Who amongst us does not enjoy people watching? When you drive down a street, isn’t your eye immediately attracted to peoples’ activities? Utilizing figurines in your models can cause the casual viewer of your models to focus their attention not only on the human activity but also upon the buildings and scenery you have constructed.
I have had more opportunity lately to visit quite a few layouts. I am struck that very few modelers make much use of figurines. A very elaborate and well-constructed street scene will often be devoid of people making the scene seem abandoned. The addition of just a few figures can quickly make the same scene seem occupied and lively. Most of all it will draw the viewer’s eye into the details of other buildings to search out for more such human activity.
A visitor to my recent open house commented on all the figurines I use on my layout. He wondered how I was able to use them in such different ways and most of all, how I didn’t have a vast surplus of little people since he could often only find use for one or two figures out of a set of five or six.
Figurines come in packets assuming that the set should be used to create a scene as provided in the packet. I have found that many of these prearranged scenes are often unusable because the scenes are often not the sort of thing that would be found along a railway or the figurines themselves are in poses that are not really useful or visually credible. By making a study of the various figurines available from all the manufactures I have come upon ways of combining different figurines from different sets to create new and more realistic human activity scenes.This requires creativity and thought but the results can be as rewarding as building any model.
Perhaps my most favorite scene on my layout is one I call “Mr. Beer gets a bath.” (left) It is actually based upon a personal experience I had with a next-door neighbor years ago. We had labored hard to restore an old house and yard only to have a family move in next door that collect all sorts of junk cars and trash all around their house. I would have liked to have dumped a bucket of dirty water on my neighbor’s head but never did – alas.
I used most of the figures purchased in the scene. Yet I had all the rest of the full-figured people unused with no apparent place to put them. Then it occurred to me that the most probable place for chubby people to be would be at an ice cream stand. (previous page, top) Yet I wanted to create some comedy to that scene. I perused the available possibilities and came upon a Preiser set called “Children” with a boy searching for pocket change. This kid would be holding up a line of people searching for the nickel he doesn’t have. Finding uses for the rest of the figures in the “Children” was easy. I used up a many figures I had left over from the “Mr. Beer” scene along with others.
Soon using up leftover figures became a challenge in itself that I came to enjoy. The scene I call “Photo at the Burlesque”(above) is composed entirely of left-over figures from various sets some of which I no longer can remember. The photographer is available from Preiser as a single figurine. The scene is inspired by something that I read about occurring during the heart of the Depression. Business was so poor that even the Burlesque houses couldn’t attract customers and had to resort to advertising (something they rarely had to do.) It was also inspired by a Depression Era song; “Lulu’s Back in Town.” Here a photographer is taking a picture of the ever-popular Lulu while the Mob and bribed police protect her. A pretty girl in front of a racy car always attracts attention in the newspaper.
Finding use for left over figures doesn’t have to be as elaborate as this. For instance, I was left with one figure from a Preiser “Truckers” set; a guy with both hands raised to open a roller door on a truck. I had no such truck. So instead he became a utility worker replacing a transformer (below) on a utility pole.
The possibilities are endless to create all sorts of interesting mini-scenes once you get into this as a creative challenge.
But take care. People may look at you askance and worry if you talk too much about the “little people.”
It’s the beginning of a new year for the South Mountain Division and a new model railroading season! I hereby resolve to help more of you earn certificates in the NMRA Achievement Program (AP). To that end, I will focus on a one or two AP certificates and their recipients in each Wheel Report. This issue will include some introductory information, too.
Why is there an Achievement Program?
Most of us would agree that Bob Johnson is a terrific model railroader. However, even he admits that pursuing his Master Model Railroader (MMR) designation has improved his modeling. That is the ultimate goal of the program; the fancy certificates are nice, but secondary. The program is designed to give you small goals (certificates) on the way to earning the title of MMR.
As the division AP Chair, my job is to encourage participation in the program, answer your questions, and help with your paperwork, if necessary. You can contact me at: email@example.com or (301) 253-4913.
The Golden Spike (GS) requires a small sample from three functional areas. The requirements can be fulfilled on your home layout, club or modular layout, or even a display at a meeting. Not all of these requirements need to be met on the same layout. They don’t even need to be met in the same scale!
Rolling Stock (Motive Power & Cars):
Display six units of rolling stock (scratchbuilt, craftsman, or detailed commercial kits). The pieces do not have to be judged. They should not be straight out of the box, however. Put some time into decaling, painting, and weathering.
Model Railroad Setting (Structures & Scenery):
Construct a minimum of eight square feet of layout. This should be more than loop of track nailed to a piece of green painted wood, but certainly does not have to be elaborate or even complete. A typical module is 4 feet by 2 feet which would easily satisfy this requirement.
Construct five structures (scratchbuilt, craftsman, or detailed commercial kits). These structures may be separate, or part of a single scene. Add paint, weathering, and other details to simple kits. Bridges and trestles also fall into this category.
Engineering (Civil & Electrical)
Three types of trackage are required (turnout, crossing, etc.). All must be properly ballasted and installed on proper roadbed. Commercial trackage and turnouts may be used. Note that the three types do not have to be different; just having three simple turnouts will qualify. The “proper roadbed” requirement can be met by laying the track on commercial roadbed and ballasting it.
All installed trackage must be properly wired so that two trains can be operated simultaneously (double-track main, single-track main with sidings, block or DCC, etc.) DCC makes this very simple. However, if you have a DC layout, as long as you can cut power to the sidings individually, you can run one train, park it on a siding while you run another, then park it and run the first again. This meets the requirement.
Provide one additional electrical feature such as powered turnouts, signaling, turnout indication, lighted buildings, etc. A powered turnout can be something as simple as an Atlas turnout with a switch machine. Think in terms of anything that runs off the “Accessories” terminals of a power pack and you ‘re half way there.
The Golden Spike in the SMD
Bob Morningstar is our most recent recipient of the GS which was awarded in October 2018. He models the Western Maryland Railway, Hagerstown Subdivision, in HO-scale. If you have seen his layout, you know that it exceeds the qualifications described above!
We congratulate him on this achievement and encourage him to apply for other AP certificates. He is currently working on his Electrical Engineering, Civil Engineering, Structures, and Scenery certificates.
Other GS recipients from our division, past and present, include: Jane Clarke, Pete Clarke, Bob Hazard, Roy Hoffman, Ed Maldonado, Dick McEvoy, Bob Proctor, Paul Rausch, Mike Shockey, Ron Smith, and Bob Van Zant. Come and join this illustrious group!
Many years ago, Model Railroader published an O scale plan version of their well known Clinchfield Railroad. (December 1978, p. 88.) That layout plan served as raw material for some thoughts about staging – thoughts that I find to have some general application.
