationship. So that year, the relationship between the Monsanto Company textile firm and Disneyland ceased, and their status as a Participant sponsor of Disneyland attractions and free shows ended on Friday, September 30th, 1977. The corporation had sponsored three separate attractions since 1955, but it was now the end of an era for Disneyland and Monsanto.

A final luncheon at Club 33 was held in honor of the members of the Disneyland Participant. Disneyland LINE magazine (published September 29, 1977) even preserved sentiments of “Monsanto’s Resident Manager Carolyn Olsen, who’s been at the park for 10 1/2 years, [and] says that ‘It’s been a wonderful experience in Disneyland, mixed with pixie dust and warm and friendly people. There’s no place like it, and that’s too bad. The outer world could use some of the atmosphere we find here in Disneyland.” Though the Monsanto Corporation was departing from Disneyland, it still continued a Participant at Walt Disney World in Florida, where it sponsored the Circle Vision attraction “America the Beautiful.” ’Monsanto also began to develop new materials that would be “introduced and employed in the Contemporary and Polynesian resorts,” according to the “Preview Edition of Walt Disney World - ‘The Vacation Kingdom of the World.’”

The Adventure Through Inner Space remained for a time at Disneyland Park, as part of Tomorrowland. However, related corporate visual elements (like Monsanto logos) were removed and the Monsanto Mighty Microscope’s logo was replaced with a sign that simply read “The Mighty Microscope.” The gift shop, Post Show displays, and posters reflected these changes. Lastly, the figures wearing Monsanto synthetic-fiber clothing inside the Fountain of Fashion were replaced with a giant snowflake.

A few years later (and after the last Atomobile was de-miniaturized) in 1985, the miraculous world of Innerspace was removed for new Tomorrowland developments. Let’s take one last look back!

The former Walt Disney Imagineering Principal Creative Executive Marty Sklar believed that the small details like these make the story appealing. An example of such details were those forty Atomobiles (with their miniature passengers) traveling through Monsanto’s Mighty Microscope. Perhaps you will recall seeing other Atomobiles, frozen within the Monsanto “Display Pods” along the queue. Before all of those were produced, mock-up models of the vehicle’s exterior (and “seating bucks” of the vehicle’s interior) were Imagineered. These were designed and fabricated by processes of Sculpting, Tooling and Plastics.

Each of the full-scale Atomobiles could comfortably seat “two-and-one-half passengers”, according to “Information on Disneyland’s New Tomorrowland - A World On The Move” (a press release document released Summer of 1967).

This was Monsanto! Rather, those empty colorful alcoves previously showcased Monsanto products in miniature animated vignettes.

After every last vestige of the microscopic adventure was removed, the attraction building was stripped down to the foundation before work could begin on a new thrilling experience.

The omnimover would feed Atomobiles into their adventure through the Mighty Microscope!

This foreman is standing where guests used to file through the queue, for their opportunity to board an Atomobile!

“A World of Inner Space Without an End”

You may recall the voice of the narrator acknowledging that “these tiny bits of snowflake crystal tower above me – like an enormous wall of ice.” The Mighty Microscope once offered a view of the “fragile” towering snowflake, on a screen, even before miniaturization! Now, we take a final look at that Snowflake on the 33-foot long and 16-foot high electronic Tracking Board, before demolition in 1985.

While the new magical opportunity of an “out of this world” experience would land in this Show Building, “a never-ending search is on” for remnants of the unforgettable adventure. For instance, a few elements of the Mighty Microscope would be retained within the Star Tours Show Building. According to Dave Smith (previous Chief Archivist Emeritus of the Walt Disney Archives), “the Mighty Microscope from Adventure Through Inner Space [can be seen] in the Star Tours Pre-Show film.” [Disney Facts Revealed by Dave Smith, 2016] Before exiting the Death Star in Star Tours : The Adventures Continue, the Mighty Microscope makes a cameo appearance.

At Disneyland, signs were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage. Though the realm of darting electrons has disappeared from the “Tomorrowland-scape,” one local shop pays homage to the one-time adventure in its own “little” way.

Please direct even one of your giant eyes in the direction of Tomorrow Landing, where you’ll observe this colorful group of molecules atop one merchandise display!

Now, this doesn’t appear to be a “hydrogen atom bonded to a single oxygen atom” or “the nucleus of the atom.” However, this display is an ever-present reminder of those “men (and women) who dare and plan, making modern miracles from molecules.” I am (of course) referring to those Walt Disney Imagineers who continue to dream up “miracles from molecules around us everywhere” at Disneyland!

It’s been said that the "little things" can make a big impression! Doubly impressing this fact - about 420 miles away, “The journey into a snowflake” has been “suspended in timelessness” within Gallery Nine of the Walt Disney family Museum in San Francisco.

