Feature article

When there isn’t enough snow outside, skiers have headed inside for nearly a century.

With trainloads of a mixture of sawdust, soda crystals and mica used to mimic snow, the first indoor ski center in Europe opened in 1927 in Berlin and helped launch the early era of indoor skiing (photo top of page).

Though Ski Dubai is frequently considered the cradle of indoor skiing, by the time of its opening in 2005 the concept was some eight decades old. Legions of people were already skiing indoors in dozens of countries—in some cases on bigger slopes already open in Europe and Japan. These facilities just hadn’t captured the public imagination quite as much as did the engineering miracles of indoor snow in the Dubai desert.

Fast forward to 2021, and we’ve recently passed the 150 mark for indoor-snow centers worldwide. True, there was a blip when the global economic crash of 2008 stopped some of the most ambitious projects of the time—including a 1.2 mile indoor slope proposed for the Middle East. But the past decade has seen more centers built than during the “boom” years of the 1990s. In fact, in the last few years centers have opened in Africa (Ski Egypt), South America (Snowland) and, finally, North America (Big Snow in New Jersey). Big Snow’s opening means that you can now ski indoors on a snowy surface every day of the year on every continent except Antarctica (where, let’s face it, you can ski outdoors every day of the year anyway).

For some that sounds like skiing nirvana: snowy slopes on tap whenever you need them, 365 days a year. For others, it’s a dystopian vision of the future of our sport: not skiing under blue bird skies surrounded by majestic peaks, but rather sliding down modest fall lines under a man-made dome. Or projected forward: Does the ultimate result of climate change and a warming world mean very little natural snowfall and therefore very few functional ski slopes?

It’s just a touch ironic that the massive refrigerators required to produce snow indoors and keep it cold use up a lot of energy, potentially contributing to climate change. But fortunately, that irony is not lost on the companies that build indoor centers. They incorporate energy efficiency to minimize running costs and in some cases cover their vast ski-center roofs with solar panels to generate the power needed to run the facilities. So is the future a utopian world of self-powered eternal indoor-snow centers? Perhaps worldwide statistics already reveal the future. In 2000, there were around 40 glacier ski areas in the European Alps where you could ski in summer and about 50 indoor snow centers. Two decades later, the count of glacier ski areas has dropped by more than half while the number of indoor-snow centers has tripled.

Europe 1920s

The idea of skiing indoors was first conceived in Europe in the mid-1920s. A Brit, Laurence Ayscough, patented something that kind of resembled snow—a mixture of sawdust, soda crystals and mica. This was then spread on top of straw on a sloping surface indoors.

The mixture’s first recorded use was within the Berlin Automobil Halle in Germany where a ski slope 720 feet long (220m) and 66 feet wide (20m) was opened in 1927. Trainloads of Ayscough’s snow mixture were required and government scientists had to approve its safety. The event was a success, and six months later a more permanent facility, the Schneepalast (Snow Palace), complete with an indoor ski jump, was unveiled at the disused Northwest Railway Station in Vienna, Austria.

Norwegian ski jumper Dagfinn Carlsen built the 41,000-square-foot facility, and there was plenty of publicity—though news reports focused on an assassination attempt on Vienna’s mayor after the event. Enthusiasm waned though, as people noted the chemical mixture wasn’t actually very slippery and quickly turned an unappealing yellow. The Snow Palace closed within seven months (see Skiing History, March-April 2019). However, a smaller facility, complete with a mini-ski jump, operated in Paris throughout the 1930s. Its snow had a different chemical mix to Ayscough’s concoction and was spread thinly on a coconut-matting covered slope.

US 1930s, Japan 1950s

The first known attempt to bring something like real snow indoors was not for a public ski facility but for a big show: The Great Indoor Winter Sports Carnival staged at New York’s Madison Square Garden in December 1936.

Complete with ski jumpers, dog sledders, ski stars from Europe and North America and even clowns on ice, the Carnival’s logistics were startling. An 85-foot high (26m) ski-jump tower had to be built by a team of 100 workers in a matter of days. Madison Square Garden’s thermostat was turned down to 26 degrees, then enough ice was pulverized to cover the 30,000-square-foot area with a snow-like surface. The show ran for four days and nights and attracted 80,000 spectators. Boston and London hosted their own Winter Carnivals in 1937 and 1938, with similar attendance success.