Sized to fill an entire basement, the O scale Clinchfield featured a continuous oval mainline (around the walls of the basement with a peninsula) and two branches that came together in a loads-out/empties-in (mine/power plant) combination. The main yard at Dante featured eight (8) double-ended tracks (two of them the mainline and siding) and the connection with the power plant branch. On the opposite side of the basement, there was another town (Fremont/Caney Jct.) where the coal mine branch line took off to Moss Mine. The proposed operation of the layout featured heavy mainline freight traffic (especially coal drags), a few passenger trains, and some locals to serve on-line towns and the branches. There was no obvious place to put any staging/fiddle tracks. The question in my mind was how to provide meaningful traffic on the Clinchfield layout without any place to stage/fiddle. I wondered if it might be possible to use the yard (visible, rather than hidden, on-layout staging for the trains) and the trains themselves (in-train staging for the cars) to fulfill those functions.
Holding tracks and the concept of on-line staging: Many years ago, model railroaders embraced the concept of holding tracks as a way to extend the run times of trains. Trains went into the holding tracks and waited a prescribed amount of time before proceeding with their runs.
These holding tracks were often (but not always) hidden; however, unlike staging, holding tracks were regarded as part of the layout not “beyond the basement” as we currently regard staging.When the concept of staging caught on, holding tracks were sometimes repurposed as staging tracks. This conceptual connection between holding and staging leads to the concept of on-layout staging. Because the Clinchfield has no obvious place to locate conventional staging, we will be looking at “hiding” trains in plain sight on the layout – not in another room, not somewhere out-of-sight under the layout.
Types of mainline trains: I mentally reviewed the categories of mainline trains to be expected on the Clinchfield:
Loaded coal trains.
Empty coal trains.
Eastbound through freights.
Westbound through freights.
Eastbound-sweepers (which set-out and pick-up cars at the main yard).
That creates the potential for eight (8) types of trains. In this situation, using one train to represent all trains of its type seemed a reasonable compromise.
On-layout staging for eight types of trains:Given the presence of six (6) available storage tracks in the yard, I wondered if they could serve as on-layout staging for all eight different types of trains. Types number 1 & 2, the coal trains (loaded and empty), would both need to be modeled.(The Clinchfield was a coal railroad, after all, and ran lots of coal drags.) If there were only a few passenger trains (#7 and 8 – reasonable considering the era modeled – late transition period) and if operating sessions represented only part of a day (say 8 or 12 hours), only one passenger train would run during each session. Then I considered the through freights and sweepers (#3, 4, 5, & 6). I realized that the main difference between them was the fact that through freights pass through the yard with their consists unchanged while the sweepers set-out and pick-up cars. Otherwise, both types of trains consisted of a mix of different kinds of cars, unlike the coal trains (hoppers only). So, an eastbound freight could stand in for both the through freight and the sweeper – the same for a westbound freight. That thinking resulted in the realization that five (5) trains could represent all the types of trains needed for a session. The yard had capacity to hold/stage the five trains needed to represent all required train types needed for a session’s mainline traffic with one track left over. The sixth track could then serve for making-up and breaking up local trains.
Coal drags & mainline freights:
Staging for coal drags: Both loaded and empty coal trains could represent all the session’s coal traffic.The cars in the two drags could be set out and picked up as needed. The east-bound drag could set out loads for the power plant on one trip.Then it could run light or hold in the yard until the local brought in loads from the mine. The next time the drag had to run, it would then be back to capacity. The sight of coal trains sitting in the yard is not unusual for coal hauling railroads. Perhaps the two coal trains should sit on the front two staging tracks.
Staging for through freights: Since these trains did not change consists, they simply could be considered to hold in the yard for other traffic. After they left, they could come back as different through trains or as sweepers.
Staging for sweepers: During a session, there were likely to be two sweepers – one east-bound and one west-bound. Each would set out and pick up a block of cars. But what would happen when sessions occurred frequently or when there were multiple sweepers during one session?The work for yard and local crews should not always seem to involve the same cars. Here I remembered that the yard tracks on the O scale Clinchfield were double-ended; cars could be set out and picked up from different ends of the train.The set out and pick up blocks could be close to the same size (say 1/3 of the cars in the train). Then, the trains would remain roughly the same length. If the set-outs always came off the front of the train and the pick-ups always went onto the back, the front end would be different, and the back end would be different each time they ran. Consequently, the sweeper would look different every time it arrived for each of six times around. (Remember Allen McClelland’s observation that we tend to notice the front and rear ends of trains the most.)
1st time through:block 1, block 2, and block 3(Remove block 1; add block 4.)
2nd time through:block 2, block 3, and block 4(Remove block 2; add block 5.)
3rd time through:block 3, block 4, and block 5(Remove block 3; add block 6.)
4th time through:block 4, block 5, and block 6(Remove block 4; add block 1.)
5th time through:block 5, block 6, and block 1*(Remove block 5; add block 2.)
6th time through: block 6, block 1*, and block 2*(Remove block 6; add block 3.)
(* assuming the exact same cars are brought in by the locals)
With typical (generic) motive power, there would be little chance that the repetition would be objectionable; in any case, the cars that the locals would pick-up would probably not be identical to the blocks originally set-out by the sweepers. A bit of fiddling between sessions (something you would get to do in an open yard at normal layout height, not under scenery or other tracks) could vary the sweeper consist so much that no one would notice.
Additional cars for locals:If additional cars were needed for local operations, pausing the session for a few minutes to change out some of the sweeper cars would certainly be possible. During the break, the yard could become a fiddle yard temporarily. When crews return, the consists of the trains would have “mysteriously” changed, and those trains would be ready for the next “act” in the drama that is an operating session.
On-layout staging for the rest of the trains:
Staging for passenger trains would require some sleight-of-hand. I would suggest leaving from the station, making a full circuit of the mainline oval, and then “hiding” on the back track of the yard rather than pulling up again to the station out front. The next run would be in a later session, so that you could turn the train (if needed) and start the next session with it somewhere more convenient (probably at the station).
Traffic staged on the mainline: For an additional train type (for instance, another passenger train), the session could easily begin with a train on the mainline if you could find a place to park/hide it during the session. Provision of a passing siding at Fremont/Caney Jct. might be the easiest way to provide an additional layover/holding spot.
Running mainline trains from on-layout staging:Treating the yard as if each end were a different place might make mainline trains more realistic. With that in mind, it seems to me there are several ways to handle mainline traffic:
Run out of the yard, around the layout, and into the yard (into the same yard/staging track you left from).
Run out of the yard, around the layout, and onto the passing siding at the yard (as a through or sweeper train would do). Then run around the layout again and return to the yard (into the same yard/staging track you left from).
Run out of the yard, around the layout, and onto the passing siding at the yard (as a through or sweeper train would do). After your train has been switched, back it into the staging track you left from.
