Everybody's Waldameer

The Ravine Flyer II, a hybrid wooden roller coaster 

featuring a 120 foot drop was ranked the best new ride of 2008

by

Amusement Today magazine.

*Waldameer reinforces a sense of  belonging*

There's just something about Waldameer Park.  It can be difficult to put into words, but you sense it while walking the grounds under a July sun, smelling the aroma of french fries at the Potato Patch or hearing the excited squeals of kids riding the Comet.  There's a charm, a sense of nostalgia, an authenticity, a perception the park is somehow .. yours.

Cedar Point in Sandusky, Ohio may pack more thrills, but Waldameer reminds some of simpler times.  For those who grew up in Erie, it probably feels like it's somehow .. there park.  Waldameer Park has been a vital part of Erie's fabric for well over a century.  It rests upon an area once known as Hoffman's Grove, a 19th century local hotspot for picnics and beach-going.  It was in 1896 when the Erie Electric Motor Company trolley line recognized the area's potential and they leased the land to create a trolley park, renaming it Waldameer which in Germans means "woods by the sea".  The trolley company expanded the park with a dance hall, a carousel* and Hofbrau German Beer Garden complete with singing waiters in the early 1900s.

*The carousel at Waldameer Park is a 1908 Muller-Dentzel-Stein & Goldstein Menagerie Carousel.  This historic carousel has 3-rows with 47 animals and one chariot including 11 Muller standers, a Muller Lion, a tiger, a Dentzel deer, numerous Stein & Goldstein jumpers and a very rare Allan Herschell elephant. The total of the figures and mechanism broken up at auction in December of 1988 totaled over $1 million. 

Grand Carousel

Waldameer Park

In 1902, known by the names Figure 8 and Dip the Dips, Waldameer's first roller coaster operated from 1902 until 1937.  At first, the ride experience was relatively tame with the largest drop being only 9 ft. reaching speeds around 10 mph.  In the late 1910s, several of the dips were deepened to provide a more thrilling ride experience.  Dip the Dips stood in the present-day location of the Arcade.

The 1920s were the golden age of the amusement park industry.  Now under the general management of Alex Moeller, a variety of new attractions opened in the 1920s such as a miniature train caterpillar, whip, funhouse and the fondly remembered Old Mill.  The Depression of the 1930s brought on the most challenging decade of the park's existence halting the growth of the park throughout most of the decade.

Opening in 1922, the Ravine Flyer was Waldameer's largest roller coaster, to date.  Designed by the legendary John A. Miller, the Flyer featured drops up to 90 ft. with two of the largest spanning Peninsula Drive.  Much of the Ravine Flyer stood on the present-day location of the Ravine Flyer II.  The Lakeview picnic shelter next to the present-day Flyer II was originally the station for Ravine Flyer.  It only operated for 16 years until August of 1938.

With an improving economy after the Depression, more rides were added and a new dance hall was built replacing the dance hall that burned in 1937.  A local contest was held for a name and Rainbow Gardens was selected.  The Gardens continues to host lar eents to this day.  In 1945, Alex Moeller became owner of the park and an 11-year-old Paul Nelson who was a family friend began working.  As the war ended and familes grew Kiddie attractions became popular in amusement parks.  At the end of the 1940s and into the early 1950s, several children's rides were added.  In the mid 1950s, an area called Monkey Island closed reportedly due to the fact the government bought all the monkeys for the new space program.

The family-favorite Comet roller coaster was designed by Herb Schmeck of the Philadelphia Toboggan Company.  Standing 45 ft. tall and reaching speeds up to 25 mph, the Comet provided a traditional wooden roller coaster experience.  To this day, the Comet remains one of the most popular attractions at Waldameer Park.

The 1960s introduced family favorites such as the Scrambler and the Tilt-A-Whirl in 1964. Thrill seekers welcomed the infamous Flying Coaster known by locals at "The Bump" in 1962.  In 1965, park owner, Alex Moeller passed and Paul Nelson became General Manager and took over daily operations. 