A related concept for indoor snow creation, but this time intended for more long-term use, appeared in Japan two decades later. Businessmen in the small city of Sayama, about an hour outside of Tokyo, hit on a way of extending the season. This time ice was trucked in from the mountains, again crushed to a “snow-like” material and spread on a 1,065-foot (320m) indoor slope. The Sayama indoor ski center opened in 1959 and is the oldest snow slope under a roof still operating. The snow surface is now made by snowmaking machines rather than hauled in by truck.

Australia, Europe and Japan, 1980s

The modern era of indoor skiing began in the mid-1980s when young Australian ski fanatic Alfio Bucceri created what he christened Permasnow.

In 1984, at the age of 28, Bucceri went skiing for the first time in Australia, was hooked and wanted to create the same experience in his home city, tropical Brisbane, 930 miles from the nearest snow. “I loved eating jelly as a child, and the Permasnow idea came from the thought of making small particles of jelly then freezing them. I studied ice rink technology and found that jelly crystals would freeze on frozen pipes at plus temperatures. Finally, I found the right safe chemical to use [a water-absorbent polymer] from an Australian manufacturer, engaged Queensland University to help and Permasnow was invented,” Bucceri recalls. “Funnily enough, the Japanese call it ‘Jelly Snow.’” Early trials were successful, but it was the Permasnow slope created for the Swiss Pavilion at the 1988 World Expo in Brisbane that attracted global publicity.

The first indoor-snow centers using Permasnow, at Mt. Thebarton in Adelaide and Casablanca in Belgium, opened that same year. Japanese rights were sold to the Matsushita Company, which created more than 20 centers in the 1990s under the Snova name, with some still operating today. Bucceri sold Permasnow in 1991 but remains in the all-weather snow business and developed a non-chemical, all-water snowmaking system that is used worldwide.

1990s, Real Indoor Snow

The success of the early indoor-snow centers led several pioneers to work on what, back then, was the holy grail of the concept: pure snow indoors, without chemical additives.

To create true snow indoors is much more difficult than outdoor snowmaking. Dealing with high humidity, constant refrigeration and maintaining the snow when hundreds of people are skiing the same patch over and over are just a few of the many challenges involved.

Several claim to have been the first to achieve it, one of them being Cor Mollin, a former alpine ski racer who started in the indoor skiing trade when he ran the Casablanca ski center in Belgium. He wanted to create Europe’s first indoor-snow slope and had made a four-day trip to the Brisbane World Expo to see Permasnow in action. He decided to license the product.

Back in Belgium, Casablanca was not a success. “The system didn’t work at all. As we had no refrigerated building, the jelly-snow wasn’t slippery and we almost went bankrupt,” Mollin recalls. “I then did research myself, and after a year of trial and error I built my first real snow machine. From that moment on we were successful in the snow business.” He went on to set up his own indoor snow slope, Snow Valley in Peer, Belgium, which remains in operation today and is one of the largest indoor ski halls in Europe.

The 1990s saw Japan and European nations dominate center construction, with ever-larger real-snow facilities in countries like Belgium, Germany, the Netherlands and the UK, all of which traditionally feed the destination ski resorts of the Alps.

Japan developed smaller Snova facilities, with the notable exception of the vast SSAWS (Spring Summer Autumn Winter Snow) indoor center near Tokyo, by far the largest yet seen, with a slope 1,640-feet long (500m) and 328-feet wide (100m). Unfortunately, it opened in 1993 as Japan’s bubble economy burst and it never turned a profit. It eventually closed in 2002, with the site later turned into Japan’s first Ikea store.

By 2000, around 50 centers had been built, and the next decade saw a similar number added. The longest slopes yet opened are in Amnéville, France and Bottrop, Germany. Both claim the world record at about 2,100 feet (640m) long.

China has been the dominant force in snow-dome construction over the past decade as the country builds towards the 2022 Beijing Winter Olympics and strives to meet President Xi Jinping’s publicized goal to persuade 300 million people to give snow sports a go.