Run out of the yard, around to the other town (siding), and hold there (long enough to be “forgotten”). Then return to the yard (siding or staging track per #1 or 2 above).
None of these options would be particularly realistic for train crews but could serve to duplicate the flow of mainline traffic for yard and local crews. One way to make the experience less unrealistic would be to prevent mainline crews from walking from one end of the yard directly to the other end, thus forcing them to walk all the way around the layout room to pick up their next train. (See the discussion of my operating experiences at the end of this article.) Crew members who love to run trains might be volunteered for these mainline jobs. They might enjoy the experience enough to overlook its unrealistic aspects.(Modelers with an interest in automation of layout functions might be able to run mainline traffic by computer and use human crews for the other trains.)
Local operations: With both east and westbound locals needed to serve the mine and power plant, the sixth yard track could serve as the make-up/break-up track for these trains. Using in-train staging, the required cars would come off the coal drags and sweepers (in-train staging), which would also take the pick-ups when the locals return. The locals’ work would occur on the modeled portion of the railroad and would include keeping out of the way of mainline traffic.
Storage and classification: To make this scheme work, these functions would need tracks for holding and sorting the blocks of cars coming out of and going into the sweepers. Fortunately, the Clinchfield plan had open space beside the stairs in the middle of the basement for some single-ended yard tracks connected to the layout by a drop down wye. (See diagram at end of article.) This yard could also present the opportunity for some additional industry spots and the possibility for an interchange (another way for cars to come onto or leave the layout). With the wye in place, direct passage from one end of the yard to the other would be impeded, thus furthering the idea that both ends of the yard are “different places.”
Crew requirements (for this layout and this method of staging): The following crew assignments would be possible:Dispatcher, yardmaster, assistant yardmaster, yard crew, (2) two person local crews, (2) single person coal crews (frequent coal trains – switching to be done by yard crews), (1) single person through freight/sweeper crew (again switching to be done by yard crews), and (1) single person passenger crew.That totals twelve possible positions – a significant number for a layout lacking hidden staging/fiddle tracks.
What has been accomplished by this exercise? Thinking about the O scale Clinchfield, we have figured out how, with five (5) yard tracks, to accommodate seven or eight types of mainline trains staged on the layout within the yard. On-layout staging, coupled with using one train to represent all trains of its type, could provide heavy mainline traffic, including coal traffic (both loads and empties) moving in the appropriate directions. (The loads-out/empties-in feature eliminated the need to remove/insert loads.)With in-train staging, the blocks of cars needed for normal local operations would be ready to be set-out (giving the train capacity for any pick-ups). We have done this without “hidden” staging tracks or fiddle yards.(As noted previously, the O scale Clinchfield left no room in the basement for those tracks.)
These two concepts have great potential for many space-strapped model railroads such as:
Layouts that feature heavy mainline traffic and include a double-ended yard but have limited (or no) space for hidden staging and/or fiddling.
Layouts whose owners do not want the hassle of constructing, maintaining, or operating hidden staging yards.
Shortlines or branches that depend on a mainline connection for regular freight and passenger interchange several times daily (These layouts may need only a few mainline train types, have limited rolling stock to make up multiple trains, and have limited hidden space to stage them.In-train staging might be especially helpful in this situation.)
Small starter pikes where yard space is limited and where complicated benchwork, hidden trackwork, and mainline grades are not recommended.
Layouts already constructed without hidden staging.
One additional benefit, on-layout and in-train staging can be implemented either during the design stage or later when setting up an operating system. These ideas do not necessarily require revisions to layouts already built.
When thinking about my own experiences during operating sessions, I tend to focus my attention on my train and what it is doing. I pay relatively little attention to many of the things happening around me. So a yard full of trains is just one of those background things I tend to ignore. If I am assigned to run a through train that makes a complete circuit of the mainline loop, I walk all the way around the basement with my train. When my train returns to the yard, I approach from the opposite end of the yard.From this perspective, the yard I arrive at does not look exactly like the one I left from. That run finished, I get assigned to another train. If I have to walk all the way back around the layout room (rather than directly past the yard) to pick up that next train, I would again see the yard from a different perspective and would not notice what the yard contains. The contents of the yard are not really my business (on-layout staging), nor is the make-up of the trains in the yard (in-train staging) my business.
The ideas of on-layout and in-train staging make sense to me. There certainly are situations where they apply. I suggest they can work for you if you need them and give them a chance.
Today, when we see coal moving by rail it’s usually in 100-ton hoppers or 100-ton gondolas with rotary couplers. But in the transition era, coal moved in 50 or 70-ton hoppers and 50-ton 40-foot gondolas. In fact, about 30 percent of coal mine production in the Midwest moved in gondolas. So why were they using gondolas? The answer lies with the coal merchants who ordered a carload of coal and didn’t have enough business to justify the expense of building facilities that could accommodate hoppers. They often had a simple shed and the gondolas were shoveled out by hand.
Now you can get a laser-cut kit for one of these sheds in HO. Hidden River Model’s HRM-38 Coal Facility has a footprint of three inches by seven and a half inches. The HRM kit comes in a 4 mil clear plastic bag. It includes black paper cut in strips for roll roofing and hinges that are also cut from black paper. The shed has plank walls and when you hold them up to the light, you see daylight between them all. The underside of the roof sheets are scribed to represent roof boards and they are also scribed to show thelocation of each rafter and partition frame. None of the sheets are self-adhesive and there are no corner tabs, nor should there be. Parts are identified on the carrier sheet and door braces and hinges are spaced for you so you can glue them on as a unit. There are three pages of instructions. A general instruction sheet that applies to all HRM kits, a sheet with an isometric exploded view of the kit’s construction, and a sheet of instructions written specifically for this kit.
I built this kit in S scale and it went together without any problems, following HRM’s instructions.I have a few tips.
When the laser-cut sheets are stained, the wood grain looks entirely out of scale. Fortunately, this effect is broken up and disappears as you assemble the kit.
When cutting out the parts for assembly, hold the carrier sheet up to the light so you can see where you have to cut. HRM keeps the places to cut to a minimum, usually occurring on the ends of long parts and the middle of small parts.
The parts with the planks for the end walls and partition walls are fragile. I broke three of the five in half by picking them up from the top and bottom edges. This was not a bad thing, because it allowed me to glue them onto the frames half at a time. So, I intentionally broke the other two. After you glue the boards onto a frame, flip the frame over and look for any glue that may have squeezed out. Clean it off by scraping with a hobby knife with a chisel blade.
The kit is assembled upside down and I used a square to make sure the partitions were at a right angle to the roof. The rafters extend beyond the partitions and ends on the track side. Make sure the ends of the rafters align with the the partitions and ends of the shed on the side away from the track (the lower edge of the roof). To help line up these parts I used a steel rule with cork on the bottom and a weight on top.
