hillflyer

Rainy day inspired me to snap a couple.

I went to Belmont Park to measure the original Bobs car on display in the ticket office/museum. The same style train operated on the Airplane, so I was lucky to have such a source close by. Here is the draft I came up with. The red pencil is pointing to the actual width of the car.

Shortly after I completed the bottleneck, I discovered through some clearer filmed footage, that the diagonals on the interior of the turn were in fact 4" x 8"s wedged in between the 4 x 8 uprights. I was using the standard 2 x 4's hammered placed on the outside of the posts. I was going to put off switching them over until I decided if I was going to even bother with it. But, it is an important structural key in the way that turn was engineered. I'm about to close up this turn, making the switch next to impossible, so ...here I go. So far, it's not as hard as it seems. I was using the standard 2 x 4's hammered placed on the outside of the posts. The diagonals on the interior of the turn were in fact 4" x 8"s wedged in between the uprights. BIG visual difference so far. Glad I decided to take on this little set back.

Starting to sketch out plans for the skeletal frame for the back end of the station house.

Working on tracking the valley of the first drop of my Airplane Bring Back the Airplane Coaster! Model. The structure and subtrack were a bitch to get right, but all should be easy for now. Working on tracking the valley of the first drop of my Airplane Bring Back the Airplane Coaster! Model. The structure and subtrack were a bitch to get right, but all should be easy for now.

Setting up the stage for the FIRST DROP!

Aside from trying to figure out how to make the roofing paper stick better to the roof, the brake run, garage, and dip are finished!

PROGRESS REPORT Just took these photos this weekend to give me a feel for where I am. Looking at these, I'm thinking that I'm pretty much past the halfway mark! Reminds me of the Dragon in the eighties. Brake run leading to the station. Joeyzilla!!!

On the Giant Dipper brakes, taking up most the room between the tracks, were two runs each made of 6 long laminated strips of 2x2' wood much like much of the track construction. The first photo is pre-restoration pictures of the Dipper's brake run, burned and painted over. On the wood was laid three metal rails, the same material used for the metal rail on the tracks. These rails are what would make contact with the skids attached to the bottom of each car in the train. For simplicity sake, I used three strips of 2x4s which yields the same visual result. Underneath, I used 4x8s as ties to connect the two sides of rail. Under that, I placed the fin-looking strips I call "riders". These are what lower the track down and raises it back up to stop the train. On the Giant Dipper, taking up most the room between the tracks, were 6 long laminated strips of 2x2' wood much like much of the track construction. On the wood was laid three metal rails, the same material used for the metal rail on the tracks. These rails are what would make contact with the skids attached to the bottom of each car in the train. Underneath, I used 4x8s as ties to connect the two sides of rail. Under that, I placed the fin-looking strips I call "riders". These are what lower the skids down and raises it back up to stop the train. Showing subtrack in the braking area. After the brake skid installation - For simplicity sake, I used three strips of 2x4s which yields the same visual result.

MAKING FLAT CATWALK Most wooden coasters don't bother to put cleats on catwalks where they lie horizontal. To make those, I put three scaled 2x8's together, leaving a hair of a space between them. Then I tape every inch or so. Then, I paint the untaped side. To get in the cracks, I peel the three pieces, keeping them taped. This way, I can paint into the seams. Then measure and cut, and glue. To make those, I put three scaled 2x8's together, leaving a hair of a space between them. Then I tape every inch or so. Then, I paint the untaped side. To get in the cracks, I peel the three pieces, keeping them taped. This way, I can paint into the seams.

