Americana 1900- The Complete Presentation

James G.

Well-Known Member
Original Poster
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Pike Food Patio

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Located in the northwest corner of The Pike, beside the "Kellogg's of Battle Creek" building and with a front-row view of the Steeplechase, is the Pike Food Patio, an open-air food court featuring several quick-service food stands and dozens of umbrella-covered dining tables. The food stands sell a variety of popular fast-food items such as burgers, hot dogs, chicken strips, wraps and pizza, and a complete selection of soft drinks, flavored waters and other non-alcoholic beverages. A counter connected to the Red Onion Restaurant inside the Kellogg's building offers vegetarian and gluten-free selections to Patio diners.

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THE RED ONION RESTAURANT (HDP)

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This full-service restaurant, located in the Kellogg's of Battle Creek Pavilion, is named for and inspired by a diner of that name found in the Battle Creek Sanitarium, where the Kellogg's brothers began their drive to encourage America to eat a healthy, vegetarian diet. The Red Onion, one of the smallest full-service restaurants in Americana 1900, seats a maximum of ninety guests, and can be entered from either the Cereal Bowl Rotunda inside the Kellogg’s of Battle Creek Pavilion or from an entrance directly from The Pike. There is also a counter service window accessed from the Pike Food Patio, directly adjacent to the Red Onion.

The interior decoration and design of the Red Onion is one of the most unusual in Americana 1900. Called “Tiffany” in America and “Art Nouveau” in Europe, this style of design was known for its sense of movement and dynamism, and was often inspired by the sinuous curves of plants, flowers and other natural, organic materials. It was soon overshadowed by the Arts and Crafts Movement in America, and the interior design of the Red Onion represents this transition.

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The menu here features vegetarian, vegan and gluten-free options including salads, entrees and desserts, made with the freshest ingredients available. The menu changes often, based on the seasonal availability of ingredients.
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James G.

Well-Known Member
Original Poster
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The northwest end of The Pike is anchored by an unusual structure of brick, stone and terra cotta, predominantly red in color but accented with autumnal colors of yellow, orange and gold, and modeled on the Transportation Building at the World's Columbian Exposition of 1893 in Chicago. The original building was designed by the noted architect Louis Sullivan, with the assistance of a young man named Frank Lloyd Wright.

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Entering through the magnificent recreation of that remarkable building's multichromatic main entrance, The "Golden Door,'' visitors find themselves not in a collection of trains, boats and carriages (as in the original Transportation Building), but in a fun, energetic music hall with a ragtime band playing on a brightly lit stage to the right, tables filling the floor and lining the balcony around the music hall, and several restaurants, both counter service and full service, offering a bewildering selection of cuisines from all over the nation. This is St. Louie's Ragtime Music Hall, where the party is just beginning and the fun never ends.

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Visitors entering through the Golden Door find themselves in a large open lobby area overlooking the main floor of the Music Hall, and have a choice of many different dining establishments and cuisines. To the right, overlooking the stage and main floor, is "Biagio's Italian Cuisine", a tribute to the influence that the many "Little Italys" and their family-operated restaurants had on American culture and dining. To the left is a flight of stairs leading to the balcony level that surrounds the interior of the Music Hall on three sides, along with an elevator lobby with access from both the entrance lobby and from a side entrance located just off of Pike Road. On the second floor is found the full-service restaurant "Jeremy's Balcony Restaurant" and on the roof of the Music Hall is “Sullivan’s Overlook Steakhouse”. Straight ahead from the entrance lobby are steps and accessibility ramps leading to the main floor and several levels of tables surrounding the main floor level, where general seating is available for diners who decide to choose from one of the counter service food stands that line the walls of the main Music Hall level.

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The walls on the ground level of St. Louie’s Music Hall opposite the stage and across from the entrance to the Hall are lined with five counter service food vendors which comprise St. Louie's Food Court. The menu choices here offer a wide variety of foods from various cultures, all of which have contributed to the “melting pot” that is American cuisine. Hungry diners can order from any or all of these tempting locations, and enjoy their meals at one of the many tables filling the hall.

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Hamburger Charlie’s is named after Charlie Nagreen, a 15-year-old boy from Wisconsin who is credited with inventing and naming the quintessential American food, the hamburger. He tried selling meatballs made from ground beef and onions at a fair in Seymour, Wisconsin in 1885, but found that people wanted to carry their food with them. He flattened the meatballs between two slices of bread, named the creation after a city in Germany where his neighbors came from, and the hamburger was born. Whether he really did invent the first hamburger is debatable, but the quality of the burgers available at Hamburger Charlie’s is not. The finest ground beef, the freshest toppings, a selection of bun styles from sourdough to pretzel, and hand-cut fries are just some of the items available on the menu at Hamburger Charlie’s.

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Gadsden's, a counter-service food location, is named after the Gadsden Purchase, where the United States purchased portions of New Mexico and Arizona from Mexico. The menu here is classic Tex-Mex, with made-to-order burritos, tacos, quesadillas and nachos, and many other popular dining options influenced by the confluence of Mexican and American cultures.

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Last edited:

James G.

Well-Known Member
Original Poster
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San Francisco’s Chinatown is the oldest Chinatown in America, and one of the largest. It is not surprising that it has had a major influence on international cuisine in America. FriscoWok offers a tempting selection of traditional Chinese and Chinese-American dishes, including a create-your-own Hibachi grill section where diners choose from several dozen ingredients and skilled chefs prepare it for them using traditional hot grills and woks.

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There is just one type of meat you’ll find at Carolina Pickin’s, and that is pork. Pig pickin’, also called “rollin a pig”, “havin’ a pig pull”, or in Cajun cochon de lait, is a traditional Southern hog roast, with the entire hog roasted for hours until it is fallin’-off-the-bone tender. Carolina Pickin’s offers pork served with three different traditional types of barbeque sauce: mustard-based (from the Piedmont region of South Carolina); vinegar and red pepper flakes (from eastern North Carolina); or ketchup-based (from western North Carolina). No proper pig pickin’ would be complete without hushpuppies, coleslaw and baked beans, and all this and more are available at Carolina Pickin’s.

