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Putnam Museum Adds Science Center

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[quote]We are thrilled to be able to share the wonders of science, technology, engineering and math with the Quad Cities community.”  — Kim Findlay, Putnam President and CEO[/quote]

Davenport, Iowa (April 11, 2014) – Flanked by contributors, students, dignitaries and board of trustees, Putnam President and CEO Kim Findlay today declared The Putnam’s new 10,000-square-foot Science Center open for business at a celebratory ribbon-cutting event.

The ribbon cutting marked the cumulating effort of fundraising and planning to bring a renewed focus on science, technology, engineering and math (STEM) education to the Quad Cities.

Using existing museum space, the center features more than 45 hands-on stations, creating a destination where families, school groups, and adults and can explore the wonders of science, engineering, and technology by doing rather than simply reading about a topic.

The Putnam is hosting grand opening celebratory events from 10 a.m. to 5 p.m. on April 12, 13 and 19th and noon to 5 p.m. on April 20. The celebration will feature hourly giveaways that include family memberships to The Putnam, packages of four Giant Screen movie tickets, $15 gift certificates to the museum gift shop and $15 gift certificates to the Snack Stop.

“Although The Putnam has hosted STEM-focused exhibits in the past, this dedicated Center takes things to a whole new level. Visitors will not only realize their aptitudes and interests in various aspects of STEM, but also be surrounded by information and stories of how STEM knowledge is utilized in careers today and into the future,”  said Findlay

The Putnam partnered with numerous local, national and international institutions and companies to make the Science Center a reality. For example, Davenport-based Genesis Systems Group programmed the one-of-a-kind robotic arm featured at the entrance to the center. Roto, an international design and production firm, helped with the Putnam’s vision of repurposing existing museum space. Cobham created a thermodynamic station based on the products they create in the Quad Cities and sell worldwide.

The Putnam is also partnering with Davenport Schools to allow every sixth grader to experience the Center. Additionally, the Putnam will be working with Davenport West High School’s active learning classroom by offering a FabLab, a classroom that features high-tech equipment, 3D Printers, and Smart Boards that support active learning. The FabLab is connected visually to FabLabs throughout the world allowing users to connect with other users’ projects globally.

“The community has been tremendously supportive,” said Nichole Myles, vice president of education and exhibits at the Putnam. “The Science Center has become a reality because of collaborations with many groups – from companies to higher education to kids helping raise money by donating saved coins through our “STEM Makes Cents” program.”

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The new Science Center is comprised of a variety of stations dedicated to key aspects of STEM education. The “Innovation” section, for example, will showcase aerospace, robotics, architecture and structure, design and engineering, film and music. The “How Things Work” section immerses visitors in simple machines, electricity and magnets, and light and sound.

“Children make the decision of ‘what they are good at’ by age 10,” Myles said. “How do you know what you’re good at if you’ve never had the chance to try it? At the Putnam, you can discover and learn by doing. “Kids can return to school excited to study subjects like science and math. We’re looking forward to presenting STEM concepts and careers to parents as well, so they can see what’s possible for their children … and perhaps themselves.”

Interactive experiences include, among others:

–An “Arch Bridge” where visitors create their own arch bridge and feel the stability of this basic architectural shape by walking over the bridge they have built – without fasteners

–A “Pull Yourself Up” pulley station where visitors hoist their own bodies with the help of pulley systems that increase their mechanical advantage

–The “Tennis Ball Launcher,” which illustrates the power of pressure as tennis balls are launched into the rafters using propulsion

–An “Innovation Station” where visitors can see a 3D printer and use CAD software

–The “Bernoulli Blower,” where visitors balance balls in streams of moving air, illustrating the Bernoulli Principle

–A “Giant Lever” challenge, where visitors on two sides of a giant lever are challenged to a tug-of-war, each side attempting to pull the lever in their direction – and the smaller person can win

–The “Standing Wave Tube,” which helps visitors discover the three-dimensional nature of sound

–A “LaserTable” where visitors can visualize a laser beam and control its direction by arranging a series of mirrors.

–The 14’ by 18’ suspended “Hexagonal Wave,” a display in The Putnam’s Grand Lobby that brings mathematic calculations to life

“Throughout its 147-year history, The Putnam has been the place where you can go and discover your world,” said Steve Bahls, chairman of the Putnam Board of Trustees. “The Science Center is the next logical step and makes science, math and technology fun for everyone. Coupled with our other permanent exhibits and National Geographic Giant Screen Theater – the Putnam is always changing and relevant creating an optimum learning environment and a great travel destination for families from across the region.”

“We embrace everyone in the community, and we are looking forward to the community continuing to embrace The Putnam experience.” said Findlay.

www.Putnam.org

New “Despicable Me” Themed Land Opens at Universal Studios Hollywood

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[quote]As the film franchise continues to break new ground as a modern day classic, so too will ‘Despicable Me Minion Mayhem’ as yet another marquee Universal Studios Hollywood attraction.” — Larry Kurzweil, President of Universal Studios Hollywood[/quote]

Universal City, CA, USA (April 11, 2014) /PRNewswire/ — “Despicable Me Minion Mayhem,” an original 3D Ultra-HD adventure, and “Super Silly Fun Land,” an immersive carnival setting – both based on Universal Pictures and Illumination Entertainment’s worldwide blockbuster “Despicable Me” franchise – celebrated their dynamic grand opening today at Universal Studios Hollywood.  Among the many surprises inspired by the beloved films, guests will be “turned into” an army of iconic Minions and embark on a secret training mission.

“Despicable Me Minion Mayhem” officially opens to the public at Universal Studios Hollywood on Saturday, April 12, 2014.

The world premiere was attended by many Minions parading along the yellow carpet, who were joined by Chris Meledandri, founder and CEO of Illumination Entertainment; Ron Meyer, Vice Chairman of NBCUniversal; Tom Williams, Chairman & CEO of Universal Parks & Resorts; and Larry Kurzweil, President of Universal Studios Hollywood. L.A. Mayor Eric Garcetti made a special guest appearance to show support for the theme park’s newest addition, speaking to an enthusiastic crowd about Universal Studios Hollywood’s long-term impact on tourism in the region.

Also in attendance were “Despicable Me” series stars, including Miranda Cosgrove (Margo), Dana Gaier (Edith) and Elsie Fisher (Agnes), who were joined by versatile entertainer and host of EXTRA, Mario Lopez; the cast from NBC’s “Crisis,” including Stevie Lynn Jones, Lance Gross, Joshua Erenberg, Max Martini and Max Schneider; TGT recording artist, Tank; HBO’s “Band of Brothers” star Neal McDonough; Syfy’s “Face Off” host,McKenzie Westmore; and Ultimate Fighting Champion Chuck Lidell.