LESSON in the simple brake mechanics of the Airplane (really the Giant Dipper). Since both were designed by the same man, I'm using a good educated guess as to how the brakes on the Airplane functioned. It was so simple. This is what goes on under the track. This is a birds eye photo of the braking stretch going into the station on the right. An unmanned brake is always set to the "ON" position. It takes manpower to adjust the brakes in order to allow a train to proceed through. The trains would come in from the left. As a train is approaching, the brake man pulls the red stick which swings a range of pivoted (red dots) boards (white) forward. That in turn brings the periwinkle board forward, thus moving the risers. When the risers move to the right, the orange brake sled lowers, allowing the train to pass. On the Giant Dipper, there was a 50 gallon drum filled with cement that hung from a cable which automatically brought the sled back up to the "on" position after the man releases the red stick. Personal View. This is how simple it used to be people. The only electrical power required was to run the motor. The brakes were not any more science than a pull lever on a kids go kart. Anyone ever notice that the more technologically advanced a roller coaster becomes, the more down time there is? Its ironic that a lot of this technology is required to make rides safer, when it also is a big contributor to the problems.

MAKING THE GARAGE When I don't feel like or can't work on the larger sections, I work on smaller projects, like pre-cutting, painting and other light work. In this case, I've been working on the garage that sits between the final brake run and the the middle of the ride. So, here is my process for making the garage walls. I snip plastic strips (2x8s) I line the chopped pieces up inside of a right angle. As hard as I can, I push the slats all together to eliminate any gaps between the boards. I secure with tape. The plastic strip I'm holding down with my index finger is to keep the slats from buckling up with I'm pushing. Then I trim, line out the window, cut out the window, put trim around the window and paint. Insert walls into frame. Add window panels. Add more finishing trim from front to back Looking down the garage. You know, this would be a GREAT place to store batteries if I ever want to light this up.

I wasn't sure how I was going to make the anti-roll backs. For a long time I was planning on using the rigid side up of a zip-tie. But I thought I'd take a shot at trying to just make them. I must say, I'm happy with how it turned out.

I spent some time on Sunday with attempting to splice together the spiral and the slingshot. To do that, I had to lift up the entire track structure for working room. Then I merged the two sections together. The only layer I brought back down is the subtrack so that I could continue to extend it. I got all that plus one side done! Before the splice Success with the splice The track was lifted and held way up to clearly align the two sections. Peeling apart the layers of track so I can continue extending it through the slingshot. Sub track done on the right track side.

This central part went up really fast. L to R, Brake run, garage, lead up to the hump that crosses over the first drop.

Just completed the frame for what I call, the slingshot. This is the where the coaster train careens out of the first spiral and shoots towards the next.

Artsy shot of it. Almost finished folks. So little time these days.

Really nice! Lots of attention to the littlest detail and it still comes out looking clean and convincingly real.

Update - The pullout area of the spiral (white) is confusing me in terms of exactly how high the track is off the ground. This new b&W frame capture arrived just in time to show me that I have to go back and do a little re-profiling here. Match the colored sticks for a reference. The brown grid would be the station floor.

I am almost done with the spiral section of an abandoned Airplane coaster. Not quite done to be taking photos for an unveiling for it doesn't quite match the vision I had for a completed section. I decided last minute to build in the very wide circular pull out at the bottom of the spiral. Plus I discovered some reprofiling that had to be done. Maybe next weekend I will have something. In the mean time, here is a sneak peek. Whaddya think? Starting construction of the curved pull-out area from the 60' tall spiral. I'll add this to make the section look more complete. The abandoned Airplane coaster

1955: Tearing down the Giant Dipper was an option the Mission Beach Coaster Company was considering over trying to rebuild it. Once they decided to declare bankruptcy, new park lease-holder Jack Ray asked to take over the Coaster Company’s lease when in expired the next year. While the future of the Dipper remained uncertain, Ray insisted that he needed a roller coaster in order for the park to have any chance of succeeding. He stated that he would have to build his own. Immediately, Ray installed a small wooden coaster called the "Big Dipper” designed by Herbert Schmeck of the design firm Philadelphia Toboggan Company. This 35’ tall kiddie ride was originally installed at Hoppyland Amusement Park in Venice in 1951. After the park closed in 1954, the Dipper was moved to Belmont Park where it stood for a few seasons starting in 1955. It was then moved to the Pomona County Fair Grounds near Los Angeles where it served until it was permanently destroyed in 1975. While located at the fair, it was used in a very dramatic shoot-out scene in 1973’s movie “The Clones.” The Midway to Ray's New Belmont Park. He was responsible for the construction of the Enchantedland section of the park centered. It remained there until 1976. Another glimpse of the elusive Big Dipper. Double Ferris Wheels take attention away from a partial glimps of the Big Dipper. This Schmeck designed coaster took the place of the Giant Dipper while it was closed for two seasons.

