- The Seventh Year -


                              By Russ Jensen



     For the seventh year in a row, the world's greatest "all pinball" show

occurred in the Chicago suburb of Rosemont, Illinois on October 25, 26, and

27.  The site was again the Ramada O'Hare hotel with it's nearby reasonably

priced diner, "Snack Time", where many of the pinball fans go to eat at all

hours of the day and night (there was even one time at 3 AM when three of

us could not get a seat together, even at the counter!).  By the way, this

was the first year that the show officially lasted 3 days, ending at 4 PM

on Sunday.


     As was the case last year, for an extra $20 attendees could get a

"preview peek" at the Exhibit Hall goodies on Thursday evening, during set-

up time for exhibitors, before the show's official start on Friday morning.

I again attended this preview to get an early chance to meet and talk with

many old friends and meet new ones.  It was apparent at that time that

there were to be many nice pingames on display and for sale in the hall,

but more about that later.




     This year the opening remarks began a half-hour earlier than in the

past and, as was done last year, a foreign visitor, a young Canadian named

Aaron Benditt, presented the first greeting to Expo attendees.  He began by

welcoming us all and then saying that there were "two main reasons" why we

were there.  First, he said, was to "experience the very best in pinball",

"talk about it's status in today's world", "discuss it's rich history and

heritage", and "talk about it's future".  The second reason, he told us,

was "to have the very best time you've ever had in your life!"  He ended by

saying that we should "expect the unexpected".


     Aaron then introduced Expo host Rob Berk who welcomed us to this

seventh year of Pinball Expo.  He then described this year's "three day

format"; announced an extra seminar, "$1 Pinball", which had been added

since the program was printed; and told us of the Pinball Art Contest as

well as the designers/artists/authors autograph session which was to be

held Saturday afternoon.


     Rob then introduced his co-host, and Exhibit Hall Chairman, Mike Pacak

to say a few words.  After asking the exhibitors to help by keeping their

displays within their allotted space and the show attendees to stay away

from the exhibit area when the hall was not open, Mike ended by saying

"let's all have fun!"


     At this point Aaron again came up and conducted a special fun contest.

He himself imitated speech segments from 25 different modern pingames,

asking each person in the audience to try and identify from which game each

came on a special form he had passes out to us.  The prize, which was to be

awarded later after the scores were tallied, was an Expo sweat shirt.




     Rob Berk next introduced the first seminar speaker, Phil Burnstein, to

give his talk titled "RICAR Industries, Custom Manufacturer For The Pinball



     Phil told us that in the past he had worked for Stern Electronics in

1981 and 82 and then at WICO for awhile.  He then said that there have been

many changes in the pinball industry in the past 11 years.  Between 1981

and 1991 he said the prices of pingames have increased by 25 percent.


     During this period, he then said, there has been a marked increase in

the number of parts on the playfield, resulting in more "bang for the buck"

for the player, but also increased cost for the manufacturer.  Therefore,

he continued, the manufacturers have farmed out to subcontractors ("custom

fabricators") to make playfield parts in order to cut production costs.  He

said he was going to describe the various processes used by these outfits

in producing these parts.


     The first process Phil described was "injection molding", the process

described in much detail at last year's Expo by Foremost Plastics.  During

this process, he explained, plastic was heated and injected into a mold to

form the part.  He then said that many types of plastics were used to

create many types of playfield parts, an example being the shooter handle.

The molds used were said to be expensive and there was a long "lead time"

involved in producing them; however, they allowed complex shaped parts to

be produced.


     "Vacuum Forming", which was used to produce playfield "ramps", Phil

said was a simpler and cheaper process, but was "labor intensive".  That

process uses an Aluminum or Epoxy mold, with the plastic being heated over

the mold and then sucked into it using vacuum, holes then being added where

needed.  He said the tooling cost was about half that of injection molding,

with the lead time also being much shorter.


     The third process Phil described was "metal fabricating" using a

tape/computer controlled punch press.  This method he said can produce

complex parts quickly, with no tooling costs, and a very short lead time.

The parts, he said, are made on a sheet of material and punched out later,

also being formed if necessary.


     Phil then described "metal stamping" which is used for parts which

can't be done any other say.  In that process a "4 stage dye" does various

things to the part such as punching, forming, etc.


     The use of an "automatic screw machine" was next described in which a

bar of material passes through the machine with different tools being

brought to the part, each performing a different operation on it. Phil said

that an example of a part produced this way was the "shooter shaft".  The

tooling for this method was said to be quite inexpensive.

     For producing parts when a fairly low volume was required Phil said

that a "computer controlled lathe" was often used.  The lathe is programmed

for what you want it to do to the part, and there is no tooling, no lead

time, and a "quick turn-around" in producing the parts.


     The final process Phil described was the "Cold Heading Process" which

used dyes to work on wire stock fed into the machine, which is deformed in

a "cold state".  This process was said to be very inexpensive for large

volume production.  It does, however, require long set-up and lead times,

but is very cheap for high volume items such as fasteners.


     After describing these processes Phil showed us examples of the parts

he was referring to.  He then said that today companies, such as RICAR, are

often required to develop special processes to satisfy the needs of the

pinball industry, an example of which he said was "laser cutting" which

could allow them to make parts that years ago could not be made at all.


     When Phil asked for questions from the audience two questions were

asked, both involving "laser cutting".  When asked what thickness of

material could be handled by it Phil replied "a 48 by 96 inch sheet of 1/2

inch steel".  When asked if it was a "manual" or "automatic" process, he

said it was a manual one.




     Rob Berk introduced the next speaker, Dan Goodman, who founded an

organization known as "The Silverthorne Group", to give his talk "Arcade

Access; Pinball For People of All Abilities".  After that, one of the

specially modified pingames Dan provides was set up on stage.


     Dan began by telling us that in this country there are presently 43

million "disabled" persons, many of whom cannot operate a standard pingame.

He then remarked that "new activity can give them a 'new window on life'".


     Dan next described the modifications he makes to a standard pingame to

allow people with various disabilities to play it.  The front of the body

is first cut out to allow wheelchair access and "wrist supports" are added.

The game's controls are also modified in different ways to allow people

with various disabilities to operate the game.


     For example, the game can be modified to be started by "touch", with

the balls being shot in the same way.  A "remote control" unit is often

used which is operated by "touch pads" with the touch adjustable so it can

be operated by almost any body part (elbows, fingers, feet, etc.).


     Dan went on to say that for people with even greater disabilities

games can be made to operate by such things as biting or even by the

breath.  Joystick controls are also often used.  His games, he said, can be

operated by people with almost any degree of disability.  Dan then told us

that he provides some machines to the National Institute of Health to be

used for therapy.


     He then told us that he first got stated doing this by fixing up a

game for a friend's son who had been injured in an accident.  Dan then said

that some of his machines are used in hospitals to help people who have

sustained brain injuries to improve their "interest in life", it helping

these patients to re-learn to use their muscles, minds, and eyes.


     We were then showed a video showing a boy who had suffered a severe

brain injury using one of the games.  His mother described how he had used

the game to help him start using his arms, etc., and also how it was

helping improve his "short term memory".  She told how the game also helped

with his "hand/eye coordination" after playing it for about 2 months.  The

machine "talking back" to him (because of it's speech feature) she said

also provided needed "feedback" to him during play.  The game the boy was

using, by the way, was a modified version of Data East's MONDAY NIGHT



     Dan next asked us if we had any questions?  When asked if his games

were used in any "public places", Dan replied that they were only used in

institutions and private homes.  When someone asked about the cost of a

modified game, he replied that it varied from game to game, but that it was

usually around $6800.  Dan then remarked that he had not gotten very good

response from the game manufacturers when it came to providing games for

him to modify at a reduced cost.  (All I can say to that is "shame on



     It was then asked if this type of modification could be done to

electro-mechanical games?  Dan replied that it was possible, but that it

was much easier using solid-state machines.  When asked how many games he

had modified so far, Dan said about 10 or 12.  In response to a question on

how long a modification takes, he said approximately a week.


     The final question asked was what technology was used?  Dan answered

that it was "infra-red" with a "5 millisecond response time".  He ended by

telling us that the game he had with him would be available in the Exhibit

Hall for us to try if we wished.


     The next speaker was supposed to be pinball artist from the 1960's,

Jerry Kelley, but after introducing him Rob Berk discovered that he was

nowhere to be found!  So after a few brief announcements it was decided to

let Steve Young and Gordon Hasse begin their presentation which was

scheduled for the next morning.




     Rob introduced Expo regular Steve Young who began by telling us that

he was going to "bring us up to speed" on what is happening in the pinball

collecting hobby, and then tell us "what we can do to help".  He then

remarked that he would like to do a similar thing at future Expos.


     As far as collecting itself was concerned, Steve said a lot was

happening.  He said there are several "large" (400 plus games) collections,

remarking about Tim Arnold's idea of using his large collection to earn

money for charity.  He then said that there are also many new collectors,

some with only one to five games, usually ones they had played as kids.


     Steve next remarked that he thought that prices of $500 to $1500 for

games were not a deterrent to new collectors, and that those people are the

"primary drivers of price", with the modest collectors being the "secondary

driver".  He then said that scarcity was also a factor in price increases.


     Pin prices, Steve then said, are escalating rapidly, especially for

1960's games with backbox animation and baseball machines.  "Locality", he

said, was also a big price factor, prices for games being higher on the

West Coast.  Steve then said that "popularity" (the "hype factor") was a

major driver of price.  He next told us that price corrections may occur in

the future, adding that a price guide can't stay accurate for long.


     Steve next discussed the subject of "value", citing a list of value

factors which he thought needed to be defined.  These included: Classes

(themes, ages, etc.); a Rating System for game cosmetics; and a

"relationship between the elements of aesthetics."  He then said that

"detractors" from value and price need to be defined, along with the

relation between these detractors and a game's value/price.


     This type of information, Steve told us, needs to be published, as it

is in other hobbies.  He added that questions of "touch up" of a game's

cosmetics (reproduction/touch-up of backglasses, playfields, cabinets,

etc.) need to be addressed.  Steve then volunteered to "coordinate" the

collection of such information.


     On the subject of "history", Steve began by saying that too little is

currently recorded.  He then quoted a Smithsonian historian on the need for

accuracy in all recorded written history.  Steve then gave us an

"assignment" to aid Dick Bueschel in the preparation of his series of

pinball books, chiding Dick to lay off other types of machines and

concentrate on pinball.  This drew a large round of applause from the



     Steve ended his part of the presentation talking in more detail

regarding restoration of backglasses and methods for reproducing them.  He

also told of his and Donal Murphey's efforts in reproducing playfield

plastics, etc., adding that for that type of effort to succeed support of

all in the hobby is required.


     At this point Steve introduced Gordon Hasse who said he would tell us

why pinball is different from other collecting hobbies.


     Gordon began his list saying first that "pins are not easy to

collect", because of their size and difficulty in repairing.  A second

factor, he said, was a "lack of 'public experience' with the game",

remarking that many Americans had never played a pin because they were

illegal for many years in many localities.