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Basic, ready-to-eat comfort food is featured at On the Side. Hot foods such as macaroni and cheese, chicken strips and chili, cold sides such as pasta salad and vegetable plates, fruit and cheese platters, cold cut sandwiches and subs, and even peanut butter and jelly for the really picky eater can be found here. A case of desserts featuring pies, cakes and cookies, and a selection of hand-scooped ice cream flavors makes On the Side the best place to find that “little something extra” to create or complete a meal while enjoying the live music being performed at St. Louie’s Ragtime Music Hall.

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Live entertainment is presented continuously on the stage of the Music Hall, and in spite of the word “ragtime” being in its name, not all performers are ragtime musicians. Gospel, blues, bluegrass and traditional American folk music, and even some music from Europe, Africa and Latin America that had an influence on American music is performed on the Music Hall stage by talented domestic and international artists.

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Suchomimus

Well-Known Member
The walls on the ground level of St. Louie’s Music Hall opposite the stage and across from the entrance to the Hall are lined with five counter service food vendors which comprise St. Louie's Food Court. The menu choices here offer a wide variety of foods from various cultures, all of which have contributed to the “melting pot” that is American cuisine. Hungry diners can order from any or all of these tempting locations, and enjoy their meals at one of the many tables filling the hall.

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Hamburger Charlie’s is named after Charlie Nagreen, a 15-year-old boy from Wisconsin who is credited with inventing and naming the quintessential American food, the hamburger. He tried selling meatballs made from ground beef and onions at a fair in Seymour, Wisconsin in 1885, but found that people wanted to carry their food with them. He flattened the meatballs between two slices of bread, named the creation after a city in Germany where his neighbors came from, and the hamburger was born. Whether he really did invent the first hamburger is debatable, but the quality of the burgers available at Hamburger Charlie’s is not. The finest ground beef, the freshest toppings, a selection of bun styles from sourdough to pretzel, and hand-cut fries are just some of the items available on the menu at Hamburger Charlie’s.

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Gadsden's, a counter-service food location, is named after the Gadsden Purchase, where the United States purchased portions of New Mexico and Arizona from Mexico. The menu here is classic Tex-Mex, with made-to-order burritos, tacos, quesadillas and nachos, and many other popular dining options influenced by the confluence of Mexican and American cultures.

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San Francisco’s Chinatown is the oldest Chinatown in America, and one of the largest. It is not surprising that it has had a major influence on international cuisine in America. FriscoWok offers a tempting selection of traditional Chinese and Chinese-American dishes, including a create-your-own Hibachi grill section where diners choose from several dozen ingredients and skilled chefs prepare it for them using traditional hot grills and woks.

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There is just one type of meat you’ll find at Carolina Pickin’s, and that is pork. Pig pickin’, also called “rollin a pig”, “havin’ a pig pull”, or in Cajun cochon de lait, is a traditional Southern hog roast, with the entire hog roasted for hours until it is fallin’-off-the-bone tender. Carolina Pickin’s offers pork served with three different traditional types of barbeque sauce: mustard-based (from the Piedmont region of South Carolina); vinegar and red pepper flakes (from eastern North Carolina); or ketchup-based (from western North Carolina). No proper pig pickin’ would be complete without hushpuppies, coleslaw and baked beans, and all this and more are available at Carolina Pickin’s.

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Basic, ready-to-eat comfort food is featured at On the Side. Hot foods such as macaroni and cheese, chicken strips and chili, cold sides such as pasta salad and vegetable plates, fruit and cheese platters, cold cut sandwiches and subs, and even peanut butter and jelly for the really picky eater can be found here. A case of desserts featuring pies, cakes and cookies, and a selection of hand-scooped ice cream flavors makes On the Side the best place to find that “little something extra” to create or complete a meal while enjoying the live music being performed at St. Louie’s Ragtime Music Hall.

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I already love all this food court, and the theming of the bigger pavilion being themed to the hallmarks of transportations is an added plus. I can't wait to see what the main restaurants are like.
 

Suchomimus

Well-Known Member
Turning south again, the Pike Food Patio stands directly adjacent to the Kellogg’s of Battle Creek Pavilion. Next is the Katzenjammer Theater
So that's where the Sunday Funnies Café is? Weird how the grandiose, 5 CS and 3 FS restaurants Music Hall is visited first before that, unless there's something more special about the Kaztenjammer.
 

Knight2000

Member
I know, still great though!
thank you! it was actually pretty easy. Jims description of each restaurant was pretty clear and I have a good idea of what he is looking for with this... I've been associated with Americana since its inception many years ago. I'm glad you like the logos... I like them too! some of my best work! they just seemed to come to me and they work
 

James G.

Well-Known Member
Original Poster
So that's where the Sunday Funnies Café is? Weird how the grandiose, 5 CS and 3 FS restaurants Music Hall is visited first before that, unless there's something more special about the Kaztenjammer.
The Sunday Funnies Cafe is in a separate building on The Pike, between Kellog's of Battle Creek and the San Francisco Earthquake building. We'll have breakfast there tomorrow.
 

James G.

Well-Known Member
Original Poster
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Biagio’s (HDP)

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Tradition is the heart and soul of Biagio’s Italian Cuisine. Widely acclaimed for its classic Italian cooking and its exuberant family ambiance, Biagio's has often been described as "elegantly simple Italian cooking” and has become synonymous with the best of Italian cuisine.

The history of Biagio’s dates back as far as 1968 when Biagio Rocco Rao established a small boardwalk eatery in Sea Isle City, New Jersey, just a few hundred feet from the Jersey shore. While the original shop closed in 1991 (due to unproven accusations of Mafia ties and money laundering), the notoriety of that little shop and its legendary “Italian Gravy” lives on at Americana 1900. Biagio himself has recently passed on to that big kitchen in the sky, but the business remains in the hands of the Rao family, who still believe that autenticita, amore e sapore (authenticity, love and flavor) are the most important ingredients in their food offerings.