THE STATION HOUSE pt 1 The Giant Dipper on opening day 7/04/25. The coaster and the station were completely unpainted when opened. According to a review of the coaster's opening day, the article quotes, "Later on after the sea air has seasoned the wood the scaffolds will be give a fresh coat of white paint. Note the Victorian style roof. In 1955 almost exactly one year to the day after Jack Ray took over the Mission Beach Amusement Center lease, fate took an ugly turn once again. On Wednesday morning, February 2nd the roller coaster inexplicably caught fire. The blaze was discovered by former park leaseholder Roy Matheson, who at that time was still in charge of some of the rides and concessions. Destroyed was the coaster office, motor room, a set of coaster trains and some of the wooden framework. While firefighters were investigating the damage, they discovered the body of Walter T. Barney, 59, president of the Mission Beach Coaster Company. Barney operated the coaster since 1948. Firefighters believe the blaze started in the motor room where Barney must have been trapped while working. Reopening Day - May 31st, 1957 of the New Belmont Park. Jack Ray also was a carnival designer having created much of the 'circles and triangles' on ride facades and attractions at the Seattle Worlds Fair and around the world. At this point, the Giant Dipper sign was removed and the name eventually forgotten. It was renamed Earthquake in May of 1976. Note the motor house has a new design and was not painted yet when the coaster reopened. Showing the general state of disrepair of the station over its abandoned years. Volunteers from the California Conservation Corps tear apart the 50's style facade that covered up the original trusses under the roof. Later we realized much of this simple frame and plywood was used to simply cover up any evidence of the 1955 fire. The drop-ceiling was also installed in the 50's, probably to cover up both the visible burned areas and for structural reasons. You can see the black ceiling up towards the front of the newly constructed duplication of the original front.

The Save the Coaster’s next public appearance would be before the Mission Beach Town Council in April of 1982. In anticipation of that meeting, I shot and edited about 5 more minutes of footage into the film I had shown previously. Footage included some black and white film where I tried to simulate some of the ride’s original construction. It also included footage of the 1981 fire which I tried to duplicate using my coaster model. My idea was to go to the beach after work (after 1am), film the silhouette of my model up against a small fire I set in one of the fire rings. Somehow, my model got caught up in the flames. What made it on my film was my coaster model literally burning to a crisp. I clearly remember feeling devastated and depressed the next morning after I woke up. To top that, after that Town Council meeting, Carol told me that while she still liked the movie, it was fine the way it was before. I had heard of the American Coaster Enthusiasts (ACE) and meant to join after I saw the group pictured in a nice spread in LIFE magazine. Coaster World Magazine (a.k.a. Roller Coaster magazine) featured an article about the “Earthquake” by ACE member Joe Barna and we were sent a copy. It was mentioned that a roller coaster convention was coming up in June at Hershey Park Pennsylvania. This would be the first time I’ve ever traveled on my own so there was a lot to think about before I decided to go. Carol had already been talking to Richard Munch, a co-founder of ACE, and told him she might send a representative. Me! It was kind of all last minute, getting prepared to go on this trip. To make late-accommodations for me simpler, Richard invited me to bunk with him. Also staying in the room were Clarence Heintz and Jeffrey something. Back then, conventions started on Thursday and ended the following Saturday night with Sunday being the tag-on day. I worked at my own sales station selling Save the Coaster t-shirts and on Saturday night, I went up on stage before those in attendance at the presentations. I showed the film and made a few quick remarks. I HATE public speaking and I felt a little awkward so Richard Munch came to my rescue and made some strong pleas to help are group out. The day before I left for the convention, the committee had a special guest visit the Giant Dipper. It was none other than Texas-based roller coaster designer Bill Cobb. He was brought out to analyze the integrity of the coaster’s condition and give his assessment as to if it would be feasible to restore it. His resume includes the Judge Roy Scream at Six Flags over Texas, and the Texas Cyclone at Astroworld in Houston. La Monstre and the Riverside Cyclone came after his visit to the Dipper. The morning of his arrival on the Dipper property, there was a press conference with about a dozen media from all sources there. They filmed and interviewed him as he did a live exam using a pen knife to dig in to some of the wood. He was explaining in general terms about how much work it would take to restore the coaster. His findings were broadcasted on all news sources: “Yes, the Dipper can be restored and possibly run again.” Another win for our side! This still blows me away. Connecticut resident Joseph Barna ® is the one who coaxed me into joining ACE. His claim to fame was his coaster-riding Keeshond "Zonker". On his visit, we shared each others coaster memorabilia and ate ice cream at Carol's home. That's me on the left.