The acclaimed Whacky Shack opened in 1970 and has been haunting generations of families ever since.  Whacky Shack was designed by engineer, Bill Tracy.  The instand success of Whacky Shack inspired the addition of Pirate's Cove which opened in 1972 and was also designed by Tracy.  In 1978, Paul Nelson took full ownership of the park.

New rides included the Sea Dragon in 1992, the 100' tall Giant Ferris Wheel in 1994 and the Wipeout in 1995.  In 1996, Waldameer and Water World celebrated its 100th anniversary with the most ambitious expansion yet with the Thunder River Log Flume which replaced an aging Old Mill.  

Waldameer entered the new millennium with a continued commitment to an ever-improving experience.  In 2008,  after years of planning and legal battles, Paul Nelson's dream of seeing the Ravine Flyer soar again was realized with the opening of the Ravine Flyer II roller coaster.  It features a 120 ft. drop (the largest in Pennsylvania) crossing high above Peninsula Drive as did its predecessor.  Ravine Flyer II exceeded all expectations and won the prestigious Amusement Today Golden Ticket Award and continues to be recognized as a Top 10 Wooden Coaster to this day.

In 2015, Waldameer Park kicked off a long-awaited expansion of Water World with the addition of the Giant Wave Pool capable of accommodating up to 1,000.

 

As Erie entered the 20th century, working-class laborers found their 64-hour weeks diminished thanks to a new found national emphasis on progressive labor legislation. As a laborer's time spent at work decreased, their leisure time increased.  Subsequently, amusement parks such as Waldameer Park experienced a boom throughout the United States.

By the early 20th century, Waldameer had its first carousel installed.  They soon erected a dance hall, a theatre, a beer garden, aerial swings and their first wooden rollercoasters.  And a walk down a ravine led patrons to a boardwalk crossing a lagoon to the beach.  In 1922, a traveler's guide to Erie described the expanding Waldameer as having a "bathing beach, ballroom, concessions, amusement devices, restaurant offering music, dancing, floor show and refreshments".

Waldameer Park was also known for its natural beauty with the 1922 traveler's guide continuing to describe Waldameer Park with these words .."from the entrance of Waldameer Park, the highway winds down a cliff overlooking Lake Erie and Presque Isle Bay.  Tall, slender trees form a canopy over the highway.  A constant lake breeze sweeps the entire peninsula, cooling the flat, sunswept beach".  Despite many challenges, including WWI, prohibition laws shutting down the Beer Garden and the Great Depression, the park continued to evolve into a major summer destination in NW Pennsylvania.

In the summer of 1945 when a young boy from Dunkirk, New York not yet a teenager was hired to work at the park as a dishwasher working his way through every job in the park. His name was Paul Nelson.  By 1956, Paul was running the park. By 1978, he owned Waldameer Park outright!!  Paul will always be remembered for his tireless work ethic and unique vision which built Waldameer from a quiet picnic spot with a handful of attractions to the regional tourist destination Waldameer is today.  

Mr. Nelson oversaw the installation of the Sky Ride and other classic rides throughout the 1970s.  In the 1980s, he made the decision to construct an adjacent water park, naming it Water World.  Paul walked the park every day throughout the season and today his daughter, Nancy and his son-in-law Steve Gorman, Park President and General Manager carry on the ensuring continuity of ownership. It truly is a family-run park and its momentum for expansion has only increased in recent years.

Waldameer Park remains one of the very few amusement parks throughout the United States choosing not to charge admission. While nearly all trolley parks have closed since the trolley park boom in the early 1900s, Waldameer is still going strong today.  Established in 1896, Waldameer is the 4th oldest trolley park in Pennsylvania. In 1996, Waldameer & Water World celebrated its 100th anniversary.  

In May 0f 2023, Waldameer Park lost its longtime and beloved owner, Paul T. Nelson.  

I want the kid in poverty to come to Waldameer and I want the rich kid to come, too.  I want everyone here!!

