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One of the
biggest criticisms levelled at steel coasters is that they can often be
gimmicky, and that the novelty soon wears away. You now look at Alton
Towers’ Corkscrew, for example, and wonder why people in the
early-to-mid 1980s could have been so willing to drive across the
country and stand in everlasting queues for the thrill of two
inversions, with only their Rubik’s Cubes to ease the boredom as they
slowly inch toward the loading platform.
As hard as
it is to imagine now, an inversion was a great innovation back then. As
long as a ride turned you topsy-turvy, you would conveniently ignore the
fact that it lacked grace, looked and felt unwieldy, and required you to
bury yourself in a skip-like car with bulky restraints. More
importantly, the novelty factor of the inversions would give you such an
adrenalin rush that you would be blinded to the fact that the rest of
the ride was as bland as a McDonald’s menu. That was all superfluous
– all that really mattered was that you could tell your friends at
home that your world had been turned upside down. After all, this was
the cutting edge of technology, wasn’t it?
Well, no it
wasn’t. If the Corkscrew and its ilk were the cutting edge of
technology, then how was it that one man was able not only to turn
riders upside down, but also to place his inversions into beautifully
fluid, smooth-as-silk-yet-intense-as-hell masterpieces, while still
allowing us to ride in sleek, comfortable trains that didn’t subject
you to straitjacket-like restraints? Oh yes, and just in case that
wasn’t enough of a challenge, he’d design many of these rides in
such a way that they could be packed onto lorries and tour the German
fairs, where they would also fulfil the showmens’ sky-high capacity
demands. Even today, with the likes of Vekoma still struggling to
conjure up a coaster with a decent shelf life, how come this man’s
rides are still light years ahead of the competition, even after his own
sad death?
The answer
is easy – it’s because that man was the greatest. His name was Anton
Schwarzkopf. The question I cannot answer, however, is why his works of
art don’t seem to get the level of recognition that they so richly
deserve.
The
inspiration for the article came from the announcements that Alton
Towers was to rid itself of The Black Hole, a Schwarzkopf Jet Star; and
that Flamingo Land was keen to sell its two unique ex-travelling
Schwarzkopfs, The Bullet (AKA Wiener Looping) and Magnum Force (Dreier
Looping). In a year that will see several brand new rides opening around
the country, it seems wrong to overlook the fact that we could be losing
up to three original Schwarzkopf rides.
Let me tell
you how I came to be a Schwarzkopf devotee – it’s a story I remember
vividly:
Round 1:
The first steel coaster I ever really enjoyed was a Schwarzkopf, the
short-lived Looping Star at Southport’s Pleasureland. Operating
separately from the majority of the rides, it stood alone in the car
park, and each ride cost the then-extortionate sum of a pound. It was
worth the money, though, as the Looping Star proved to me that steel
coasters really could be smooth and enjoyable, and that
inversions could be properly integrated into the ride, and not
give the impression that they were just slotted in as a marketing ploy.
Best of all, you could ride with the sense of freedom that came from not
having to bury yourself in an overhead restraint. It was simply
glorious. I still can’t visit Pleasureland without reminiscing about
the ride, and that long lost day when my pound notes flowed like
confetti. If they still made them, I would lay a pound note where it
stood as a tribute. But they don’t, so I won’t (anyway, it’s the
thought that counts).
Round 2:
Standing outside the entrance to Alton Towers’ brand new Black Hole, I
was nervous about what to expect. The park’s gatemap, somewhat
bizarrely, showed the ride as being similar to the Corkscrew, but in the
dark. The Corkscrew was always bad enough in daylight, but going through
that ordeal without seeing where you were going and prepare accordingly?
No thanks. Fortunately, the ride turned out to be a Schwarzkopf Jet
Star, and was just the sort of highly enjoyable ride the park needed as
it began to form itself into a fully-fledged theme park. Balancing a
sense of wildness with a nice smooth ride, it was by far the best thing
the park had to offer. Even up to the rather abrupt end to its time at
the park, it remained popular with all ages.
Round 3: A
lot of time had passed, but this was the occasion that would finally
turn me into a Schwarzkopf nut. It was my first visit to Flamingo Land,
and as I pulled into the car park, I saw to my left, the blocky and
unwieldy form of a Vekoma Corkscrew; to my right were the elegant curves
of The Bullet and Magnum Force. To think that these rides all came from
the same era just served to make the Corkscrew look all the more feeble.
Noon
arrived, and Magnum Force finally opened, so I joined the achingly slow
queue, bemoaning the fact that the park was operating it to a fraction
of its true capacity. Eventually, though, I was in my seat, nearing the
top of the lift hill. The train ceased climbing and began to accelerate
down the first drop. That’s when it happened. Over the course of the
next 90 seconds, I was to become a die-hard Schwarzkopf fanatic. When
the train hit the brakes, I felt like a golfer who had just hit a
hole-in-one at every hole, as the elation was tinged by the sad thought
that my search for perfection had come to an abrupt halt. From now on,
I’d be saying “piffle” to Pepsi Max, “nuts” to Nemesis, and
“cobblers” to Colossus. This triple looping tour de force had
annihilated them all.
So what was
it about Magnum Force that hooked me so? Well, I make no secret of the
fact that I love a ride that asserts its supremacy on its riders. This,
however, usually means having to be generous in forgiving what many
would call roughness, and leads to a ride that, like Marmite, you either
adore or despise. For an example of a Marmiter, look no further than my
previous number 1 coaster, Oscar Bruch’s portable powerhouse inverted
coaster, EuroStar; a ride that I adore for much the same sense of
overwhelming aggression that lead others to hate it. Magnum Force,
however, combines the ferocious intensity of EuroStar with the sort of
smoothness, grace and elegance that defy the ride’s age.
Better yet,
the ride was no short-lived novelty. Repeat rides exposed some of the
ride’s subtler features. The trains’ lack of overhead restraints
meant that you didn’t have the sense of isolation that most looping
coasters give, while the ride itself was packed with highlights, such as
head-choppers, floating airtime, and a manic finale. A place for
everything and everything in its place. Magnum Force had everything I
could ever have asked from it, and as a bonus, the sense of bravado and
the magnificent staging of the design that made it as much a joy to
watch as to ride.
After an
hour of riding my new number 1 coaster, a roar from behind the trees
signalled that The Bullet was ready to commence battle against its
bigger brother. Again, just watching this ride is enough to reveal the
amazing mental gymnastics that went into its design. So many things make
The Bullet unique. Its station sits inside the loop (sadly the
park refused to allow riders onto the platform to see the train
somersault overhead); it features a powerful launch down a steep
incline; and it packs all this into a space not much bigger than the
average kiddie coaster. Riding it was no disappointment, as it offered
the most ferocious blast of intense power I’ve ever known, and an
unrivalled sense of speed as it blasted maniacally through the station.
It may have failed to topple Magnum Force’s newfound status as my
favourite coaster, but it certainly deserved an “A” for effort, as
no other coaster gives quite such a incontrovertible impression that it
is trying its little socks off to impress you.
The only
downside of these two amazing rides was that Flamingo Land had obviously
not lavished too much attention on keeping them looking their best.
Somehow, though, the fact that they managed to overcome this handicap
just provided me with further proof of what special rides they were. For
example, many of the lap bars on both rides had had all their padding
worn away, and yet the fact that the they could be so ferocious, and yet
not be uncomfortable even with a solid metal lap bar waiting to punish
the slightest indiscretion, just made me even more amazed at the sheer
quality of the rides. As I drove home that day, I knew that I was now a
fully-fledged “kopf-head”. But the story didn’t end there.
Continues...
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