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WFM AMPR - SUNDAY, MARCH 2, 193 It is said that when the...
SUNDAY, MARCH 2, 193 It is said that when the original loop was laid Out by J. R. Worcester, a consulting engineer of Boston, Boston, in 1909 a glass of water was placed on a seat of he car and when the car made the loop not a drop Of water had fallen out. The ten-foot ten-foot ten-foot model of the -"Loop -"Loop the Loop" cost approximately $3,000 to construct. construct. And some twenty years ago a few of the' "Loop the Loops" were in vogue, but not for long. Folks hesitated to board one, fearing the hectic turn. But showmen say that the invention was at least two decades ahead of its time. Nowadays, they say, the younger generation would regard the real "Loop the Loop" as a lark, and anything the children of today regard as a lark means more clinking of silver in the coffers of the midway and Surf Avenue. They certainly had funny ideas in the Nineteenth Nineteenth Century. If you should examine the working" . model of a wind-propelled wind-propelled wind-propelled circle swing in the museum your face would probably wrinkle up in smiles and remark how silly contrivances were then. The circle swing of 1888 was patented by a T. J. Simpson of Minnesota and Mr. Mangels says of this invention: "This inventor figured on nature to turn his wheels. He provides a circular swing fitted with vanes or sails arranged over the seats. When j wind blows the passengers seat themselves in the swinging seats, pull the cord that locks the sails, and away they go. And now we come to that relic of the sidewalks ef New York the hurdy-gurdy, hurdy-gurdy, hurdy-gurdy, which was first introduced introduced in New York by Joseph Mollinari back in 1862. How often has this instrument been used on the carnival and circus lot as well as on the city streets! The hurdy-gurdy, hurdy-gurdy, hurdy-gurdy, according to the writer's informants, was responsible for the composition of "The Sidewalks of New York," and recently the museum museum fell heir to one of Mr. Mollinari's music boxes. Radio, it seems, has helped to banish this object from our sight. The many butchers, candy store owners, bakers, candlestick makers, drug stores and dry goods Stores must thank their lucky stars that radio has come to drive away those attractively garbed Italian mistresses and signors who after they played the famous Manhattan airs and Irish ditties on the hurdy-gurdy hurdy-gurdy hurdy-gurdy wandered into the stores for pennies. It does the heart a lot of good to see at least one hurdy-gurdy hurdy-gurdy hurdy-gurdy destined to go down in history. . And when the permanent museum is constructed, should you ) M it fib .i A -lu -lu JlT -A&&l!!&?f&Sftfta -A&&l!!&?f&Sftfta - - I : L.iiihii i ii iiiiiiiiiimiiiw mill amwnnimwnroirimMTMiiip " A model of the loop the loop, to be seen in the museum The old skip's figurehead became a cigar store Indian and is now in the Coney Island Museum desire to fulfill an ambition, that is to turn one of these instruments, the curator will gladly allow you to wheedle out a .tune or two if you promise not to be too rough on the. handle. - " Glance a moment at the history of the carrousel or merry-go-round. merry-go-round. merry-go-round. merry-go-round. merry-go-round. - G. A. Dentzel in 1867, established in Philadelphia the first carrousel factory In the United States. The third generation of the Dentzel family is still carrying on the work. The original sign and all the tools used then are now the property of the museum and constitute one of the most important important contributions received. The sign reads: "G. A. DenzeL Steam and Horse Power Carrousel Builder, 1867." Before the Dentzel family began to use steam power to propel their carrousel horses were employed and often men, too, to keep the merry-go-rounds merry-go-rounds merry-go-rounds merry-go-rounds merry-go-rounds in active motion. - When the first carrousel made Its appearance on the fair grounds it possessed roughly, six or seven kerosene lamps hung on rods In front of the attraction. attraction. In those days the kerosene lamps were said to be "brilliantly" lighted and guaranteed to illuminate illuminate the entire lot. Today it takes at least two thousand electric lights to keep one carrousel in only fair brilliance. . . " In addition to the running of a merry-go-round merry-go-round merry-go-round merry-go-round merry-go-round it was necessary in the Nineteenth Century as well as today to supply music' A problem not so easy to solve then. The museum has endeavored to gather together the countless forms of music used not only with the carrousel but also on the carnival lots and in the circuses. You will see at the museum such ancient ancient and mellifluous instruments intended for musical musical dispensation as the old and venerable Fuch's , enormous orchestra "played by pinned cylinders and weights" and bearing the date of 1863. Then there is to be seen the Gavioli orchestrion, the first to be played by perforated paper in 1870. If you look carefully you will discover a hand organ about one hundred and fifty years old, also an early Wur-litzer Wur-litzer Wur-litzer orchestrion, a Dentzel cylinder machine, the Gebruder Bruder perforating machine and an old Swiss music box with drums and bells. Our parents will recall that back in 1889 W. A. Dodge patented an amusement device then known as the double whirl. An intriguing and complete complete working model of this device is to be seen at the museum. It is described by the director as follows: "This amusement device consists of two sets of radial arms turning on