Paul T. Nelson

Erie-Times News (2016)

On a hot summer day, it can seem everyone is at Waldameer.  I have a feeling that is just how Mr. Nelson liked it.

Choosing the Right Horse!

 Bicentennial Tower

Erie, Pennsylvania

1 State Street

42.1389 N, 80.0917 W

The Bicentennial Tower is the key feature of Erie's Bayfront and Dobbins Landing.  While on the top observation deck, 138 feet above Presque Isle Bay, you can see in every direction and enjoy stunning views of Lake Erie, Presque Isle and the City of Erie.  A portion of the area around the tower was decorated with bricks engraved with the names and messages of individuals and groups who donated money in support of various community benefit projects including the tower's construction. On November 11, 1996 a time capsule to be opened in 2095 was buried at the base of the tower.

On a clear day it's even possible to see all the way to Long Point in Ontario, Canada 27 miles away.  Dobbins Landing was originally known as the Public Steamboat Landing and later the Public Dock.  Named after Captain Daniel Dobbins, an early 19th century sailing master in the U.S. Navy who supervised the construction of a squadron of warships, built in Erie and used during the War of 1812.

Dobbins Landing is a popular tourist area located at the edge of Presque Isle Bay at the terminus of State Street.  Consisting of a wharf and adjoining facilities, the landing includes the tower, the Sheraton Hotel and the Bayfront Convention Center. 

The Bicentennial Tower was built in 1996 to comemmorate the 200th anniversary of the founding of the City of Erie.  Phase I construction date began September 25, 1995 with a completion date of October 16, 1996.  Phase II began December 26, 1995 and was opened October 19, 1996 at a cost of $2.1 million (equivalent to $4.08 million in 2023). The architects were Weber Murphy Fox, Inc.

 

Anyone familiar with the architecture and design of Frank Lloyd Wright is aware he employed a bright red square tile as his artist's seal of authentication on much of his work.  His frequency and consistency of using it has associated Wright with this logomark or trademark.  His red square lives on today in the Frank Lloyd Wright Foundation's corporate identity as well as in countlesss other organizational, brand and product niches associated with Wright.

The art of signing a work of art with a seal was standard practice in Asian block printing.  Wright was a prolific collector of Japanese prints and found deep inspiration in them. Although Wright used a variety of signature styles over the course of his long career, near the midpoint he began marking his drawings with a plain red square that was integrated into the title block of a plan.  These red squares were shaded in red color pencil then signed in black pen.  This was done when the drawing was completed and approved.  

In the 1950s, Wright extended his branding practice into the physical realm.  It manifested in the form of red ceramic tiles bearing his iconic FLLW initials placed on buildings.  These tiles were attached in various imaginative ways and locations based upon conditions.

Myths have persisted concerning the red tiles often repeated by FLW house docents and on occasion, even memorialized in print.  Chief among them is the idea that Wright awarded these tiles only to buildings he believed were completed to his complete satisfaction or those of which he was proud.  Though widely-accepted and endlessly-repeated, this premise has no basis.  For example, Fallingwater in Mill Run, PA, a singular building and arguably the one of which Wright is best know, oddly .. bears no red square tile.

The idea that Wright initialed these clay tiles, himself, is another fallacy.  Frank Lloyd Wright commissioned the first few signature tiles in 1951.  Wright learned a woman by the name of Jeannette Pauson Haber was a talented amateur ceramicist.  Wright approached her with the proposition* of making him some glazed tiles.

*The word, proposition is used rather than the word, commission due to the fact there is no evidence Haber was ever paid for her efforts.  

Over the next few years, the ceramicist periodically created small batches of tiles fired in her San Francisco Bay area home.  One tile appeared as a direct request in 1957 from Betty Sobel, the new owner of the Baker House in Wilmette, Illinois.  Another tile was presented to the SC Johnson Administration Building. 

A red tile should not be considered an indicator of a building's significance though the tiles are a desirable addition.  Sadly, several tiles have been stolen over the years.  A good number of the mounted tiles are deteriorating and an uncertain quantity are floating around having never even been assigned to a building.