“The irreverent humor, endearing characters and storyline that have captivated movie-goers worldwide makes ‘Despicable Me’ a perfect match for our theme park,” said Kurzweil. “This imaginative new attraction will not only take guests on a hilarious and heartwarming adventure that captures the spirit of the film, but will also invite them to embrace their ‘inner Minion’ – that mischievous alter-ego that hides within all of us.”

Voiced by the film’s original stars, the fully immersive motion-simulator ride features the lovable cast of characters who have resonated with audiences across the globe: (former?) super-villain Gru (Steve Carell), his adorable girls – Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Elsie Fisher) – and an army of unpredictable Minions, voiced by Pierre Coffin.

“‘Despicable Me Minion Mayhem’ and ‘Super Silly Fun Land’ bring our movies to life, with all of the gorgeous artistry, humor and the heart – and of course the thrills – that the team at Universal Studios are known for,” saidChris Meledandri. “In addition to the state-of-the-art 3D ride, we’ve built out an immersive environment with many other attractions – shops, restaurants, countless water features, a round ride, and even the arcade games featured in the first ‘Despicable Me’ movie. Who wouldn’t want to spend a day as a Minion?”

As if lifted from the world of “Despicable Me” and placed within Universal Studios Hollywood, the “Despicable Me” ride welcomes guests to ‘Minion Mayhem’ via Gru and the girls’ idyllic suburban neighborhood, re-created with precision to mirror their ominous house and Miss Hattie’s Home for Girls. Whimsically themed queues, clever preshow videos and comedic dialogue set up Gru’s nefarious plot: to create an army of Minions from guest recruits.

As guests enter Gru’s living room, they will encounter many memorable artifacts from the series, including his notorious SR6 Shrink Ray and rhinoceros chair, and then make their way into Gru’s super-villain laboratory. The exciting journey will send guests, who wear wearing specially-designed 3D “Minion Goggles,” on an excursion through the humorous Minion training mission. Soon, guests will actually become Minions themselves.  A post-show Minion dance party invites everyone to join in the impromptu fun and celebrate the anniversary of Gru and the girls becoming a family.

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“Super Silly Fun Land,” an all-new elaborate carnival setting and play zone unique to Universal Studios Hollywood, is just adjacent to “Despicable Me Minion Mayhem”. Who doesn’t remember when Gru took the girls to the seaside resort in the first film and “won” Agnes the iconic fluffy unicorn? Now, guests can win a unicorn of their own and roam this uniquely stylized environment, which until now could only be enjoyed on the big screen.

The colorfully themed, interactive Minion-inspired outdoor venue will entertain guests of all ages with more than 80 different water play features. A nearby dry zone will invite guests to climb, jump and slide – while a Minion-themed ride, “Silly Swirly Fun Ride,” will soar and spin guests around for a 360-degree view of “Super Silly Fun Land” aboard a fleet of uniquely-designed ride vehicles.

Together, “Despicable Me Minion Mayhem” and “Super Silly Fun Land” represent a distinct, immersive environment within the theme park – reimagined to fully engage guests in the world of Gru, his girls and the Minions, – joining Universal Studios Hollywood’s dynamic roster of award-winning themed attractions.

SeaWorld Defends Itself Against California Bill to Ban Killer Whales in Parks

On April 8, 2014, California Assembly Bill 2140, proposing an end to killer whale performances and captivity in the state, was heard before the Assembly Water, Parks, and Wildlife Committee. InPark News Editor Joe Kleiman was inside the hearing room in the State Capitol Building to document the proceedings for IPM.  After the hearing, he met with SeaWorld’s testifying witnesses, including San Diego park President John Reilly, and with the bill’s author, Assemblyman Richard Bloom of Santa Monica.

In all there were around 150 members of the public present for the hearing – 50 of us inside the room, the remainder watching on a monitor in the adjacent hallway.  The majority attending were individuals or representatives of animal rights groups, a number from out of state, in support of the bill.  But there was also a sizable delegation of those opposed, including regional and state economic and tourism associations, and the majority of the state’s zoos and aquariums, which were represented by Mary Healy, Director of the Sacramento Zoo and President of the California Association of Zoos and Aquariums (CAZA), and Jim Maddy, the President and CEO of the Association of Zoos and Aquariums (AZA), which he stated before the committee accredits “twenty-two zoos and aquariums in California and we strongly oppose this legislation.”

In an interview conducted after the hearing, Healy explained the concerns that she and other zoo and aquarium administrators within California have about the bill: “Animal extremists have created a systematic plan to compromise what zoos do best, which is conservation, especially of endangered species, and inspiring people through our animal collections to care about the natural world.” Healy pointed out that AZA member zoos have a high level of standards and procedures that have been solidified over time.  According to her, the bill would take decisions of animal acquisition and disposition away from those best qualified. “When politicians dictate how zoo animals should be cared for, it takes the expertise and the experts in animal care out of the equation.”

Via email correspondence prior to the hearing, Dr. Naomi Rose, who represents the Animal Welfare Institute, co-sponsor of the bill, told me that she does “not see how it will affect housing for animals in zoos, since the bill targets only one species, with unique biological and ecological characteristics that make it unsuited to captivity.”  But the state’s zoos worry that the implications of the bill will spread beyond orcas. As he closed the portion of the hearing on the orca bill, Committee Chair Anthony Rendon stated, “I’m fundamentally opposed, I am ethically opposed, to holding large mammals in captivity.”  Healy of the California Association of Zoos & Aquariums takes that to heart. “This bill does not technically threaten other animals,” she told me, “But when the Committee Chairman says he’s opposed to large mammals in captivity, that’s a threat to all of our member zoos.  All of our zoos were behind me when I went up and said I opposed the bill.”

A BRIEF HISTORY OF AB-2140

At the root of the bill is the controversial documentary Blackfish, which on its surface explores the events leading up to the 2010 death of SeaWorld Orlando orca trainer Dawn Brancheau, but which is widely accepted as being a film about animal rights.  SeaWorld has countered the claims in the film with an extensive media campaign, using both traditional legacy and social media strategies.  The company’s official statement on the film reads in part:

We object to “Blackfish” because its two central premises are wrong: (1) that life at SeaWorld is harmful for killer whales and for trainers working with these animals, and (2) that SeaWorld has attempted to cover up the facts surrounding the tragic death of trainer Dawn Brancheau in 2010, as well the history of Tilikum, the killer whale involved in that accident.  Nothing could be further from the truth.

To make these ultimately false and misleading points, the film conveys falsehoods, manipulates viewers emotionally, and relies on questionable filmmaking techniques to create “facts” that support its point of view.

. . . All of the falsehoods and misleading techniques in “Blackfish” are employed in the service of the film’s obvious bias, one that is best revealed near the end of “Blackfish” by a neuroscientist with no known expertise in killer whales. She claims that all killer whales in captivity are “emotionally destroyed,” and “ticking time bombs.” These are not the words of science, and indeed, there is not a shred of scientific support for them.  Rather, they are the words of animal rights activists whose agenda the film’s many falsehoods were designed to advance. They reveal “Blackfish” not as an objective documentary, but as propaganda.