When gluing the front wall assembly to the partitions and ends, everything was still upside down. Five Irwin quick-Grip 4-inch clamps that I got from the hardware store helped.
I added the braces to the backs of the doors and trimmed the spacers away from the braces. Then I sanded the braces flush with the edges of the doors where needed. To get my hinges positioned right, it was easier to attach just one strap of a hinge to the door and then glue the remaining hinge straps on one at a time so they would be aligned. When dry, the paper spacer is trimmed away from the hinge butts.
The hinge butts kept the doors from falling into the bins while they were glued to the top trim piece.Here, I could apply glue to all five hinge butts at once when gluing the doors in place. When the shed was finished, the door sills were close to the tops of my gondolas and the openings to the bins at the rear of the structure were a scale eight feet high.
This January fourteen members of the South Mountain Division responded to an invitation from Mat Thompson, MMR to operate on Mat’s exquisite Oregon Coast Railroad. We had a wonderful time and thank Mat for sharing his wonderful railroad with us. This was my 4th visit to Mat’s railroad. This time Mary Miller, MMR and I were assigned to work at the Swift Packing Plant. We had a blast, hence this article.
Mary and I begin our session at Hoyt Street Yard. The yardmaster showed us our Oregon Coast train. Behind our switcher we find a cut of 8 cars billed to the packing plant consisting of 4 empty reefers, 3 loaded stock cars, a box car of packing material, and a caboose.
The Swift Packing Plant is located along the railroad between the Hoyt Street Yard and Willbridge, 2 railroad miles away. As an extra, all scheduled trains are superior to us and we have to carefully pick our time to leave the yard for our run on the single track main to reach the plant. We receive a clearance from the yardmaster and, after checking our timetable for superior trains, we pick our way out of the West end.
Before reaching the plant siding we notice a double ended siding along the main, used for outbound traffic to be picked up by passing freights or another switcher out of Hoyt Street. This day, a yard switcher will service the siding during our 8 hour shift; taking our outbounds while delivering more empties and loads.
Just short of Willbridge, we pull our string slowly ahead until the caboose clears the siding switch and glide to a stop. With the switch lined for the plant, we back our string of cars slowly down the siding, clearing the main.
A mailbox at the plant holds special instructions for us, from the customer, so that cars are spotted correctly and in a timely manner, ensuring plant operations proceed smoothly despite our inexperience with this job.
Reading the instruction provided by plant management, we discover that it takes 21 minutes to unload a stock car at the stock pens on track-2. It takes about an hour to load a clean chilled reefer at the plant on track-2, and about 2 hours to ice and chill a block of reefers on track-1 at the icing dock. We also note the track diagram provided so we can find our way among the maze of tracks at the plant.
Looking at the diagram, we note that track-3 runs along the back where supplies are offloaded for the packing plant. Track-4 is a service track and track-5 is the cleanout track for reefers. There also is a short runaround track on the ladder between tracks-3 & 5. Note the presence of another stock yard on the property. We were pleased to see there was plenty of head room on the lead to switch the plant without fouling the mainline.
Let’s get started spotting the 8 cars we brought to the plant this morning. You recall we boldly backed into the plant without thought, to clear the main while we looked over our instructions and developed a plan for our first service switch. At the plant we found 1 reefer loaded on track-2, at door-5 and 3 reefers iced, chilled and waiting at the ice dock on track-1. We noted there was one empty box car at door-5 on track-3 and a loaded tank car of tallow spotted near the oil tank, billed outbound.
Once oriented, we devise our plan. Here is what we did. First, we pulled our string forward to clear the track-4 switch, then we backed onto track-4 to drop our caboose. Pulling forward to again clear the switch we lined it for the ladder and backed our 4 reefers onto track-5, the cleanout track, and cut away. We then left the remaining 3 loaded stock cars short of track-2 and moved to track-1 where we pulled the 3 iced reefers over to track-2 and shoved them down to doors-1, 2, & 3 for loading.
There were three timers provided for our convenience so we set one for 20 minutes.That would use exactly 1 hour of the 3:1 fast clock time for loading. We then came back to the lead and grabbed the 3 loaded stock cars and swung them over to track-2 at the pens. We had 40 foot stock cars so each had to be individually positioned at the unloading shoots that were spaced for 50 foot cars. Once in position we set the second timer to 7 minutes, giving us 21 minutes of fast time for unloading.
Moving to track-5 we pulled our cleaned reefer string to move them to the icing dock on track-1. We set our third timer for 40 minutes giving us 2 fast clock hours for icing and chilling. Pulling off the icing track, it’s back up the ladder to track-4 to pick up the loaded box car for door-6. Coupled up we move West down the ladder to track-3.
We pick up the loaded tank car and empty box from door-5, then out to the ladder again, backing East to drop the box and tanker against the caboose on track-4 and cut away. We then spot the loaded box we had keep near the engine at door-6, on track-3.
Stepping back to asses our progress we find we have spotted the entire cut of cars we brought from Hoyt Street Yard. It’s now time to build a cut for the interchange. Checking our timers we see that our stock cars have been unloaded and the other timer for the loading dock has expired so the 4 reefers on track-2 at the plant are also ready to be pulled.The interchange track will hold 8 cars, so we back down to track-4 and pick up the tank car of tallow. Next it’s over totrack-2 for all three empty stock cars. We also grab the 4 loaded reefers.
Once we had everything on track-2, we had our cut of 8 cars. Pulling up the spur to the company phone and after checking our timetable for scheduled traffic we called the dispatcher to ask if we could have time and track to pull out onto the main and drop our string onto the double ended siding for pickup.
The dispatcher gave us track time after passage of a scheduled freight. We waited 15 minutes for the freight to pass, notified the dispatcher, then pulled onto the main and made our backing move to the siding. Surprised, we find a new cut of cars awaiting us. You can imagine our movements, making the car exchanges along with the time it took plus returning to the plant siding with a new string of cars.
We have now completed one servicing of the plant. The new string of cars picked up from the interchange brought 4 empty reefers and 4 loaded stock cars for us to position as our shift continued. And so it goes, we start another cycle of cleaning, chilling, loading, unloading cattle at the pens, as well as spotting supplies for the plant, and removal of byproducts. The process varies each cycle, dependent on the flow of cars to and from the plant. For instance we received 4 loaded stock cars this time and we have only 3 unloading shoots, so we will have to watch our timing since reefer loading and stock unloading happen on the same track. This variety of movement, timing of processes, masterful placement of service tracks at the plant make this a rich, challenging, and most sought out assignment on Mat’s railroad.