However, most of the country’s 1.4 billion population don’t live in cold or mountainous areas, so indoor snow is the answer. More than 30 centers have been built, including several of the world’s largest slopes. Some even have indoor trail maps.

Should We Embrace Indoor Skiing?

Indoor snow centers are here to stay. When properly managed and located near a population hub, they’ve proved to be viable. Yet many skiers can’t imagine skiing on a short, moderate slope inside a
giant freezer.

Perhaps they’re missing the point. Indoor-snow centers don’t attempt to replace the mountain experience. Instead, their goal is to entice people around the world to conveniently try a sport they don’t know if they’ll like. No harm in that. 

Big Snow. Big Money

New Jersey’s Big Snow epitomizes one key factor in almost all indoor-snow-center developments: They cost an awful lot to build, usually into the hundreds of millions of dollars. Far more centers have been conceived than ever opened. That said, of the 150+ that have now been built over the last 35 years, more than 100 are currently still operational. In that same time period, there have been few high-profile failures like Japan’s SSAWS center.

Big Snow is part of a huge mall complex in New Jersey created by the Mills Corporation, at the time an international leader in mall construction. Mills set to work on its multi-billion-dollar New Jersey project, then named Xanadu, at the turn of the century. Mills was also completing major malls on other continents at the time, including in Madrid, home to another Xanadu indoor-snow center which still operates today.

Big Snow was mostly completed around 2008, just before the global economic crash. Construction stopped, and it remained empty for 11 years before the complex finally began to open at the end of 2019.

Other developers hope that now that there finally is a facility in North America, many more will follow. The giant Triple Five Group that runs the mall where Big Snow is located has plans for a duplicate complex in Florida and the proposed green-energy powered Fairfax Peak in North Virginia.— PT

Lack of snow deters not the true believer.

Photo above: German sand-skiing speed record holder (nearly 60 mph) Henrik May shows his form on the sands of Namibia.

Snow is unquestionably top of the heap for sliding. Not to get all Poindexter on you, but skis slide easily thanks to a very thin layer of meltwater between the skis and the snow.

So what happens if it doesn’t snow? Or what if it’s one of those three warmer seasons that shall remain nameless? That’s where history has proven skiers will ski on just about anything, especially sand.

For decades, the mecca for sand skiing in the U.S. has been the Great Sand Dunes National Park and Preserve near Alamosa, Colorado, North America’s tallest dunes. Opened in 1932 as a national monument, it became a national park in 2004.

Each fall, ski bums return to Great Sand Dunes to ski or board 34-degree, 742-foot-high dunes in a tradition that, for many, begins the new ski season. One enthusiast tells OutThereColorado.com, “Sand is not as slippery as snow, so it’s like skiing in slow motion. You have to make shallow turns, but it’s definitely real skiing. That’s why we come back every year—because we’re jonesin’ to ski.”

The Great Dunes skier was accurate, if not precise, about the relative slickness of sand vs. snow. To get technical (stay with me here): dry sand has a dynamic coefficient of friction of about .55 compared to snow at about .03—depending on the snow and the ski wax. So sand is about 18 times more resistant to gliding than snow. But if you dampen the sand a bit (just a bit) the coefficient can go down to a range of .3 to .45, depending on the size of the sand grains and how wet the conditions are. Ancient pyramid-builders poured water on desert sand to more easily drag massive sleds. And that’s why savvy sand skiers hit the Great Dunes slopes after a rain.

At the Great Dunes, sandboards can be rented outside the park and are more popular than skis. It seems that while sand doesn’t appear to damage the base of alpine skis, it may dull edges and jam bindings. Sandboard bases, much harder than snowboard bases, are usually treated with paraffin-based wax to reduce friction, and it works like a charm on rain-soaked sand.

Sand skiing in the Colorado desert is not without risk. Great Dunes sand can reach 150 degrees F., lightning can occur at any time during the warmer months, and in high winds, those Covid masks come in handy. Eye protection, long sleeves and pants are helpful to avoid getting sandblasted.

Still, sand is better than other sliding surfaces known to lure skiers.

Members of the Facebook group Elite Skiing report sliding on volcanic ash, pine needles, scree (loose stones), shale, coal slag, carpet, soap flakes, powdered mica, and even gravel and barite mixed with used motor oil. During the heyday of the New York State Borscht Belt in the Catskills, Grossinger’s resort hotel experimented with ground-up collar buttons (see Skiing History, May/June 2020).