“The Disneyland Show & Live Entertainment”

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

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

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

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

“Work Experience Program and College Performers”

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

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

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

“All-American Atmosphere Entertainment”

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

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

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

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

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

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

“All-American College Street Theatre Players”

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

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

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

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

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

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

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

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

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

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

“Other Visiting Bands”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FACTS ON PARADE : “A gala Independence Day celebration at the turn-of-the century perhaps best typifies the spirit in which this colorful pageant should be enjoyed.” I would like to direct your attention to the bunting on the lamp posts in the Esplanade before the Main Street Station. These represent the 4,000 American flags which were flown at both parks - Disneyland and the Magic Kingdom at Walt Disney World included. At Disneyland, signs were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage. More than 7,000 yards of bunting material had been created for the event, featuring star fields prominent during c. 1900. These decorations were placed on more than 130 lamp posts on Main Street U.S.A. (in both parks) to contribute toward a feeling of carefree delight and unbounded patriotism.

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

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

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

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

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

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

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

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

DEBBIE REMEMBERS DRIVING THOSE CUSTOM FLOATS :

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

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

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

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

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

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

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

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

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

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

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

“Let freedom be heard…”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Phonographs brought the symphony orchestra into every home.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Let’s Dine at Disneyland”

Back in 1951, Walt Disney and Art Linkletter visited the famous entertainment complex Tivoli Gardens in Copenhagen. 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.

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

“The Search for Participant Sponsors”
Walt once divulged: “I could never convince the financiers that Disneyland was feasible, because dreams offer too little collateral.” As a result, during 1954, Walt began searching for Participants to lease shop and restaurant spaces at his (then-unbuilt) Park, and help generate the necessary capital to fund construction of Disneyland. Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities. In a synergistic relationship, the companies (in turn) would be allowed sell their products and advertise their corporate names in the Park. As a result, all the food operations were leased out when Disneyland opened.

“55er” Rima Bruce (who started with Jim D'Arcy in Food when all food was Lessee and typed memos and menus) recalled that “the phone never stopped ringing with everybody trying to get a food lease in the Park.“

By July of 1954, Raul Grizante of Disneyland, Inc. was overseeing food philosophy, area & location, food specialties, and beverages for Disneyland. Individuals like Nat Wyncoff provided an orientation for curious lessees, selling them on the idea of Disneyland using various visual aids like sketches and one of Herb Ryman’s oil paintings of Disneyland. Soon, “a cross-section of American industry…[was] represented in Disneyland. Each of these companies… [would expose] its institutional advertising and public relations message to Disneyland guests through various forms of participating exhibits and displays. In each case, the exhibit… [was be] related to the theme of the ‘land’ in which it is located, and is woven into the overall concepts and themes of Disneyland,” according to “Disneyland, U.S.A.,” published 1958. Even more - as Van Arsdale France (founder of the University of Disneyland) explained in a presentation for potential Disneyland Participant sponsors in May of 1955: These top executives of major American corporations were “here not to make money” (or sell products) but because they were to “create happiness!”

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

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

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

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

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

Aunt Jemima’s Kitchen (overseen by Jim Baker of Disneyland, Inc.) was predicted to serve a capacity of 350 guests per hour, as one of Disneyland’s eating facilities which was predicted to contribute to accommodating “15,000 persons daily, hitting a peak of 60,000 on holidays and week-ends…” and one of “twenty restaurants and snack bars, capable of saving 8,000 hourly,” at least according to “Building A Dream” (prepared by the Disneyland, Inc. Public Relations Department). For Quaker Oats and the Aunt Jemima brand, “the possibilities for a sponsor to capitalize on this association… merchandising, sales promotion, advertising, public relations and publicity programs are almost limitless. Regardless of the type of product, goods or services manufactured and marketed by sponsors, the Disneyland association can be effectively and importantly translated into the sponsor’s promotional activities,” according to “Disneyland, U.S.A.,” published 1958.

The Participant corporate sponsor and lessee was not at Disneyland “to make money, but to create happiness.” Much of the income was acquired by Disneyland, Inc. For example, in 1958, Bank of America appraisers figured of the total income received from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sell various products and food.

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

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

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

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “Aunt Jemima - This one is very doubtful because of the time required for the fixtures.”

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

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

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

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

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

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

Walt (and company) always recognized that casting was essential to the success of any story being told whether in feature-length and short film format, or at Walt Disney’s Disneyland. As far as those Disneylanders representing both Walt Disney Productions and lessees on a person-to-person basis, Walt later expressed the following confidence: “What you do here and how you act is very important to our entire organization and the many famous names of American business represented among our exhibitors… Your every action (and mine also) is a direct reflection of our entire organization… For our guests from around the world the curtain goes up on an all new show at Disneyland everyday and you, as a host or hostess, are truly ‘on stage.’ I know you will give a courteous and friendly performance.” Aunt Jemima involved Guests in a story-one in which they could participate.