A big industry can be the main theme for a railroad when you are cramped for space. Mary and I were busy for over 3 real time hours servicing the plant. The randomness of cars received required a different operating plan to keep the product flowing from the plant on schedule. So a Swift Packing, cement, automobile, glass plant, or other big industry, with a realistic operating strategy and a few staging tracks can keep a small crew busy in an enjoyable and challenging way for hours.Big industries can be fun and that might be all that you need!
In 1888 the Colorado Midland Railroad bought a rotary snowplow from the Leslie Company. The original plow had a nine-foot rotary blade with a shroud 11 feet across that would clear a path wide enough for any Midland equipment. One of the more interesting aspects of the Leslie plow was the car body, which resembled a “greenhouse.” There was a crew area directly behind the blade and impeller wheel for the operators who had a full view out the front and sides thanks to all the windows. The body of the machine covering the steam engine to power the rotary was also lined with windows. One can only imagine all the broken glass that had to be repaired each winter
After a number of years in operation, the Midland decided to rebuild the body of their only rotary snowplow. In 1895 the railway’s shop converted the body of the machine to a more conventional and durable design, which included a minimal number of windows. The plow was numbered “08” until 1900 when the Midland bought a larger 11-foot bladed machine from the Schenectady Locomotive Company. The Leslie plow was renamed “Rotary A” and the new machine was designated “Rotary B,” and both machines survived until abandonment in 1918. The Midland Terminal Railway bought the Leslie machine in 1921, and it served that rail line until its demise in 1949.
The model represents the Colorado Midland’s Leslie snowplow after its rebuilding in 1895.Everything on the modeled snowplow is scratch built from sheet brass and bar stock, sheet wood for the sides, and castings for the window and truck side frames.
The front truck of the plow does not include brake shoes due to the accumulation of snow and ice as the machine fought its way through snow drifts that sometime were higher than the machine.
The rear truck does include brake shoes so there is some way to help stop the plow. The roof is made up of individual six inch wide boards covered in tissue paper with holes in the roof for the smoke stack and the steam dome with its relief valves and whistle. (Building the tender is the next order of business.)
Looking at the model from the rear with the car body removed, one can see all the workings that make the blade turn. (There is a motor under the boiler and all the mechanisms work, even producing a breeze out the exhaust chute.) While some detail work remains, the wood platform is for the operator to supervise the movement and speed of the plowing operation.He is also, and equally important, tasked with the responsibility to set the exhaust shroud for throwing the snow out to the left or right side of the train. The cylinders are set in a reverse position so they can power the blade through a set of gears. Due to blowing snow, shrouding had to be used to surround most of the boiler and the firebox to keep the working area as clean as possible. It would take at least a two-man crew to operate the boiler with its “Johnson Bar,” injectors, and to shovel coal. But, one of the most important jobs would be to operate the whistle, which was the means of communications between the plow operator up front and the crews in the four or five locomotives pushing from behind the snowplow’s tender.
Editor’s Note – This is part two in a series of posts from Bob describing the history and construction of his layout. Read part one here.
I had been in the business of restoring old homes in Upstate New York where I also attempted to convince the town fathers to establish an historic district to no avail. Nonetheless, this gave me a lot of background in architecture and “city scape.” Buildings like people evolve, undergoing all sorts of modifications during their existence. One of my favorite evolutions was what I came to call “Art Deco on the cheap.” It was ideal for my tumble-down Victorian city in the Depression. Real Art Deco was very expensive for the times but the Victorian style had become passé by then and store owners were looking to modernize but didn’t have much to spend. The style ran from the 1920’s to 1959. Art Deco was called “Futuristic” at the time everything was focused on streamlining hence another reason I love the GG1’s which was one of the first streamlined electric locomotives.
With observation and ingenuity, you can find all sorts of stuff to do “Art Deco on the cheap” from candy wrappers to fancy box ribbons. The bulkheads below store windows were clad with checkered tiles. A “Chock Full of Nuts” bag supplied that detail for me. Aluminum, because it was a new metal at that time, was used extensively for streamlined awnings on store entranceways. Old classical architectural items were painted in aluminum paint.I found that the shiny metallic covers from toothpaste boxes gave the same effect as neon lighting if cut into fine strips. I added them along the entranceways of my commercial buildings. It even works to make signage appear as if it is lighted. Certain paint colors were associated with the Art Deco. I painted a diner converted from an old dinning car rose and sand which was one of the Art Deco color combinations. These Art Deco modifications hung around through the 1950’s and even long after, so they are good details for many layout eras.
Two events were to follow in close session that would change everything in our lives, and for the best. In August of 2003, there was a power blackout of the entire Northeast that terminated in New York City. The ultimate result was that the federal government reversed itself on deregulating the utility industry. A few months later a coworker alerted Betty that he had seen position openings for power engineers with the Office of Electric Reliability for the Federal Energy Regulatory Commission (FERC) in Washington. It would be well over a year before Betty got a response to her application. During that time, Betty suffered and ankle injury. This was an unfortunate time for her, but for me it meant I could begin construction on my railroad in Frederick. A layout at last! Then, that winter, Betty was hired by FERC which allowed us to return to Frederick, MD.
As construction progressed, I learn my first lesson in layout construction. I did not know how much space the curving masonite back drop would take up.In the end it threw my track plan off by three inches. So I had to extend the framing out into the passageway. This was not fatal. But I would warn those who want to attempt a small layout to plan the layout after having set in the backdrop. Also, I covered the masonite with wallpaper liner. This reduced the number of visible seams down to one. My intention is to expand my layout into an adjoining room that is now my workshop. I will not do any track planning until after having done the roadbed and the backdrop especially since this oddly shaped room will require many bends to the masonite.
Nonetheless, I did have a serendipitous finding as a result of this experience. Because of the need for the three-inch extension, having to allow for enough space for people to filter into the passageway from the stairway, I could not have a 90-degree angle. Therefor I had to create a 45-degree angle “wing.” This offered several benefits. First, it gave me more precious modeling space to use backdrop buildings. In fact, I was so happy with this, that I did the same thing at the other end of the layout. The result was that when a viewer stands in the passageway/viewing area they are given the impression of looking out into the layout (i.e. like a 300-degree viewing) as if they are seeing an entire world.
I did not want my layout to be just a “steelworks railroad.” My real concern was for telling the story of the people of the Depression era. Quoting Dickens, “It was the best of times, it was the worst of times…”The Hellfire, Brimstone, and Damnation is an aged railroad on hard times trying to get by with old equipment. GG1s represent the modernism of the futuristic streamline and electric age.That was the essence of the period. Or as I like to say, the Pennsylvania Railroad was the “Standard Railroad of America” and the HB&D had no standards at all! I go to some lengths to display this.
The HB&D shops (above) and service area are littered with junk. There are marshy pools of water with cattails because no one is filling these depressions. There are junk and old ties thrown into the pools. The locomotives are heavily weathered and battered. The roundhouse roof is beginning to fall in on one side.