For millions of snow-starved Europeans, there’s one word: plastics. So-called dry slopes are part of a cottage industry tracked by Dry Slope News, established in 2018. “People have been skiing on slopes without snow for over a century, but the earliest artificial surfaces manufactured especially for skiing date from the 1950s,” says editor Patrick Thorne.

“Since the first few dry slopes appeared, close to 2,000 have been built in more than 50 countries worldwide. At the height of dry skiing’s popularity in the early 1980s, there were reports of over 300 in Great Britain alone.”

Sand Skiing Gets its Start in Africa

Some 44 countries offer sandboarding today according to Sandboard.com.

Modern sand skiing dates back to 1927 when French athlete, mountaineer, aviator, and journalist Marie Marvingt (1875-1963) combined her careers as a surgical nurse and military aviator, to create aluminum skis for an experimental medevac airplane to land on Saharan sand in Morocco and Algeria (see Skiing History, March-April 2020).

By then a decorated hero of World War I and credited as the world’s first female combat pilot, Marvingt hired a metal shop in her home town of Nancy to forge personal skis from solid aircraft-grade aluminum alloy. She determined metal sand skis were better than wood and certainly better than walking up dunes in sandals, reportedly testing them on sand for 50 miles. One year later, she started a ski school for Berbers, along the snowless Moroccan coast.

Marvingt’s legacy continues in the northern African country. Today, people who engage in guided ski touring on the snows of Mount Toubkal or take advantage of the lift service at Oukaimeden in the rugged High Atlas Mountains in southwestern Morocco, also head a few hours southeast to the edge of the Sahara Desert to sand ski or sandboard for bragging rights.

Four thousand miles farther south, in Namibia, the German-born Henrik May, 45, has been pioneering the sport of sand skiing for two decades, according to Powder magazine (July 2013). There, the Namib Desert is home to some of the largest dunes in the world, thousands of miles from the nearest snow.

May’s company, Ski Namibia (ski-namibia.com), is one of the very few dune ski-specific operations in the world and has been featured by NBC’s Today Show and the CBS reality show, The Amazing Race. He started his touring company in 2003 and since then has logged thousands of ski descents. He set a Guinness world speed record in 2010, reaching 92.12 km/h (57.24 mph) on sand. He introduced Wustenskisport, or dune skiing, to the internet with guided runs usually between 200 to 400 vertical feet after climbs of around 20 minutes.

Back in the U.S.A.

Sand skiing in the United States dates back at least to 1937 on the Cape Cod, Massachusetts, side of Nantucket Sound. According to the New York Times (Sept. 12, 1937), “Some of the dunes near Centerville are unusually long, permitting runs of 100 and 150 feet, on which a skier can attain speeds of about forty miles an hour. . . Wooden skis slide easily on the sand and gain speed, particularly when the sand is covered by short grass or pine needles.”

At any rate, those Centerville dunes are long gone, according to Patti Machado, town of Barnstable Director of Recreation in Hyannis, Massachusetts. “We do not have any dunes. I think that the beach topography may have been different back then,” she emails Skiing History.

One famed sand skiing competition was Sandblast in Prince George, British Columbia, held every August from 1971 to 2003. It attracted thousands of spectators to a dual slalom race among so-called “sandblasters” who didn’t want summer to get in the way of their favorite sport. Just north of the city by the Nechako River is a steep hill called the Cutbanks where 10 to 15-sec. races were once held on a 500-foot slope of sand and gravel. It was popular over the decades and people traveled long distances to participate, including filmmaker Warren Miller, according to FreeThoughtBlogs.com.

Amazingly, no one was ever seriously injured. But according to the TV show BC Was Awesome, hosted by Bob Kronbauer, in 2003 some yahoos descended in a three-wheeled couch. The resulting crash scared off the insurance companies, leading to a permanent ban.

Sand and Deliver

Sand skiing was also popular as a cross-country competition on Pacific Ocean beaches during that era. In 1980, Bjorn Arvnes of Norway, winner of the 1977 American Birkebeiner, won the sand XC skiing title at the Epoke Beach Classic at Redondo Beach, California. Event producers were Larry Harrison, a rep for NorTur, the U.S. importer of Epoke Skis, and Peter Graves, NorTur marketing director.