It is not possible today for a Wright house to receive an official red tile as they are no longer bestowed upon a Wright building. The chances of a tile turning up periodically at auction or on eBay are slight though if one were to appear expect the cost to approach $5,000 or more.  And there is a reasonable chance the tile, if not fake, has been stolen from a building it was legitimately presented to when the building was completed. 

The fact of the matter is that there is no evidence of any rhyme or reason for buildings being awarded a tile. 

Excerpts from an online link written by Steve Sikora, owner of the Malcolm and Nancy Willey House

The Willey House

Minneapolis, Minnesota

Circa 1934

https://savewright.org/frank-lloyd-wrights-red-signature-tiles/

http://www.thewilleyhouse.com

 

City Hall

65 Niagara Square

Buffalo, New York

City Hall was built by the John W. Cowper Company which was the same firm that earlier had built the Statler Hotel and The Buffalo Athletic Club.  The total cost to build City Hall was $6.8 million dollars including architect fees making it, at the time, one of the most costly and largest city halls in the country.  

Ground was broken on September 16, 1929 and the corner stone was laid on May 14, 1930.  The building was completed for occupancy on November 10, 1931 even though parts of the building were occupied as early as September 1931.  The building was dedicated in July of 1932 and has 32 floors.  There are 1,520 windows from the first floor to the twenty-fifth floor.  An interesting design feature is all of the windows open inward.  It takes approximately ten days to clean them all, from the inside.  

There are eight elevators to the 13th floor and four elevators to the 25th floor.  Curtis Elevator Co., the oldest active elevator company in the country furnished the elevators.  Otis Elevator Co., now the largest elevator company in the world, supplied additional elevators added later.  There are 143 clocks regulated by a master clock in the basement. Originally, it had 375 telephones with a master switchboard.  

The importance of this Art Deco masterpiece is immediately relevant upon viewing its command of the downtown Buffalo area and the waterfront.  The height of the domed ceiling makes quite an impression upon entering the main lobby.  City Hall is so rich in artwork there is much more throughout the building though the most significant murals are in the first floor lobby. 

Access to the Council Chamber is located on the thirteenth floor.  As you enter the Chamber, it is very difficult not to be taken in by the bright ceiling which features a very large stained glass piece. It is an example of Indian artistry and is in the form of a sunburst. The Council Chambers is probably one of the finest Chambers of its kind in the country.  The Chamber can seat 383 and the room is acoustically treated making the room perfect in the way of sound, even without a microphone.

When City Hall was designed and later opened, the fashions of the day favored men's hats.  The derby hat influenced the City Hall planners to the degree every chair was equipped with a hat holder under each seat.

In 1999, City Hall was put on the State and National Register of Historic Places.

 

In 1889, Tiffany and Co. introduced their first charm bracelet. It was a designed link bracelet with a single heart dangling from it, a bracelet which is an iconic symbol for Tiffany today. Despite the Great Depression, during the 1920s and 1930s platinum and diamonds were introduced to charm bracelet manufacturing.

Soldiers returning home after WWII brought home trinkets made by craftsmen local to the area where they were stationed to give to loved ones.

American teenagers in the 1950s and early 1960s collected charms to record the events in their lives.  Screen icons like Elizabeth Taylor, Grace Kelly, Sophia Loren and Natalie Wood helped to fuel the interest and popularity of charm bracelets.   Taylor wore charm bracelets as a child and throughout her life including one in the 1956 film, Giant.  Taylor's charm bracelet collection included gifts from directors and mementos from Richard Burton.  Grace Kelly wore a chunky multi-pearl charm bracelet as the character, Lisa Fremont in Alfred Hitchcock's film, Rear Window. After the film was released, the bracelet was copied and women purchased it at a variety of price levels. 

Although interest and production waned through the latter part of the 20th century there was a resurgence of popularity after 2000 and collectors eagerly sought out vintage charms.  