     Gordon's next point was that there was "no observable history of

collecting", adding that Tim Arnold's "charity project" might help that

situation.  He next said that there were "no points of entry" for the new

collector because people don't know that pin collectors exist.  He next

said that we have a "network" of collectors but no collector's




     Gordon's next point was that pin collecting has not been recognized by

the "poplar culture community" primarily because we have not let "academia"

know about it.  He then remarked that we need published papers on the

subject of pinball and also should "court the media".


     His next point was that there were "no famous collectors".  Gordon

then said that we "need higher prices to 'bring out' more machines" like

has happened with jukeboxes and slots.  He then remarked that there have

been "no auctions of good pins" like occur in other collecting hobbies.


     The last three differences Gordon mentioned were: "lack of a

comprehensive support system"; "no standards"; and "no price guides".  He

then closed his talk by asking if anyone could share any information with

him regarding pin artist Roy Parker, as he was working on a book about him.




     Rob Berk then came up and introduced the four panelists for the next

seminar event, "The Pinball Firing Line": pinball manufacturing executives

Alvin Gottlieb, Gil Pollock, Gary Stern, and Joe Dillon.  Rob then asked

each of them to give a brief statement as to "what they do".


     Joe Dillon told us that his primary job was "selling

Williams/Bally/Midway products".  He then said he used to work for Seeburg

and joined Williams in 1979.  He said he now travels all over the world to

"see what pingames are doing".


     Gary Stern said that he was Vice President and General Manager of Data

East Pinball and that he "runs design" (but maybe not Joe Kaminkow, he

quipped) and also handles export sales.


     Gil Pollock then told us that he was President of Premier Technology

who makes Gottlieb games and that he bought the company when Coca-Cola "let

it go".  He then said that he started working for Gottlieb in 1972.


     Finally, Alvin Gottlieb told us that he had just "re-entered" the

business and was now President and CEO of A. Gottlieb and Co. which does

design and engineering of games, working in conjunction with Premier.


     Rob next asked for questions for the panel from the audience.  The

first question asked was "where do the people on the panel think the

industry is going in the next 10 years?"


     Joe Dillon responded first and told how arcades are located in most

foreign countries (even in the Eastern Bloc now) and are especially popular

in France, then describing the price for playing a game on pinball in

various countries.  He then said that the future is "left to the

imagination of today's designers", but that it should be "bright", adding

"competition for the 'entertainment dollar' must be considered".


     Alvin Gottlieb responded next, first telling of his father Dave's

saying that "the tavern is the working man's country club" and telling of

Dave's early days in the pingame business.  He then remarked that "new

players are being born every day", adding that in the future "directions of

the industry will vary", "prices will surely increase", and that the future

will certainly depend on "the ingenuity of the game designers and



     Lastly, Gary Stern told us that "pinball is a business and must make

money", and that he sees an increase in pins and a decrease in videos.

This however, he said, would also depend on "European economic conditions".

In this country, he told us, some locations have been lost due to "urban

renewal", etc.; that there is some growth now; but that it could change in

the future.


     In was next asked, "what changes have you noticed in arcades"?  Gary

Stern replied that they were not really in the "arcade business", saying

most of their games were in "street locations" (bars, etc.).  He then told

of the arcades in Europe and how they had a mix of "light gambling" and

"amusement" games.


     Joe Dillon then elaborated on this, saying that many European machines

were considered "amusement gambling" which he defined as "gambling which

won't change your life if you win".  In this country, he then said, as the

video marked gets "softer" there will be more pins in arcades, which will

be an opportunity for the pingame industry.


     When the panel was asked "what do you think is 'today's market'"?,

Gary Stern responded that "licenses" appeal to the current player and have

"broadened the player base", and also are "uplifting the image" of pins,

giving them more of an "entertainment look".


     Gil Pollock then said that he has not seen a great change in the

"player base", which he said was primarily males 18 to 40 years of age.  A

few games, he said, appeal to the "female market", but most game themes

still exhibit a "male macho image".


     When a women asked if some games would be designed to appeal to women,

Gary Stern replied that the manufacturers were trying to broaden the player

base, but added that this was really up to the operators.  Gil Pollock next

remarked that the Eastern European Bloc market could "explode" soon, saying

that this was primarily a "mature market".


     Someone next asked Joe Dillon of Williams why his company was getting

into the "video lottery business", and how he thought that might impact the

pingame market?  Joe replied that this might have a "short term" negative

influence on pins, but in the "long run" it could be beneficial, hoping

that operators can understand that amusement and gaming can exist side by

side as they do in Europe.  He then said that they needed the lottery

business to "keep the company profitable".


     When the panel was asked how many people in each company were involved

with pingames the answers given were: Williams/Bally/Midway - approximately

1100; Data East and Premier - 250 to 300; and at A. Gottlieb and Co. - 5!


     The next question asked was on a subject that has been widely

discussed at the last several Expo's; "what were the panelists' views on

'One Dollar play'"?


     Gil Pollock first said that it was "the only way to move in the

future".  Joe Dillon then remarked that the manufacturers are not trying to

"fix prices", but only to suggest to operators that they "look at the

economics" of the business and then decide on play pricing.  He added that

he thought "the 'entertainment' is worth that price".


     When someone asked if foreign game manufacturers were any threat to

the U.S. companies, Gil Pollock replied "no, it's a 'Chicago Industry'".

Joe Dillon then remarked that there was really only one significant

European manufacturer in Spain.


     Old-time Philadelphia operator Stan Harris from the audience next told

of games he had received back from locations whose playfields had been

completely worn out; then asking the panel what their companies were doing

to help playfields to last longer and be easier to clean?


     Joe Dillon began by saying that in the past operators would clean

playfields, but as they got more complicated this became hard to do, one

almost having to take them apart to properly clean them.  He then said that

today's designers have to make their games both "fun to play" and also

"serviceable".  He then added that Williams is using "hard coat" to try to

help with those types of problems.


     After several comments from players in the audience saying that the

operators must keep playfields properly maintained to attract players,

Alvin Gottlieb commented that much attention to this by the manufacturers

would force them to raise prices for games and make pin operation less

profitable for operators.  He then added that operators can't afford to

spend much time cleaning playfields.  Finally, Gil Pollock remarked that

this would keep pinball from being competitive with other forms of



     The panel was next queried regarding the "family and humanitarian

approach", and about donating games to the handicapped (an obvious

reference to a previous talk).  Expo host Rob Berk made the only comment on

the subject, saying he had talked to Alvin Gottlieb about it, and that the

Gottlieb Memorial Hospital is trying to help in that area.


     A question regarding the use of a protective playfleld coating used by

some foreign manufacturers was answered by Gary Stern, saying that OSHA

regarded that compound as "carcinogenic", but adding that his company was

looking into the "hard coat" used by the automobile industry.


     When Alvin Gottlieb was next asked for an "update" on his new

company's endeavors, he replied that they have some "games on test", but

that they were embarked on "an extensive testing program" which would take

some time.  He then added that they would have more information early in

1992.  The panel was next asked if all the games tested by a company were

eventually produced?  The answer given was "not always".


     A collector in the audience next remarked that he often found it

difficult to get parts for newer games (sometimes only 2 or 3 years old)

and asked the panel to comment on this?  Joe Dillon then told us that

(except for playfield ramps) it was difficult and expensive for the

manufacturer to make "short runs" for parts after production of a game had

ended.  He then added that there was a "long lead time" involved with their

suppliers for this type of thing.  When Rob Berk then asked for a "rule of

thumb" as to how long parts are generally available for a game, Gil Pollock

replied "5 years, and sometimes longer" for his company.


     The panel was then asked if the manufacturers could "clean up" game

themes (eliminate "demonic" or "satanic" themes, etc.) to make games more

"family oriented"?  Joe Dillon replied that a large part of their market is

in Europe where these things were not so objectionable.  He then said they

sometimes try to "play down" certain themes, but that the bottom line was

that "violence sells", especially in foreign countries.  Finally he added

that they have to sort of "average things out" between the U.S. and foreign



     Alvin Gottlieb then reminded us that one of their past games, MONTE

CARLO, had his picture on the backglass which was pretty mild.  Gary Stern

then commented that they have to "deal with modern society's taste", and

that pins were "grown-up entertainment" and "we have to appeal to them".


     A final question dealt with the number of designers each company uses

on a game.  Gary Stern replied that some companies use individuals (or

small teams) on a game, while others use "large teams".




     Rob Berk next introduced Joe Kaminkow of Data East Pinball and Larry

DeMar of Williams for the special added presentation Rob had told us about

earlier.  Larry began by telling us that a standard play price of $1 for

pinball is very controversial and that he can't wait for it, although it

will probably meet with some resistance.


     Larry then said that pingame manufacturers don't seem to be able to

agree on anything.  For example, he went on, Data East has 2 tilts on their

games and Williams has 3.  He then proceeded to ask and answer four

questions about his new idea for "$1 pinball": How many for $1? - "One";

Will it require a $1 coin? - "No"; Will there be competition? - "Don't

care"; and will it target more players? - "Yes, it will allow more women

and children to play".


     At this point Joe and Larry unveiled a large trophy which they said

would be presented to the winner of their game.  They then told us that

their game was similar to "Liar's Poker", could be played anywhere, and

could be played either "manually" or on a computer, using a program on a

disk which they could provide.


     At that point they described how to play the game in detail.  It was

played using any one dollar bill; using the serial number, and other things

on the bill, to determine your "pinball score".  They then went through an

example using a dollar bill and their computer program.  After that they

had people from the audience call out numbers from bills they had, with Joe

and Larry determining each one's score using the program.  The person with

the highest score was awarded the trophy




     For the next presentation, "The Future of Pinball: Design,

Development, and Licensing", Rob introduced Joe Kaminkow (again), and Tom

Nieman, Steve Kordek, and Roger Sharpe of Williams/Bally/Midway.  Joe began

by telling us the sad news (which many of us had already heard on TV) that

Star Trek creator Gene Rodinberry had just passed away; then telling of a

"condolence" FAX Data East had sent to Hollywood, and adding that they were

making some changes to their STAR TREK pingame in Gene's memory.


     At that point Joe showed us a video made by his company highlighting

their pinball licensing efforts.  The game themes illustrated in the video

included, among others: Monday Night Football, Back To The Future, The

Simpsons, Home Alone, Star Trek, Freddie's Dead, and Hook.


     After the video Joe talked more about Data East's "licensing

philosophy".  Themes like "Freddie Krueger" and "Home Along", he told us,

help "expand the player base", and "keep pinball clean and wholesome".  He

added that the license has to be "implemented well" and that it gives their

designers plenty of "food for thought" when it comes to creating the art,

sounds, etc., for the games.


     Roger Sharpe from Williams then said that they are beginning to get

into licensing more nowadays, but using a "selective approach", then

mentioning their recent licenses: BUGS BUNNY, GILLIGAN'S ISLAND, and

TERMINATOR 2.  He ended by saying they will be doing more in the future,

but that they were not as "overt" with their future plans as some of their



     Tom Nieman began by telling us that he had previously worked for Bally

for about 14 years, and was involved during the 1970's with "third party

licenses".  He then told of Bally's experiences with the "Tommy games",



     Tom said at that time he thought that "there must be a better way to

market a pin".  He said that he thought you should introduce "personality"

into a game as a "hook" to attract players.  Tom then told us that he

thought of using music (telling us he was a "Who fan") so he contacted

Columbia Pictures who he said was "an easy sell".  But, he told us, selling

the idea to Bally was somewhat harder, then telling us that Bally in turn

allowed "The Who" to use it's company name in the song "Pinball Wizard".