The film played over twenty times on CNN and through the social media efforts of those in the animal rights movement, became a leading tool utilized by a number of organizations and individuals dedicated to freeing the theme park chain’s orcas.  Bloom, who served a three-year term on the California Coastal Commission, has a history of environmental legislation, including another current bill that would remove plastic microbeads from skin care products.  He was encouraged to see the film and afterwards was put in touch with Dr. Naomi Rose, an adviser on the film who has been fighting orca captivity for close to two decades.  Rose and other scientist-advocates helped Bloom draft the Orca Welfare and Safety Act, which eventually became AB-2140.

The bill was introduced on February 20 in order to make the February 21 deadline for the introduction of new legislation.  In its inital form, it was nothing more than minor wording changes to the Fish and Game Code Section 701.3, which lists the duties of the Director of the State’s Department of Fish and Wildlife.  This was done to make sure the bill would be heard in the current legislative session although it was not actually ready to be introduced.  On March 7, the bill was announced at a press conference at the Santa Monica Pier, and on March 28, it was re-written, taking out the provisions about the Director of Fish and Wildlife and inserting the proposed regulations on Orcas.  It was then assigned to two committees, the first being the Water, Parks and Wildlife Committee on April 8.  Had it passed this committee, it next would be heard in front of the The Arts, Entertainment, Sports, Tourism & Internet Media Committee.  Many believe that SeaWorld would have the upper hand in this second committee hearing as it’s where the potential negative economic impact of the bill to the park, San Diego, and Southern California tourism would be discussed.

The bill, at its simplest interpretation, consists of four key components:

  1. It prohibits the use of orcas for performances or entertainment purposes.  This includes people in close proximity to the animals without an “appropriate” barrier.
  2. It prohibits both natural and artificial reproduction of captive orcas and the export of sperm or eggs for artificial insemination purposes outside the state.
  3. It prohibits the sale, trade, or movement of any orca within state lines.
  4. It requires all orcas in captivity prior to enactment of the bill to eventually be released to the wild or to sea pens.

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THE BILL’S SPONSORS GIVE THEIR ARGUMENT IN FAVOR

Testifying in favor of the bill were Assemblyman Bloom, Dr. Rose, doctoral student Deborah Giles of the University of California Davis Biotelemetry Laboratory, and John Hargrove, a former SeaWorld senior orca trainer with experience in both the chain’s Texas and San Diego parks.

After arguing that captive conditions are not representative of orcas in the wild, Bloom countered a number of claims that have been made in the media about the bill.  He said that even though it prohibits breeding, the orcas can remain on display for at least another two decades, that the bill “does not mandate the release of SeaWorld’s orcas back into the wild [sea pens are not considered being in the “wild” by the bill’s authors as they are controlled environments],”  and that “the bill does not prevent trainers from interacting with the orcas . . . rather it prevents them from continuing what many consider glorified circus acts.”  Bloom went on to mention the National Aquarium in Baltimore and Shamu Up Close, a program at SeaWorld Orlando in place while the main orca tank was being refurbished, as examples of what he considers appropriate marine mammal displays.

Dr. Rose spoke of a number of characteristics she’s seen in SeaWorld’s orcas which she has not in their wild counterparts, including collapsed dorsal fins in males, worn down teeth, and signs of aggression.  She believes that transfering the animals to sea pens would result in them exhibiting a more natural behavior.

Giles argued that the intermixing of different populations of orcas from the Pacific and the Atlantic is unnatural and would never happen in nature.  She stated that hybrids with parents from each ocean serve no conservation purpose and that placing the orcas into sea pens would allow them to live in a more “natural and dignified manner.”

John Hargrove, speaking on behalf of himself and two other former trainers that appear in “Blackfish,” Carol Ray and Samantha Berg, spoke about what he considers “obsessive compusive” behavior caused by boredom of the orcas, which he says results in continued physical damage to the animals.

SEA WORLD ARGUES AGAINST THE BILL

NOTE: Portions of my interviews with SeaWorld’s witnesses conducted after the hearing are included here along with their testimony.

Testifying for SeaWorld were:

John Reilly, president, SeaWorld San Diego

Dr. Chris Dold, vice president of veterinary services, SeaWorld Parks & Entertainment

Dr. Pam Yochem, executive vice president, Hubbs-Seaworld Research Institute.

Dr. Shawn Noren, associate researcher, Institute of Marine Science, University of California, Santa Cruz

Scott Wetch, lobbyist, Carter, Wetch and Associates

Reilly discussed much of the good that SeaWorld has done for the people of California – last year, the park paid $14 million to the City of San Diego, was an important component in steering $18.7 billion into the area’s tourism economy, and is San Diego’s tenth largest employer.  He expressed concern that a ban on shows would be detrimental to both the orcas’ physical and behavioral health, and that separating trainers from orcas would create trust issues with the animals.

Reilly also brought up that one of the benefits to the public of having animals in its parks is that it allows access to them for scientific research.  One of those researchers is Dr. Shawn Noren, of the Institute of Marine Sciences at the University of California, Santa Cruz.  Dr. Noren is currently studying bioenergetics, the movement of energy flow through living systems, in Pacific walruses, a species being considered for listing under the Endangered Species Act.  Because she studies walrus pups, and it is nearly impossible to approach one in the wild for the kind of work she does, she relies on zoological institutions such as SeaWorld at which she can her conduct research.

Dr. Pam Yochem of the Hubbs-SeaWorld Research Institute, who has a degree in veterinary medicine from the University of California, Davis, explained during her testimony that the bill would cripple the opportunity to research orcas.  As remote observation is not a viable option for much of this research, captive research becomes an instrument for progressing wild research.

Dr. Chris Dold, SeaWorld’s head of veterinary medicine, expanded upon this further.  I asked him about the proposed ban on reproduction and he pointed out, “The Southern Resident population of orcas in Washington is seeing a major decrease in numbers.  We don’t know why they’re not reproducing like they should.  But when our whales are pregnant, be it natural or through artificial means, there are researchers that come to our parks and study the gestation period, that monitor the pregnancy.”  Dold pointed out that it does not matter where the orca is from, reproductive biology in all orca populations is the same.  That research then gets peer reviewed and published in scientific journals.  This kind of research is, according to Dold, Yochem, and Noren, something that could absolutely not be conducted in the wild.

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SEA PENS AND AFTERMATH

One of the most controversial parts of the bill calls for the current group of ten orcas in San Diego to be removed to sea pens, with the exception of Corky, captured in 1969 in British Columbia, which the bill’s backers believe can be reunited with her pod.  While those testifying in favor of the bill declared how moving SeaWorld’s orcas from concrete tanks to sea pens would provide them with a more natural environment, SeaWorld’s scientific and veterinary witnesses expressed concerns that placing the whales into these partial-natural environments could be detrimental.  It would be impossible to keep the orcas in SeaPens in the vicinity of San Diego, where the water temperature can reach into the 70’s for an animal whose tank temperature is at 58-62 F, according to Dolt.