While charms have never really gone out of fashion, they tend to sometimes be temporarily retired to jewelry boxes and neglected for a while by fashion editors.  However, it is never long before someone glamourous is pictured in the social pages or featured in a magazine wearing a bracelet of beautiful charms and suddenly they are trendy, once again.

Throughout history film stars and fashionistas have been photographed wearing cherished charms with jewelry designers quickly making similar creations available to the rest of us.  The most celebrated has been a gold charm bracelet worn by Elizabeth Taylor that charted the milestones of her extraordinary life.  It includes a locket which opens to reveal four medallions, each inscribed with the name and date of birth of her children.  There is an engraved clapperboard commemorating her 1967 film, The Taming of the Shrew.  This bracelet was sold at Christie's auction in December 2011 for $326,500.  One of Taylor's most important sentimental pieces of jewelry was given to her by her longtime friend, the famed costume designer Edith Head.  The two women worked together on numerous films, building a closeness that went beyond a mere working relationship.  Elizabeth thought of Edith as a second mother and Edith, in turn, took Taylor under her wing.  When Edith passed she bequeathed Taylor her ivory, turn-of-the-century Victorian theatre-ticket-charm necklace.

Following Taylor's passing in 2011, Christie's put her sprawling jewelry collection on the auction block.  It garnered a total of nearly $116 million.  

Charm bracelets can symbolize almost any interest, passion, or place and express the essence of their wearer like no other piece of jewelry.  

Even First Lady, Mamie Eisenhower was the embodiment of the optimism of the 1950s.  She was cheerful, lively and fashionable in mink stoles, fitted hats, dresses and charm bracelets which included one that commemorated her life as First Lady and her marriage to President Eisenhower.  The charm bracelet sold at Christie's in November 2017.

 

Today, while luxury jewelers sell many styles of charm bracelets in sterling silver and gold, Pandora dominates the market with worldwide sales reaching $3.5 billion in 2021.

 The Arch

St. Louis, Missouri

Construction of the Arch began on February 12, 1963 and was completed on October 28, 1965 for a total cost of $13 million.  The $11 million cost of the Arch, itself, was made up of 75% Federal funds and 25% City of St. Louis funds.  The $2 million Arch transportation system was financed by the Bi-State Development Agency.

The Arch has foundations sunk 60 feet into the ground and is built to withstand earthquakes and high winds.  Rides are available to transport visitors 630 feet to the top of the Arch for exhilarating views. Allowing 10 feet for every story, the Arch is exactly 63 stories tall.  The observation platform at the top of the Arch is the only thing up there.

The unique tram system to the top takes 45-60 minutes and seats up to five people in each Gateway Arch tram.  The north tram was opened to the public on July 24, 1967.  The south tram was completed in 1968.  Each tram consists of eight cars that have clear doors on the front and are closed on the back.  Each car has a five-foot diameter.  Visitors with claustrophobia issues are invited to sit in the replica tram car by the ticketing counter before purchasing tickets.  

There are 16 windows on each side of the viewing area.  Each window is 7x27 inches and 0.75 inches thick.  Over 500 tons of pressure was used to jack the legs of the Arch apart for the last four-foot piece to be inserted at the top.  (video below shows this moment in construction of the Arch)    

Finnish-American architect, Eero Saarinen designed the iconic structure.  The ingenious tram ride to the top was designed by Dick Bowser.  There are 1,076 steps in the stairways of each leg and they are used by maintenance and emergency personnel, only. 

St. Louis and the Gateway Arch are both referred to as the "Gateway to the West".  The Arch is an inspirational symbol of Thomas Jefferson's vision of building a unified continental nation and St. Louis' role as a conflluence and gateway to the American West during the 19th century.  The park's museum interprets key individuals and cultural groups involved in exploring, exploiting and inhabiting the lands from the Mississippi River to the Pacific Ocean.  

Can you touch the arch?  Yes, you can!  Visitors are welcome to touch the arch though local legend says its shaped like a boomerang because if you touch it you'll never be able to leave St. Louis.  It will keep pulling you back.