     After telling of meeting the Columbia representative in New Orleans to

finalize the deal, Tom said Bally gave Columbia six machines, plus another

12 to be used in a "promotional pool".  He then told us that Dave

Christensen did the art "basically blind".


     Tom then said that he had a "great time" promoting the game.  He ended

by quoting from a Replay Magazine article of the time (written by a "so-

called pinball expert" - Roger Sharpe) which told of "foresight into the

future of the industry" when referring to CAPTAIN FANTASTIC.  Tom then

showed a T-shirt he had which was autographed by the stars of "Tommy".  Joe

Kaminkow then remarked that Tom was sort of a "hero" to him, and

complemented him for his fine work for the industry.


     Steve Kordek then told us that Williams has had success with their

"licenses", adding that they are working on others for next year.  He then

said that "the future of pins will be exciting", but so was his involvement

with the industry in the past. 


     Steve then told of some "ups and downs" in the pingame business during

the 1940's and 1950's; such as when "roll-downs", shuffle alleys, and gun

games brought a "lull" to pins in the later Forties, like happened with

"bumper pool" in the Fifties and video games in the Eighties.  Steve ended

by telling us that the future "gets more exciting with each new game", and

that today you can do things in games that once were impossible.


     At that point the audience was asked if they had any questions?  When

Roger Sharpe was asked if he designed the "Bugs Bunny" game he replied,

"No, it was done by John Trudeau and Python Angelo."  When Rob Berk asked

if licensed game would increase in the future, Steve Kordek answered "yes".


     Roger Sharpe then commented that we need "good games" in addition to

"good themes", adding that they have had "solid success" with non-licensed

games such as FUN HOUSE.


     When my friend Sam Harvey asked how the licenses were paid for, Tom

Nieman quipped "they normally start with a 'body part'".  Joe Kaminkow then

said it could happen in several ways, sometimes by paying money directly,

and sometimes with games.  Tom then remarked that the "license deal" may

not always be a "good deal" for the pingame manufacturer.


     The final question asked was "at what point in the process do you

usually get in?"  Roger Sharpe answered saying that in the case of

GILLIGAN'S ISLAND it was obviously long afterwards since that was an old

show.  He went on to say that the "design team" had the game already

thought out when they met with him and wanted to call it GILLIGAN'S ISLAND,

Roger himself preferring ROBINHOOD.  With TERMINATOR 2, on the other hand,

he said it was "early", him first meeting with the producers in July 1990.

He then added that they had "good cooperation" with the TERMINATOR 2

people, working "hand in hand" with them throughout the process.


     After the questions were over Tom Nieman asked the audience to

indicate by a show of hands if they liked "licensed games".  The audience

seemed to agree that licensing was good.  As a final statement, Joe

Kaminkow remarked that they had a "good home market" for their SIMPSONS

game, adding that he thought that "celebrity games" would become

"collectable" in the future.


60'S ART


     For the next presentation Rob introduced pinball artist Jerry Kelley

(yes, they finally found him) to present his talk, "Contemporary Pinball

Art of the Sixties".  Jerry first set up a display of four backglasses he

had done: Bally's CAPERSVILLE (1966), MINIZAG (1968), and ROCKMAKERS

(1968); and Williams' A-GO-GO (1966).  He then told us that he had made up

a bookmark, which he was going to give us, on which was printed the names

and dates of all the glasses he had done.  He then said he would give us an

idea of "what it was like in the Sixties".


     Jerry then told us that when Rob Berk once showed him a list of

pinball artists from the past he told Rob that he had no idea what the

others had done, adding that at that time he was sort of a "loner". 


     Jerry said his first job in the coin machine industry was doing art

for United bowlers.  He then said that when "shuffle alleys" came in United

asked him about doing the art for the sides of the cabinets.  When he

criticized the "30's style art" they had been using he was called in to

talk to company President Lyn Durrant.  Jerry said he told him "you can't

do this 'Thirties stuff' all the time, you should go 'contemporary'".  When

Lyn invited him to go to lunch with him Jerry said "I knew I was in".


     Jerry next told us that Advertising Posters did the screening for his

backglasses and that he worked closely with their people, adding that he

always thought they did "good work".  He then began telling of the steps he

went through creating a new backglass.


     First, he said, he was given an "engineering drawing" of the field and

backglass, indicating the positions of the "score reels" and the items on

the playfield he had to work his art around.  From this, he told us, he

created a "black plate" which he would then add colors to. 


     Jerry then told us that he liked to use some black in his art, but

that the industry objected to this because they felt that black connotated

"death".  But, he said, it took a lot of convincing but he finally was

allowed to use more black in his artwork.


     Jerry then told us that he also convinced the manufacturers that games

should be "exciting".  He next told of receiving his first "fan letter" in

1977 from a man from Florida who even called him a "genius".

     He then told of "little things" he would put in his pictures and

described the characters on the ROCKMAKERS glass and what each was doing.

He also told how he "balanced" his use of black by putting color around it.

Jerry then showed us pictures of three of his glasses in Michael Colmer's

book "Pictorial History of Pinball" which came out in the 1970's, remarking

about the good quality of the color in the book.


     Jerry then told us that he created the names for all his games, and

that he "tried to give a 'message' in his art".  He then told of creating

the art for Williams BEAT TIME in 1967, using caricatures of "The Beatles",

but calling them "The Bootles" probably to avoid a lawsuit.


     When it was asked if there were any questions from the audience, the

only thing asked was "did Ted Zale design most of your games?  Jerry

answered that he did not know who designed any of the games.


     Jerry ended by telling a story about Sam Stern of Williams and his

preference in colors.  He said that Sam liked a lot of red, white, and blue

to be used in the artwork, and did not like it when Jerry used other colors

on POT OF GOLD.  When he and Sam were discussing this, Gary Stern, Sam's

son who was in college at the time, came in and overheard the conversation.

Jerry said that after Gary told his father that POT OF GOLD was getting all

the "action" on location and other Williams games were not, Sam never

argued for red, white and blue again.


     Before stepping down, Jerry told us that the only thing that "saved

him" after World War II was over was going to an art institute and getting

a degree.




     After Jerry's talk it was only a short time before we had to board

busses for this year's Pinball Plant Tour.  It was "hyped" to be a tour of

the "Bally Pinball Manufacturing Facility", but since "Ballygames" are now

produced on a second assembly line at the Williams plant, we actually got a

tour of both the Bally and Williams production facilities.


     During the bus trip a company representative told us that at the

present time Bally PARTY ZONE and Williams TERMINATOR 2 were being produced

at the plant.  After passing through some "old Chicago neighborhoods" we

arrived at the plant.  We had to wait outside for about 20 minutes this

year, but it was not nearly as cold as last year waiting to get into Data



     The tour guide for our group was a very congenial long-time Williams

employee.  He began by telling us that the same cabinets were used for both

the Bally and Williams games, and that they were manufactured at another

plant.  After telling us that different coin mechanisms for American and

several types of foreign coins were used, depending on where the game was

going to be shipped, he showed us where the new cabinets were being



     The next area we were shown was where parts for the games were being

received, the trucks delivering them backing up to doors where the parts

could be unloaded by personnel inside the factory.


     Our guide next showed us the "mini line", an assembly line where a

limited number of games could be assembled.  He explained that this was

usually used to test the assembly process for new games, but at this time

was being used for limited production of additional Bally HARLEY DAVIDSON



     After passing the locked door of the "prototype room" (which we were

told we could not see) we were shown the "print room" and then taken to the

"parts stocking area".  Our guide told us that there were up to about four

thousand parts used on a single game.  He then told us that the company had

a "sell before make" policy, meaning that they did not make any games for

which they did not already have orders.


     We next saw the area where new blank playfields were being readied for

assembly.  Our guide told us that they used very good plywood, and that

they were "coated" for longer life.  After showing us a machine used to

punch holes in the playfields, our guide told us that there was not much

"machine shop work" done at the plant anymore, most of it now being "farmed



     After passing an assembly line area, we were taken to the area where

the cabinets, playfields, and backboxes were merged, and then to the "final

test" area.  After that we saw where the finished game was packaged ready

for shipment.


     Finally, we saw where trucks were again backed up to the plant, this

time so that the finished machines could be loaded for shipment.  Our guide

said that they had a "truck to truck operation", referring to how the parts

came in by truck at one end of the plant and the finished games were loaded

into trucks at the other.


     After the tour was over we were treated to free "soda pop" and then

boarded our busses for the trip back to the hotel.




     After returning from the plant, we again went to the lecture hall to

continue with the seminar presentations.  First up was COIN SLOT's own Dick

Bueschel to give his presentation titled "The History of the Pinball



     Dick began by remarking that he was in "deep trouble" because he had

not come out with his "Pinball 2" book yet.  He said he had "blocked out"

all 10 volumes, and that he expects to really get into "Pinball 2" early in



     Dick then told us that his subject today was "the pinball flyer",

remarking that the flyer was really "a matter of marketing", adding that

"pinball is a business like any other" and selling games is "a matter of

competition".  Dick then told us that the pinball machine is a combination

of technology and art, and is designed to give "entertainment for money".


     The brochure, he went on, must "sell the game" and is "the first

expression of the game."  Dick then told us that at first flyers were only

one sheet, but later got up to as many as four pages.  Dick then remarked

that the flyer must try to make the game "irresistible" to the operator,

causing him to make an "emotional buy".  To accomplish this, he went on,

requires a combination of good "copy", art and photography.


     Dick then remarked that many pinball collectors today also collect

flyers, which he described as "the 'baseball cards' of the hobby", which,

he added, you can really get "hooked on".  Getting back to the business

side of flyers, Dick remarked that the flyer often "drives game sales".


     Dick next said that he would take us "behind the scenes" of the

preparation of a pinball flyer.  As his first example he used Williams'

1990 game WHIRLWIND, showing us the 4 page brochure which used the phrase

"feel the power of the wind" to draw attention to the game.  He then showed

some sketches from which the flyer was developed.  Roger Sharpe, who had

provided this material to Dick, then told us how some of the changes which

took place between the original sketches and the finished brochure came



     Dick next showed the brochure for Bally's GILLIGAN'S ISLAND, saying

that TV shows are "the hottest things in 'pop culture'".  He then showed

how they incorporated the TV show theme into the brochure.  Roger Sharpe

then told us that one main purpose of the flyer was to sell games to

operators who don't get the trade magazines, Dick adding that they are used

as "direct mail advertising" and for the distributors.


     We were next shown the flyer for Bally's latest game PARTY ZONE.  Dick

then showed some "boards" with examples of the ad for the game.  He then

told how this original concept was changed (the "correction process") to

produce the final brochure.


     Dick then asked the question, "who are the people that produce the

flyers?"  He then remarked that these talented people should be given

credit, adding that the collectors should know who was responsible for the

flyers in their collections.


     On the subject of "where the idea for the brochures came from", Dick

said they "had been around for as long as the games".  He went on to say

that cost was always the "determining factor" in advertising, saying that

magazine ads were usually quite expensive.  In 1931, for example, Dick told

us that a page in a trade journal cost between 60 and 90 dollars, a major

"ad campaign" of several months running over $1000.  Today, he told us, the

cost is about 20 times higher.