Noren and Yochem brought up a number of other key factors that need to be taken into consideration – toxic runoff from agriculture and industry, red tide (a toxic algae bloom found along the Southern California coast), the potential for nets coming lose or ripped, key areas along the California coast being hunting grounds for great white sharks, and the possibility that other animals, especially protected species, might get caught in the nets.  Noren referred to it as “going through the issues we had with ocean-based fish farms all over again.”

Scott Wetch, a lobbyist hired to represent SeaWorld, pointed out that removing the orcas from the parks to sea pens would fall under a provision of the Fifth Amendment of the United States Constitution, which states  “nor shall private property be taken for public use, without just compensation.”  Wetch alluded to the fact that the animals are worth “hundreds of millions of dollars” and reminded the committee that under the Fifth Amendment, “You ban them, you buy them.”

At the end of the hearing was a Q&A period between the council members and the witnesses.  When asked about safety, Reilly stated that since SeaWorld opened, there have been over two million water work (in the water with the whales) interactions, after the death of Brancheau in 2010, the park invested $70 million in infrastructure, including a new lifting floor in the main tank that can rise in just 20 seconds.  and had redesigned spotter protocols.  Reilly said, “There were just over 100 incidences themselves that SeaWorld documented out of those two million, and less than a dozen or so that required medical attention.  We take every one of those injuries that required medical attention quite seriously, which is why we continue to invest in infrastructure and new protocols.”

According to Reilly, since opening in 1964, 153 million people have visited SeaWorld San Diego.  Since SeaWorld’s first orca, Shamu, arrived at the park in 1965, 150 million people have seen orcas in the parks. Dolt added that at SeaWorld San Diego, there are currently 10 orcas. The chain is responsible for 29 orcas at its parks and partner locations worldwide, and there are around 50 in all at aquariums and theme parks worldwide.  When asked about how many orcas are in the wild, Dolt deffered to Naomi Rose, who shared that it is estimated at between 50,000 and 100,000.

Because the sea pen idea is currently “blue sky,” without a plan in place, a number of council members were hesitant to vote on the bill.  It was placed into interim study.   According to the Chief Clerk of the Assembly, interim study is “the assignment of the subject matter of a bill to the appropriate committee for study during the period the Legislature is not in session.”  This means the bill will likely not see committee again until 2015.  To find out more about the next steps of the process, I visited Assemblyman Bloom in his Capitol office.

“I’m very pleased with this decision.  It’s a step forward with the issue,” he said.  “This gives me some time to talk with my colleagues who had unease in moving forward.”

According to Bloom, all the stakeholders will now have a role in the process.  The end result he believes will be an end to captive breeding and performances.

Bloom expects one or more public hearings.  “Scientists will get together and discuss the merits of this bill and help redefine it.  There will be a longer period for research and discussion and a more relaxed atmosphere in which to discuss it.”

SeaWorld San Diego continues with its 50th Anniversary celebration, having just opened it’s new interactive grand entrance, “Explorer’s Reef,” and the park is preparing for a new nighttime orca show that will premiere this Summer.  The move of the bill to a period of interim study will allow the park time to evaluate its approach and also to participate in discussions with others who have a stake in the matter.

In our interview after the hearing, UC Santa Cruz’s Shawn Noren told me, “If you go to see them at a distance in a sea pen, you’ll be lucky if you see a dorsal fin or an eye patch.  And you’re very likely never to see the face of the animal at all.”   Park President John Reilly agrees, “We really seek to inspire our guests to care about the oceans and its animals – especially through our orcas – by giving them the opportunity to see them close up in a way they never could in the wild.”

Six Flags Partners with Meraas for New Dubai Park

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[quote]We are honored to be working with this world-class organization as the first significant strategic step taking the Six Flags brand to growing and successful markets outside North America.” — Jim Reid-Anderson, Chairman, President and CEO of Six Flags[/quote]

Grand Prairie, TX, USA (April 10, 2014) /PRNewswire/ — Six Flags Entertainment Corporation (NYSE: SIX), the world’s largest regional theme park company, and Meraas Leisure and Entertainment LLC, announced today a new strategic partnership to bring a Six Flags-branded theme park to Dubai. The project is planned to open in late 2017 and will be located within the multi-themed park project in Jebel Ali launched by Meraas.

“The cornerstone of our international expansion strategy has always been finding the right partner in the right location and, with Meraas in Dubai, we have done exactly that,” said Jim Reid-Anderson, Chairman, President and CEO of Six Flags Entertainment.

Raed Al Nuaimi, Chief Leisure and Entertainment Officer, Meraas L&E, said: “We are delighted to have a world-leading theme park company and a brand like Six Flags on board. We are confident their presence will perfectly complement our project and further enhance our overall offerings in the leisure and entertainment space.”

“As part of our commitment towards creating one-of-a-kind experiences and contributing towards the Dubai Tourism Vision 2020, our association with Six Flags will help us develop a world-class destination that redefines the industry and positively impacts the regional tourism sector.”

Terms of the arrangement were not disclosed.

www.sixflags.com

The 2014 TEA Summit: Embracing Risk, Inspiring Change

by Clara Rice

Last week, the “mouse” wasn’t the only thing creating the magic at the Disneyland Resort!  Over 200 industry professionals gathered over two days for the Themed Entertainment Association’s (TEA) Annual Summit.  While Day One of the Summit consisted of a master class reserved for C-Suite executives, Summit Day Two greeted a much wider attendee pool, including over three-dozen of TEA’s NextGen members – students and recent graduates from all over the globe.  As with Day One, Day Two’s co-chairs were Roberta Perry of Edwards Technologies and Pat MacKay of Ones&ZeroesMedia. Thea Award recipients presented their attractions in case study format, highlighting the challenges and victories that led their projects to completion, success and Thea Award recognition.  The underlying thread of the case studies was “The Big Leap” – embracing risk to inspire innovation, and several of these projects have re-stitched the cultural and economic fabric of their surrounding communities.

DSC_0063Disney Legend and past Lifetime Achievement Award recipient Bob Gurr kicked off the day’s festivities by introducing this year’s recipient, Garner Holt.  Teasing that he would be on the Thea Awards Committee “until he died,” Gurr was overjoyed to nominate Holt for the award, declaring, “I’ve never seen so much talent in my life.”  Holt then took the stage to share his story of how Garner Holt Productions (GHP) grew from a one-person operation in his parents’ garage to a company employing hundreds of talented artists in a 60,000-square-foot facility and producing 5,000 figures in 36 countries.