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(The Rao Family in Italy. Photo taken app. 1933)
The entrance to Biagio’s is located directly off of the main lobby of St. Louie’s Ragtime Music Hall. Beautifully-frosted glass doors with “BIAGIO’S” etched into the glass are flanked by matching frosted windows set into a hand-crafted wall of richly-polished walnut. A photograph of Biagio Rocco Rao, set in an oval medallion above the doorway, welcomes diners to his restaurant. Once inside and seated, guests of the Rao family find themselves in what seems to be a cross between an elegant Neapolitan restaurant and a large family dining room, with family photos of five generations of the Rao family proudly displayed on the walls. Weddings, christenings, First Communions, family reunions and portraits are all proudly displayed, along with photos and paintings of scenes from in and around Naples and Campania, the region of Italy where the Rao family emigrated from before arriving in America. Monday through Saturday the tables are covered in red-and-white checkered tablecloths, and on Sunday the best white linen is used. The left wall of the restaurant is open to the Music Hall stage, and many experienced diners make reservations months in advance for a table there, overlooking the stage, where they can enjoy the best Italian food in the nation from a front-row seat for some of the best live music to be found in any theme park.

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Biagio’s is dedicated to serving and satiating the most particular and experienced appetites in the world, and along with multiple other awards has twice been voted the “Best Theme Park Restaurant” by readers of Theme Park Insider. Dining at Biagio's is a legendary experience so beloved that getting a seat at times is only possible if you make your reservations months in advance, or obtain priority seating as a perk of an onsite hotel stay. If you decide to wait in the standby line, just know that at Biagio’s the motto is, “If your table isn’t ready in forty-five minutes – just wait longer!” And if that shady, Italian-speaking family who came in after you gets seated before you, don’t worry about it – stuff happens, capisce?!

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A restaurant can look pretty, but people don’t come to a restaurant to admire the decoration- they come to enjoy the food, and Biagio’s award-winning menu is what keeps people coming back again- and again. The following is just a selection from the complete menu:



 
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James G.

Well-Known Member
Original Poster
Jeremy’s Balcony Restaurant* (HDP)

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Jeremy's Balcony Restaurant occupies the entire second level of St. Louie's Ragtime Music Hall, filling the balcony that surrounds the hall on three sides with front-row tables all facing the Music Hall stage. The best way to describe the food served here is eclectic and unpredictable. Jeremy Havoc, the slightly impulsive but exceptionally talented head chef and namesake of Jeremy's Balcony Restaurant, claims to have learned his cooking skills in the C.I.A. He has never established whether he means the Culinary Institute of America or the Central Intelligence Agency, but regardless of where he received his training, the food at Jeremy's Balcony is always unusual, eclectic and fun. Jeremy considers the menu to be merely a "suggestion", and his daily specials often outnumber the set menu items. The menu presented to diners is printed daily to reflect the constantly-changing items that Jeremy creates. The menu is always changing, the flavors are always evolving, and while some of the ingredients might be a bit unusual or even mysterious, a meal at Jeremy's is always going to be a memorable one.

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And if you want to know what ingredients went into that strange but delicious appetizer or the unusual but addicting dessert you had, well, let's just say that information is on a "need to know" basis. The menu with the day's specials is presented in a sealed envelope labeled "Top Secret". That is not to say that those with a less adventurous palate can't find something incredibly delicious to enjoy. Jeremy aims to please, and with his training in the C.I.A. (whichever one that is), his aim is very good!

Selections from Today’s Dinner Menu for Jeremy’s Balcony Restaurant


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James G.

Well-Known Member
Original Poster
Sullivan’s Overlook Steakhouse* (HDP)

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Louis Sullivan was one of the most influential American architects of the late 19th and early 20th Centuries. His design for the Transportation Building at the World's Columbian Exposition of 1893, which St. Louie’s Ragtime Music Hall is directly inspired by, was widely derided at the time. It is now considered a masterpiece of late 19th-century design and architecturally the most important building at the fair. It is appropriate that the rooftop restaurant on this beautiful structure is named in his honor.

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Sullivan's Overlook Steakhouse has an entrance inside the Music Hall and a private entrance on the northwest side of the building, off of Pike Road opposite the Pike Food Patio. Elevators take diners from the small but elegant elevator lobby to both the second floor (where Jeremy’s Balcony Restaurant is located) and to the third floor Sullivan’s, where diners are immediately dazzled by the magnificent views of Americana 1900 through the massive windows of the restaurant. Tables are located both inside the restaurant and outside on the open-air terrace (with retractable canopies for comfort) surrounding it overlooking The Pike and the Great Pacific Northwest Scenic Railway, Keystone Studios or Century Plaza, depending on which side of the restaurant they are located.

The decor of Sullivan’s has been described as “timeless American classic,” with dark walnut paneling, furnishings inspired by Louis Sullivan’s architectural details, and elegantly framed photographs and blueprints of some of Louis Sullivan’s remarkable architectural designs, including the Harold Bradley House in Madison, Wisconsin (1909), the Bayard-Condict Building in New York City (1899), the Carson, Pirie, Scott and Company Building (now the Sullivan Center in Chicago (1899) and the National Farmers Bank of Owatonna, Minnesota (1906) among many others.

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A featured display contains an original architectural drawing of the Transportation Building from the world’s fair, possibly with some contributions by Frank Lloyd Wright, and fragments of the original building unearthed during excavations of the original site in Chicago, identified by their still-vivid red paint (nearly all other buildings at the fair were painted white, giving it the nickname the “White City).”

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The featured food here is steak. Prime cuts, from the most petite filet mignon to the heartiest prime rib and prepared to order by master chefs can be found on the extensive ala carte menu. However, beef is not the only meat found on Sullivan’s award-winning menu. A sample of the fine dining options available at Sullivan’s Overlook Steakhouse (other than a complete presentation of traditional steak options) includes:

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All items on Sullivan’s Overlook Steakhouse’s menu are available ala carte. There are also several prix fixe menus offered throughout the week. Servers are here to make this dining experience relaxed and memorable. They are all carefully trained to assist diners who might not be familiar with a top-quality steakhouse such as Sullivan's, offering suggestions for what sides go best with what type of steak, explaining how the "doneness" of a steak affects the flavor, and in general making the diner feel comfortable and even a bit pampered.

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Whether it's the breathtaking views, the wonderful food, or a combination of both, a meal at Sullivan's Overlook Steakhouse is a highlight of the entire Americana experience.

*Sullivan’s is a AAA Five Diamond Restaurant, having earned that rating every year since opening. It is a two-time winner of Best Theme Park Restaurant by readers of Theme Park Insider.

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James G.