The city is my favorite creation. Creating a “tunnel” as staging gave me much more space to create the city scape (above) that I had hoped for. It even provided enough room to run a trolley loop through the city. Most of all, it allowed me to crate the depth of field that makes the city look realistic to the viewer. Using fore-shorting and paper backdrops allowed me to create what looks like a full-scale city with municipal buildings, churches, stores and offices all in a very small space. I even cut out paper buildings to paste onto the paper backdrop along with advertising signs to make it appear to the viewer that they are able to see many blocks into the interior of the city. All the buildings contain as much detail as possible such as people, window curtains, lights, street lights and so on even though it might seem unnecessary. It is the richness of detail that makes the scene seem more authentic. Everything is lighted. Seen in the dark with all the hundreds of lights brings a magic to the city. I even created my own street light/trolley poles based upon a prototype found in a photo.
Once this realism is established in the mind of the viewer, their “mind’s eye” is deceived enough to continue on to the tenement scene and continue to believe that the city continues on much farther. Yet it is less than a foot deep.
“The best of times, worst of times” theme is carried on in many mini-scenes. For people who had had a steady income in the professional classes, it was the best of times. Money went very far for those who had it. At the train station a young woman is returning from a shopping trip to New York on the electrified Pennsylvania Railroad. She is followed by a platoon of porters to the taxi with her packages. Meanwhile, across the street at the Brooklawn Night Club, well dressed customers are about to enter for an extravagant night of entertainment. For those unable to afford the steep price of admission, WHEZ radio would broadcast the proceedings from the transmission station on the second floor and tower on the roof.
At Big Hearted Al’s car dealership which specializes in luxury vehicles, a customer is greeted by a salesman.
Of course, the “worst of times” is well represented. Across the bridge and down the street is a “tourist home.” This scene actually based upon a story told to me by my mother. After finishing college in 1929, (not a good year) she could not find a job so she had to return home to help her mother who was ill. This required going to a nearby grocery store located a few blocks away and was actually located underneath a railroad viaduct. Found by the tracks was a “tourist home,” but from all the women sitting on the porch, she knew it was for another kind of tourism. But what saddened her was that she recognized many girls she had gone to high school with.
Brothels served many secondary services as well: most of all, a man could come just to take a bath for a small fee or just socialize with the women.
Even before the Depression there were few job opportunities for women. With the Depression the situation became a disaster. Marriage engagements were broken off because the couple could not support themselves.Men were forced to leave their wives to follow the hobo trail to find work and often were not heard from again.Parents were often driven to “throw out” their older children from the family (both boys and girls) to care for the younger ones.Prostitution became the only “plan B” for many women.Brothels were run by “madams” or pimps who took all the money and only provided room and board.It was actually a form of slavery.Yet even this was preferable to the fate of older and less attractive women who worked and slept on the streets.
The Paradise Burlesque was a preferable place to work for women.Performers were on stage away from the men and protected by bouncers. Nonetheless, men with sufficient cash could “date” a dancer. The scene in front of the burlesque house was based upon an actual photo taken during the depression.Even the burlesque houses were finding it difficult to attract patrons in the Depression.They actually had to resort to print advertising; usually of a popular performer in front of an elegant car.
Likewise Taxi Dancers would dance with men for 10 cents for a three-minute dance (actually a high fee in those days). They could choose to take their partners upstairs or not but there wasn’t a lot of choice. Poverty can do that. For the price of a watered-down drink, a man could just socialize with a pretty girl. Unattached men were desperate for just the simple company of women.
Horse racing parlors were illegal in most states yet betting parlors often flourished in the open.Bets were placed on horses running at races at race tracks outside the city and the results were “wired” in. It was all too easy to scam customers with false reports. The movie The Sting portrays this. The red-light districts flourished even in the most conservative of towns because of the power of the “mob” to buy police and political protection and simply because municipalities were forced to lay off policemen.Priorities had to be placed on more serious crimes. The hang outs of the “mob” was most often in poolrooms and bars.
Liquor had been legalized in 1933, nonetheless “bathtub gin” was not down and out. Hooch was available in liquor stores “under the counter.” As it was untaxed, it was much cheaper but often unsafe.Alcoholism was rife as was drug addiction. In the side alleys and back lots of my layout you can find men passed out and nodding off.
Mission Societies were established by “respectable citizens” to “revive” the drunkard.If a man was willing to put up with a sermon patronizing him as a “lazy bum” for not being employed, he could get a “hot and a cot.”Experienced Bo’s shunned such places but the intermittently unemployed knew to watch outside for the sermon to end and then filter in behind the congregation when it was over to the soup kitchen in back and flop house above.
During the Depression, many railroads went out of business.When a derailment occurred, cars from out of business rail lines were simply abandoned at the trackside. People quickly took advantage of these to make homes.There were small “towns” of these throughout America.
The tenement dwellers on my layout are having a good day. The wind is blowing the factory smoke away from the slums.Women are setting their wash out to dry so it won’t get sooty. In fact, the name for my city is Grimesburg. This is actually based upon a personal experience: I had an aunt and uncle who lived in Pittsburg. One Sunday I was waiting for the old folks to come down to the car and got bored. I leaned up against the wall of the house. When they finally came out, all the women exclaimed at the grime on the back of my shirt. I said that “Pittsburgh should be called Grimesburg.” This became a joke for a day or so: hence the name for my town.
There are a host of mini-scenes in the tenements: children playing in the back yards, guys repairing an old Essex, women haggling with street vendors for potatoes and secondhand clothes and neighbors gossiping and arguing.
The first photo of mine to appear in the Walthers catalog was of a woman pouring water on the head of an old slob who keeps his yard in a total mess while the neighbors next door keeps theirs very properly. This was based upon personal experiences we had with a neighbor years ago. We would have liked to throw a bucket of dirty water on his head. It was one of my first models and submitted long before I actually had a layout.
The tenement districts not only consisted of apartments rented out to families but also single room occupancy hotels and boarding houses.Boarding houses could be nice homes or more often in the Depression, a group of older women would combine their resources to buy or lease an old building. They would offer breakfast and dinner and a bed. This bed would be one among many beds that could be fit into a room and sometimes a hall.No matter which accommodation you had, sleeping could be a challenge. Roommates snored, bed springs creaked, and fleas and bed bugs were not uncommon. But to catch up on a night’s missed sleep, or for emergency sleeping accommodations there was an unusual option: the “second run” movie theaters.