Holt began his company at the age of 16 and created his first animatronic out of his father’s fence posts.  With only $1,000 and a young man’s blind faith, he produced his first haunted mansion at the local mall (“I think I used the mall as my debut for everything,” said Holt).  Turning down his parent’s offer of college tuition to pursue his dream, he was the only member of his company throughout the 1980s. Knowing he needed to stand out from the competition, Holt created the animatronic he is still most proud of: Wendell, the unicyclist with no visible means of support (note: that unicyclist still graces GHP’s IAAPA booth nearly three decades later).  Holt felt that Wendell could lead to his big break, and he was right.  That big break was a 500-mouse production order for Chuck E. Cheese.  Apparently, Holt’s motivation for these mechanical mice was not merely innovation, but global domination: “someday, I will activate a chip that will unleash the Chuck E. Cheeses from the restaurants to take over the world!”

garner5Eventually, Garner’s work caught the eye of Disney Imagineering, and soon after, GHP became the first outside contractor to build animated figures for a classic Disney attraction (Haunted Mansion Holiday).  GHP now boasts 400 animatronics at Disney and another 100 for Universal.  Even though he now has a staff of sculptors, figure finishers, show programmers, painters and project managers, Holt still “works” a 12-hour day, 9 a.m. to 9 p.m.   He accompanies the word “works” with finger quotations, as he honestly feels as though he has never worked a day in his life, so deep is his love for his craft: “I feel bad for those people who still don’t know what they want to be when they grow up.  I knew what I wanted to be when I grew up when I was 15.”  By taking the road less traveled and believing in his passions, Garner Holt created the career of his dreams and has delighted park goers the world over in the process.

For the first project-based presentation, Perry and McKay transported audiences from the California coast to the Hawaiian island of Oahu and the Polynesian Cultural Center.  President P. Alfred Grace and consultants Michael Lee and Pat Scanlon chronicled the risk and reward of renovating the grand buffet and theater of the 51-year-old facility, respecting cultural traditions while striving to increase repeat visitation and customer satisfaction.  Together, they transformed a blasé 37,000-square-foot dining hall into a Hawaiian dining experience complete with an exquisite 20’x500’ mural, to which the locals tearfully exclaimed upon opening, “if the elders could see this, they would be pleased.”  Likewise, Grace, Lee and Scanlon rehabilitated the Center’s aging giant-screen theater, adding a dramatic, lava-themed entryway, new projection screen and sound system, and seats with 4D effects.  The technology upgrades support a 14-minute film depicting the lush landscapes and dramatic settings of Hawaii.  Grace’s advice to the crowd?  “Don’t fall into the trap of being comfortable with just being good.”

DSC_0018Challenging yourself and your work to create great customer value was also the theme of the spirited, energetic and sometimes cheeky presentation by the Dutch Railway Museum, who received a Thea for their “Fire Test” interactive media experience.  Explaining, “in Holland, no one is interested in technique, so you have to use storytelling,” CEO Paul van Vlijmen and his team created an experience in which guests enter through a waiting room filled with vintage railway artifacts, only to find that they’ve been chosen to participate in the Fire Test.  They then board one of four richly-themed, motion-based locomotives and are cinematically propelled through 200 years of railway history in only three minutes.  While navigating the serious challenges of a tight schedule and mere $2 million budget, van Vlijmen and his team never shied away from having a little fun.  In one of the most comical moments of the entire conference, van Vlijmen shared the attractions posted safety warnings: “Don’t bring strollers.  Don’t eat.  Don’t drink.  Don’t fart.  After all, it’s a FIRE TEST!”  In all seriousness, the attention to detail and willingness to think outside the caboose have been the museum’s recipes for success, resulting in 60% repeat visitation for the museum and a 8.5 of 10 approval rating.

After promising that “at no time during [his] presentation [would he] try to connect farts with fire”, Mike Davis explained how he and his team composed the “Song of an Angel” at Universal Japan, a 22.5-minute holiday evening show centered around a young couple’s love story.  The show featured projection mapping, a Christmas tree with 350,000 LEDs (a Guinness record), a Metropolitan Opera soprano, 150 performers from all over the world and a custom soundtrack recorded by a symphony orchestra.  Davis explained that the cultural risk of setting the show in New York and Paris wasn’t much of a risk at all: “there’s more fantasy about romance if you are in Paris or NYC.  The Japanese don’t want to watch Japanese performers on stage.  It’s too realistic.” He added that “Christmas is about romance” and that the audience wanted to be “transformed to another place.”  The show regularly filled its 6,000-guest capacity during its November – January run.

DSC_0011How do you contain the energy, passion, and brilliance of a musical legend into one show?  That was the question facing Welby Altidor, creative director of Cirque du Soleil’s exquisite new show, “Michael Jackson: ONE”.  Altidor needed to balance Cirque’s reputation for big budget spectacle with the vulnerability and intimacy of Michael Jackson’s often troubled life.  He did so by infusing magical properties into iconic Michael Jackson objects, including the King of Pop’s bejeweled glove and fedora hat.  These objects and Jackson’s story transform the show’s characters and their lives – the timid become brave, the lonely find love.  Altidor generously shared some of his key learnings from the experience: program failure into your project; ask one dumb question per day; ask for forgiveness, not permission; and break rules not principles.  He closed by assuring the audience that “we have a genius in all of us.”

Following Oceaneering’s presentation of their groundbreaking Revolution Tru-Trackless ride system, as well as a brief update from TEA’s President, Christine Kerr, and COO, Jennie Nevin, the afternoon continued with its next case study – Les Machines de l’Ile’s breathtaking project, Marine Worlds Carousel.  At 22 meters in diameter and towering 25 meters high, the eye-popping carousel features 35 mechanical sea creatures, capable of holding 300 people in total.  The attraction, along with Machine de l’Iles 50-person, walking mechanical elephant, have helped transform Nantes, a formerly industrial French “city that everyone left” into a true tourist destination.  Pierre Orefice and Francois Delaroziere’s fanciful, collaborative creation is yet another example of artistic risk paying off in financial reward, this time not just for a company, but for an entire city and region.  To be believed, this carousel must truly be seen.

From Nantes, the audience (metaphorically) traveled northward to the “World’s Largest Titanic Visitor Experience” – the only one built at the same place as the legendary ship.  Opening on March 31, 2012, exactly 100 years after the completion of the eponymous ocean liner, Titanic Belfast became the keystone of Europe’s largest urban regeneration project.  The attraction, offering a dark ride, artifacts and an iconic exterior, has since become the “tourism success of Europe”, with one visitor lauding that “the identity of the city has shifted from guns and balaclavas to Titanic Belfast.”  Along the way, Titanic Belfast has welcomed 1.5 million visitors from 142 countries, created over 1,000 new jobs, and become the first five-star attraction in Ireland. Faced with the recurring question of “why another Titanic Museum”, Husbands and his team knew they had to produce a one-of-a-kind experience accessible to everyone.  By employing experienced consultants, creating authenticity, and daring to be daring, Husbands and his team developed an attraction that has honored the legacy of the doomed ship while generating growth and opportunity for Belfast, Northern Ireland and the entire Emerald Isle.

