TalonRider

COASTER POWER Except for a number of compact steel coasters (Schwarzkopf's Jumbo Jet-type coasters, for example) there are no motors mounted in the cars themselves. Coaster trains are indeed free-wheeling. However, there has to be some method of getting the trains to the gravity part of their course, and on nearly all roller coasters that is by way of the lift hill, which is almost universally at the beginning of the ride and is the highest point on the ride. the most prevalent means of conveying trains to the top of the lift hills is the continuously moving drag chain. The process works like this: After the train is loaded and passengers are secured by some type of safety restraint, the station brakes are released and the cars roll by gravity --sometimes assisted by specially mounted trackside tires that are motorized to momentarily grip and propel the train-- toward the base of the lift hill. At this point, narrow metal protrusions (called "chain dogs") below two or more of the cars engage the sprockets of the chain, and the train is hoisted up the first hill. After cresting the apex, the train is automatically disengaged from the chain and completes its journey back to the station with only gravity and momentum as the power sourse. A few coasters feature a second lift hill partway through the course. Some steel coasters use a tire-driven friction lift system, cables, and even magnetic propulsion, but the chain lift remains the most popular method. In addition, the sound of a chain lift and chain-dog system creats a certain apprehension for riders as their train clank-clank-clanks ominously up the lift hill. The gravity factor presents designers with the challenge of using a finite source of energy to provide the most entertaining ride possible. That's where creativity and an understanding of physics, dynamics, and engineering are combined to assure that the train, and its passengers comfortably negotiate the layout and return to the unloading platform. There are countless crucial parameters with which designers must contend so that their rides operate consistently and safely under a variety of situations. Varying passenger loads, friction, amount and consistency of wheel lubrication, and wind drag are just some of the circumstances which can and do affect the way a roller coaster behaves on a particular run. Seasoned riders are well aware how temperamental certain coasters can be, especially wooden rides. The amgient temperature, especially excessive heat and humidity, can dramatically determine the way a coaster train reacts on a given day. Also, a strong wind can act as a natural braking force, should the train encounter a pesky breeze at just the right angle. On the upside of nature's atmospheric shenanigans, riding a roller coaster during a light rain or just after a storm can increase train speed dramatically, especially on wooden coasters. Water gathers on the rails, mixing with oil and grease to form an ultra-slick surface. This friction reduction makes for a zippier-trip. While the majority of the general public will postpone an amusement park visit if inclement weather is forecast, experienced coaster enthusiasts usually seize the opportunity. As long as there is no lightening involved (which will close all outdoor coasters), crowds will be light and the coasters intense. Taken from: ROLLER COASTERS by Scott Rutherford Published in 2003 by Lowe & B. Hould Publishers Previously published in 2000 by MBI Publishing Company.

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Steel-Track Coasters Steel coasters offer a more controlled ride experience than the wooden variety. The precision with which they are designed and the tight tolerences applied to steel coaster trains gives steel-track rides a relatively quiet, sanitized flavor, but at the same time it allows for a far more convoluted track plan, complete with vertical loops, barrel rolls, and other acrobiatics that are not feasible with wood coaster construction. It also allows for some radical new approaches to coastering: suspended and inverted roller coasters in which the track is above the train. With the opening of the Matterhorn Bobsleds at Disneland in 1959, the tubular steel track and polyurethane or nylon wheels set the precedent for a brand-new direction for the amusement industry. Steel-track coasters existed before the Matterhorn, but they were basically "kiddie" carnival coasters or Wild Mouse-type rides untlizing a flat angle-iron running rail. Not only was this track difficult to bend and shape, it produced a rather noisy and often choppy ride experience. Arrow Development (today, Arrow Dynamics) was pioneer in refining tubular steel-track technology. That compamy's invaluble research and experience with steel coaster construction paved the way for the modern metal thrillers that riders now enjoy. Though others around the world have refined the technology and created their own versions, they all use the same basic concept Arrow devised over 40 years ago: a track made of hollow tubular rail which coaster cars grip with wheel assemblies that include running, side-friction, and upstop wheels coated with a nylon/polyurethane compound. The rails are welded to steel rail-spacing crossmembers and the whole track system likewise is welded to a steel support system or bolted to a wood-support system. Although modern steel coasters are based on that simple concept, there exist numerous and complex variations, depending on what firm is responsible for the design. Supporting structure, too, varies wildly with all-steel coasters. Some steel support systems are similar to those used by all-wood--i.e., a system of bents, crossmembers and bracing, but made of steel rather than wood. Many coaster builders employ a steel pole arrangement which, although it appears minimalistic, is very stable, especially when augmented by guy wires. Taken from: ROLLER COASTERS by Scott Rutherford Published in 2003 by Lowe & B. Hould Publishers Previously published in 2000 by MBI Publishing Company.