Second run movie theaters were not the “movie palaces” of the 1920’s. These were old vaudeville theaters that had gone to seed. With the simple addition of a movie projector and screen, these theaters offered popular movies that had already appeared in the better theaters. This offered cheap entertainment to the less well off. These theaters were open at least 12 hours a day and often for 24. They also had bathrooms, cheap snacks and heat in the winter and most of all; air conditioning in the summer.The “air conditioning” often was nothing more than fans blowing over blocks of ice, but it worked. People flocked to such places in the summer. For a small entrance fee, you could stay there for as long as they were open.
Nothing “dates” a layout more than signs and automobiles. I am very proud of my collection of both, especially the signs.Signs for the 30’s era are hard to come by. Some came from photos of the depression which Betty manipulated on the computer for colorization. Others I found at historic sites or museums. I took pictures and reduced them down on the copier. Some I found still extant on buildings especially in old industrial towns. In Scranton and Schenectady, I found quite a few. Some of those I collected have recently come available in the Walthers catalog which annoys me when I consider the work I went through to find them.
Photos show that signage got completely out of control in the Depression. Laid off workers started concocting all sorts of snacks, candy, sodas, and silly inventions they hoped would become popular and earn them a living. They would have advertising signs printed up, then locate some unemployed worker, provide him with a bucket of paste and a brush and send him off in the dark of night to plaster the signs on any available space. The signage would literally appear “overnight.” Signs were plastered over other signs. Signs grew bigger. Billboards started to spring up like mushrooms.
If all that were not enough, the New Deal got into the sign mania also with all sorts of posters dealing with such things as public health issues. Signs warning about venereal diseases and tuberculosis which were rampant during the Depression, were everywhere. They also had signs about using libraries to educate one’s self. There were signs about the importance of thrift, cleanliness, sending kids to school—you name it.
Some signs are of my own creation for a bit of humor utilizing Art Décor elements such as: Big Hearted Al’s New and Used Cars and Blind Faith real estate. In fact, Blind Faith Real Estate was an actual agency located in the Koreatown area of Manhattan. My luckiest find of all in signage, was finding the advertising banner that were given out to theaters to put above the marquee for Charlie Chaplin’s Modern Times. This film was released in 1936—just perfect for a second run theater in 1937.
After 1929, people held onto their automobiles for as long as they could. Therefor most of the cars found in photos from the era show 20’s automobiles. From the photos of the past it, was apparent I was going to need LOTS of cars to make an authentic 1930’s urban scene. Jorden supplied many of my models and sometimes some good ready-made ones became available. I even located some German cars that were very close in body type to 20’s and 30’s American Cars.Sylvan offered some fine 1930’s car kits but they have only recently offered cars from the 20’s. There were over 400 auto makers before 1929.Fortunately for me, their body styling was pretty much alike.With some ingenuity, I was able to customize the Jordan kits which were mostly Fords to bring some variety to my “car scape”.We had a kid next door who I used to call “Count Count.” When I invited him to visit my layout, he came up with 87 cars.I have added quite a few more since then.
Many people have the mistaken idea that all old cars were black. This was because they appeared black in the old photos but in reality, they came in all sorts of colors and were often two-toned, unlike what is available today.Therefor painting cars in different colors was the easiest way to customize. Also putting spare tires in different places helped and where possible, I exchanged grill work from one car kit to another.
The condition of the roads in the Depression became a big political issue largely due to the car makers and AAA. In the cities, streets were cobblestone but at the city limits, the roads were just dirt. This required that cars have very large wheels to get through the muck. Carmakers wanted to streamline cars (there’s that word again). This meant smaller wheels. With the New Deal carmakers and road builders were in the vanguard lobbying for “make work” projects to pave roads. These roads were often made of unreinforced concrete which quickly heaved and cracked, nonetheless this was a big improvement from the past. For me, this meant that there was nothing available to model these roads. I created my own (below) by utilizing cardboard painted grey and marking in the black caulk in the joints and then using a sharp pencil to make crack lines. I deliberately set the cardboard patches down to look a bit wonky and added fine strips of grass between the joints.
I have done my best in a small space to represent every aspect of steelmaking even if I had to use a paper pasted building in the background. However, my real goal was not so much to make a demonstration on steelmaking as to show the drama of steelmaking as I experienced it as a small boy. This required several lighting techniques. I used a passenger car lighting strip placed at the apex of the interior roof of the blast furnace to reflect down upon a strip of gold foil to which I glued smashed up orange glass donated by a friend who does stained glass work. This strip of foil and glass was placed within the floor channels of the blast house floor and extended beyond the channel about three inches to create a “slag fall” into the slag car.This was an experiment on my part and I was pleased to find that this nicely replicated a glowing stream of slag.
Next to create the glowing slag in the slag buggies, I used some thin orange plastic and cut circles to fit the bowls but did not secure the disks into the bowls at that point. I then drilled holes in the bottom of the bowls and then inserted an LED yellow light into the hole and secured it with electric tape. I did the same with the other car and then, once I determined the proper position of the car receiving the slag pour, I bored a hole through the layout, and brought down the wires of each car. The strip of gold foil and orange glass was cut to the proper length to fall properly into the bowl. Then the plastic orange disks were placed into the bowls of each car.
To create the flashing effects of the oxygen lancing operation, I used a flashing welder light kit over which I overlaid some scraps of orange glass but left a hole for some of the white light of the bulb to come through as well. I tested this in a darkened room to determine if I had the desired effect and then poked the assembly to the rear of the furnace. I prepared a hole through the layout for the feed wires to pass through. I cut some strips of red glittery packaging from a toothpaste box and glued this to some silver foil from some cookie wrappers (we must all suffer for art) in alternating strips and then glued that to some scrap black plastic.This was then applied to an opposite wall in the furnace area to create reflection off of the modified welding kit. All the feed wires each of these lighting effects were then fastened to a terminal block under the layout which then of course, was fed to a transformer.
I believe that any factory chimney without smoke is like a face without a nose.Creating smoke is quite easy:go to a fabric store and buy some hollow fill.This is used in quilting as filler. It is a polyester fiber.Cotton batting will not work. Find some spot where you can make a mess and hang out a string for drying. Some rubber gloves might be desirable for this. Using an old pan, mix up a slurry of grey paint (or black if you like).It should be fairly watery. Using a portion of your hollow fill, slosh it around in the slurry until it takes on the coloration.It will not come out evenly but that is desirable. Drain off the color slurry but don’t wring it out. Wringing will cause the fibers to mat making it difficult to work with later. Sling the mess over your string and hang it out to dry. You can also make a second batch with the leftover, thinned, slurry. On the next day fluff and stretch it around until you get an appearance of smoke.
For chimneys with larger openings I use a wine bottle cork glueing the hollow fill to the upper end. Some fine wires will be required to pass through the hollow fill smoke to be secured to the cork for the “smoke” to retain its desired position. Then place into the chimney.