     Dick next showed us slides of early pingame brochures.  He first

showed the single page flyer for the 1901 pin-like trade stimulator LOG

CABIN, quoting from the ad.  He next showed the flyer for Gottlieb's 1931

pin BAFFLE BALL, again quoting from the text.  After showing a "lease

brochure" for Keeney's early game KEEN BALL from 1932, Dick showed the 4

page color brochure for another early pin WHIFFLE ZIP.


     Dick next showed the color brochures for 3 important games of the

early 1930's.  These included Rockola's 1933 "classics" JIGSAW (70,000 of

which were sold) and WORLD SERIES, and a nice color flyer for the first

"automatic payout" pingame, Bally's ROCKET, which Dick said was "an

enormous hit" even though it was not "run in the media".


     After remarking that sometimes the flyer came before the game and

sometimes after, Dick showed some more 1930's pingame brochures.  These

included: the 2-color brochure for Western Product's game HELL'S BELLS,

Exhibit Supply's ELECTRO, Bally's SIGNAL, and MAJIK KEYS KICKER by Allied

Amusement Co., all from 1934.  Dick then ended his showing of 1930's

brochures with one for a rare game called JIMMY VALENTINE, and another for

Rockola's JIG JOY which had a jigsaw puzzle on it's backglass, Dick

remarking that the latter game was also not publicized in the media.


     Dick then mentioned the fact that no new pingames were manufactured

during World War II, only "revamps" of pre-war games by outfits such as one

calling itself Victory Games.  When the war was over, he went on, there

were still a few companies "revamping" pingames such as Victory Sales which

converted pre-war "one-ball horserace" games.  Other post-war "revampers",

he told us, included Marvel, P and S, and Nate Schneller Inc. which

converted United pre-flipper pins into flipper games, such as SINGAPORE



     Dick next showed some Gottlieb flyers from the 1950's and 1960's

which, he remarked, looked very much alike in format.  Bally, he said, had

more money and produced 4-color flyers, then showing us some later ones,

which included the "Feature Gram" - a detailed playfield layout with

feature descriptions next to it, which they had on the backs of many



     After showing a Stern Electronics flyer, and one for Game Plan's 1979

game SHARPSHOOTER, Dick ended by showing the elaborate multi-page brochure

for Williams' 1980 hit BLACK KNIGHT.  Dick finally remarked that this

brochure "set the pattern for most flyers to come", adding that there

hasn't been many changes in the pinball flyer since then.




     It has been an "Expo tradition" for the past several years to have an

"audience participation" seminar during which the audience "designs" a

pingame, aided by personnel from one of the game manufacturers.  (One year

a 'prototype' was even constructed from our design and brought to next

year's show for us to try out.)  This year we again had Data East Pinball's

chief designer Joe Kaminkow conducting the design seminar.


     Joe began by telling us that we were going to design "a pingame for

the future".  He then asked for suggestions from the audience as to the

game's theme, which he said could be "original", a "license", a "card

game", etc.


     Suggested themes included: Landing on Mars, Green Acres, Shakespeare

(we had a college English professor in the audience), The 3 Stooges, Horse

Racing, World Cup '94, World Series, Titanic, Pee Wee Herman, Fire

Fighting, Demolition Derby, Skateboarding, Health Clubs, and Hook.  The

theme selected for use by popular vote was "The 3 Stooges".


     The game's "format" was next chosen to be a "46 inch 'wide body'".  It

was then time to choose the game's "playfield layout".  For a "skill shot"

the following were suggested:  a "rotating ramp", 3 rollovers (for Larry,

Moe, and Curly), a "ramp shot into the mouth", a "slapping hand" to move

the ball, a "hand poke in the eyes", a "pie in the face", and a "sandwich

shot" (don't ask me what some of these things mean!).  The audience then

voted, picking the "ramp shot into the mouth".


     The number of flippers was next chosen to be 3 (for the Stooges, of

course).  It was also decided to have 3 pop bumpers and also 3 lanes at the

top of the field.  Joe next asked for suggestions for a "playfield gadget",

but as far as I could tell these were never voted on.


     The gadget suggestions included: a spinner, a 'maze' in the backbox, a

'gobble hole', "hold ball and give player 3 seconds to make a decision

(??)", laser beam for ball to pass through, player must 'qualify' to use

3rd flipper, spinning pop bumper, a 'deferred mode' (??), an eject hole to

start the pie throwing, a "black hole thing", and a "flame thrower".


     Joe next asked for suggestions for a "ramp shot".  The audience's

ideas included such things as: two hills; a target with a hole in the ramp

which the ball might drop into; tiered 'gobble holes' on ramp; a high slope

ramp; a short, steep ramp; a ramp with a gap; a ramp to steer the ball

outside of the game; ball disappears and reappears in various places; loop

the loop; a ramp over and back up; and a ramp going half way around the

game.  The shot finally chosen by the audience was "ramp to steer the ball

outside of the game."


     Joe then drew the proposed playfield layout on a large sheet of paper.

He then told us that "pinball design is a matter of 'trial and error''".

He next remarked that "there is no such thing as a 'bad idea' for a game,

it only being bad if not mentioned at all".


     As far as music for the game was concerned the "Curly Shuffle" was

suggested by Joe.  Various "stooges sound effects" were then discussed and

demonstrated 'vocally', all being decided to be appropriate for the game.

It was also suggested that the backglass start out as "black and white", it

being "colorized" during play of the game (the "Ted Turner Mode").


     A "laser kick" and "zipper flippers" were also suggested for use.

The final suggestion for the design was a "jackpot" with a "pie in the

face" motif.  Joe then completed the drawing for the playfield and that

concluded this session and also the Friday seminars.  That evening the

Exhibit Hall officially opened, but more about that later.




     When the seminars began again Saturday morning, Rob Berk re-introduced

Steve Young and Gordon Hasse to continue the talk they began Friday

morning, "The State of the Pinball Hobby".


     Steve began by saying that he hoped to recap what was said yesterday.

Then, he said, he would like to start a 'dialogue' with the audience, who

he said represented "the community of pinball" and were responsible for

"driving the hobby".


     He next told us that this must be "a two-way thing", that he is only a

"reporter", that he did not want to hoist his personal views on anyone, and

just wants to "tell it as he sees it".  He then told us that what we do

will "set the vision/direction of future movement of the pinball collecting



     Recapping from yesterday, Steve briefly mentioned the four areas he

spoke about.  Regarding "collecting", he said there were all sizes of

collections, and that new collectors are coming in, many of which don't

understand how to get parts.


     Regarding the relation between price and value of games, he began by

remarking that "play value" appears to be secondary as a "price factor",

outweighed by "cosmetics" and the availability of games in a particular

area.  He added that "overall popularity" of a game was also important when

it came to price.


     After again mentioning the necessity of Dick Bueschel getting his new

book out as soon as possible, Steve talked briefly about "restoration",

talking about reproductions of backglasses, parts, etc.  On the subject of

price once more, Steve ended by saying that he "was not here to 'push up



     At that point Gordon Hasse began reiterating Steve's statement that

they were not there to "hoist their views on anyone", but only to

"establish a dialogue" to "see what we think".  He then said that a few

good points had been expressed to him after yesterday's talk.


     Gordon then began recapping the reasons he had previously given as to

why pinball collecting has not achieved the status of other "collecting

hobbies".  Rather than repeating these here I will only mention those

points where Gordon (or the audience) had some new information to ad since

the previous day's talk. 


     When he talked about their being no displays of pins in museums, etc.,

Dave Marston from the audience reminded him of the new "video game and

pinball museum" which had recently opened in St. Louis.  Stan Harris'

private collection was also mentioned which could be viewed "by appointment



     When Gordon again mentioned "getting media attention for the hobby",

he stated that we should try and contact local papers with pin-related

stories.  When he again talked of getting "academia" and the "popular

culture associations" involved, he told us that Dan Fuller was "trying to

help with that".


     When Gordon again brought up the point that "no famous people"

collected pins someone said that Walter Cronkite and Hugh Hefner had pins,

as well as other "celebrities".  When talking about the "lack of a

significant marketplace for pins", Gordon remarked that the auction being

conducted Sunday at the Expo was starting "a positive trend" in that



     Gordon ended his part of the presentation by challenging us to "do

something positive to 'spread the word'".  The audience was then asked if

they had any questions or comments?


     Steve was first asked if he is putting some type of article together

to help?  Steve answered, "no", saying that one person alone can't possibly

do it and that he hopes others will do it.  He then commented that there

are more people writing about pins now than even before, but that most are

writing about "their own personal feelings".


     Gordon next said that he wanted to thank collector Bob Spieler for

bringing part of his great pin collection to the show for all to enjoy,

this drawing a big round of applause.  He next told us that in the future

he will be preparing an article on "backglass restoration" describing the

results of a project he is currently engaged in using a professional



     Someone from the audience, who said he was "new to the hobby", then

made the comment that he had never seen "such a bright group of people",

suggesting that more of us write articles for the pin magazines.  Steve

then made what I consider to be a very good suggestion, that the magazines

print lists of topics that people could write about.  When someone made the

comment that he did not write because he would not get paid for it, Steve

responded that he always "donates" his articles.


     Steve and Gordon were next asked "what is the advantage of higher

prices for pins?"  Gordon answered that the games in the Exhibit Hall this

year were a good example, saying that the reason people brought so many

great games to sell was because they thought the higher prices made it

"practical" for them to do so.


     The question was then asked if the International Flipper Pinball Assn.

(IFPA) was really helping with media publicity for pins?  Steve replied

that a "national organization" for collectors could also help, adding that

Sharon Harris would have more to say on the IFPA in the next seminar.


     John Campbell from the audience next commented that "personal computer

networks" (COMPUSERVE, etc.) could also aid in "getting the word out",

asking if a dedicated pinball computer "bulletin board" might help?  This,

he went on, could provide "conferencing", ads, "chats", etc. on pin-related

subjects.  Steve commented that this was an "excellent idea", saying he had

forgotten about that even though he had himself received information in

that manner.  Dave Marston then told of a pin-related area on an existing

system, but saying at the present time it seemed to be mostly used by

"solid-state fans".


     Steve ended the presentation by encouraging people to contact him with

ideas on "what people can do" to help publicize the hobby.  Dick Bueschel

then suggested that this talk be contributed to a magazine, which Steve

said he would probably do.


     Before beginning the next talk Rob Berk told us that, starting with

next year's Expo, he planned to initiate a "Fireside Chat" session with a

well-known pinball personage such as Wayne Neyens.  He then reminded us of

the "autograph session" scheduled for that afternoon, the "Art Contest",

and also to sign a special giant card to be sent to Expo regular Harvey

Heiss who could not attend this year due to illness.  I, for one, sure

missed this great gentleman, him being one of my all-time favorite "pin





     Rob Berk next introduced Sharon Harris of Philadelphia who would be

the "guest moderator" for the upcoming panel discussion, "Pinball

Promotions, Tournaments, and League Play".


     Sharon began by introducing herself, saying she was in her second term

as President of the "International Flipper Pinball Assn." (IFPA).  She then

said that last year she described the IFPA to us, but that a lot had

happened since then, the organization now having 36 "charters" even in the

countries of Canada, Spain, and Yugoslavia.