The sand skiing stunt appeared on NBC’s Real People, page one of the Los Angeles Times, and even in the National Enquirer, which wrote breathlessly that “sand skiing was sweeping the country.” Tom Kelly, who handled event promotion with Graves, tells Skiing History, “It was a hugely successful media event for the time, garnering national coverage for Epoke.”

Other favorite North American sand skiing locations are Jockey’s Ridge State Park in North Carolina, White Sands National Park in New Mexico, Idaho’s Bruneau Sand Dunes and St. Anthony Sand Dunes, California’s San Bernardino Mountains, and Sandbanks Provincial Park in Ontario.

In the end, sand has an enduring advantage over snow: It doesn’t melt. 

ISHA VP Jeff Blumenfeld’s most recent contribution to Skiing History was “The Day They Threw Cow Chips in Las Vegas” (January-February 2021).

Before Aspen, Ashcroft and Mount Hayden promised a cable car, ‘immense schusses,’ a village for 2,000. Then World War II intervened.

Photo above: A map drawn by Roch of his vision for a ski resort in the greater Aspen area. Courtesy Aspen Historical Society.

It is difficult now to realize that Aspen’s skiing development did not start in town but out on Castle Creek, where the Highland Bavarian Lodge housing two European guides was to offer ski touring for wealthy clients.

What a curious tale. During the summer of 1936, one-time Aspen resident Tom Flynn was peddling mining claims and happened on Billy Fiske at a party in Pasadena, California. Fiske came from a wealthy Chicago banking family. He was a sometime dilettante Hollywood film maker, flyer, member of the gold-winning Olympic bobsled team in 1928, and captain of the sled that was victorious four years later at the Lake Placid Games.

Fiske was as well-known on the Cresta run in Switzerland as he was in England’s society circles. Flynn showed him photographs of the mining claims but it was the area as a possible ski region that attracted Fiske, just as those photos had impressed Ted Ryan, New York banker, heir to the Anaconda Copper fortune and brother of Mont Tremblant developer Joe Ryan.

Fiske, Ryan, and Flynn bought land on Castle Creek, started construction of the Highland Bavarian Lodge, hired Swiss skier, mountaineer and already avalanche expert, André Roch, along with Gunther Langes, a south Tyrolian who had organized the world’s first giant slalom, on Italy’s Marmolata in 1935. The two made the trans-Atlantic crossing and arrived in Aspen in December 1936.

We know much of this from the article Roch wrote for the Swiss ski journal Der Schneehase. From this article and from Ted Ryan’s papers, deposited with the Aspen Historical Society, “what might have been” can be pieced together. For admirers of “what if” history, it makes for a fascinating study.

Roch and Langes believed they were being hired to scout out land in Colorado where a major ski resort might be financed, much the way Count Felix Schaffgotsch had done a year earlier for Union Pacific Railroad’s chairman Averell Harriman, which led to Sun Valley, America’s first purpose-built winter ski resort.

However, when the two arrived in Aspen they discovered “with some unease” that they were not to explore the Rocky Mountains, since Fiske and Ryan had already chosen the location. Their remit was “simply to verify its excellence, to check on terrain and climate,” all to ensure that the location was suitable for “the launching of a big winter sports resort.” However charming the lodge might be, Roch was immediately critical of the setting of the Highland Bavarian Lodge at the juncture of Castle Creek and Conundrum, about five miles from Aspen.

In a steep-sided, avalanche-prone valley, with wind-battered snowfields far above the tree line, this was not the St. Moritz of America. Worst of all, wealthy guests from Boston, New York, Philadelphia and Chicago had already been booked into the Lodge and expected to revel in pristine snowfields, guided by experienced Europeans…and it was a snow poor December.

The Lodge was not even finished, so Roch and Langes bedded down in Aspen’s Jerome Hotel and took clients up towards what is now Little Annie. Fiske and Ryan saw the town of Aspen, with its road connections to Glenwood Springs and over Independence Pass, and its railroad, as the hub of skiing. Before Roch left in June 1937, he had marked out a trail for the newly-formed ski club to cut. This became known as the Roch Run.