For now, as with all Disneyland Hosts and Hostesses hired during 1955, each employee of Aunt Jemima’s Kitchen “was hand-picked by Disneyland officials with qualifications including disposition, general attitude and appearance. Each new Disneyland employee was required to attend ‘orientation classes,’ part of a training course in Disneyland policies, to become acquainted with the Disneyland way of life,” according to “Building A Dream,” prepared by Disneyland, Inc. Public Relations Department, c. June of 1955. Five months before the premier opening of Disneyland, Hal Hensley (of the Disney University Orientation Program ; under the Direction of Van France and his assistant Dick Nunis) held special classes (which would become a “tradition”) to instruct the approximately 1,200 friendly and outgoing Disneylanders (including those fulfilling roles at Aunt Jemima’s Kitchen) in Guest service through some of Walt’s personal philosophies, as well as the policies which would “create happiness” for visitors! Even at its foundation in 1955, Disney University was producing specialists in the field of outdoor theme entertainment.

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

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

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

The Character of Aunt Jemima wasn’t the only one to appear at the restaurant. Years after opening day, both Br’er Bear and Br’er Fox also made regular appearances at “Aunt Jemima’s Pancake House,” greeting guests as part of the Character Program, “throughout the Christmas Holidays” (daily between parades, from 9:00am to 11:45am). During later winter seasons, the Disneyland Christmas Carolers (under the direction of Dr. Charles C. Hirt and lead by Mr. Robert G. Hasty), also appeared at Aunt Jemima’s during various times of the day, from December 16th, 1967 thru January 1st, 1968. [“Disneyland Holiday Talent Master Schedule,” prepared for the period of December 16, 1967 through January 1, 1968] Still, the true star of Aunt Jemima’s Kitchen and Aunt Jemima’s Pancake House was Aunt Jemima herself. All of these Characters would create tangible memories Guests through it’s Food and Show.

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

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

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

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

In fact, by October of 1958, there were over sixty-eight other firms playing a vital part in the team effort to bring happiness to Disneyland’s Guests. Some were small, specialized individual operators; some were huge companies such as Swift & Co. - the Bank of America - United Paramount Theaters (which you hear as UPT) - Carnation - Richfield - General Dynamics - Crane - and many others. These companies used the park to publicize their wares, leased space in the Park to publicize their wares, and Disneyland collected advertising fees from them.

By 1959, of the total income received by Disneyland, Inc. from leases, 16.02% was derived from the selling of advertising rights and 40.12% from the leasing of space to concerns whose main reason for occupancy is for advertising purposes. The remaining 43.86% of the lease income was derived from stores that sold various products and food.

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

Refurbishment work has much impact on the Guest experience. During 1961, even Eleanor Heldt (Magic Kingdom Club Administrator) commented that “During a major rehabilitation, it is sometimes necessary to close an attraction for several weeks. This, of course, is when the smallest details were checked, replaced or repaired as required for the maximum safety, convenience, and comfort for our guests.”

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

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

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

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

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

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

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

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

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

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

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

According to “THE DISNEY THEME SHOW: an introduction to the art of Disney outdoor entertainment; Volume 2”: “What we create here is a storybook realism… an essence of realism and authenticity... more utopian in nature, more romanticized, more like what guests imagined it would be. All the negative, unwanted elements are carefully programmed out, while the positive elements are not only retained but in some cases even embellished for better entertainment.” This guiding principle has affected Disneyland Show since the beginning and is well illustrated by Guest response to the placemats, the food, the characters, and even the architecture of this once-popular Disneyland table service restaurant.

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

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

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

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

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

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

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

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

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

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

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

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

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

If you would like to read more about Aunt Jemima’s Kitchen or the Pancake Races (1957-1964), it’s my pleasure to recommend adding Marcy Smothers’ “Eat Like Walt - The Wonderful World of Disney Food” to your personal Disney Home Library! Therein, Marcy has extensively researched and finely crafted a small section of a chapter dedicated to “Walt Disney’s Disneyland - Frontierland.” If you would like to bring the magic of Disneyland restaurants and concessions to your dining room table, “please step this way” toward www.eatlikewalt.com where Marcy has shared a few recipes for memorable Disneyland menu options, so you too can “Eat Like Walt.”

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

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

(1971 - present)

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

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

“Let’s dine at Disneyland!”

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

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

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

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

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

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

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

Since the beginning, the Four Keys of the DISNEYLAND Show (operating priorities in presenting the DISNEYLAND Show) have been present - Courtesy, Safety, Show, and Efficiency. Walt Disney Imagineers are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures! And so we arrive in the present, inside the waterfront Disneyland dining destination.

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

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

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

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

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

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

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

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

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

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

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

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

“Autopia Research, Development, and Prototypes of 1954”

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

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

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

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

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

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

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

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

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

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

The back of the Whitman card (center) reads:

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

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

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

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

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

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

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

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

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

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

The cars were equipped with centrifugal clutch.

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

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

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

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

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

About this time, the following final plans had been approved by Milt Albright (of Accounting) and Bob Burns (of Merchandising). F. M. Franz, manager of operations for McNeil Construction expressed: "We feel sure there has never been anything built like this in Southern California, or elsewhere in the United States. Many of the items were constructed from artist’s sketches.”