     Sharon then told us that the tournament they sponsored last year had

over 400 entrants, and that the 1992 tournament would be held March 22-25

in Milwaukee.  She then introduced her panel consisting of Steve Epstein of

the Broadway Arcade in New York City who was also President of the

"Professional/Amateur Pinball Assn." (PAPA), and Doug Young the Executive

Director of IFPA.


     At that point Steve told us that this was his 6th Expo and that this

was the second year for the PAPA leagues.  He said they now had leagues in

Chicago, New Jersey, Connecticut, Maryland, and New York, and were

expanding into Canada.  Steve then told us that pinball was "a love of his"

being basically a player.  He next said that he had been playing pinball

since 1955, and in 1964 began running the arcade started by his father many

years earlier.


     Steve then went on to say that the idea of having pinball leagues

started with the competition he had always had playing against Roger

Sharpe, realizing how the 'competitive spirit' can be motivating.  Steve

then told us that his first tournament was held in New York City, was open

only to PAPA members, and was covered by the media (MTV, CNN, New York

Times, etc.).


     Steve next showed us a video of his first tournament.  He then

announced that the winner of this year's Expo "Flip-Out" tournament will be

given a free trip to New York to participate in the next PAPA tournament,

which he said would be "open to the general public".  Finally Steve said

that there is a need to establish more pinball tournaments all over the

country, adding that pinball in the future should be like bowling is today.


     Sharon next remarked that the "main goal" should be "to get the word

out" about pinball, mentioning some recent publicity on TV, in the

newspapers, etc.


     At that point Doug Young began giving us some background of the IFPA.

He began by telling us that it is "operator focused" (operators being given

all the information needed to help promote tournaments), is "non-profit",

and was started in July 1990.  Funding, he went on, is from AMOA and the

game manufacturers.  He then said IFPA was run by a Board of Directors

consisting of the President (Sharon) and four AMOA members.  Doug then

added that he was only an "employee" of the organization.


     Doug next remarked that with tournaments "reward is what it's all

about".  He then said that for their first tournament the game

manufacturers provided 80 games.  Doug next told us that their tournaments

are open to men, women, and youth; and to players of "all skill levels".

He then remarked that "promotion is the key" and that his job is to get

publicity, get new members, and to "solve problems", adding that he is

always getting calls from people who want "new and different things".


     Doug next told us that IFPA needs the cooperation of the

manufacturers, the operators, and the players, and requires a "grass roots

effort".  He ended by telling us that he thought we were "on the threshold

of something bigger", but that they have to work through the operators,

adding that he "works from the top" but that we (the players) must "work

from the bottom" if we want tournaments to be a success.


     Steve Epstein then said that with PAPA they attempted to go "directly

to the player", saying that a player can start a league at a bar, etc.  He

then talked of their "handicap system" for all skill levels, then telling

of their "prize package" which consists of jackets, trophies, etc.  Steve

then told us that he feels that the operators have to be "pulled along" and

that this was a "labor intensive promotion".


     After describing his location which has 65 games, 18 of which are

pins, and high rent and an immense overhead, he remarked that this should

prove to operators that you can make money with pins.  He ended by

emphasizing "we really need player support" for PAPA to be successful.


     Doug then told us that the players should "sound their horn" to the

operators to let them know they want tournaments.  He then quoted Sharon

regarding the "excitement of playing", adding that "we all have the


     Sharon then told us that she was the "league director" of their

company and that it was "grueling work".  She then suggested to players

that they be "sure of their commitment" before approaching an operator

regarding tournaments.  She added that, speaking as an operator, if

operators have dedicated players it will work.


     When the audience was asked if they had any questions for the panel,

the first question asked was that always controversial one "what are you

doing to correct the problem of badly maintained games in arcades?"


     Steve began by saying that it is tough to get operators to maintain

their games, calling it a "boom or bust situation".  When Roger Sharpe

commented that leagues can help when players demand that the games be

working properly, Sharon agreed saying there's always "strength in



     Doug then said that IFPA is a "conduit of information" and that

operators will be required to participate in seminars on game maintenance

subjects.  Sharon added that IFPA also gives "helpful hints" to operators

including "10 things to do to games in the shop" and "7 items to check on

later on location".


     Despite these comments from the panel, people in the audience voiced

more "negative comments" regarding the subject of "on-site maintenance".

Steve then commented "we can't dance around this issue", saying that one

thing that can be done is for players to get together and boycott locations

with badly maintained games.


     When Sharon remarked that "street locations" were better than arcades

as far as the problem was concerned, someone from the audience commented

that those locations were just as bad.  Another person then commented that

in bars, etc., where they have only one or two games, that the operator was

more inclined to keep them up because if he didn't the patrons wouldn't

play and he would lose money.  In arcades with many games, he went on, if

one or two don't work properly players can always play another machine.


     Another critic from the audience then told the panel that they were

"missing the boat", saying that bowling leagues have forced bowling alleys

to "give them what they want", so why can't pinball leagues do the same?

This again got back to the "strength in numbers" idea.


     After that long discussion resulting from the first question, the next

question was far less controversial it being "how can leagues be conducted

in bars?"  Steve said that "bar leagues" are definitely possible, telling

us that IFPA is oriented toward that type of location.  Doug then commented

that IFPA tries to follow a "program" similar to that used by darts

leagues; what he referred to as a "traveling league".  Sharon then told us

that Doug himself is actually playing in a league.  Finally, Steve said

that PAPA can "blanket any type of location".

     Doug was next asked if there were any operators in Chicago running

tournaments?  He replied that some operators in the area are getting

started, but that there are not any tournaments set up yet.  He then told

us that the game manufacturers are taking a "firm roll" in encouraging

operators to participate in tournaments.


     Doug then told the person who was interested in Chicago area

tournaments to see him for a list of local operators holding "IFPA

charters".  Sharon then commented that she uses every opportunity to "get

the word out", telling of once when she brought up the subject during a

city council meeting.


     The panel was next asked what the difference was between IFPA and

PAPA?  Sharon replied that PAPA was "player oriented" (working "from the

player up"), and IFPA is "operator oriented" (working from the operator "up

to the manufacturer" and "down to the player").


     The final question was "are any of your organizations sending out

flyers?"  Sharon answered that both have flyers, Steve adding that PAPA

also advertises in the "trade papers".


     Steve's final comment was that PAPA will have four different

tournaments between February and April of 1992.  Sharon ended by

reiterating that a "grass roots effort" was required if tournaments were to

succeed, adding "we need your help!"




     For the next seminar Rob Berk introduced Don Patzke and his son Mark

of Multi Products, a company which has been making motors for the coin

machine industry for many years, to give a talk titled "Pinball Score

Motors".  Don began by thanking Rob for inviting him to the Expo, and the

coin machine industry for supporting his company for over 45 years.


     Don first told us that he got into this business 45 years ago working

for a company called Electric Motor Corp.  He said that motors in those

days were "low torque" and used brass gears and pinions.  As the machines

got more complex, he went on, clutches, etc., were added to the motors.


     Don then told us that over the years they sold motors to most of the

game manufacturers such as Genco, United, Williams, Gottlieb, and Midway.

He then said that when it was found that the gears they originally used

tended to wear out, they switched to heavy duty gears employing steel gears

and pinions, and that they "continually upgraded their products".


     Manufacturers today, Don continued, are working for a "quality

product".  He said his company sometimes supplies 5 to 7 thousand motors a

week with very few being returned to them as being faulty.  In the old

days, he then told us, he used to visit all the plants.


     Don then told us that today many companies have special requirements.

For example, he went on, four years ago Williams needed a very small 12

volt D.C. motor, and when his company was given the requirements they were

able to modify an existing product to fit.


     Don went on to say that their company often makes improvements in

their products when a customer has a complaint or gives them a new

requirement, always "adjusting to the customer's needs".  Most of his

competitors, he told us, will not "change to fit".  As an example, he told

of making an "oscillating motor" required by a customer using the same idea

used in oscillating electric fans.


     During the talk they passed around examples of some of their motors

for us to look at.  After describing some of their older motors, Don told a

story of their "quick response" in the past to a customer's special



     He said he once got a call from a game manufacturer who needed a motor

the next day for a baseball game.  Don said he drove in a storm and worked

all night so the game could go into production at 8 AM the next morning,

adding "it's crazy what you can do when you really want to do it".


     At that point Don asked if there were any questions?  It was first

asked if they recommended lubricating the gears on a motor unit?  Don

answered that if it was an "open motor" you should use "DTE" oil, but that

"enclosed motor units" are pre-lubricated.


     When asked if they could still replace old motors when they go bad,

Don answered "yes", saying that only the other day they replaced a 1964

Chicago Coin motor for someone.  When Don was next asked if there was any

chance of replacing motors on foreign Playmatic games he replied "if you

have a part number we'll see".


     At that point Steve Kordek of Williams congratulated Don and his

company for the "tremendous job" they had always done for the industry.  He

then told of the "rigorous testing" that Williams does on motors they

receive, and how if a problem is found Don's company is always ready to

correct it.


     Someone from the audience next asked if Don could rebuild a motor from

just looking at it?  He replied that they still repair old United motors,

adding that they will repair almost any motor sent to them for $20 with a

one or two day "turnaround".  When asked about a common problem which

occurs in the "ferris wheel motor" on Williams CYCLONE, Don simply replied

"that's not one of our motors".


     Don was next asked if he could repair Coke machine motors?  At first

he answered "no", but then he commented "it may be possible; send it in and

we'll try".  He then said that sometimes they even "copy" motors.  Don then

told us that, in addition to pins, his company made motors for arcade

games, jukeboxes, "horse race games", etc.


     When asked if their motors always have the company name on them, Don

replied "yes".  The final question to Don was if 50 and 60 cycle motors

could be interchanged?  He said that interchanging them would affect the

speed and "heat dissipation", adding that they could always replace a motor

with one of the right frequency.


     Finally, someone from the audience told of having an old Keeney

shuffle alley with a bad motor.  He said he sent it to Don's company and

they fixed it!


     On a personal note, I myself would sure like to compliment Don and

Mark and their company on their gracious effort to repair any of their past

products for a cost of only $20!  I seriously doubt that any other company

in the country would do anything like that.  Thanks guys!




     For the next to the last of the Expo seminars Rob Berk began his

introduction by saying: "Nine months in the making - who was the team? -

the game was FUN HOUSE."  Rob then introduced the leader of the Williams

design team for that game Pat Lawler.


     Pat began by saying "hey, it's only pinball", but quickly added "we

know better - it's a life and death struggle for 25 cents!"  He then told

us that today he was going to tell us how he designed a game with a group

of "specialists".  Pat then introduced Larry DeMar, their "software

genius", and John Crutch, their mechanical engineer/designer, who he said

"makes all those 'wonderful toys' used in their games."


     Pat then remarked that pins have changed drastically in the last 5

years.  In the past, he said, a few people could design a game, but now a

pingame consists of "a number of 'whole little worlds' in a cabinet" - a

"brand new form of entertainment".  Comparing a modern game to a movie, he

said it needs a "story line", "special effects", etc.  He then added that

only part of the "team" was there, it taking hundreds of people to actually

produce it.