But 12 miles out of Aspen, farther on up the Castle Creek valley, lay Ashcroft, population one, remnant of a mining outpost. Now, said Roch, there was a real possibility as it sat in a natural bowl surrounded by 12,000-foot peaks. With plenty of options for ski runs on east and north-facing slopes, it would be “a resort without competition.”

Roch climbed from Ashcroft towards Hayden Peak on January 15, 1937. He turned back before reaching the top but had seen enough of the Conundrum valley and had admired the surrounding peaks: Pyramid, Snowmass, Castle, Cathedral and most spectacularly, the Maroon Bells.

That spring Roch, Langes and Fiske climbed Hayden. Soon after, renowned Eastern skiers like Otto Schniebs came out to be amazed by the spectacular West. And from Denver came ski manufacturer Thor Groswold and skiing man-about-town Frank Ashley. Other areas were explored, too.

The conclusion was inescapable: Fiske and Ryan had untouched resort territory. The road into Ashcroft would need rebuilding and in some places re-routing to avoid avalanches. Hotels were planned to hold 2,000 skiers. That figure was gauged to make a cable car up Mount Hayden economically feasible. The accompanying map indicates the lifts with the mid station marked leading to a second lift to reach a hotel at the top, some 3,000 feet above the valley floor.

Beginners were not forgotten, with the more gentle ski fields near the road, and two jumps were planned. Roch added comments, underscoring the importance of slopes on the north and eastern sides; south- and west-facing slopes had too much sun, too little snow and the western side was subject to winds. The first of two connecting chairs was proposed from Ashcroft to Monument. The second chair was to reach the summit of Electric Peak, providing a 2,000-foot-plus vertical.

This was vital because it would give access to Hayden’s ridge and thus to Cathedral Lake and on down to Pine, Sandy and Sawyer creeks. From there, transportation would be needed to get back to Ashcroft. Altitude was the drawback. Topping out at 13,600 feet, bad weather would shut the lift complex down. Even so “this splendid ski-area would not be developed into its proper capacity without it.” Descents from the top could be compared to the Parsenn. With “immense Schusses,” Roch skied down to Ashcroft in twenty minutes. He was ecstatic. And the valley below was long and broad, large enough “to combine hotels, bungalows and parking places.” A Swiss village was envisioned.

In Denver, the Colorado legislature voted a $650,000 bond for the lifts. Ashcroft was going to be the “Williamsburg of the Old West,” enthused architect Ellery Husted. Ted Ryan was all enthusiasm, too. As he recalled for the documentary Legends of American Skiing: “We had an area bigger than Zermatt.” “We were all set to go, and then ‘bang’ World War II came and Billy Fiske was shot down during the Battle of Britain.” Fiske, flying a Hurricane for 601 Squadron, was badly wounded when his plane was hit. He managed to fly his machine home, but died in hospital two days later. His death and the war ended what might have been the Mount Hayden development.

Maybe it is not all bad; backcountry skiers certainly like the way it has all turned out. The Ashcroft Touring Center became the first self-sustaining cross-country center in the U.S. in 1971, and its Pine Creek Cookhouse provides a uniquely memorable dining experience. And, as patrons will attest, the views are “unreal.” 

Arguably nothing has had a bigger impact on skiing and snowboarding during the past 25 years than the Winter X Games.

Standing at the start of the 2012 Winter X Games SuperPipe in Aspen for his final run of the event, snowboarder Shaun White was the dominant and defending champion in the event and already a certified legend. Just to drive that point home, he made a run that soared 15 to 20 feet above the shiny pipe walls, casually spinning and whirling like some enraptured snow dervish. When it was over, he’d thrown the first-ever frontside double cork 1260 (three full spins with a double horizontal twist) in a pipe and scored the first and only perfect 100 in the event in X Games history.

“I’ve waited for that one hundred for a long time!” said the jubilant 25-year old. He also picked up another gold to add to an overall medal stash of 18 as of this writing. It’s all part of a stellar career that surely has him headed into the US Ski and Snowboard Hall of Fame.