The Arch is designed to sway as much as 18 inches in 150 mph winds though under normal conditions the Arch does not sway.  It takes a 50 mph wind to move the top 1 1/2 inches each side of center.  

In my travels through the years, I have visited St. Louis and taken the tram ride to the top of the famous Arch along the Mississippi River.

 

A snowflake is a single ice crystal large enough to fall through the Earth's atmosphere as snow.  Snow appears white in color despite being made of clear ice.  This is because the many small crystal facets of the snowflakes scatter the sunlight between them. Each snowflake begins by forming around a tiny particle called is nucleus, accumulating water droplets which freeze and slowly from a crystal.  Complex shapes emerge as the flake moves through differing temperature and humidity zones in the atmosphere and possibly combines with other snowflakes.  Because of this, snowflakes tend to look very different from one another.  According to scientific consensus, all snowflakes are considered to be different from one another because as they fall through the atmosphere, they encounter slightly varying temperature and humidity levels, leading to unique growth patterns and shapes, making it nearly impossibe for two snowflakes to be exactly alike.  Essentially, each snowflake's shape tells the story of its unique journey through the air.

Key points about snowflakes fall under 3 categories.  These categories are unique growth patterns, humidity impact and molecular variations.  Every snowflake encounters different atmospheric conditions as it falls, causing its arms and branches to develop in a distinct way.  Higher humidity can lead to more complex branching patterns while low humidity results in flatter snowflakes.  Even though snowflakes are made of the same basic components (hydrogen and oxygen) the slight variations in their moleular arrangement contribute to their individuality.  

I think it is safe to say that most of us as a child have tried catching snowflakes with their tongue.  It typically symbolizes a moment of pure, childlike joy and wonder in the midst of winter.  It represents the simple pleasure of experiencing the beauty of falling snow, often associated with carefree play and embracing the cold weather.  

Catching snowflakes is a childhood rite of passage.  Everyone has done it, no matter their age.  All you have to do is tip your head back, stick out your tongue and try to catch a snowflake in your mouth. 

To take a closer look at snowflakes before they melt or join a pile on the ground, simply put a piece of black construction paper in the freezer.  When it is snowing, grab your frozen sheet of paper and head outside.  Once your paper is full of flakes, you can return it to the freezer to inspect later with a magnifying glass.

Have fun!

 

Main Diner

Westfield, New York

Circa 1920s

Emmanuel Triantafelow purchased a Ward and Dickinson Diner on September 26, 1934 and placed it on his lot located at Elm and Main Streets.  It became the Main Diner still enjoyed in Westfield, today.  The W&D #36, built in 1925 was sold and taken to Florida from which it was repurchased by John Stead and taken to Erie PA, named Stead's Diner. Stead sold it to Triantafelow since he had another diner in Erie.  

The original part of the Main Diner which includes the counter and counter stools will be celebrating 100 years this year, 2025  Happy Anniversary, Main Diner!

Ward & Dickinson

Lee Dickinson lived in Silver Creek, NY and made his money on land speculations and oil drilling especially in Florida and Texas.  He was definately the financial backbone of the company.  During the hayday of the company in 1925-1927, Mr. Dickinson was mayor of the villag.  Charles A. Ward previously came from Clyde, Ohio to run the Powers Hotel in 1921.  Prior to running the hotel, he was in Colorado and West Virginia.  Eventually, he became interested in building diners and got out of the business of running hotels.  

The company built approximately 65 diners in 1926.  Some of the highlights were the diners sold to a Buffalo (5), Cleveland (10) and Toledo (7) chain of diners.  Additional diners were built and transported to New Jersey, Michigan and Meadville PA. In 1926, one hundred dining cars were completed with 96 in operation as reported by the Silver Creek Times. In 1927, nine dining cars were sent to Toronto, Canada.

On May 5, 1927 the Ward & Dickinson Company (later changed to Ward & Dickinson Inc.) had that year's model dining car on display in front of their factory on Central Avenue in Silver Creek according to the Silver Creek Times.