     At that point Pat introduced their artist/illustrator John Youssi who

was also involved in creating the dummy called "Rudy" which was an integral

part of the game.  He then introduced Chris Granner who was responsible for

the sound/music.  Pat then told us that "Rudy" says over 120 different

things requiring 4 megabytes of "digitized speech".  He then congratulated

Chris on these accomplishments which drew a round of applause.


     Pat next began talking about design in general.  In answer to the

question "what is pinball?", Pat answered that to "us" (the players) it is

a "great entertainment device".  But to "them" (the makers) it has a "whole

different perspective".


     As an illustration of what he called "design perspective", Pat drew a

chart illustrating the "chain" which he said the manufacturers have to

"satisfy" with their products.  From the top down it consisted of the

"Design Team" (about 10 people); the Manufacturing Plant (100's of people);

the Distributors (in the 1000's); the Operators (in the tens of thousands);

and finally the Players (in the millions).


     Pat then explained that they must "sell" their product all through

that "chain", and if any level is disappointed they "have a problem".  He

then said that many people tend to forget that each "intermediate level"

must make a profit, adding that to each "level" the game is a "different

commodity".  Pat then added that they can't skip any level of the chain

because without it the "game can't end up with you".


     Pat next said that producing a new game takes 3 important items:

money, people, and time.  When they start a new game, he told us, they are

given two "directives" from the company: an amount of time (9 months, for

example), and so much money.  If either of these is exceeded, he went on,

someone in the "chain" gets "angry".


     Pat next explained that if the cost to produce a game goes up then the

price per play must be raised by the operator.  He said for this reason

features often have to be removed from a proposed design.  He then added

that they were "lucky" because at Williams management usually leaves the

design team alone after giving their initial directives.  Pat then drew a

"time line" showing events in the design process, which he added to as his

talked progressed.


     At that point programmer Larry DeMar got up to tell us what he did for

the game.  He first said that the programmer also contributes to

"everything you experience as a result of the program".  FUN HOUSE, he went

on, was a particular challenge because, in addition to the "normal design",

he had "Rudy" to contend with, resulting in "mechanical" as well as program



     Larry said the two biggest challenges that Rudy caused for him were

getting his jaw to follow his speech, and what he called "Rudy's 'moods'".

These 'moods' he described as being "happy", "real angry", and "excited"

(during "multi-ball play"), adding that a different "speech repertoire" was

required for each mood.  At that point Larry introduced Ed Boone in the

audience who did the voice for Rudy.


     Pat Lawler then got up and said more about satisfying the "middle part

of the 'chain'" (distributors and operators), who he said they "had to keep

happy".  Pat said their design had to include maintenance and bookkeeping

aids, in addition to 'play features', adding that they introduced a new

"software operating system" with FUN HOUSE.  He then commented that if the

programmer knew from the start what the game should do his job would be

much easier, adding that that was usually not the case.


     Artist John Youssi next got up and started by saying that each artist

has a different approach.  On FUN HOUSE, he went on, Rudy also gave him

extra problems.  He told us that when he first "met" Rudy he was only a

hole in a "whitewood" prototype.  He said he then prepared sketches of

"potential Rudys" which he showed to Pat and from which he picked the one

he wanted to use.


     The selected sketches, John then told us, were given to a "model

maker" who made the first model of Rudy.  He then told of sketching his

ideas for the backglass, cabinet, playfield, etc., from which Pat again

made his choices.  John then showed us various sketches, drawings, etc.,

leading up to the final artwork for the game.


     Pat next told us that on most games they use 13 to 16 passes of silk

screening to produce the playfield art.  After showing us the first model

of Rudy, he remarked that the game always changes during the design

process.  Larry DeMar then said that all during the design they received

inputs/opinions from many people which he said was often a "political

battle".  He then remarked that the best games are often the ones which

cause the most argument.


     At that point Chris Granner began to tell us more about the game's

sounds.  He began by remarking that "Larry doesn't like anything", saying

that he "had to do 110 percent the first time to satisfy him".  Chris then

gave details on how he created the sounds for FUN HOUSE, talking of the

many changes he had to make as the design progressed and the various types

of music which the game required.


     Pat Lawler then remarked that all that is required to produce today's

games is "highly technical" and that games are no longer simple and require

many "professionals" to design them.  After remarking that Larry DeMar was

the "unheralded conscience of Williams", Pat told us that the team often

worked until 2 or 3 AM.  He then said that their work keeps the factory

workers in a job.  Finally, Chris remarked "we love what we do and hope it

shows in the product."


     At that point Pat showed some slides which showed various changes made

to the game during the design process.  He then talked briefly about

testing new designs using people at the factory to see if people can

understand "how to play the game".  Pat then showed us the "Game Of The

Year" award that FUN HOUSE had won at the AMOA show.


     Pat then asked if we had any questions?  When asked where the name

"Rudy" came from, Pat said that when he asked his 5 year old daughter what

to name it she immediately answered "Rudy".  When Chris was then asked if

he wrote his music on paper, he answered "yes", adding that he had to enter

each note "by hand" into a computer system.


     It was next asked if any of the game's "rules" had to be changed after

it's first "location tryout"?  Larry replied that only one such change had

to be made.  The session ended with the question "isn't it expensive to

make 'late changes' to a game?"  Pat simply answered "yes, it is".




     The final seminar of this year's Expo was presented by collector Tim

Arnold who Rob Berk introduced as "a collector extraordinaire", and was

titled "Electro-mechanical Pinball Repair ("Hands-On Workshop")".


     In his introduction Rob told us that Tim got his first pin years ago

in Michigan, and now has a collection of over 600 machines.  He then

remarked that in order to own games you have to know how to fix them, the

purpose of Tim's talk.


     Tim began by saying that in order to properly maintain your game you

must have a "tool box" equipped with the proper tools, proceeding to tell

us what to use.  Tim first suggested having two good soldering irons, one

"high power" and one "low power".  For solder he said to always use a good

"60/40" rosin core type; never acid core!  He then added that "soldering

flux" should be used for some jobs.


     After suggesting that we use a good quality electrical tape for

insulation, Tim told us we should never us "WD-40" as it is an "electrical

inhibitor".  He also advised that we be careful with "contact cleaners" as

they can damage the silver in the contacts, suggesting we use a fine file

(except for gold contacts).


     On the subject of fuses, Tim told us to always replace burnt out ones

with the exact value called for, and then said they could be replaced with

"circuit breakers".  For removing fuses he suggested using a "fuse puller".


     As far as "nut wrenches" were concerned, Tim suggested buying a good

set (no cheap ones!) including at least: 5/16, 11/32, and 1/4 inch sizes.

He then suggested a "good selection of pliers", including "needle nose" and

good "wire cutters".


     For lubrication Tim recommended using a good brand of "white lube".

If you need to repair a broken part he suggested using a good brand of

"super glue" (again no "cheapies"). 


     Tim next said your tool kit should contain a good set of socket

wrenches, assorted screw drivers, and a set of disposable Allen wrenches.

In addition, he suggested a good "power screwdriver".  That ended Tim's

discussion of "the pinball tool box".


     Tim then showed us the 1970's vintage pingame he was going to use in

his maintenance demonstrations, saying it was representative of an average

electro-mechanical machine.  He then proceed to demonstrate the proper

removal of the playfield glass, cautioning us not to pull it out part way

and let it "hang", and not to tap tempered glass on it's edges.  He said

you should let the glass land on the top of your feet and then set it aside



     After reminding us to remove the ball before you raise the playfield,

he raised the field on the game and set it on it's stick prop in

preparation for a detailed demonstration of flipper maintenance.  Tim began

that discussion saying that if your flippers have "low power" the coil may

need replacing, and if it gets unduly warm that's probably the case.


     After showing how to correctly remove the "set screws", Tim

demonstrated removing the flipper shaft assembly.  He then told us that we

should clean it and not over-lubricate it.  Tim next demonstrated removing

the "plunger assembly" and how to clean it, adding that the "linkage"

should be replaced if worn.  To remove the "roll pin" easily he suggested

heating it first and then removing it using a small punch.


     After showing how to remove the "flipper bracket", Tim demonstrated

removing the coil.  He then told us to check the "coil stop", and if it is

worn to replace it, also using new screws.  Tim next advised us to check

the coil and "sleeve", saying that if the sleeve is at all worn it should

be replaced.  As far as the coil was concerned, he told us that if it's

wrapper looks burnt the coil should be replaced.


     Tim next advised that you "test" the solder joints on the coil and

"End-of Stroke" (EOS) switch by tugging on the wires, adding that it's a

good idea to "beef up" the jumper wire to the EOS switch with "18 gauge"

wire.  He then suggested that the EOS switch be checked carefully and

adjusted, filing the points if dirty, or replacing them if bad.


     At that point I had to leave Tim's interesting seminar to attend the

"autograph session" in which I had been invited to participate.  When I

later asked a person who stayed until the end what went on after I left, he

told me that Tim went on into detail on "pop bumper" maintenance in a

manner similar to what he had done with flippers.  This was followed, he

told me, with a "question and answer session" which included much

discussion on "lamp socket problems".




     Several months before the Expo I received a letter and "form" in the

mail inviting me to participate in a "Pinball Designers, Artists, and

Authors Autograph Session", a new feature at Expo '91.  I felt greatly

honored to be asked and immediately responded by sending in the form,

acknowledging my acceptance of the offer.


     The session was held in a special room set up with two long tables

that the participants sat behind and space to display artwork, etc.  The

Expo guests who wanted to get autographs (or just say "hello" to the

designers, artists, and authors) could walk in front of the tables,

stopping to see whomever they wanted.


     Where I sat, at the beginning of the table nearest the door, I was in

"pretty good company".  To my right was ace pinball designer Steve Ritchie

who, during the session, autographed many copies of the brochure for his

latest hit, TERMINATOR 2 (I even got one!).


     Next to Steve were two old-time great pinball artists, George Molentin

who did much of the great art for the pins of the 1940's and 1950's, and

1960's artist Jerry Kelley whose Expo talk the previous day I have already

reported on.


     After a while we were asked to move down a little to make room for

Bally designer of the 1970's Greg Kmeik, who designed such great games as

CAPTAIN FANTASTIC and WIZARD.  I had the privilege of sitting next to Greg

for a little while, and even got him to autograph the photograph of my



     I myself got to sell and autograph a few copies of my book "Pinball

Troubleshooting Guide, and to talk to others who already owned a copy.  I

also got to meet another author of a pinball troubleshooting book, Henk de

Jager from Holland.  He later showed me a copy of his book which looked

wonderful, except that it was written in Dutch and I could not read a word

of it!


     Later on, when the crowd thinned out, I hurried to my room to get my

copy of Englishman Brian Temple's book "Pinball Art", which I had purchased

the day before, and brought it back to the autograph room to get a few

autographs myself.  I was able to get great pinball artists such as George

Molentin, Jerry Kelley, Dave Christensen, and others to autograph in my

book next to the pictures of some of the great backglasses they created.


     All in all, I really enjoyed participating in this event, and really

felt privileged to be able to sit with such distinguished personages of the

pinball industry.




     After the usual pre-banquet "cocktail hour" for mingling, and the

always good meal which has been associated with all past Expos, we settled

back for the after dinner program.