Another cultural attraction transforming its community is The Mind Museum, the first science museum in the Philippines.  Curator Maribel Garcia explained that while an American design firm master planned the facility, she worked closely with Filipino designers, scientists and fabricators to create a “permanent place of wonder” by Filipinos, for Filipinos.  In just three years, Garcia and her team raised $27 million to fund the museum’s construction.  Perhaps more importantly, during that time, Garcia hosted numerous science lectures for her local crew, so they knew the logic and importance behind what they were constructing.  By trusting her team, not trusting the experts, advocating for science exhibits that were “correct, clear and beautiful” (in that order) and never forgetting the museum’s story, Garcia and her collaborators developed a groundbreaking center for science education.  The feedback they have received from the museum’s tens of thousands of visitors?  “It’s about time.”

DSC_0028Nearly 1,500 miles east across the South China Sea, the team behind Gardens by the Bay was also striving to create a groundbreaking natural science attraction for their country.  Situated on 2.2 acres of reclaimed land adjacent to the Marina Bay Sands Hotel, Gardens by the Bay has transformed Singapore from a “boring little computer chip on an island” to a “city in a garden.”  According to its CEO, Dr. Kiat W. Tan, who jokingly remarked that he usually “prefers talking to plants than people,” Gardens by the Bay was built on the premise of environmental stewardship and cultural tolerance, particularly important given that Singapore is a nation-city of many cultures.  Distinguished as the first botanical garden ever to receive a Thea Award, Gardens by the Bay features two iconic conservatories, 18 stunning Supertreees, sky-high walkways, a 10,000-20,000-person concert venue and a variety of dining outlets.  “How do you seduce youth away from their iPads?” Tan asked.  By making botany beautiful, Tan succeeded in seducing young and old alike: the Gardens welcomed 1.7 million visitors in its first five months and shows no signs of slowing down.  Another risk.  Another reward.

Disney wrapped up the case study portion of the program with its two Thea-recognized projects, Mystic Manor at Hong Kong Disneyland, and Enchanted Tales With Belle at the Magic Kingdom.  Mystic Manor offers the perfect marriage of storytelling and technology: Lord Henry Mystic has brought home a magical music box from one of his recent travels.  Despite telling his monkey companion, Albert, not to open the box, Albert can’t help himself.  Music dust pours out of the box, leading Albert, and visitors, in adventures and perils throughout the manor’s many themed rooms.  The chaos and whimsy of the ride is reinforced through a trackless ride system, projection mapping, animatronics, and a custom musical score composed by Danny Elfman.

In Enchanted Tales With Belle, guests enter Maurice’s cottage, with furnishes and fixtures practically plucked from the film.  Through the magic of Disney, guests are transported through an enchanted mirror to Beast’s Castle, where they help to create this classic fairytale with a live Belle and an animatronic Lumiere.  The high-tech wonder of the mirror is juxtaposed with the 2D simplicity of the props and costumes – moving figures are supplanted with cutouts on sticks.  Despite this simplicity, the opportunity to be part of the story, instead of just watching, has turned Enchanted Tales With Belle from a simple character meet-and-greet to a multi-dimensional, interactive experience that excites and delights both child and adult audiences alike.

DSC_0075Summit Day Two concluded in compelling fashion with Disney Legend, TEA Buzz Price Thea Award recipient, and master storyteller, Joe Rohde, who brought all the day’s themes together through a keynote about his recent journey through Mongolia’s Altai Mountains.  Vowing “you can create adventure by setting out to go sideways,” Rohde embarked on a “Leopard in the Land” painting expedition with the Snow Leopard Conservatory.  There he discovered, and encapsulated through his art, the complex beauty of a country gradually untethering itself from its former Communist regime and struggling to preserve its indigenous wildlife and culture.  Through his tales of riding camels (“a true trackless ride system”), living in yurts, foraging for food and surviving blisteringly cold temperatures, all while creating beautiful works of landscape art, Rohde bore the message that “we are not creatures of data…we are creatures of emotion.  The job in front of us is to be creative, poetic, artistic voices.” The only obstacle in our path, Rohde observed, is apathy: “if you don’t do anything, you become a passive conduit for other people’s decisions.”

According to Rohde, our work, in design and in life, must be driven by “a sense of urgency and purpose”; otherwise, “we are as endangered as the snow leopard.”  And so, in his final words, Rohde took those common threads of the day’s presentations – be brave, take risks, transform your community, transcend “good” – and wove them into a central belief:

If there will be great change, it will come from storytellers.

 

50 Years Later, ‘it’s a small world’ Still Enchanting Hearts Worldwide

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‘it’s a small world’ has inspired hundreds of millions of people through its timeless theme.” — Tom Staggs, Chairman, Walt Disney Parks and Resorts

New York, NY, Anaheim, CA, Lake Buena Vista, FL, USA, Tokyo, Japan, Paris, France, and Hong Kong (April 10, 2014) — Celebrating the 50th anniversary of Disney’s “it’s a small world” theme park attraction, thousands of guests and cast members at Disney Parks around the globe united today in a historic “It’s a Small World” sing-along. Fans everywhere joined in online at SmallWorld50.com, a “global hub” of music and harmony created for the Golden Anniversary of the iconic attraction that opened as a tribute to peace and hope, saluting UNICEF, at the 1964 New York World’s Fair.

” said Tom Staggs, chairman, Walt Disney Parks and Resorts. “Every moment of every day there are Disney guests enjoying ‘it’s a small world’ somewhere around the globe.  The 50th anniversary of this attraction represents a celebration of the shared optimism, hope, and humanity of people throughout the world.”

Throughout the day, Disney Parks guests participated in events in all five resorts around the world, including in-park sing-alongs, cavalcades and special musical performances. Richard M. Sherman, the Oscar®-winning songwriter who composed “It’s a Small World” with his late brother, Robert, led a sing-along at Disneyland Park in California and participated in a Google Hangout that can be seen at SmallWorld50.com.

Going into Thursday’s events, visitors from more than 150 nations had already joined the celebration at SmallWorld50.com. They have designed enough digital dolls and recorded enough videos of themselves singing the song to reach half of Disney’s goal on the site, and they will continue to play along through May 30. Disney will donate $150,000 to benefit UNICEF as part of the anniversary celebration, plus $1 for every video or doll created, up to $100,000.  UNICEF works to provide health care and immunizations, clean water and sanitation, nutrition, education, emergency relief and more to children around the world.

Celebrations at All Five Disney Resorts Worldwide
Today there are “it’s a small world” attractions at the Disneyland Resort in California (where the World’s Fair attraction was relocated in 1966), Walt Disney World Resort in Florida, Tokyo Disney Resort in Japan, Disneyland Paris in France and Hong Kong Disneyland Resort. All five resorts joined in the worldwide sing-along today and held other events to commemorate the 50th anniversary.

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–At Hong Kong Disneyland, approximately 200 resort cast members and students from Hong Kong Children’s Choir gathered in the park to sing “It’s a Small World” in Cantonese. A traditional Chinese lion dancer joined in the celebration to offer blessing for the anniversary.