Last April 22nd, I unveiled the completed bottleneck section of the Airplane Coaster. Now, one year later, I'll unveil the completed spiral section. I think I can finish it by then.

Besides Carol, there were two other people of note that were at this meeting. One was Architect Donald J. Reeves (1936-2013) whose love for historical San Diego resulted in his involvement in the saving of many buildings and classic San Diego memorabilia. Another was prominent Mission Beach businessman/resident Norman Starr who lived only three blocks from the coaster. He was a contractor who also had a fondness for historical San Diego. Within weeks following that first meeting, work was already starting to take place on the Dipper property. Norman Starr and his loyal team of laborers were the first to get right to business. The wooden plank fencing that surrounded much of the coaster was removed for exposure and security purposes. For that same reason, the skirt around the station house and all the tunnel walls were removed. A new chain link fence was put up around the entire coaster, along with a gate…that I got a key to! To me, this was an event so exciting, I filmed that day’s activities with my super 8 camera. I spliced it in to the animated coaster-ride movie I made two years earlier, along with some haunting nighttime footage (using tracks played from the Rollercoaster movie soundtrack album). This is when I made my first sectional model of what I thought the coaster should look like when completed. I thought we needed to use a visual aid of how beautiful it could really be when restored to convince those who thought otherwise. It was a quarter-inch scale model of the mid-section made from balsa wood. I had recently seen a photo of the Giant Dipper at the Santa Cruz Beach Boardwalk and I loved the white with red trim color scheme so I duplicated that on the model. For the remainder of the year, our Save the Coaster meetings focused on our next presentation before the Public Facilities and Recreation Board. On January 20th, 1982, we stormed the auditorium as scheduled with an enlarged photo of the coaster, my model, my movie, and a real coaster car. The presentation featuring historical facts, the film, fundraising examples, and commentary lasted about an hour. Everyone who spoke favored the restoration. In fact when it became the antagonist's turn to speak, a city council member asked if anyone in the chambers dare be brave enough to approach the podium and speak out against the plan. There was silence. The proposal we brought before the board was once the value of the coaster was declared, the owner Bill Evans, would donate it to the Coaster Committee for a tax break. Then the STCC would propose to lease the land for 5 years from the City @ $1.00 a year as a non-profit group. Motion to proceed was moved and the next step was to get approval from the San Diego City Council. That meeting was put on the August docket. Giddy has a Gayboy, a friend of mine Shari Champion, and myself, drove down to the coaster that stormy afternoon immediately following the meeting. As we approached the coaster, I noticed that someone had taken/stolen/removed the “B” off the 50’ wide blue Belmont marquee. It remained “elmont” park for years. It would be a couple more before we found out what happened to that B. Stay tuned… (L) The very first section I ever built of any roller coaster. ® I was starting to recreate the 50's style station house before I knew it used to have a different roof. (L) The central section of the coaster made after I learned that it once the gateway to the park. I also made the station house with the original roof. ® The model I presented before the PF&R board of how nice the coaster could look. I pieced the first section I made to this bigger section. In the early morning of 1/20/82 the B off of the Belmont sign disappeared.