The construction crews didn't begin work on any of Tomorrowland until six months into the project. The Autopia FREEWAY was about ½ scale. Mounting height of 20-watt fluorescent lamps was 9 feet 6 inches above roadway, spaced on 20-and 30-ft. centers.

"Autopia Entrance Pylon and Canopy"

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

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

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

“The Freeway of the Future”

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

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

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

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

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “Autopia: Roadway - okay. Entrance tight due to the steel delivery (should make it). Cars - okay. Landscaping decision needed badly.”

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

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

“…and They’re Off!!!”

Two days later, the Autopia Mark I’s and the Freeway of the Future officially debuted at Disneyland, during Disneyland Press Preview Day (held on July 17th, 1955)! According to “Walt Disney Disneyland” (first published 1964): “Back in 1955, however, Autopia was a taste of the future for many visitors to the Park. Few states in America had an ultra modern expressway system that could match the one at Disneyland in those days.” While much of the surrounding landscaping was incomplete, this attraction was still reckoned among “Disneyland rides and amusements” that “will delight the very young, the teen-ager, young married couples, the middle-aged, and grandparents alike”, as some of the Vintage Views testify [Anaheim Bulletin “Premier Souvenir Edition - Walt Disney’s Magic Kingdom - Disneyland” Insert ; Friday, July 15th, 1955]. “55er” Marion Schawacha recalled opening day: “The waiting lines were all mixed up and criss-crossing each other. The line from Autopia would end up at the Space Bar, and vice versa. All you could see in Tomorrowland was PEOPLE!”

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

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

“The Show Quality of The Disneyland Autopia Special“

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

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

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

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

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

At the 2001 Official Disneyana Convention, a tire from Walt Disney's Autopia Special car was auctioned off for $1,200.

“Working Leads & Rotating Operating Positions”

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

Chuck Abbott (who joined Disneyland August 10th, 1955) also worked Autopia. The previous Vintage View was captured about the time that the aforementioned Chuck Abbott joined Disneyland, starting as a “ride operator on Autopia.” According to “The Pioneers” (a Club 55 20th Anniversary Publication), Chuck “started in the Autopia when… there was no track to control the cars then.” Each Autopia Cast Member was viewed not as a “spare tire,” but a vital wheel keeping the Disneyland show on the road!

Jim George also operated the Autopia.

“Roger Broggie’s Bumpers”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Smaller guests board and depart from Junior Autopia Mark IIs.

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

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

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

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

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

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

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

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

By the beginning of 1956, interest in the Autopia had not diminished! One Associated Press article “Plan Trip Into Drop of Water, Liberty Square for Disneyland” (by Bob Thomas, published April 20, 1957) vaguely hinted at big changes in store for the Autopia. Upon being invited to Walt Disney Studio, Bob Thomas mentioned, “Walt gave me a preview of his ambitious plans at his Burbank studios. He showed models and sketches…plans call for… a revamped autopia.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

…All this scenic beauty, and no traffic jams!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In an interview, Walt Disney once said, “Whenever I go on a ride, I’m always thinking of what’s wrong with the thing and how it can be improved”. [“Walt”, published 1975 by Walt Disney Productions]. Bob Penfield (in interview with Disneyland LINE, Vol. 25, No. 28), recollected at least one conversation about one of these particular “improvements” : “One time I was [working operations] on the Autopia and Walt and I were standing talking about how installing a central rail would help control the cars.” Proving the truth of Walt’s interest improving things, he personally made a visit to the Santa Cruz Boardwalk (during 1963). Walt’s reason for doing so, was to visit their new Autorama attraction, which featured futuristic auto designs by Arrow Manufacturing in Mountain View, as well as a center guide rail. While there, photographic evidence preserves both Walt and Bob Gurr personally sitting behind the wheel of what would become the prototype of the next-generation of Autopia vehicles. As a result, another brand new Autopia vehicle design (without a wraparound bumper) would debut the following year (in 1964) - The Autopia Mark VI! In 1965, a new guide rail system was installed along the Richfield Tomorrowland Autopia’s road. By 1964, Walt Disney’s Guide to Disneyland was naming this Tomorrowland attraction the Super Autopia Freeway (presented by Richfield)!

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

Autopia cars were often serviced by the Welding Department.

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

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

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

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

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

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

Disneyland Participant Corporate Sponsors were carefully selected. High quality, long term corporate sponsors would provide incremental income that enabled Disneyland to enhance its show and attractions, offset some operating expenses, and capitalize on marketing opportunities. “A cross-section of American industry…[was] represented in Disneyland. Each of these companies… [would expose] its institutional advertising and public relations message to Disneyland guests through various forms of participating exhibits and displays. In each case, the exhibit… [was be] related to the theme of the ‘land’ in which it is located, and is woven into the overall concepts and themes of Disneyland,” according to “Disneyland, U.S.A.,” published 1958.