Well-Known Member
Original Poster
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"The Sunday Funnies Cafe" is a full-service restaurant located between the San Francisco Earthquake of 1906 and Kellogg's Of Battle Creek. This is "breakfast theatre", where breakfast-themed meals are served all day in a setting that is not only family-friendly but family inviting.

The Sunday Funnies Cafe is located in the Katzenjammer Theater, the name of which is prominently displayed across the cornice at the top of the building. The elegant facade was actually inspired by the Selwyn Theater, built in 1918 on West 42nd Street in New York City.

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The shallow marquee across the front of the theater, just above the entrance doors, announces that this is indeed the location of the Sunday Funnies Cafe, but what really makes it obvious that something unusual is going on inside this pretty little theater is what is happening in the windows above the marquee. Via the modern magic of LED screens, animated cartoon characters are looking out the windows at the people below- Krazy Kat, Little Orphan Annie, Buster Brown, Barney Google, and many others. Sometimes they wave at passersby, while at other times they are just looking out the window, or talking with each other. Most of them are completely unknown by the modern visitor to The Pike, but once those visitors enter the Sunday Funnies Cafe and spend some time having breakfast with them, they’ll soon know who Skeezix, Felix the Cat, Barney Google and the Katzenjammer Kids are.

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The restaurant’s interior is also designed as a theater, but instead of theater seating, there are breakfast tables and chairs arranged in alcoves seating between two and ten people per table, with low dividers approximately the height of wainscotting between them. These "breakfast nooks'' fill the orchestra space and the horseshoe-shaped balcony, and all face the movie screen of the theater. To make the interior of this theater...er, restaurant...er, whatever it is even more unique, none of the breakfast nooks are alike. Every one is decorated differently, with different wallpaper on the dividers, or different colors of paint, or different wood paneling. Some have linoleum on the floor, while others are hardwood, or even covered with a braided rug. Sometimes the furniture doesn’t quite match, as if a table with four matching chairs needed a few more chairs as the family grew, so they found some at a second-hand store. Every breakfast nook in the theater, on the orchestra floor or the balcony, is completely unique- and every one feels like home in the 1920s.

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This crazy-quilt of decorative design doesn’t end with the breakfast rooms.

The proscenium around the stage is a riotous montage of newspaper cartoon characters, some painted in black and white, while others were in the distinctive multiple colors of the Sunday comics. They seem to climb up from the stage, one above the other in an almost sculptural composite of dozens of comic characters from the early decades of the Sunday funnies, ending at the top of the proscenium with a strange, bald boy dressed in an oversized shirt- and completely yellow from head-to-toe.

The theater’s olio curtain is down, but where in a “normal” theater of the era it would be covered with advertisements for local businesses, this curtain is covered with promotions for newspaper cartoons- the Sunday funnies- and as on the proscenium, some are in black and white, while others are in color.


There should be no doubt what the theme of this restaurant is. It’s Sunday morning, and it’s time to read the funny papers!

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Everyone on the staff of the cafe is dressed as if they had just woken up on a Sunday morning in 1920. The hosts, hostesses, servers, everyone is dressed in their pajamas or flannel nightgowns, are wearing fuzzy slippers, bathrobes, and in some cases even “Dr. Denton’s” (with the flap in the back!).

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If “Mom” is serving you, she’ll probably still have her hair in curlers, and “Dad” might still be wearing his nightcap (if he isn’t sporting the latest “bed head look”). Don’t expect them to wait on you, though- you’ll probably have a pile of silverware placed on the table. “Here- it’s your turn to set the table,” Mom will instruct someone, “and don’t forget the napkins this time. The next time I see you wiping your hands on the tablecloth, you’ll be doing the laundry for a week, understand?” she might instruct one of the younger members of the “family”, if not the dad himself, but with a wink and a smile. It’s all in fun!

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The menu focuses appropriately on breakfast, with a wide variety of hot and cold items available. Every breakfast cereal made in America by the Kellogg's Company before 1940 is available (Kellogg's of Battle Creek is located next to this restaurant and is a corporate sponsor of it), along with an extensive assortment of breads, pastries and coffee cakes. Hot items such as pancakes, waffles and grits, eggs cooked to order, omelets and breakfast casseroles, and even such fancier breakfast entrees as Eggs Benedict and Steak and Eggs are available. Fruit juices, coffee, tea, milk and smoothies are among the beverages available to complete a Sunday morning family breakfast.

But what is a Sunday morning without the Sunday Funny Papers?! The newspaper, the date of which is always a Sunday in 1900, is delivered to each table by a “newsie,” and contains not only the menu but also several pages of cartoons.
Each guest is offered a copy of the Americana Past Times- Sunday Edition, a souvenir edition on newsprint of many of the comic strips that entertained America in the early 1900s. Some of these comic strips are still familiar names, such as Little Orphan Annie, Barney Google and Snuffy Smith, and Buster Brown (who was a comic strip before he became a brand of shoes), but others may not be as familiar to modern diners.

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Gasoline Alley, Krazy Kat and the Katzenjammer Kids were among the comic strips extremely popular in the early 1900s. Many of these comic strips are reprints of original strips of the time, while others have been reworked to make them more accessible to modern readers. Much of the humor in these early strips, as in today's comic strips, relate to current events, and in those cases that the humor would not be understood by modern readers, new strips have been created to bring the characters of the past more in line with modern thinking and social norms.

These comic strips are not just for reading, but also are shown as animated short films on the movie screen of the Sunday Funnies Cafe. A series of animated cartoons based on several dozen early comic strips has been created by some of the nation's most promising film animators. These cartoons remain true to the artistic style and characters of the era, but as with the comics in the souvenir newspaper, they have been brought more accessible to modern viewers. These are not the slick, computer-generated comics seen on modern television, but are high-quality animated films, often done by hand using early film techniques to capture the feel of the era. A continuous loop of film lasting more than an hour ensures that diners will always have something fun to watch while ordering, waiting for breakfast to arrive or enjoying the wonderful food at the Sunday Funnies Cafe. The olio curtain is raised at the start of each individual cartoon and lowered at the end.