fixed centers and geared together to turn in unison; a track is laid in the form of a figure eight on the outer ends of the arms. In operation the radial arms push a series of small cars around the track, and as the cars approach approach each other a collision seems impending, but the cars glide gracefully into the other circle and continue." The double whirl was far from a world record breaker when first introduced in the eighties but outdoor showmen of today opine that if such a product made its reappearance somewhat altered to suit the tastes of this age it would unhesitantly meet with acclaim. And what a strange and ugly object the balloon carrousel was when first brought to light by W. Sassack of our own fair borough back in 1885! It is best described as a "device which consists of a circular building in which a carrousel is operated. The central tower projects through the roof and supports a series of hinged radial arms controlled by cables and counterweights in the tower. On the outer ends of the arms are balloons suspended, each having attached a small gondola or coach for passengers. passengers. In operation the entire assembly revolves and by operating a cable drum the arms are raised or lowered while in motion. When the trip is completed completed the gondolas touch the platform and the passengers passengers emerge. In the raised position the balloons are some thirty feet in air. This device is the fore runner of the present-day present-day present-day high-speed high-speed high-speed aeroplane swings." The working model of the balloon carrousel is another prominent piece in the museum. Endless, indeed are the objets d'art of yesterday yesterday to be found in the temporary building at this time. George Green, who has made for himself a name to be reckoned with in the amusement world of Blackpool and Glasgow is sending over products from his territory. Henri Souplis of Paris, Louis Bern! of Milan, Italy; W. Siebold of Bremen and the Hagenback firm of Stellingen have all agreed to gather together from various European and Asiatic localities the amusement articles of importance. The contributions from American outdoor showmen showmen constitute perhaps the largest part. Many of the exhibits were once the property of Frederick Thompson (the maker of the Hippodrome in Manhattan). Manhattan). Thompson was the man responsible for the making of Luna Park in Coney Island and other attractions such as "The Trip to the Moon," "Darkness "Darkness and Dawn," Toyland" and others. His library and other material were donated by his wife, Selen Pitcher Thompson, to the museum. Leading his collection collection are the famous six bronze elephants crossing a bridge. Louis Stauch, f Coney Island fame, is represented represented in the museum with an sorts of cups, a champagne champagne cooler, oil paintings, seidels guaranteed to make your mouth ache for a drink of real old-fashioned old-fashioned old-fashioned Coney Island beer, menus of Stauch's Coney Island inn and heaps of other mementoes. In the Dentzel collection are to be found, among other things, a lion made of wood and brought to America by Michael Dentzel before 1843 in a sailing vessel. The original carving tools employed by him and the first steam engine ever operated on an American carrousel and many of the figures seen on the merry-go-rounds merry-go-rounds merry-go-rounds merry-go-rounds merry-go-rounds of olden times, such as the fierce looking tigers, deer, kangaroos, bears and lions help make up the rest of the Dentzel contribution. contribution. Invaluable too, in the museum, are the circus handbills, brochures of ancient fairs, ballyhoo products products and the heaps of pictures such as the exhibition exhibition buildings of Rio de Janeiro taken in 1908, the national exhibition of London in 1906 and a rare print of the birthplace of the carrousel, "Place du Carrousel," of Paris, 1664. It may interest the hundreds of thousands who have in the past few years traveled over the L. A. Thompson Scenic Railway of Coney Island to know that they are now in a position to gaze upon the very first original passenger car of the switchback railway railway of 1884. It was resurrected recently from a dust heap where it had been consigned by one who probably did not realize the importance attached to the first scenic railway car used. Prominent among the donors of gifts to the museum besides the aforementioned ones are Harry C. Baker, A. R. Hodge, Leslie Stratton, Frank W. Darling, R. H Brainerd, W. C. Meinch, R. S. TJzzelL A. Calsamilia, R. M McCann, William Fox, Mrs. K. S. Gaskill. Namy Salih, Mollinari & Sons, Sam Gumpertz and Homer Croy. The officers of the American Museum of Public Public Recreation include D. S. Humphrey, president; Fred W. Pearce, vice president; R. S. Uzzell, secretary, -and -and William F. Mangels, treasurer and director. The members of the board of trustees are D. S. Humphrey, Humphrey, Fred W. Pearce, R. S. Uzzell, Dr. Philip Nash, George V. McLaughlin, Sam W. Gumpertz, Edward F. Tilyou and Mr. Mangels. When the last stone has been laid In the permanent permanent building of this museum and all the objects arrayed in a fitting manner, there is no doubt in the . minds of the officers, and outdoor showmen of the entire world, that here will repose the alpha and omega of every conceivable recreational apparatus intended to make the inhabitants of this universe joyous and carefree when their day's work is done. y

Clipped from The Brooklyn Daily Eagle02 Mar 1930, SunPage 82

The Brooklyn Daily Eagle (Brooklyn, New York)02 Mar 1930, SunPage 82
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