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

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

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

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

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

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

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

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

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

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

At Disneyland, signs were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage. The majestic Richfield Eagle would spread it’s wings and soar over the Super Autopia Freeway queue for a decade-and-a-half, until 1970 (when Disneyland Participant Affairs and Participant Richfield could not negotiate a new cooperative agreement to maintain their ongoing relationship). So, Richfield’s sponsorship of the Autopia would cease. By that time (1970) , a total of 47,756,550 guests had sat behind the wheel of an Autopia automobile on one of Disneyland’s Autopia Freeways [Admission Media Rides and Attractions Reports, published by Disneyland Research Department, April, 1971].

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

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

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

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

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

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

Note the colorful new flowers!

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

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

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

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

An Instantaneous Capacity of 72 guests per track,

An Audience Control Capacity of 307,

Cycle Times of 4:44 and 4:50

Unload Time of :09

Load Time of :07

Ready Time of :16

Trip Time of 4:12 and 4:18

Dispatch Interval of :08

Trips Per Hour at 450 and 448

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

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

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

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

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

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

“Environmentality™ & Energy Management”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

According to Van Eaton Galleries’ auction catalog :

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

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

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

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

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

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

“Chevron Autopia”

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

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

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

By 1972, Pregnant women were restricted from riding the Matterhorn Bobsleds and the Autopias.

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

All of this would contribute to a pleasant drive through the scenic side of Tomorrowland!

The Autopia would have a legacy at Disney Parks, like Tokyo Disneyland.

Since the beginning, the Four Keys of the DISNEYLAND Show (operating priorities in presenting the DISNEYLAND Show) have been present - Courtesy, Safety, Show, and Efficiency. Walt Disney Imagineers are always seeking out new magical opportunities to increase the efficiency, safety, and show quality of Disneyland adventures! Walt once divulged, “When we consider a new project, we really study it - not just the surface idea, but everything about it. And when we go into that new project, we believe in it all the way.” [“Walt Disney Productions Annual Report to Shareholders and Employees Fiscal Year Ended October 2, 1965”] That philosophy having grown into a Disneyland tradition, perhaps assures us that some form of the Autopia may continue will continue with Tomorrowland far into the future!

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

There was Disneyland’s official flag over the Santa Fe & Disneyland Railroad Main Street Station, there were historic American revolution-era flags near the Frontierland Dock, and there were even international maritime signal flags over the Tomorrowland Exhibit Halls.

The presentation of the Court of Honor show on the vast DISNEYLAND “stage” was a distinct part of the Disneyland theater concept. The construction crews didn't begin work on any of Tomorrowland until six months into the project. While construction was being completed, Bob Thomas quoted Walt, reporting “‘We’ll have flags all over the place,’ he remarked. ‘At the entrance we’ll have a big one with 48 stars… And in Tomorrowland, the flags will have 50 stars - - for Hawaii and Alaska.’”

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. Thumbnail sketches and other concept artwork of Disneyland seemed to be unencumbered by restrictions of budget, schedule or the laws of nature and physics. Like the modern “Blue Sky” process, Walt’s team appeared to engage in “free-thinking.” This is what a good amount of Herb Ryman’s “suggestions” depicted for the Entrance to Tomorrowland - some patriotic thematic elements, plenty of fountains, and atomic emblems!

Like some advanced “High Concept,” final designs were quickly generated and approved. Some of these viable project Concepts (as depicted above), were supported by a well-developed business case and built expectation. These concepts were soon followed by drawings which defined all designs, production and construction strategies, costs, schedule, and resource requirements.

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.”

As of June 2, 1955, C.V. Wood Jr. sent an Inter-Office Memorandum to Walt Disney regarding the best estimates that could be obtained at the time regarding the completion status of individual sections of the Park and Opening Day. C.V. wrote: “Flag Poles: We need location decision.” However, by the time that Disneyland opened, The Court of Honor was Tomorrowland’s special star-shaped “hub” (or, plaza), and homage to the current United 48 States of America! It was originally located near the center of Tomorrowland, at the entrance to Hobbyland.

On the Opening day of Disneyland, the free exhibit was dedicated as the forty-eight states were saluted by 48 Boy Scouts of America who ceremoniously hoisted the 48 colorful state flags up their respected poles (all in coordination with a drum line). [See the Disneyland Opening Day Telecast, July 17th, 1955 ; approx. 44:37] In the center of the Court of Honor, was (despite Walt’s promise to Bob Thomas) one of Disneyland’s two 48-star flags, flying high. This flag pole was special, because its United States flag was one of two Disneyland flags lowered at the time of the Retreat Ceremony, at the end of each Disneyland day! Some of these things are preserved through Opening Day documentation.

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

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

Walt Disney, on the eve of Disneyland’s first day of operation, promised innovation, that “Disneyland will never be completed. It will continue to grow, to add new things, as long as there is imagination left in the world.” Walt also once said that “Disneyland is like a piece of clay : if there is something I don’t like, I’m not stuck with it. I can reshape and revamp.” A fantastic example is what became of the Court of Honor.