     The guest speaker this year had been announced as old-time Bally

personage Paul Calimari who attended, and was involved with a great

seminar, at the first Expo.  I had been looking forward to seeing and

talking to Paul again, and so was extremely disappointed and saddened when

Rob Berk announced that Paul could not be present due to a minor traffic

accident, adding however that he was "OK".


     In Paul's stead Rob had engaged a magician who presented an

entertaining program using people from the audience, including Alvin

Gottlieb.  This, however, to me was no substitute for a pin industry old-



     After the magic show Canadian Aaron Benditt was asked to come up and

present prizes to the winners of his "name that 'tune'" contest which he

had conducted during the Expo "opening remarks" on Friday morning.  He

declared 2 winners, one from the manufacturers people and one from the

"others".  The winners, each having guessed 21 out of 25 "pinball voices"

Aaron had imitated, were Larry DeMar for the manufacturers, and a fellow

named Rob Rosenhaus.


     At that point Rob Berk came back up on stage and asked for a show of

hands of the Expo "first timers"; there were quite a few.  He then asked

for "2nd-timers", etc., ending with how many had attended all 7 shows?

There were also quite a few of us.

     Rob next announced that he was going to tell us of "a new idea for the

future".  He then asked designer Greg Kmiek, who was in part responsible

for the idea, to come up and gave him a package to open.  The package

contained a large plaque titled "Pinball Hall of Fame".  Rob told us that

the first 4 members had been decided upon, and that two more would be added

each year.  The four "chosen ones" were Gottlieb founder David Gottlieb,

Bally founder Ray Moloney, Williams founder Harry Williams, and Harry's ex-

partner and later founder of Stern Electronics, Sam Stern.


     Rob next presented the award for "best exhibit". which for the second

year in a row went to Steve Engle and his wife's "Pinball Supermarket"

display.  Rob told us that they assembled it first in their basement at

home, then dismantling it to be reassembled at the Expo.


     Rob next talked about a "special project" which he called his "dream".

He told of the pingame, FLIP-OUT, which had been designed for the Expo by

Reinhard ("Reiny") Bangerter and put together by Data East.  He said that

the game was not totally operational, but was on display in the Exhibit

Hall.  Rob then presented plaques to "Reiny" and artist Greg Feres who did

the artwork for the game.


     Rob then told us that he was going to introduce "a gentleman with a

mission", who he said helped Joe Kaminkow with the creation of Data East's

STAR TREK game.  He then introduced Jim Schelberg.  Mike Pacak next told us

that three years ago Jim first attended the Expo and ended up buying his

first pin.  Since then, Mike went on, he started publishing the all pinball

magazine "PinGame Journal".


     Jim then told us that the game manufacturers had been a great help to

him in the production of his magazine, and that he wanted to show his

appreciation.  He then proceeded to give plaques, which featured a color

reproduction of his first issue, to company representatives Mike Gottlieb

of A. Gottlieb and Co., Roger Sharpe of Williams/Bally/Midway, and Mike

Vrettos of Premier.  Jim next presented a special plaque to Joe Kaminkow of

Data East which also included the cover of the issue of the magazine with

STAR TREK on it.


     Finally, Jim remarked that Rob Berk was always giving out plaques, and

that it was about time that he got one.  Jim and Mike Pacak then presented

Rob with a plaque for all his efforts in putting on the Expos, Jim quipping

that it entitled Rob to "all the Williams Add-A-Ball games - if he paid for

them himself".


     After asking Wisconsin collector Mark Weyna to come up, Rob asked the

question: "who will be 80 years old in December?"  Industry veteran and

Expo regular Steve Kordek stood up.  After coming up on stage Steve was

presented (by Mark, Jim, and Rob) a Genco TRIPLE ACTION pingame - Genco's

first flipper game which Steve designed, a machine which Mark had located.

That drew a big round of applause from the audience.


     After thanking them for the game, which was a real surprise for him,

Steve quipped that he remembered that when his father "turned 40" that he

thought that was "old".  He then praised whom he called the "young kids"

for keeping the pingame industry alive today.


     Steve then told us that Williams/Bally/Midway "loves to honor

individuals for their accomplishments".  He went on to say that tonight

they were going to honor one person; one of the Bally employees who came to

Williams during the integration of the two company's game production

operations in 1988. 


     This person, Steve said, began with Bally in 1965, is proudest of the

Bally game ODDS AND EVENS which he designed, and has recently been made the

company's "Project Manager of Scheduling and Development".  Steve then

asked Jim Patla to come up, presenting him with their company's "Golden

Eagle Award".


     Jim next told us that it was a surprise to most of the Bally people

when they suddenly discovered that they were going to work for Williams and

that they had "mixed emotions" about the change.  He said that the two

companies had always been "competitors" in the past, but were also

"friends".  He ended by remarking that Williams had "brought pins to new

heights", and that it was "good to get back to a company that's behind



     At that point Rob Berk again came up and began thanking various Expo

participants.  He first thanked the exhibitors, with "special thanks" to

Pennsylvania collector Bob Spieler for bringing many of the fine restored

games from his collection for Expo visitors to play.  This drew a big round

of applause.


     Rob next thanked the game manufacturers for their participation, and

Williams/Bally/Midway for letting us tour their plant.  He then

acknowledged the designer of PARTY ZONE (the game used in the Flip-Out

tournament qualifying rounds) Dennis Nordham and the artist Paul Feres.

They both stood up and drew another round of applause.  Rob then thanked

Steve Epstein for offering the winner of Flip-Out a free trip to New York

City to play in his PAPA tournament.


     At that point Rob asked that all the foreign Expo visitors stand up

and then come up on stage; there were quite a few!  He then announced the

countries they represented, which included: Australia, Canada, Germany,

Japan, and The Netherlands.


     Rob then told us that this was a "special year", it being the 5th

Anniversary of Data East Pinball.  He then brought out a "Birthday Cake"

and had all sing "Happy Anniversary" to Data East.  Rob then asked Data

East President Gary Stern and Head of Design Joe Kaminkow to come up,

remarking that they had both "been through a lot" in the past five years.

The cake was then cut, the foreign visitors getting the first helpings.


     Rob next thanked his Expo staff and then presented Exhibit Hall

Chairman Mike Pacak with a bag.  When Mike opened it he found a "jukebox

tie" and a cup.  A drawing was next held to give away a KING OF DIAMONDS

backglass donated by Arizona collector Dann Frank.  As luck would have it,

it was won by Bob Spieler, which I thought was deserved since Bob brought

some of his wonderful games for us to enjoy.


     After presenting awards to the "women's division" of the Flip-Out

tournament, the wining raffle tickets were drawn.  Two brand new pins,


donated by the manufacturers, were given to two lucky persons.


     After the raffle, the "door prizes" were given out, including books,

magazines, coils, T-shirts, etc.  The last item of banquet business was the

awarding of prizes in a "pinball art contest" which was also held during

the Expo this year.  Prize categories included: photographs, clothing,

drawings, "youth submissions", and paintings.


     That ended this year's banquet.  After it was over most people went to

the Exhibit Hall to either watch the Flip-Out tournament final playoffs,

play the many pins there, or just browse around again.  By the way, the

final winners of Flip-Out were California "wizard" Rick Stetta, and for the

manufacturers, ex-Californian, now Chicago game designer extraordinaire,

Jon Norris.




     This year I believe there were more games in the Exhibit Hall than

ever before.  With a few exceptions, prices were reasonable, even though

they have increased somewhat over the years.  This year for the first time

there were even two "OK bingos", and a very rare payout pingame, Bally's

1937 classic GOLDEN WHEEL.


     As I mentioned earlier, Bob Spieler had a row of his beautifully

restored classic pins from the 1950's and 1960's, set up for all to play

and enjoy.  New games from the manufacturers were of course also shown.

Williams/Bally/Midway had a very nice display, as well as a line of their

latest PARTY ZONE games set up for use in the Flip-Out tournament

qualifying rounds.


     Premier had three of their latest: CLASS OF 1812; Reinhard Bangerter's

CACTUS JACK'S; and Jon Norris' latest design, a fascinating game called

SURF 'N SAFARI.  Data East Pinball had a large display of their recent

hits, plus a "one-of-a-kind" game, OPERATION DESERT STORM, with caricatures

of Saddam Hussein, and President George Bush on the backglass.


     The following is a chronological listing of all the pingames I saw in

the hall:


  NAME                             MFG               YEAR    PRICE

  ____________________________     ________________  ____    ______

  BUNNY BOARD                      Marble Games Co.  32      375

  WOW                              ?                 32      450

  JIGSAW                           Rockola           33      950

  JUGGLE BALL                      Rockola           33      ?

  BUMPER                           Bally             36      ?

  GOLDEN WHEEL                     Bally             37      1000

  ALL AMERICAN                     Chicago Coin      40      ?

  FORMATION                        Genco             40      600

  ABC BOWLER                       Gottlieb          41      295

  BOLA WAY (AS IS)                 Chicago Coin      41      OFFER

  SUPER SCORE                      Chicago Coin      46      ?

  BERMUDA (AS IS)                  Chicago Coin      47      ?

  BOWLING LEAGUE (AS IS)           Gottlieb          47      ?

  CAROUSEL                         Keeney            47      295

  CYCLONE                          Williams          47      350

  CYCLONE                          Williams          47      550

  HAVANA                           United            47      350

  HUMPTY DUMPTY                    Gottlieb          47      1200

  HUMPTY DUMPTY (AS IS)            Gottlieb          47      300

  BABY FACE                        United            48      395

  CINDERELLA (AS IS)               Gottlieb          48      300

  LADY ROBIN HOOD (AS IS)          Gottlieb          48      300

  TEMPTATION (AS IS)               Chicago Coin      48      ?