For the steam coming out of the slag bowls, I tore off some shreds of the less darkened smoke into a feathered effect and glued it to the surface of the orange plastic disks and the edge of the bowls to make it seem wind-blown. For the locomotives, I twisted the fibers into a knot and placed glue on the knot and put it into the smoke stacks. For all these applications I can highly recommend Beacon Quick Grip glue sold at Walmart in their craft department.
For the steam being created by the oxygen lancing procedure, I had made a small amount of hollow fill in a light slurry of dusty yellow. This blast furnace scene was my second submission to be accepted into the Walthers catalog.
My coking oven scene was accepted by Walthers the following year. The prototype for this came from a book on Republic Steel written, photographed and published by the company just before it closed in 1954. I doubt that things had changed much from the thirties. This book offered color photos.I had already planted the coke oven on my layout and had the quencher car set up, but I had always wondered how did the coke get out of the oven to the cars. The photo revealed that a small electric trolley would pull open an individual oven door. Somehow this triggered a simultaneous signal to a hydraulic pusher on the opposite side and the coke was pushed out. Afterward a small gas engine trolley would pull the quencher car to the quencher which was little more than a gigantic shower. More DRAMA for my railroad.
Much of this scene was made with scrap parts I had collected so I can’t really tell you fully how the trolleys were constructed but I got something pretty close to the prototype.I used some left-over posts from a Walthers chain link fence kit for the transmission cable and a fine strip of styrene for the power cable below.I cut out one of the oven doors with a Dremel grinding disk. Using a very long drill bit, I made a hole into the layout through the cutout oven door and fed a red LED bulb though that providing lighting from the inside. Then as with the slag pour scene, I glued bits of smashed orange and yellow glass onto a strip of gold foil, making it long enough to drop into the quencher car from the opening cut in the oven.
The quencher cars actually required the greatest effort. The hot coke so batters, corrodes and weathers these cars that the glow of the hot coke peeps out of the rusted holes.I used an old worn out soldering iron and a penny.I heated the inside of the quencher car until the plastic began to soften, and then using my finger, I would make a bulge on the outside of the car to replicate the metal fatigue when the hot coke would bend the car walls. I then drilled small holes here and there and the used the iron to make the holes wonky.Rusting the outside was done in the traditional way. Then I lined the inside of the car with reflective cookie wrapping (one can gain a lot of weight doing a steel mill scene) and then drilled a hole to admit a red LED light into the bottom of the car.This was covered over with more red and yellow glass shards.The prototype picture showed a allot of sparks.This I recreated with some gold Christmas glitter. Shreds of hollow fill smoke were then applied here and there.Much the same process was used to make the car that had just been drawn through the quenchers only more hollow fill was added for stream.
Some fine strips of clear plastic were “dirtied” with a wash of brown paint to depict water draining out of the car.
The prototype picture showed glowing bits of coke that had escaped the car and fallen to the ground. I scattered some fine shards of orange glass on the ballast. All this is just as effective in the “daytime” lighting of the layout as at night due to all the reflective material I used.The prototype also showed puddles of water everywhere resulting from the great steam generated in the quenching process. For this I embedded some selected pieces of dark green glass into the homosote and then surrounded the glass with grass strips and reeds.
I never cease to be amazed at the resiliency of nature to be able to survive in the most hostile of environments.The photographs I found must have been taken in early fall, since there are thistles, goldenrod and cattails everywhere, so I reproduced this. In fact, throughout my industrial urban layout I found myself recreating all sorts of vegetation for the realism I desired.
There is one thing that I have an odd connection to and that is cinders. The anthracite railroads did not use anthracite as that was a valuable product sold for home heating. The actual fuel used was “culm” which was a waste product of anthracite mining. It was pieces of coal bound to shale. The shale was what caused “clinkers” in home furnaces. This is why anthracite burning locomotives required especially large fireboxes with wider grates to allow the clinkers through. Small boys would pick out the culm in the tipples as the coal rushed by. My father had been hired as a “picker” at the age of ten in an anthracite mine outside Wilkes-Barrie, PA.
My association with cinders would take another odd turn much later in my life when we moved to our apartment in New Jersey on the shore of the Hudson.Decades before our apartment had been built, the area had once been a swamp.The anthracite railroads then built into this area to link to the ferry terminal to get to New York at Hoboken (our fair city). The railroads would simply throw their waste cinders into the swamp at the edge of the river, thereby creating more land upon which the railroad yards were extended. Our apartment building was built upon this cinder bed.
About two years into our residence there, I looked from my balcony to see a steady stream of trucks emanating from an excavation operation beyond the ferry terminal. Our doorman told us that a new apartment building was being planned which would have an underground parking garage. I walked over to that area to observe. I assumed these cinders were going to go to a toxic waste dump, but the trucks were heading for the Holland tunnel and into Manhattan. I thought this very odd.I told this to Betty.She daily took The Port Authority of New York and New Jersey (PATH) line under the Hudson which terminated at what had been the World Trade Center. She regularly watched the excavation and preparation of the foundation of the new World Trade Tower as she entered into the station. Betty observed trucks dumping a black material onto the rubble base of the excavated site. This was the very cinders from our fair city.
For the first time in my life, I had a chance to have a close up look at what old railroad cinders looked like. I could see they were a composite of things, not just ash, but also bits of grey stone. I also detected iron oxide as well. Cinders were universally used as ballast on any anthracite railroad and especially around steel mills. The stuff was free material. I had expected to use cinder ballast on my trackage.Instead of just using the black cinder ballast, I mixed it with iron ore and larger sized pieces of grey ballast. My batches didn’t always match as the cinders would vary allot depending on what also got mixed into them at the time.
I worked merrily along for ten years. Then I ran into electrical problems. Unable to find the DCC support I needed, two years would pass before work resumed on the layout.
One day a friend came by and asked to see the layout. With an apology and a shrug, I took him downstairs. I was surprised how enthralled and enthusiastic he was.He said, “What the hell if the engines don’t work, the scenery is more interesting than the trains!” This encouraged me enough to think of the layout as a big diorama. I would just shoot pictures and submit them to Walthers. So, I proceeded to finish off the scenery.
I had passing thoughts of joining the NMRA to get some help with the trains. Finally I did join. South Mountain Division (SMD) members helped resolved my DCC and track problems. Having shared stories associated with my layout, SMD members suggested an article for our Wheel Report. A few days later I fell and bruised my knee. Not being able to work on the layout, I decided to afflict you all with my story.
At present there are no significant operations possible on the first stage of this layout.Hellfire Steel Co. and Brimstone Coke are complete. My plan is to extend things to the Damnation Coal mines (located in Faust, PA).My railroad will continue on to Perdition a Great Lakes port for receiving iron ore. Once finished the Hellfire, Brimstone and Damnation will be the “Road to Perdition.” It is a road well-traveled.