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

The flag poles streamed around the perimeter of the plaza containing the World Clock and three flower beds (for both aesthetic and crowd-control purposes). Though not labeled on the (preceding) map excerpt, you can get an idea of the new configuration of the poles. The Avenue of Flags would have seen three variations of the country’s official banner. The Avenue of Flags debuted with the 48-star flag. As additions were made to the union, they were reflected in this “star-spangled” thoroughfare.

For example, on July 4th, 1959, an Alaskan Flag Ceremony was held in Tomorrowland commemorating the 49th state to join the union, on January 3rd, 1959! On this occasion, a brand new 49-star flag of the United States of America was hoisted up the flag pole in the center of the Court of Honor! A new pole was also added and the first Disneyland Dictionary printed October of 1959 soon made mention of the “flags of each of the 49 states.” The following year, a 50-star flag (first introduced July 4, 1960 at Fort Mc Henry) made its Disneyland debut.

There were once two (2) contemporaneous “American flags of today” flown in Disneyland, one at the center of the Court of Honor at the entrance to Tomorrowland. However, a Retreat was only observed at sun-down every day the park is open, from the Center of Town Square.

Most of the flags flown at Disneyland (during the “fabulous first decade”) were manufactured by Horetense Van Der Wyk’s Hortie-Van (of Pasadena, California). These were both installed and maintained (from weathering and tearing) by the Disneyland Drapery Department (which would include seamstresses like Al Alvarez, c. 1958, as well as others).

This map excerpt labels the attraction Flags of the States. Ultimately, by the time that New Tomorrowland would open, the Avenue of Flags attraction would be a thing of the past. In the exact location of the old “Court of Honor” would stand the launchpad for the new RocketJets attraction!

The Flag Poles were arranged around the Entryway, like that of “Maine, Admitted March 15, 1820, 23rd State, Motto: ‘I Direct,’” which was located to the right of the Monsanto Hall of Chemistry entrance.

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

At Disneyland, signs were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage. Here, a plaque bearing one motto of New York (the 11th state of the union) - “excelsior”, sits proudly below the New York State Flag!

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

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

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

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

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

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

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

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

During the International Geophysical Year of July, 1957 to December, 1958, guests were to walk past the Avenue of Flags attraction at Tomorrowland’s Entryway, they would come to the emblem of the United Nations (supported by flags of the world) hanging over the central floral beds, between Tomorrowland’s exhibit halls. This may have been in observance of the Geophysical Year or World Trade Day (which was first celebrated during May of 1957) in association with the Los Angeles Chamber of Commerce. As a “sidelight”, Disneyland first celebrated United Nations Day during 1960. Whatever the case, one thing was certain… as Magic Kingdom Club Administrator Eleanor Heldt once said: “In a way, Disneyland is a United Nations devoted to bringing together and entertaining peoples from every corner of the globe.”

The Courtyard of the Flags nearly had a legacy in the Courtyard of Nations at Epcot Center in Florida.

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

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

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

“Blue Sky and Development”

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

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

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

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

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

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

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

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

‘Oh?’ replied Roy.

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

Did Walt try to borrow from you?’

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

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

“Construction”

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

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

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

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

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

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

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

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

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

“Casting”

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

“Grand Opening”

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

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

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

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

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

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

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

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

“The True-Life Institution”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“MARY REMEMBERS THE BANK OF AMERICA VAULT INSTALLATION”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gabriel Scognamillo - Art director who worked on Tomorrowland.

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

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

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

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

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

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

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!

“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 Own 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.

“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.

“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.”

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.

“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.

Since the creation of Mickey Mouse, Walt Disney 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 was 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.

“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.

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.

“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 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.

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.

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.”

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!

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.

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!

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!

“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.

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

“The Search for Disneyland Participant Sponsors”

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 was searching for participants to lease shop and restaurant spaces and help generate the necessary capital to fund construction of Disneyland® Park. 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.

Several Disneylanders were essential to the establishing friendly relationships between sponsors and Disneyland. “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 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. Frito-Lay became one of those forty-seven Disneyland Participants and lessees to sign a contract with Walt Disney Productions (regarding Walt Disney’s Disneyland), and one of a few to invite guests to “dine at Disneyland!”

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

“Blue Sky for Casa de Fritos”

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 modified facilities. “Disneyland is unique in that some of the world's foremost creative artists and architects control all design at Disneyland.“ The Casa de Fritos building was styled with typical “south-of-the-Border” atmosphere.

“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.”

Casa de Fritos would be situated directly opposite the Dixieland Gazebo Bandstand. All fixtures were placed in their correct motif and many light fixtures were authentic antiques.

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: “Fritos: They will be able to open with us but the part with the little animated man may not be complete.”

“Grand Opening of Casa de Fritos”

Two days before the televised Press Preview event at Disneyland, a (c. June 15, 1955) newspaper supplement whet the public’s appetite by featuring a full page advertisement of Casa de Fritos. The Santa Ana Register, July 15, 1955 briefly described the location as “an authentic Mexican Taco cafe and a Frito house.”