But what about the rather strange bald boy in the baggy yellow shirt? The one at the top of the proscenium? He is the Yellow Kid, one of the first weekly comic characters to appear in the Sunday comics. Not actually intended to be a humorous character (although he was), the Yellow Kid was a satirical commentary on the poorest segments of society in the years around 1900. He exemplified the children trapped in the miserable slums of every major city. He wears an oversized hand-me-down shirt because he has nothing else to wear. He’s bald, because he’s just had his head shaved to rid himself of lice. He and his shirt are yellow, because yellow fever was a major health risk in the overcrowded slums, and many of its victims developed liver damage, causing them to turn jaundiced. Doesn’t sound like a very fun character to be featured in the Sunday funnies, does he? Actually, he was, and his creator, Richard F. Outcault, created him as a vehicle to use humor to expose the failures of society to deal with its urban problems. The Yellow Kid was always happy, helping his friends, and if his comments (and the ever-changing slogans on his shirt) made the adults in power uncomfortable, he’d done his job. The Yellow Kid, while not the first weekly newsprint character, was probably the most influential, and his weekly commentary and shenanigans laid the foundation for all the Sunday funnies’ characters that kept generations of children (and adults) entertained and amused- and still do.

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The Sunday Funnies Cafe- probably the most unusual, most immersive and “Sunday Funniest!” themed restaurant in Americana 1900.

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James G.

Well-Known Member
Original Poster
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Waste receptacles and recycling bins throughout The Pike are crafted to look like elegant urns or statuary, with larger openings for waste and smaller openings for recycling. Each also has the appropriate designation displayed across the front of the receptacle.

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Restrooms for the general public are found throughout The Pike- inside each corporate pavilion, the Niagara Tower of Power Visitor Center, under the west grandstand of the Lumberjack Arena, directly adjacent to the Pike Food Patio, and in the Food Court area of the Ragtime Music Hall. Restrooms for diners are also located inside each full-service restaurant.

Drinking fountains throughout the Township are uniformly traditional stone drinking fountains, classic in design to contribute to the elegance of The Pike.

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The Pike at Night
The Pike at night is a spectacular fairyland of light. The great expositions of the late 19th-early 20th centuries were famous for their extravagant use of lighting on their massive palaces after sunset. The World’s Columbian Exposition of 1893 used 250,000 light bulbs to illuminate the fair’s magnificent buildings, and was the first major use of AC current in a public space.

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The Louisiana Purchase Exposition of 1903, just ten years later, used over 100,000 lights on two buildings alone!

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With the advent of modern LED lighting, Americana 1900 can replicate and even exceed the spectacular lighting displays that made these expositions at night something magical to observe, while conserving energy and avoiding having to continually replace burned-out bulbs.

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Floodlights were also gaining popularity at this time, and several of the major buildings on The Pike utilize this as a way to augment the miles of lights and dozens of elegant street lamps that illuminate this magnificent Township. The Tower of Power and the dome of the San Francisco City Hall glow in the radiant lighting that illuminates them as they seem to float above The Pike, while the classically-rustic wooden temple of the Great Pacific and the vibrant red of St. Louie’s Ragtime Music Hall leap out at visitors as focal points of visual excitement on The Pike at night.

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Every evening during the summer months, and several times a week during other times of the year (weather permitting), the lights on The Pike dim, the roar of the Niagara Fountain is silenced, and The Pike becomes the site for one of the most dramatic, exciting and moving audio, visual and pyrotechnic experiences presented in any theme park anywhere in the world- “One Nation.” This deeply-moving exploration and celebration of the American Dream and American Spirit will be discussed later in this presentation, in the Special Events in Americana section.

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Each attraction on The Pike is a remarkable experience- fun, educational, exciting, inspiring- but when taken together, they prove the old saying that “The whole is greater than the sum of its parts.” The Pike is a spectacular achievement, unlike anything seen at any theme park in America since 1904, when the original Pike existed in St. Louis. That Pike, however, was a hodgepodge of experiences with no connecting theme, and was never intended to be a permanent attraction. The Pike at Americana 1900 is an American experience, a permanent celebration of American history, dreams and culture, and is a place to rediscover our pride as Americans.

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As hard as it might be, it’s time to move on from The Pike. There is still more Americana 1900 to discover- and The Pike will still be here, waiting for you to return someday to ascend to the top of the Tower of Power, to relax in the floral splendor of the Sunken Gardens or to have breakfast with Flash Gordon and Little Orphan Annie. You will always have a standing invitation to meet me...

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James G.

Well-Known Member
Original Poster
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KEYSTONE STUDIOS

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(Optional atmospheric music for Keystone Studios)




A revolution in entertainment started in the late 1890s. Until that time nearly all entertainment was performed live, in theaters, on street corners, in bandstands on village greens, and probably most often in the parlors of homes. Families would gather around the piano and listen to a family member perform, sometimes playing a new song just published or perhaps a familiar hymn that everyone would sing together. More affluent families might have one of Mr. Edison's phonographs, sometimes called a gramophone, or even a player piano.

This entertainment revolution was the development of the motion picture industry. Early films were often no more than four or five minutes long, and often showed scenes from everyday life, a short sporting event, or a scene from a vaudeville show, but the general public was captivated by this new type of performance and the motion picture industry was born to fill the demand for new, longer and more elaborate motion pictures.

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Motion picture studios sprang up all over America, studios with names such as Edison, American Vitagraph, Nestor Studios, Selig Studios and Biograph, but perhaps the most famous studio, the studio whose name has come to epitomize the silent movie era, was founded on July 4th, 1912 in Edendale, California by an actor/director named Mack Sennett. On that date, Keystone Studios was created, and the motion picture industry would never be the same.

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Many of the most famous actors of the era got their start at Keystone Studios. Most of those are now nearly forgotten, but some such as Gloria Swanson, Harold Lloyd and especially Charlie Chaplin have remained well-known and well-remembered in the motion picture world, and the very name "The Keystone Cops" has entered the English language to describe any sort of bumbling, chaotic group trying to do their job but having no idea how to do it. These actors, both remembered and forgotten, and the entire silent movie industry, are celebrated in the newest Township at Americana 1900, Keystone Studios.

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Visitors to Americana 1900 can enter Keystone Studios from Pike Road through the main Studio Gate onto Glendale Blvd. or onto Silver Oak Street from the Backlot Gate off of East Pike, located between Hershey's World of Chocolate and St. Louie's Ragtime Music Hall. These two streets, named for the California communities where the Keystone Studios were located, meet at Chaplin Square, where the sound stages, theaters and shops of Keystone Studios surround a plaza containing a bronze statuary group titled “Making Movies,” recreating Charlie Chaplin, the "Little Tramp", and Mabel Normand filming one of their classic films. Performers dressed as movie stars of the era, directors and studio workers are often found walking through this township, heightening the feeling of actually being in a working movie studio of the era.