Wood-Track Structure A wooden coasters track is supported by a complex maze of trestlework utilizing "bents." These upright members are usually comprised of a pair of tall 4 x 6-inch posts set atop concrete pilings approximately nine feet part. The posts are connected to cross members and bracing. (This bracing varies according to each designer's building style). When the required height of the ride exceeds the available length of timbers, they are spliced together, one atop other, until the necessary elevation is achieved. The bents are laced together and reinforced by a system of internal and external bracing. On high sections such as the lift hill, tall climbs and on turns, angled batter bracing helps support the structure and absorb the lateral forces generated by the heavy trains. Sometimes chains, steel cables, or other measures are used to maintain structural integrity. Coasters that utilize galvanized steel for their support structure are constructed in much the same manner as their all-wood cousins. A few woodies even sport a combination of both materials, as stated previously, it is the laminated wood track that classifies a roller coaster as wooden instead of steel. Taken from: ROLLER COASTERS by Scott Rutherford Published in 2003 by Lowe & B. Hould Publishers Previously published in 2000 by MBI Publishing Company.

: : BABY CHICKEN made in falco Ouch! zoio

The Evolution of Tracking Most of the earliest American Coasters-namely the switch-back type coasters and Scenic Railways- simply employed the tracking method used by railroads: a flanged wheel riding atop an iron or steel rail. This arrangement worked fine on the relatively slow-moving, gentle up-and-down rides of that era where most of the track ran a straight-line course, but the flat curves could not be negotiated at high speed without disastrous results. Some other method of tracking had to be devised to keep cars safely on increasingly convoluted layouts. The answer was the side-friction coaster. The new technology called for coaster cars equipped with flat (i.e. not flanged) steel "tractor" or running wheels to carry the weight of the car, and horzontally mounted "side friction" guide wheels to keep the cars on course. Set atr perpendicular angles to and on both sides of the main track were upright boards that formed a wooden channel through which the cars ran. The side-friction wheels made contact with the upright boards through curves and other unconventional maneuvers. This system allowed for increased speed, especially on turns. The side-friction technology caught on quickly, and soon most coasters, beginning with the Figure 8 rides, were of side-friction design. This allowed for larger dips and tight turns without th worry of having cars jump the track. The main drawback to this system was that it did not prevent cars that were moving at high speed from lifting off the track at the apex of the short hill, further, side-friction could be quite jostling due to the amount of play between the side-friction wheels and the track side boards. Coaster builder John Miller almost single-handedly changed all this with his upstop, or under-friction wheel arrangement- an ingenious design that ushered in the golden age of roller coasters and one which is still employed by virtually all coasters. The upstop wheels and their specially designed track effectively locked the coaster cars to the track and provided the perfect means of taking the wooden roller coaster to much greater levels of terror. devil-winks Taken from: ROLLER COASTERS by Scott Rutherford Published in 2003 by Lowe & B. Hould Publishers Previously published in 2000 by MBI Publishing Company.