The Press Preview Day arrived. Then Disneyland opened to the general public on July 18th, 1955, but Casa de Fritos, the table service restaurant did not. It would be nearly one full month before Casa De Fritos (or, “The Fritos House”) opened on August 11th, 1955, in a small location near the water’s edge on the Rivers of America (not far from the current site of the River Belle Terrace).

Service was described as “efficient cafeteria style,” offering “indoor and outdoor dining facilities.” Here (overseen by Jim Baker of Disneyland, Inc.), Guests discovered “Mexican food specialties, combination plates, tamales, enchiladas,…, chips, chili and beverages” - “tantalizing dishes so popular south of the border.” According to the Disneyland News (June, 1956), “Chili is a house staple prepared and offered in a variety of intriguing combinations. Tamales, enchiladas, and an all time favorite of the Taco found in a unique ‘tacup’ round out the menu. For a meal that includes the variety of tempting flavors of all these the Frito chef recommends the Mexican Combination Plate.” Of course, guests can expect to find Fritos (“America’s favorite corn chips”) where there’s good eating, fun, and excitement! In addition (and in a move of corporate synergy), the Frito House 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.

This matchbook was a tangible memory for Guests.

“The Move of Casa de Fritos”

Walt Disney, on the eve of Disneyland’s first day of operation, promised that “Disneyland will never be completed. It will continue to grow, to add new things, as long as there is imagination left in the world.” A half year later, at a meeting of the Disneyland Merchant's Association (held January 25, 1956), a momentous announcement was made: “Me may move Fritos over to the opening of the Mine Ride to service with Mexican food, etc. The service roads are being changed to go between Frontierland and Fantasyland without coming down through the park.” Soon, Casa de Fritos restaurant was closed and relocated to another area, replacing the Marshal’s Office in Frontierland (and not far from Disneyland Offices tucked away in an adjacent Backstage area). In place of its former location, Don DeFore’s Silver Banjo Barbecue opened its doors for a five year lease, but that’s an entirely different story.

The area was further embellished. By September 28, 1958, Disneyland, Inc. made approximately $20,551.00 of land improvements to the Mining Town Restaurant.

Casa de Fritos soon became one of three major attractions in Frontierland’s El Zocolo. The new Show Building setting was an “adobe and thatched shade,” structure according to the “Disneyland Dictionary,” compiled by WED Enterprises, Inc. and WED Public Relations Department, c. 1968. Appropriately, the Lone Star Flag flew over Frontierland’s “Tex-Mex” dining destination, while the patio was routinely packed with hungry guests. This was generally the scene around mealtime.

“Projections and Response”

It was predicted that Casa de Fritos operated by Fritos Company would have the capacity to serve 450 guests per hour. This particular Disneyland eating facilities 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).

As a result, Disneyland, Inc. received much 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.

During the era of their Disneyland “Participantship”, servings of Fritos were offered free with each dish at Casa de Fritos, and also available à la carte via Vendors near the entrance. The “Ta-Cups” (a taco in a cup-shaped shell) were advertised in pre-opening advertising supplements of The Disneyland News in 1955!

In a move of synergy, the Frito Co. contributed food to the First Annual Disneyland Christmas Party on December 10, 1956.

While Disneyland needed no introduction, its attractions did! At Disneyland, signs and posters were themed to support the stories with respectful graphics, colors, fonts, terminology, the overall design of sign, materials (wood, metal, banners, etc.), and verbiage used on the signage.

When the earliest attraction posters were prepared, Casa de Fritos also received a promotional poster. By this time, all art work, posters, etc. were produced at the Walt Disney Studios. 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.”

This Casa de Fritos promotional postcard that was sold inside Disneyland featured the artwork of the Casa de Fritos billboard image which advertised the restaurant to locals passing just outside Disneyland.

The synergistic relationship between the institutional lessee and Disneyland was beneficial. The Frito Company yielded some revenue for Disneyland Inc. - $18,831 for the fiscal year ending September 29, 1957 and $21,263 for the fiscal year ending September 28, 1958.

“Casa de Fritos and the ‘Second Opening’ of Disneyland and Beyond”

Owning to Jack Sayers (of Lessee Relations), Casa de Fritos was a contributing Participant of 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.

As a sidelight, by October 1959, Jim Baker (of Merchandising) was overseeing the Disneyland Souvenir Sales and Food Administration which included Casa de Fritos.

By 1960, Disneyland wasn’t the only theme park with a Frito Company Mexican Restaurant. Freedomland had a Old Southwest restaurant sponsored by the Frito Company.

The Casa de Fritos featured outdoor seating on the patio. Tables and guests were shaded by grass-thatched umbrellas, and guests sat on colorful red, blue, green, and yellow benches while dining.

When the indoor dining room was full, guests sometimes waited for available tables while seated on the benches around this planter.

You may be wondering who this “chip-a-dee” is? As mentioned earlier, if you were in the mood to munch a quick snack (and not a meal), Fritos were also sold by the female vendors that would typically be found sitting on the old Blacksmith Shop hearth, located just outside the Casa de Fritos.