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Guests entering the Studio from either the Studio Gate or the Backlot Gate pass through dramatic wrought iron gateways proudly announcing "The Keystone Film Company" (the full name of the company) and proceed past the security guards in their booth. These "guards" act as greeters to the Studio, passing out show schedules and maps of the Studio, and treating visitors as if they were actors on their way to film the next big studio hit.

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The buildings in Keystone Studios are reminiscent of the stages and support buildings found in early movie studios. The major buildings are identified by large signs painted on them, identifying them as "Studio A", "Studio B", etc., and also with appropriate signs announcing the attractions located in them. Smaller buildings such as restaurants, concessions, etc. are designed to look like average retail operations that sprang up around these studios.

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Note: from now on the phrase "silent movie" will rarely be used. The first "talkie" motion picture, "The Jazz Singer", did not premiere until 1927, and the addition of the word "silent" was not used until after that date. Here at Keystone Studios in Americana 1900, we make "movies".

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Mack Sennett, the founder of Keystone Pictures and the man responsible for the discovery of many famous film stars such as Charlie Chaplin, Mable Normand and the legendary Keystone Cops, was in financial trouble. He needed to find a way to save his studio, and fast, and decided that the cost of making pictures in Southern California was too high. He began to search for someplace less expensive, and discovered a collection of abandoned warehouses in northern Alabama that would be perfect to convert into a new home for his struggling Keystone Pictures Studios. He borrowed money to convert them into a fully-functioning film studio with the finest equipment available at that time- the best cameras, best lighting and stages, and even a fully-equipped theater where he could premier his films.

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Actually, Sennett borrowed too much money, and when the first several films he created in this new studio failed at the box office, his creditors descended on him. He was forced to sell the property, but the buyer unexpectedly died just after signing the contract, and the case was so tied up in litigation that the creditors wrote it off as a bad business deal and had the place padlocked. It eventually was forgotten by all but the oldest local inhabitants, and they avoided the area, believing it was haunted by a phantom, possibly the ghost of Mack Sennett himself, whom they claimed to occasionally hear playing the organ in the abandoned theater. Many years later, when Americana 1900 was being created, a team of workmen discovered the nearly-forgotten buildings hidden behind a century's worth of overgrowth, towering trees and nearly impenetrable vines. At first, they thought there were just more buildings from the abandoned ruins of The Pike that they had been clearing, excavating and moving for the past year, but there was something different about them, something less ornamental and more utilitarian, almost industrial. After clearing the forest and realizing that what they had found was a completely-intact movie studio, the designers and developers of Americana 1900 had to decide what to do with it. Clear the site and stay with their original plans, which were to use this space for park support facilities- warehouses, human resources, office space and a staging area for the parades that were being planned for the future? Perhaps some of the larger buildings could be converted into storage or offices. The other idea that was floated was to include Keystone Studios into Americana 1900 as its eighth Township, as a tribute to the early film industry that had become so important to the entertainment history of America.

There really was nothing to decide. There were forty-thousand unused acres of land that could be used for the planned park services buildings. There was only one Keystone Studios. Major work was needed to restore the neglected and overgrown sound stages, and some of the buildings in the studio simply were too deteriorated to save. It was several years after the rest of Americana 1900 was opened before the restoration of Keystone Studios was completed and made ready to welcome guests, but when it did open, the event was treated like the world premiere of a major new motion picture. The rotating Klieg lights were fired up, the newspaper reporters and filmmakers were there to report on and record the event, and dozens of major motion picture stars were on hand to celebrate the history of their profession. The Guests of Honor, though, were three elderly performers, Mildred Kornman and brothers Billy and Garry Watson, former child stars and the last known surviving actors from the silent movie era. Mildred had actually appeared in one of the films created in this studio, and was a major source of information for Americana 1900 as it restored and renovated Keystone Studios.

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The “official” dates of Americana 1900 are from 1880 to 1920, but the history of America didn’t start or end on those dates. Keystone Studios is a valuable addition to the Americana family, showing that everything we are as a nation now is built on the foundations of what came before us, how today’s modern entertainment industry emerged from the inventive creations of the earliest motion picture artists, producers and technical innovators. There would be no “talkies” without the silent movies that came before them, just like there would be no silent films without the live theatre and vaudeville that provided the artists that would stand before the cameras to share and preserve their artistic creations with the generations to follow.

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Last edited:

James G.

Well-Known Member
Original Poster
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The Studio Tour
Guests entering Keystone Studios from Pike Road through the aforementioned black wrought iron with gold ornamental trim gates find themselves walking down Glendale Boulevard, a short but incredibly busy street lined with studio buildings, shops and food establishments for the hungry actors on their quick breaks in between takes. On the right side of the street (the southeast side) is the Keystone Food Patio, and just past it, on the same side of the street, is Studio A, home of Roll ‘em!- How to Make a Movie. Just beyond Studio A, wrapping around the corner of Glendale and Silver Oak Street is the counter-service restaurant Wings. On the left side of Glendale is Studio B, where the live special effects show Don’t Try This at Home is presented, and past it is the Studio Deli counter service restaurant.

Chaplin Square is the heart of Keystone Studios. Proceeding around the famous bronze statue of Making Movies, which stands in the center of the square, is the Keystone Commissary gift shop and the slightly run-down Mack Sennett Theater, possibly still haunted by The Phantom of the Wurlitzer. Tucked into the northwest corner of the square is Studio C2, the Cinema Heritage Gallery, a small exhibition hall featuring displays of historic props, costumes, etc. from the Golden Age of Movies (in other words, before 1927’s “The Jazz Singer”). The northeast side of Chaplin Square is occupied by Studio C1, where the film “The Keystone Cops in ‘Jail Breakers’” is shown in one of the most unusual theatre experiments ever attempted.