  TROPICANA                        United            48      400

  GOLDEN GLOVES                    Chicago Coin      49      395

  QUARTERBACK                      Williams          49      875

  THREE FEATHERS (AS IS)           Genco             49      300

  BANK-A-BALL                      Gottlieb          50      NOT FOR SALE

  KNOCKOUT                         Gottlieb          50      1500

  STADIUM                          Chicago Coin      51      400

  HIT AND RUN                      Gottlieb          52      NOT FOR SALE

  QUEEN OR HEARTS                  Gottlieb          52      NOT FOR SALE

  FOUR BELLES                      Gottlieb          54      NOT FOR SALE

  GYPSY QUEEN                      Gottlieb          55      NOT FOR SALE

  PETER PAN                        Williams          55      500

  SLUGGIN' CHAMP                   Gottlieb          55      NOT FOR SALE

  HARBOR LIGHTS                    Gottlieb          56      NOT FOR SALE

  ACE HIGH                         Gottlieb          57      NOT FOR SALE

  CRISS CROSS                      Gottlieb          58      NOT FOR SALE

  ROTO POOL                        Gottlieb          58      NOT FOR SALE

  SITTIN' PRETTY                   Gottlieb          58      NOT FOR SALE

  TURF CHAMPS                      Williams          58      NOT FOR SALE

  DARTS                            Williams          60      NOT FOR SALE

  DARTS                            Williams          60      200

  WAGON TRAIN                      Gottlieb          60      NOT FOR SALE

  EGG HEAD                         Gottlieb          61      500

  FLIPPER PARADE (AAB)             Gottlieb          61      675

  FOTO FINISH                      Gottlieb          61      395

  LANCERS                          Gottlieb          61      450

  SHOW BOAT                        Gottlieb          61      500

  COVER GIRL                       Gottlieb          62      400

  FLIPPER CLOWN (AAB)              Gottlieb          62      NOT FOR SALE

  GOLDEN GATE (BINGO)              Bally             62      850

  JOLLY JOKERS                     Williams          62      NOT FOR SALE

  RACK-A-BALL                      Gottlieb          62      500, 550

  SILVER SAILS(BINGO)              Bally             62      950

  GAUCHO                           Gottlieb          63      500

  SLICK CHICK                      Gottlieb          63      NOT FOR SALE

  SLICK CHICK                      Gottlieb          63      700, 1000

  SQUARE HEAD (AAB)                Gottlieb          63      300

  SWEETHEARTS                      Gottlieb          63      450

  SWING TIME                       Williams          63      NOT FOR SALE

  OH BOY                           Williams          64      NOT FOR SALE

  BUCKAROO                         Gottlieb          65      NOT FOR SALE

  COWPOKE (AAB)                    Gottlieb          65      800

  ICE REVIEW                       Gottlieb          65      600

  KINGS AND QUEENS                 Gottlieb          65      NOT FOR SALE

  CENTRAL PARK                     Gottlieb          66      1000

  CROSS TOWN                       Gottlieb          66      750

  CROSS TOWN                       Gottlieb          66      NOT FOR SALE

  FUN CRUISE                       Bally             66      175

  HURDY GURDY (AAB)                Gottlieb          66      995

  APOLLO                           Williams          67      NOT FOR SALE

  DIAMOND JACK (AAB)               Gottlieb          67      600

  DIAMOND JACK (AAB)               Gottlieb          67      NOT FOR SALE

  MELODY (AAB)                     Gottlieb          67      600

  SING ALONG                       Gottlieb          67      450, 650

  SING ALONG                       Gottlieb          67      NOT FOR SALE

  SURF SIDE                        Gottlieb          67      175

  DAFFIE                           Williams          68      295

  DING DONG                        Williams          68      260, 450

  FUN PARK                         Gottlieb          68      350

  LADY LUCY                        Williams          68      295

  PALACE GUARD (AAB)               Gottlieb          68      650

  PIT STOP                         Williams          68      295

  PIT STOP                         Williams          68      NOT FOR SALE

  PLAYTIME                         Chicago Coin      68      350

  SPIN-A-CARD                      Gottlieb          69      450

  FLIP-A-CARD                      Gottlieb          70      450

  FORU SQUARE                      Gottlieb          71      400

  FOUR MILLION BC                  Bally             71      NOT FOR SALE

  FOUR MILLION BC                  Bally             71      950, 1350

  PLAYBALL                         Gottlieb          71      400

  ROLLER COASTER                   Gottlieb          71      ?

  FIREBALL                         Bally             72      1500

  FLYING CARPET                    Gottlieb          72      395, 450

  GRANADA (AAB)                    Williams          72      NOT FOR SALE

  GRAND SLAM                       Gottlieb          72      NOT FOR SALE

  GRAND SLAM                       Gottlieb          72      400

  ORBIT                            Gottlieb          72      ?

  WORLD SERIES                     Gottlieb          72      400, 450

  HI LO ACE                        Bally             73      275

  MONTE CARLO                      Bally             73      900

  NIP IT                           Bally             73      650, 1000

  HI FLYER                         Chicago Coin      74      325

  LUCKY ACE                        Williams          74      295

  SKY DIVE                         Gottlieb          74      295

  SKYLAB                           Williams          74      NOT FOR SALE

  TRIPLE ACTION                    Williams          74      400

  SPIN OUT                         Gottlieb          75      ?

  STAR POOL                        Williams          75      495

  WIZARD                           Bally             75      400, 750, 800

  ALADIN'S CASTLE                  Bally             76      395

  CAPTAIN FANTASTIC                Bally             76      800, 1000

  FLIP FLOP                        Bally             76      475

  GRAND PRIX                       Williams          76      200

  JUKE BOX                         Chicago Coin      76      495

  OLD CHICAGO                      Bally             76      750

  PIONEER                          Gottlieb          76      295, 350

  SHIP AHOY                        Gottlieb          76      295

  EIGHT BALL                       Bally             77      800

  JACK'S OPEN                      Gottlieb          77      450

  TEAM ONE (AAB)                   Gottlieb          77      395

  BLACK JACK                       Bally             78      ?

  DRAGON                           Gottlieb          78      ?

  FOXY LADY (TABLE)                Game  Plan        78      500

  LOST WORLD                       Bally             78      500

  MATI HARI                        Bally             78      650

  NUGENT                           Stern             78      ?

  PLAYBOY                          Bally             78      975, 1295

  POWER PLAY                       Bally             78      495

  SINBAD                           Gottlieb          78      175

  STRIKES AND SPARES               Bally             78      ?

  DISCO FEVER                      Williams          79      ?

  FLASH (AS IS)                    Williams          79      295

  HERCULES                         Atari             79      ?

  KISS                             Bally             79      700

  LASER BALL                       Williams          79      495

  METEOR                           Stern             79      300

  SHARPSHOOTER                     Game Plan         79      500

  SOLAR RIDE                       Gottlieb          79      ?

  STELLAR WARS (AS IS)             Williams          79      250

  TRI ZONE                         Williams          79      ?

  ASTEROID ANNIE                   Gottlieb          80      450

  BLACK BELT                       Zaccaria          80      800

  BLACK KNIGHT                     Williams          80      950

  FIREPOWER                        Williams          80      ?

  FLASH GORDON                     Bally             80      750

  SKATEBALL                        Bally             80      600, 650

  SPACE INVADERS                   Bally             80      595

  XENON                            Bally             80      750

  BLACK HOLE                       Gottlieb          81      495

  CAVEMAN                          Gottlieb          81      595

  CENTAUR                          Bally             81      800

  EIGHT BALL DELUXE                Bally             81      400, 650

  ELEKTRA                          Bally             81      475, 750

  FATHOM                           Bally             81      450, 700, 750

  FIREBALL II                      Bally             81      ?

  FLASH GORDON                     Bally             81      750

  JUNGLE LORD                      Williams          81      ?

  LIGHTNING                        Stern             81      ?

  MEDUSA                           Bally             81      550

  HAUNTED HOUSE                    Gottlieb          82      1000

  MR. AND MRS. PACMAN              Bally             82      600

  ORBITOR I                        Stern             82      ?

  X'S AND O'S                      Bally             83      750

  SPACE SHUTTLE                    Williams          84      750, 795

  BOUNTY HUNTER                    Gottlieb          85      400

  CYBERNAUT                        Bally             85      ?

  EIGHT BALL CHAMP                 Bally             85      795, 800

  SORCERER                         Williams          85      895

  GENESIS                          Gottlieb          86      695

  GOLD WINGS                       Gottlieb          86      695

  HOLLYWOOD HEAT                   Gottlieb          86      995

  RAVEN                            Gottlieb          86      ?

  ROAD KINGS                       Williams          86      895

  BIG GUNS                         Williams          87      ?

  F-14 TOMCAT                      Williams          87      OFFER

  FIRE                             Williams          87      1195

  LASER WAR                        Data East         87      ?

  MONTE CARLO                      Gottlieb          87      575

  CYCLONE                          Williams          88      1695

  DIAMOND LADY                     Gottlieb          88      1000

  SECRET SERVICE                   Data East         88      ?

  BLACK KNIGHT 2000                Williams          89      1595

  POOL SHARKS                      Bally             8?      1695

  BACK TO THE FUTURE               Data East         90      NEW

  CACTUS JACK'S                    Gottlieb          90      NEW

  GAME SHOW                        Bally             90      1595

  GILIGAN'S ISLAND                 Bally             90      NEW

  OPERATION DESERT STORM           Data East         90      NOT FOR SALE

  PHANTOM OF THE OPERA             Data East         90      NEW

  KING KONG                        Data East         90      NEW

  CLASS OF 1812                    Gottlieb          91      NEW

  STAR TREK                        Data East         91      NEW

  SURF 'N SAFARI                   Gottlieb          91      NEW

  TEENAGE MUTANT NINJA TURTLES     Data East         91      2495

  TERMINATOR II                    Williams          91      NEW


     In addition to games, there were also some pingame "parts" available

for purchase.  Steve Engle and his wife had their "Pinball Supermarket",

which was mentioned earlier, with a nice assortment of parts and

literature.  There was also another booth selling used pinball parts.

Donal Murphey, of course, was also selling his fine "remakes" of pinball

plastic parts (bumper caps and drop targets).


     There were also two fine "reproduction" backglasses available this

year, each made by a different process.  Steve Young and Donal Murphey were

selling a fine reproduction of Gottlieb's 1954 classic DRAGONETTE, while

Rob Berk and Steve Engle were selling a great SLICK CHICK repro glass.


     As far as literature was concerned, Mike Pacak had his usual fine

selection of pinball brochures, and Steve Young his fine assortment of

reproductions of old pinball parts catalogs and other literature.  The new

all pinball magazine, PinGame Journal, was also represented, it's publisher

Jim Schelberg having his own booth.


     Due to the large number of exhibitors there was an "overflow section"

of the Exhibit Hall which was actually located outside the entrance to the

main hall.  This area contained one or two game dealer booths, the display

of the special pingame modified for the handicapped described in a Friday

morning lecture, and a large area occupied by Las Vegas collector, turned

"philanthropist" Tim Arnold, who also gave the previously described seminar

on game repair.


     All proceeds from Tim's booth, he told us, went to charity.  First,

Tim was selling excellent color photographs of many of the older games in

his over 600 machine collection.  Also he was "selling" one of his famous

"hand made" books which, among other things, contained a listing of all the

flipper games he owned, and which ones he was looking for.


     But, associated with this Tim had an interesting "gimmick".  For the

$1 charity donation you paid for the book you got one play on a special

"upright" game machine Tim had constructed.  A coin would be dropped in at

the top, would "filter down" through various pins, etc., and could land in

one of several special "pockets".  If you got into these "pockets" you

could "win" either a banana (like I did) or a piece of toast (with the jam

of your choice).  A fun idea indeed!


     This year, for the first time, the Exhibit Hall was open totally on

Sunday.  And, as a special feature Sunday afternoon, a company called U.S.

Amusement Auctions conducted a coin machine auction (mostly pins, but some

jukeboxes, etc.) in a large room adjacent to the Exhibit Hall.  This

attracted many bidders, and games from the 1960's through the 1980's were

sold; some cheap and others quite a bit higher.


     Well, there you have it again, another detailed description of almost

all that went on at another great Pinball Expo.  And if this entices you,

and you haven't been to one before, Pinball Expo '92 is already scheduled

for the evening of November 12 (Exhibit Hall opens at 6 PM Thursday night,

with no "preview fee") through Sunday November 15.  I am absolutely sure

that Rob and Mike have more surprises in store this year, so I'll see you



     For further information write Rob Berk at "Pinball Expo Headquarters";

2671 Youngstown Rd. SE; Warren, Ohio 44484; or call him at (216) 372-4652,

or call Mike Pacak at 1-800-321-2722.