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Riding roller Coasters is something that most people like to do. I will do a series of posts here explaining a little bit about them for those that don't know. I've already done one post in the Complaint section. I will begin with Nuts and Bolts: How Coasters Work. Generally, there are a great number of misconceptions about how roller Coasters actually work: What powers the trains? What keeps the cars from jumping the tracks? How do the brakes function? To begin, there are two basic types of roller Coasters: the classic wood-track rides and those sporting track fashioned of steel. As will come apparent, the track construction itself-not the track supporting structure-defines the category into which a Coaster is placed. To confuse matters, many wood-track Coasters have a steel support structure or a combination of wood and steel. By the same token, a few steel coaters have wood support structurework beneath those tubular steel rails. But in ennence, if the track is made of laminated wood on which steel strap rails are mounted, it's considered a wood Coaster. If the track is made of entirely of steel components, it's a steel Coaster. Today there are numerous variations and combinations of each type of ride, but virtually all roller Coasters are slaves to one very common attribute; gravity. The roller Coaster is a perfect illustration of the simple concept of what goes up will, in all likelihood, eventually come down. On a roller Coaster, this usually occurs quite rapidly, and that's a major reason why we ride the things in the first place. For purposes of these posts, we define a roller Coaster as any wheeled entertainment device operating on a fixed guideway course and propelled primarily by means of gravity and momentum. Mechanically, all modern roller Coasters are incredibly complex machines. Included in future posts will be descriptions that may help the novice thrillseeker understand just what makes these towering scream machines tick. Taken from: ROLLER COASTERS by Scott Rutherford Published in 2003 by Lowe & B. Hould Publishers Previously published in 2000 by MBI Publishing Company.

The purpose of this section is to discuss hobbies, or things you like to do in your spare time (if you have any, that is ).

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Way To Happy Coaster

What does it take to be man? What does it take to see it's a heart and soul, a gentile hand? So easy to want and so hard to give How can you be a man 'til you see beyond the life you live? Oh, what does it take to be a man? We can be blind, but a man tries to see. It takes tenderness for a man to be what he can be And what does it mean if you're weak or strong? A gentle feelin' can make it right or make it wrong The will to give and not recieve The strength to say what you believe. The heart to feel what others feel inside To see what they can see A man is somethin' that's real It's not what you are It's what you can feel It can't be too late To look through the hate And see I know that's what a man can be THIRD STAGE BOSTON

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A magician was hired by a Cruise Line to do some shows on a ship. Every night he did his show and the Captain of the ship was in the audience watching the show with her parrot on her shoulder. After a few shows, the parrot started heckling the magician by saying, "It's in your hat", "It's in your sleeve", "It's in your assistants dress." One night, the ship hit an iceberg and sank. The magician found himself hanging onto a piece of wood. On the other end sat the parrot staring at him. After two days of this the parrot finally said "Alright, I give. Where's the ship?

The head of The Talon House is home from vacation after a gruelling 11.5 hours, 700 miles and 2 heavy down pours. But, I'm glad to be home. Thanks Pat for house setting while I was gone. hug

If you could press rewind and do it all again Would you change your mind? Would you change a thing? Would you make it easy, would you make it hard? Would you play the game under another name? Or ask the dealer for one more card Bang our drum, sing your song Don’t give up, keep the faith, it won’t be long You’ve been high, you’ve been low Press rewind and let it go Have you had your say? Seen all you wanted to see Or did your dream give way to reality The Time Machine Alan Parsons