Having reached the southeast side of Chaplin Square, where Silver Oak Street meets Glendale Blvd, is one of the most thrilling attractions in Americana 1900- Speedy- The Car Chase Through New York. Continuing southeast on Silver Oak Street, guests find Studio D on their right and The Back Lot on their left. Studio D is a service building for Americana 1900, housing one of two fire and rescue squads for the park (the other is in a service building on Railroad Street), along with public restrooms. The Back Lot is the staging area for Americana 1900’s famous parades and is also not open to the public.

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“THE KEYSTONE COPS IN ‘JAIL BREAKERS’” (AAP)
Studio C1 in Keystone Studios houses an experimental movie theater unlike anything else to be found anywhere in 1900. The "Kinetophotographicon Theater” (commonly called the "Sennettiscope Theater" by studio workers) is based on a series of proposals that Thomas Edison worked on as part of his Edison Studios enterprise. He wanted to add physical motion to his already-challenging attempts to unite sound and moving images on a screen, but repeated setbacks and some financial challenges convinced Edison that this idea was not one of his best, and he stopped work on the concept after a few months.

Mack Sennett had heard of Edison’s failed attempts and convinced himself that he could make the concept work. He purchased the patent from Edison for $25 and went to work on it. Studio C1 was available, so he assigned several of his workers to create a working movie theater based on Edison's concepts and preliminary attempts, a theater that would combine projected moving images and physical motion to enhance the movie experience. A new Keystone Cops film was just beginning to be filmed, and Mr. Sennett thought it would be the perfect vehicle to try out his new movie format. "The Keystone Cops in 'Jail Breakers'" was filmed to include all the special effects that the experimental theater in Studio C1 would provide- seats that could move and mimic the actions on the screen, air jets to make the viewers feel the wind on their faces when they were racing in a car chase, water jets to spray them gently at appropriate times, a theater floor that actually rotates to follow the action as it moves around the audience, and a movie screen that wrapped completely around the audience to make them feel like they were actually in the movie! They even accidentally solved a problem that they didn’t know they had. One of the workers, who was extremely near-sided and wore extremely thick glasses, accidentally left his sunglasses on while watching an early version of a test film, and thus were discovered 3D glasses, and shortly a fully-functional 3D movie theater (4D if you include the player piano in the corner) was created in Studio C1.

It worked incredibly well, with one small problem. The movie could only be shown in a theater built with all of these special- and very expensive- modifications, and Sennett could not find anyone willing to build a brand new theater just to show one movie. Like Edison, he gave up on the idea, but not wanting to throw away the investment he had made in this venture he decided to keep the specially built theater in Studio C1 open to the public for special showings of "Jail Breakers", and a visit to the Sennettiscope Theater in Studio C1 has become one of the most popular and enjoyable experiences of any visit to Keystone Studios.

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"The Keystone Cops in ‘Jail Breakers’" features the famous movie comedy troupe the Keystone Cops. Guests enter Studio C1, the interior of which is not an elegant theater of the era but is obviously a former cavernous film studio with exposed ceiling trusses and no ornamentation other than what appears to be a strange chandelier-like contraption hanging over the center of the theater. This is the kinetophotographicon, the multi-lens, synchronized projector that makes the 360-degree projection of the movie possible. Audience members are given their 3D goggles, then proceed into a round chamber containing three hundred motion seats (limited-movement seats are available, although they do move with the rotating theater floor). The walls are white movie screens that surround the room on all sides. Movie-goers take their seats, put on their goggles, and begin a madcap movie experience with a group of robbers and the Keystone Cops, filmed entirely in Americana 1900.

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The film starts in Courthouse Square. Across Davis Street from the Courthouse stands a solid three-story brick and stone structure with bars on the windows. A sign over the front door announces, "County Jail- Open 24 Hours". The action moves inside the jail, where a group of eight burglars, dressed identically in the traditional burglar outfits of black and white striped shirts and black eye masks, are being hauled into jail by the Keystone Cops and locked up in a cell with barred windows.

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As soon as the cops leave, one of the robbers reaches into his pocket and pulls out a screwdriver. The other burglars form a human pyramid beneath the window and the one with the screwdriver climbs to the top, unscrews the bars from the window and tosses them to the floor. The audience feels the "bang!" through their seats as it hits the floor. He then climbs back down. The burglars grab the sheets off of the bunks and knot them together into a rope, tie one end to a bunk and toss the other end out the window (remember the bedsheet rope hanging out the window of the real County Jail in Courthouse Square?). All the burglars climb out the window. The movie then shifts to outside the jail, where the burglars are climbing down the bedsheet rope to freedom. As they attempt to sneak away, they sneak right past a window when one of the Keystone Cops happens to look outside, sees them and raises the alarm to the other cops. The burglars see that they've been spotted, jump into a car sitting on the street and take off, with the Keystone Cops scrambling into (and onto) their patrol car in hot pursuit of the bad guys.

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Here the 4D motion seats start to perform movie magic unimaginable to anyone other than Mack Sennett, the director of the Keystone Cops (and perhaps Thomas Edison). As the cops chase the robbers through the streets of Americana, the floor of the theater begins to rotate, carrying the audience along as it tracks the speeding vehicles with their comical passengers. The robbers race out of Courthouse Square in their stolen car with the cops close behind. They speed through State Fair, make a hard left turn from State Fair Road onto Century Lane East and narrowly avoid tipping the car over. They proceed west on Century Lane, balanced on two wheels with the robbers holding on for dear life! The Keystone Cops make the same high-speed turn and also end up on two wheels! The seats of the audience tilt to match the tilt of the cars as they race westward, each on two wheels, until they pass the Americana Wonder Wheel, when gravity finally pulls them down to four-wheel driving.

The robbers try to outrun the cops by heading into Morrison Farm, then turning down into the farm lanes of the Farm Tour. Here complete pandemonium breaks out, as the cars lose each other in the maze of farm lanes, hidden from each other by the tall rows of corn and farm buildings. The pleasant smells of the fields- and the less-pleasant smells of the farm animals- permeates the theater. As the cops make a hard turn past a pigpen, one unlucky Keystone Cop loses his grip on the police car and is thrown into the pigpen, with a slight spritz of (clean) water hitting the audience as he splats into the mud. The cars barely miss running into each other as they drive blindly back and forth through the farm fields and muddy farm lanes.