“Any Food Or Drink Tastes Better With Fritos”

Guests were encouraged to “try Fritos with sandwiches, hamburgers, soups, salads, hot dogs, Mexican foods, and your favorite beverage”! You may have personally had the experience of eating a bag of Fritos with a refreshing Welch’s Grape Juice or a cup of Carnation Farms’ milk at Disneyland. Here, the Fritos Vendor Hostess (like Alice Rodriquez) exemplified the spirit of Disneyland while selling popular Fritos corn chips (straight from Klondike) and New Era Potato Chips.

As a sidelight, New Era Potato Chips was acquired by Lays, and ultimately Pepsi-Co. in 1965. New Era soon began distributing a certain thicker “Ruffled Chip”, specially designed with grooves for dipping (which can be seen among the vendor’s offerings, pictured above).

In 1967, the price range for meals ran from 30¢ to $1.85.

From May 7 to May 20, 1973 the Casa de Fritos was closed for a 2-week rehabilitation.

During meals, the wandering mariachi would serenade diners as they refreshed themselves and ate under the festive umbrella-shaded patio tables.

During 1978, a massive rehab came to Casa de Fritos (as well as the Frontier Gallery and Frontier Traders). This project was overseen by Lead Bud Poole (of Disneyland Maintenance).

By 1975, the benches for Casa de Fritos were being repaired. When the mealtime rush of customers dispersed, the colorful seating of the Casa de Fritos offered a place to rest while enjoying both the sights and sounds of Frontierland! This was also the sight during periods of regular rehabilitations (like in ‘78) which maintained the show quality. In November of 1978, the Frontier Traders Shop reopened from a rehabilitation with increased floor space and enlarged stockroom replacing the old closet. In addition, an access passageway was opened behind Casa de Fritos and the Shooting Gallery to allow the Warehouse drivers to drop off their deliveries backstage. This proved handy for Casa de Fritos Hosts, Hostesses, and other Cast Members for the remainder of the lessee contract.

However, after Disneyland Participant Affairs and Participant Frito-Lay could not negotiate a new cooperative agreement to maintain their ongoing relationship, Casa de Fritos would close its doors. This second incarnation of Casa de Fritos restaurant had been in operation for about two-and-a-half decades (from June of 1957 until October 1, 1982), when it was renamed The Casa Mexicana.

If you would like to read more about the Casa de Fritos, 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.”

Lawry’s first developed their “Seazn-All-Salt” steak seasoning in 1938. Since then, the company came to produce “110 different products, 17 of which” were employed in various restaurants around the circa 1983 Disneyland. Casa Mexicana (hosted by new Participant Lawry’s Foods, since May of 1983) captured the feel and flavor of the Mexican Square’s premier attraction, though a refurbishment was in “order”.

During this time Casa Mexicana hosted by Lawry's offered Mexican food specialties, combination plates, (tacos, burritos, and enchiladas) similar to Casa de Fritos’ former offerings were still available in a “buffeteria” setting, and diners could still hear the sound of the mariachi in the square. But now, new variations on these were offered - beef or chicken tacos, shredded beef burritos covered in ranchero sauce, cheese enchiladas, mini beef taquitos, quesadilla rolls, taco salad, nacho platters, and the “Beef Colorado.” Many combination plates allowed guests to experience several of these options, served with rice and beans (of course). “Disneyland Executive Chef Tony Bodner explains that Casa Mexicana offers what might be termed California-style Mexican food. ‘At Casa Mexicana, as at all our Disneyland restaurants, we present an Americanized version of traditional foods,’ he says. We have to gear our recipes to the kind of tastes our audience will accept. For instance, traditional Mexican food would be too hot and spicy for our average American guests. But we’re very quality conscious here, and our recipes convey the style and flavor of the ethnic foods,” according to Disneyland LINE magazine (Vol. 15, No. 41).

According to the very same article, Casa Mexicana used “about 300 pounds of beans and 300 pounds of rice, plus another 300 pounds of cheddar cheese and about 400 pounds of beef” during peak summer days, by account of Disneyland Food Receiver Joey Silva.

Casa Mexicana occasionally hosted special events, like Private Parties (e.g. GM-Hughes Family Celebration, January of 1986), during which Charles Boyer’s “Casa Mexicana” was occasionally offered as a limited edition print.

By 1990, healthier menu alternatives - Cheese Enchilada, Chicken Taco, and Fresh Fruit Cup - were offered. This incarnation of the restaurant continued for a little more than 17 years, until the opening of Rancho del Zocalo(February/April 2001 - present)!

By 1991, the buffeteria-style Casa Mexicana restaurant was still hosted by Lawry’s Foods and offered “south-of-the-border” specialties including tacos, burritos, and enchiladas.

In the present, the menu options and atmosphere have changed considerably since the Casa de Fritos name disappeared from the entrance. The Fritos Street Vendors, Mariachi, and colorful dining areas are all gone, but there is still a festive feel, and a reminder of “the exciting days when the story of our country’s past was being lived” in this section of Frontierland!

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.

One of the cutest little homages to Casa de Fritos - this little Frito Kid pewter figure.

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.