–Tokyo Disneyland cast members and guests celebrated and sang the song in Japanese at Tokyo Disneyland.

–A “blue carpet” event featured the international cast members of Disneyland Paris gathered on Main Street, U.S.A., representing 100 nationalities. Nearly 200 international children and 50 choir performers sang a multi-language version of the iconic anthem in front of Sleeping Beauty Castle.

–A choir of Disneyland Resort cast members sang the song in front of the original attraction at Disneyland Park in Anaheim. Songwriter Richard Sherman chatted with fans via Google Hangout while sitting at a piano in front of the attraction. He also was scheduled to appear in a sing-along cavalcade down Main Street, U.S.A., conducting hundreds of Disneyland guests in their “It’s a Small World” sing-along.

–At Walt Disney World near Orlando, international cast members from the countries of Epcot led a choir of children and cast members in song in front of Cinderella Castle at Magic Kingdom Park. Also, hundreds of Magic Kingdom guests joined in the song during a special “pre-parade” before the “Disney Festival of Fantasy Parade.” Throughout the day, in-park performers – the Dapper Dans, Coke Corner Pianist, Notorious –Banjo Brothers, Royal Majesty Maker Musicians and Main Street Philharmonic – are scheduled to include “It’s a Small World” in their appearances.

Disney Store also joins the celebration with the “it’s a small world” doll collection, inspired by the original Fantasyland attraction, along with in-store events. Through Sunday, April 13, children are invited to visit a participating Disney Store to take a journey on an imaginary boat ride around the globe, learning how to say “hello” in various languages and sing “It’s a Small World” along the way. Guests are encouraged to call their local Disney Store or visit DisneyStore.com to confirm participation and details.

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SmallWorld50.com Activities Benefit UNICEF
The activities at the Small World 50th Anniversary website have inspired fans everywhere to join in the fun of the anniversary. Visitors have designed digital dolls with distinctive native headdress and jewelry, and recorded songs on their own or with friends and family, to benefit UNICEF’s work for children. Celebrities also recorded the song for SmallWorld50.com, including actress and producer Salma Hayek and the co-hosts of ABC’s “The View.”

Fans have visited the website from more than 150 countries – nearly 80 percent of the world’s nations – including Argentina, Australia, Brazil, Canada, China, Egypt, England, France, Germany, India, Japan, Kenya, Kosovo, Mexico, Philippines, Saudi Arabia, South Africa and Sri Lanka.

Visitors to the site have recorded the “It’s a Small World” song in multiple languages, including English, Spanish, French, Italian, Japanese and Traditional and Simplified Chinese.

The Walt Disney Company’s relationship with UNICEF began in 1964 when Walt Disney was creating “it’s a small world” for the New York World’s Fair. More recently, Disney and UNICEF have worked together to create a brighter tomorrow for thousands of children through programming that helps foster imagination and creativity.

At selected shops in Disneyland Park in Anaheim, Ca., and Magic Kingdom Park in Buena Vista, Fla., fans may purchase special “it’s a small world” 50th Anniversary pins, totes and T-shirts from April 9-13, 2014, with the entire sale price (exclusive of sales tax) benefiting UNICEF. Fans at Disneyland Paris may purchase 50th anniversary T-shirts and pins from April 10-30, 2014, with the entire sales price (excluding VAT) benefiting UNICEF.

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The Creation of a Classic  
One of the most beloved attractions in the history of Disney Parks, “it’s a small world” is featured at all five Disney Resorts around the world. The original attraction premiered at the 1964 World’s Fair in New York City, created by Walt Disney himself and WED Enterprises, which eventually became Walt Disney Imagineering (the creative masters behind Disney theme parks and attractions).

The attraction features a gentle boat ride through a Lilliputian land populated by colorfully dressed Audio-Animatronics dolls. They represent children from many regions of the world, all singing a song about universal harmony. A team of WED artistic geniuses, including Disney Legends designer Mary Blair and costumer Alice Davis, created the attraction’s now iconic style.

In 1963, Walt Disney was asked to create an exhibit for the 1964 World’s Fair to salute UNICEF and children around the world. With Walt’s blessing, Marc Davis, one of the original Disney animators, designed the boat ride attraction through the regions and countries of the world. The first version of “it’s a small world” entertained and thrilled more than 10 million visitors in New York from 1964-65. In 1966, after some major enhancements, including an enlargement of approximately 33 percent, the attraction found a permanent home at Disneyland in California.

In the attraction, hundreds of dolls “sing” the familiar song, “It’s a Small World,” in five languages (English, Italian, Japanese, Spanish and Swedish). Academy Award®-winning composers Richard M. Sherman and Robert B. Sherman, who won two Oscars® for their work on Disney’s feature film “Mary Poppins,” were asked by Walt Disney to create a simple, yet catchy piece that could be sung in many different languages while guests traveled by boat through the attraction. The resulting song, “It’s a Small World (After All),” became one of the most well known and happiest of all Disney tunes.

Caesars Entertainment Bets on accesso for The High Roller

[quote]“It’s an honor to have been selected to deliver our comprehensive ticketing solution for an attraction that will quickly become one of the world’s most iconic.” — Steve Brown, accesso[/quote]

Orlando, CA, USA — Caesars Entertainment has selected accesso (AIM:ACSO) to develop and support the comprehensive ticketing framework for the Las Vegas High Roller, the world’s tallest observation wheel at The LINQ, a $550-million open air shopping, dining and entertainment district located at the heart of the Las Vegas Strip.

Using the accesso Passport ticketing suite allows the High Roller to offer its guests convenient access to advance ticket sales through their desktop computers, tablets and mobile devices as well as support the new attraction’s onsite sales with traditional point-of-sale, mobile point-of-sale and self-service kiosks.

“The Las Vegas High Roller will quickly become one of the hottest tickets in Las Vegas and the accesso Passport solution gives us the flexibility we need to offer tickets across the full spectrum of the sales process – at-home, online, mobile devices, and in-market,” said Eric Eberhart, general manager of the Las Vegas High Roller.

The 550-foot-tall High Roller serves as the crown jewel of The LINQ, a new Las Vegas development designed to be a hub of social activity and connectivity.

said Steve Brown. “Today’s travelers have their mobile devices on them at all times, so by leveraging this important and growing channel as a core part of the Accesso Passport solution, we are confident the High Roller will quickly be recognized as the most accessible attraction to buy tickets for in Las Vegas.”

The Las Vegas High Roller is the tallest observation wheel in the world.  Located at the end of The LINQ, the High Roller features 28 glass-enclosed cabins that can accommodate up to 40 passengers offering stunning views of The Strip.

www.thelinq.com

Aquatica Orlando Completes Final Slide on Orlando’s Tallest Drop Tower

[quote]Ihu’s Breakaway Falls is the only high-speed water thrill slide in the world that propels guests through four, 360-degree spirals”[/quote]

Orlando, FL, USA (April 9, 2014) — The final slide section was installed today at Aquatica Orlando’s newest attraction, Ihu’s Breakaway Falls. More than 200 sections are bolted together to make Orlando’s tallest, steepest and only multi-drop tower slide of its kind.  Ihu’s Breakaway Falls opens May 9.