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The Keystone Cops decided to try something different. They park behind a barn, intending on waiting for the other car to drive past them, but - unknown to the cops- the robbers have decided to park on the other side of the barn! Neither knows about the other until they each decide to get out of their cars and sneak around the barn, looking for their foe. When they reach the other side of the barn and see the other car sitting empty, they know what happened and each jumps into the other car and take off, looking for their opponents! Now the cops are in the robbers’ stolen car and the robbers are in the Keystone Cops’ car! The high-speed race resumes, with the cops still in hot pursuit of the robbers, with each in the wrong car! They race back out of the farm lanes, back through Morrison Farm, then turn right onto Railroad Street, with the cops closing in on the robbers! They turn back into Courthouse Square, making hairpin turns (with the usual overly-dramatic comic actors trying not to get thrown out of their cars), and circle around the Courthouse.

The audience feels the wind blow in their face (from air jets in the seat ahead); it feels the patrol car lean left and right as it speeds around corners trying to keep up with the burglars; the bumping of the patrol car as it hits a pothole, and the sudden stop of the car as they watch the burglars crash into a fruit stand, sending apples, oranges and bunches of grapes flying everywhere, especially over the heads of the audience. The audience can actually smell the fruit as it virtually flies past them. The burglars pile out of the now-wrecked cop car and begin a madcap chase across the street to the Courthouse, where they race up the stairs with the cops in hot pursuit. The seats lean backward and forwards as the cops and robbers run up and down the stairs inside and out of the courthouse. The cops finally have the robbers cornered, but one of the robbers points behind the cops and says (using dialogue cards) :

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All the cops turn and look, and the robbers use this diversion to make their escape out the door, across the street and into a bakery. The cops chase them into the bakery, and here begins the ultimate movie slapstick routine- the cream pie fight! Cream pies start to fly all over the place, especially over the heads of the audience. They can smell the lemon in the lemon pie, the breeze blowing on them as a cherry pie sails just over their heads, and even an occasional splat of something (water) as a pie meets a burglar's face.

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Finally, though, the cops capture the burglars and haul the pie-covered criminals back to the County Jail, where they put them back in a cell- the very same cell they escaped from just a few minutes earlier! The burglars see the bed sheet rope still hanging out the open window, smile at each other, and it all starts over again!

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"The Keystone Cops in 'Jail Breakers'" is one of the most enjoyable family attractions to be found in Americana 1900, and one of the wildest films shown in any theme park.

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Visitors exiting Studio C1 can either return to Chaplin Square or can enter Studio C2, a gallery housing a priceless display of artifacts, scripts, props and costumes from some of the most famous and important films of the silent era.

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James G.

Well-Known Member
Original Poster
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The Phantom of the Wurlitzer (AAP)

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The Mack Sennett Theater, located on the northwest side of Chapin Square, is the home of what has become one of the most popular dark rides in all of Americana 1900, The Phantom of the Wurlitzer, a thrilling tribute to the importance that musical accompaniment played in the presentation of early motion pictures.
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Before "talkies" were introduced in 1927, motion pictures were often accompanied by musicians performing on either a piano (in smaller, often temporary venues) or on an organ in a larger, fancier theater. The ultimate musical instrument used to accompany early movies was the Mighty Wurlitzer, a pipe organ able to imitate the instruments of an entire orchestra. These massive organs, reserved for the largest and most elegant theaters, usually had four manuals (keyboards), but some had as many as five, making for amazing possibilities of musical accompaniment for these films. Some of these films came with a prewritten score, while others relied on the talent of the organist to play mood-appropriate music throughout the film. Regardless, the music provided by theatre musicians added a great deal to the enjoyment of these movies by the audiences.

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It is believed that the Mack Sennett Theater was designed by the same architect that designed the Midtown Theater, located on 46th Street near Broadway in New York City. Built in 1933, the Midtown is an art deco masterpiece that, like the earlier Mack Sennett Theater, has fallen on hard times. Historic details are sparse, but the similarity of the buildings’ facades led Americana architectural historians to believe that the Mack Sennett was an earlier version of the Midtown Theater. The Midtown still stands and is available for rental, but long ago left the list of operating Broadway houses.

Moviegoers entering the lobby of the Mack Sennett Theater find a lobby that is best described as dilapidated, with chandeliers covered with cobwebs and some of the lights either flickering or burned out.

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Peeling, yellowed movie posters in frames on the walls advertise some of the classic horror movies of the era: The Cabinet of Dr. Caligari (1920, a classic of German Expressionism); Frankenstein (1910, filmed by Edison Studios); Nosferatu (1922, a visually haunting retelling of the Dracula story, reset in Germany); and The Haunted Castle (1896, directed by George Melies (of A Trip to the Moon fame) and considered the first horror movie).

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The most prominent posters, and the ones in the best condition, are for the last film shown in the theater, The Phantom of the Opera, starring Lon Chaney, Sr.

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Eerie organ music can be heard coming from inside the theater, perhaps music accompanying a showing of this 1925 classic horror film. Moviegoers soon find themselves seated in movie theater seats in ride vehicles resembling rather ornate theater boxes, each holding four riders (two front, two back).

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The boxes, like the rest of the theater, look like they have seen better days, with chipped plaster and faded paint, but the seats are comfortable (and are equipped with seat belts), and soon the moviegoers are carried into the theater itself to watch the film.

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The boxes move down a dusty, decrepit hallway behind the opera house auditorium, a hallway lined with arches. These arches contain screens showing scenes from this landmark film, a movie so shocking in its time that some scenes had to be reshot because they were considered too upsetting to audience members. The ride vehicles turn to face these screens as the riders are introduced to the story of the Phantom (Lon Chaney, Sr.) and his infatuation with the beautiful singer Christine Daae (played in the film by Mary Philbin). As the riders move deeper into the story the organ music being played in the background becomes louder, more creepy, more sinister, until finally they enter the actual theater auditorium, a vast haunted space of shadows, cobwebs... and evil.

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Observant riders will notice that one of the chandeliers is missing. The riders approach the stage and see, rising ominously from the orchestra pit in front of the stage, the source of the sinister music that has haunted them throughout this trip, the Mighty Wurlitzer Organ being played by a caped figure with its back to them. The music continues to grow in evil intensity, dark and foreboding as they get closer, ever closer, until suddenly the figure playing it turns towards them and they see it is the Phantom of the Opera, still playing this mighty instrument as he turns his deformed, haunting face towards them.







 
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