It’s feeling like it’s time to ring the changes It’s feeling like it’s time to be reborn ‘Cause here we go again Proclaiming it’s the end And reaching out for something To bring it back again We’re living on good fortune We’re cheating all our friends So tell me, oh tell me Now where’s it going to end? I hope it’s not too late to see the danger I’d really like to wake and see the dawn ‘Cause here we go again We’re trying to pretend We’re blaming one another For what is ours to mend We’re fighting for the future We’re ringing out the past It feels good, it feels good But is going to last? Give me love, Give me love, give me joy, give me pain Give me light, give me starting again Give me hope, Give me hope, give me sun, give me rain, Get me up, get me up dancing again Give me life, Give me life, give me high, give me low Give me truth, give me something to know Give me time, Give me time, give me room, give me rope Give me sign, give me reason to hope ‘Cause everything is turn up, turnaround And everything is just upside, upside-down Well, everything is not like you’d like it to be Everything is a two-bit, two-bit town And everybody’s just out to bring you down Well nothing is as you’d like it, like it to be I may not love you, but I can’t stop thinking ‘bout you Give me love, Give me love, give me joy, give me pain Give me light, give me starting again Give me hope, Give me hope, give me sun, give me rain, Get me up, get me up dancing again Give me life, Give me life, give me high, give me low Give me truth, give me something to know Give me time, Give me time, give me room, give me rope Give me sign, give me reason to hope I see just what I want to see Just what I want to be I can be anytime, anyplace, anywhere I go just where I want to go Just when I want to know I go anytime, anyplace, anywhere Thing’s just ain’t what they ought to be Ain’t what they’re got to be, gonna be probably Things just ain’t gonna get to me Ain’t gonna bother me Ain’t gonna worry me, hurry me, let’em be Give me love, Give me love, give me joy, give me pain Give me light, give me starting again Give me hope, Give me hope, give me sun, give me rain, Get me up, get me up dancing again Give me life, Give me life, give me high, give me low Give me truth, give me something to know Give me time, Give me time, give me room, give me rope Give me sign, give me reason to hope GIVE ME LIFE! In The Eye of The Storm Roger Hodgson

I’m hooked on a problem It won’t go away So many opinions I don’t know what to say Can somebody help me? What they trying to do? Life used to be simple Life used to be fun Now it’s all catchin’ up on me Tell me, what have I done? Can somebody help me? What they trying to do? Hey don’t you ever get lonely? Hey don’t you wish it was easy? Facing the world on your own. I’m hooked on a problem It won’t let me go The way people look at me Feels like twenty below Can somebody help me? What they trying to do? I’m walking a tightrope. With stars in my eyes In danger of falling Won’t you kiss me goodbye? Won’t somebody help me? What they trying to do? Hey don’t you ever get lonely? Hey don’t you wish it was easy? Facing the world on your own. If you know the answer What I’m trying to say I need a solution ‘Cause I’m wasting away Can somebody help me? What they trying to do? Won’t somebody help me? What they trying to do? Can somebody help me? What they trying to do? In The Eye of The Storm Roger Hodgson

In jeopardy, in jeopardy, I feel I’m about to cry. In jeopardy, in jeopardy, oh tell me the reason why. In jeopardy, in jeopardy, I’m watching the feeling grow. In jeopardy, in jeopardy, oh tell me what I want to know. In jeopardy, in jeopardy, the writing is on the wall. In jeopardy, in jeopardy, I can’t seem to sleep at all. In jeopardy, in jeopardy, we utter a lonely cry. In jeopardy, in jeopardy, who cares if we live or die? Who’s in your mind? Who’s in your conscience? Part of the crime Part of the nonsense Do what we can Pray for tomorrow Living our lives Watching, waiting, feeling as much as we can In jeopardy, in jeopardy, so where is the golden age? In jeopardy, in jeopardy, we’re ready to turn the page In jeopardy, in jeopardy, it’s getting so out of hand In jeopardy, in jeopardy, I wish I could understand Who’s in your mind? Who’s in your conscience? Part of the crime Part of the nonsense Do what we can Pray for tomorrow Living our lives Watching, waiting, feeling as much as we can Who’s in your mind? Who’s in your conscience? Part of the crime Part of the nonsense Do what we can Sing for tomorrow Live our lives Watching, waiting, working, playing, singing, dancing, running as fast as we can. In The Eye of The Storm Roger Hodgson