With slides nearly 80 feet tall, thrill seekers will face their fears and each other. Riders will step into one of three clear “breakaway boxes,” and watch each other fall one-by-one as the floor underneath them disappears OR test their bravery on a just as thrilling fourth open slide.  They’ll never know who’s going to breakaway first – and the anticipation of who drops next is part of the wild ride.

www.aquatica.com

 

 

Tivoli Roller Coaster Reaches New Peaks as It Turns 100

Copenhagen, Denmark (April 9, 2014) — Tivoli in Copenhagen starts its 172nd season at 11.00 am on April 10. In 2013, 4.2 million people visited Tivoli, one of the world’s oldest amusement parks and still Denmark’s most popular attraction. This season marks the old wooden roller coaster’s 100th anniversary and the Gardens will host the Nordic region’s largest classical festival as well as big international ballet guest performances. Live entertainment every day and a perfectly unique park are included in the deal.

To mark the world famous Roller Coaster’s 100th anniversary, its original peaks, which were previously the ride’s landmark, have been restored. They were removed in the 1920s at the request of the City of Copenhagen as it was not considered appropriate that the first thing visitors to the city saw when they left the main station was a mountain.

The highest of the new peaks, Mount Tivoli, rises 26 metres above the Gardens. In addition, there is a new ice grotto and Denmark’s biggest waterfall, the Alps Fall, with a total drop of over 20 metres. The familiar excitement of the ride and the ‘brakemen’ have been retained, but visitors can look forward to new experiences when the track slips between the peaks and into the mountain where a new ice grotto unfolds.

First-class entertainment

True to tradition, there will be 24 ambitious Friday Rock concerts and, again this year, there will be rousing music for our visitors during the Music Week, with a special musical theme each day. Friday Rock will be presenting, among other bands, Passenger (UK) on 11 July and Simple Minds (SCO) on 8 August. On 17 June, American guitarist and singer-songwriter John Mayer will be performing on the Open Air Stage.

The Tivoli Festival opens its doors

From May to September, classical tones will again resonate in the Tivoli Concert Hall, with the Tivoli Symphony Orchestra, as ever, the focal point of the Nordic region’s largest classical music festival. This year, the Tivoli Festival will offer 62 concerts, and there will be free admission to 48 of these with a Tivoli Season Pass. Among the highlights are the concert performance of Bellini’s opera, The Puritans, featuring American star tenor Lawrence Brownlee, and Tivoli’s anniversary concert with the Tivoli Symphony Orchestra and Maltese tenor Joseph Calleja.

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World-class dance

At the end of the summer, Tivoli will be launching a new ballet festival in the Tivoli Concert Hall. The ballet festival will be guested by the stellar Alvin Ailey American Dance Theater from New York and one of the world’s leading ballet companies, the British Royal Ballet. The latter will be accompanied by the Tivoli Symphony Orchestra whereas Tivoli’s Big Band will take part in one of the Ailey programmes. The ballet festival also includes a number of activities in the Gardens. In November, the Nutcracker will be restaged, with choreography by Peter Bo Bendixen and set design by Queen Margrethe.

Beer and Eats

Tivoli’s newest restaurant is called Mazzoli’s and is only one of almost 50 food and drink outlets. Mazzoli’s serves Italian food for all the family. Over the winter, designer restaurant Kähler knocked down walls so that guests can watch the chefs at work, and the restaurant has been given a new outdoor terrace. The Biergarten features a Tyrolean atmosphere and has a large new terrace with a view of Mount Tivoli.

 Events at Tivoli 

Tivoli has numerous special days and events during the season when visitors get an extra experience on top of their visit. Among the events on offer this year are Denmark’s biggest Gospel Festival, Pippi Longstocking and Dogs’ Day. The Gardens also have room to accommodate the biggest Greenlandic cultural event outside Greenland and the Danish music schools’ 25th anniversary when over 6,000 children and young people from all corners of Denmark will come and give us a taste of their musical talents.

The famous Tivoli Fireworks Show will take place every Saturday at 23:45.

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This year’s major anniversaries

The Demon’s 10th anniversary

The Demon roller coaster, 28 metres high at its pinnacle, will be turning 10 in 2014. The ride has three cool loops and certainly makes most people scream.

The Orient’s 15th anniversary

The Orient, featuring the 63-metre high Golden Tower and Vertigo, Denmark’s craziest and fastest interactive ride, is one of the most popular areas in Tivoli. The Orient will be turning 15 this year.

80 summers

Adam Price wrote the following about Færgekroen (the Ferry Boat Inn): “A beautiful southern Jutland fishing village from 1934 with an idyllic location in the middle of the Tivoli Lake. It would be difficult to get closer to the heart of Danish culture”. This year Færgekroen will be turning 80.

140 years with Grøften (The Ditch)

Grøften, which has quite rightly attained iconic status and is one of Copenhagen’s most popular restaurants, is embarking on its 140th summer season.

140 years of age – no less

Nowhere else in the world will you find a theatre quite like the Pantomime Theatre. The same applies to the theatre’s classical pantomime performances, with something new every year. This year, the Pantomime Theatre will be turning 140.

170 years of age – Denmark’s oldest and biggest ‘boyband’

The world’s oldest boys’ guard and one of the best music educations for children in Denmark. This year the Tivoli Boys’ Guard will turn 170.

www.tivoli.dk

LEGOLAND Windsor Signs with accesso for Qsmart Smartphone-Based Queuing Solution

[quote]LEGOLAND Windsor is the third park to expand its agreement with us to pair Qsmart with their existing Qbot system.” — Tom Burnet, accesso CEO[/quote]

London, UK (April 9, 2014) – accesso Technology Group plc (AIM: ACSO), a premier technology solutions provider to the global attractions and leisure industry, has signed an agreement to install its patented smartphone-based queuing solution – Qsmart – at the LEGOLAND Windsor Resort: a part of Merlin Entertainments Group, the world’s second largest visitor attraction operator.   The agreement also extends the terms of accesso’s existing contract with the park for the support of Qbot, the company’s handheld virtual queuing system, for an additional three years.

An evolution of the award-winning accesso LoQueue virtual queuing technology, Qsmart puts virtual queuing onto a smartphone-optimized mobile website and combines it with mobile payment features. The innovative Cloud-based solution will be installed LEGOLAND Windsor Resort in time for the 2014 season.

“For us, this decision demonstrates another important vote of confidence in the value and capability of our technology and we are very pleased to be extending and expanding our relationship with both LEGOLAND Windsor and Merlin Entertainments,” said Tom Burnet, accesso CEO.