In January of 2020, Mark McMorris tied White’s medal record with a silver at Snowboard Big Air in Aspen, then topped it at the Norway X Games with a gold. Whether this major achievement will help propel him into the Hall of Fame remains to be seen. But that it could, illustrates the status the Winter X Games have attained.

They got there in part by pioneering many firsts in winter sports (first switch triple rodeo, first snowmobile front flip, and so on). Winter X Games 2021 had its own dubious first: It took place in a quarantine bubble in Aspen without the 111,500 live fans who watched in 2020.

Coverage ran live on ESPN and ABC throughout the four-day event, and will rerun almost incessantly across ESPN’s many platforms for the rest of the year. That’s because the games generate some of the network’s biggest ratings outside of professional and college football, basketball and baseball. And Winter X gives skiing and snowboarding their biggest global audience other than the Olympics, reaching up to 215 countries and territories and 400 million households.

This transformative and deeply lucrative franchise arose from brainstorming at ESPN in 1993 aimed at creating a world-championship-level gathering of action—or alternative or extreme (take your pick)—sports. The concept was unveiled at a press conference at the New York Planet Hollywood in 1994. In 1995, 27 events in 9 different categories were held at the first X Games during the last week of July in Rhode Island.

With an enthusiastic response from everyone—the athletes, the hosts, 198,000 spectators and, critically, the high-profile sponsors—ESPN realized they were on to something. Plans began evolving and expanding, an ongoing process today. The network scheduled events annually instead of every two years as originally conceived, and cloned the product.

That resulted in the first Winter X Games, at Snow Summit in Big Bear Lake, California, in 1997. The following two years the Games were held in Crested Butte, Colorado, and then moved for two years to Mount Snow, Vermont. Since 2002, the event has been held in Aspen.

The 1997 inaugural lineup consisted of five divergent categories of competitions held over four days: Snowboarding (BoarderCross, Big Air and Slopestyle), Ice Climbing, Snow Mountain Bike Racing, Super Modified Shovel Racing, and a crossover multi-sport event.

For the first time ever, ESPN’s sister channel ABC broadcast an X Games event, and coverage reached nearly 200 countries. Shaun Palmer won both the BoarderCross and the Snow Mountain Bike race for what would be the first two of his six total Winter X medals, all of them gold. Sweden’s Jennie Waara won gold, silver and bronze in three separate snowboard events, still a Winter X record.

Striking in retrospect is that skiing itself wasn’t even included. The glaringly insane—and not widely followed—shovel race was axed after one year. Mountain bike racing downhill on snow didn’t survive much longer. But the snowboard events flourished. And new skiing comps along the same lines were introduced in 1998 with Freeskiing and Skiboarding (a terrain-park oddity on tiny skis jettisoned in 2001) at the new venue of Crested Butte.

This second Winter X also added snowmobiles. Skiing and snowboarding today form the bulk of the Winter X Games and drive their broadcast popularity. But snowmobiles (and for awhile motocross bikes) have played a prominent role, too, and routinely attract some of the biggest live crowds in Aspen, who come for the noise, danger and NASCAR-style action.

Skiing and snowboarding also had dangerous, head-to-head events. BoarderCross (or Boarder X), featuring multiple riders on a wild course, was in the games from the start for both men and women. SkierCross was soon added, and both are now in the Olympic Games. Part of the thrill is the imminent possibility of disaster. Sure enough, carnage ensued. And after 20 years the events were dropped from Winter X in 2013. Boarder Cross was reintroduced back in 2014, but both are now gone.

The first five years saw the introduction of women’s Freeskiing, and Shaun Palmer was the first to win gold three years in a row, doing it in BoarderCross (’97-’99). The SuperPipe replaced the original Halfpipe competition in 2000 when organizers raised the walls from 11.5 feet to 15 (the walls grew to 22 feet in 2009). Todd Richards, Barrett Christy, Ross Powers and Tara Dakides were tough to beat in the early years when frontside and backside 720s (two full spins) won gold in Snowboard Halfpipe and Slopestyle.

In 2002 Aspen Skiing Company officials finally reversed a longtime ban on snowboards on Aspen Mountain and needed a way to publicize their change of attitude. X Games honchos were attracted by Aspen’s fame, and by the opportunity to present all the winter events at one venue: Buttermilk ski area.

Killeen Brettman, head of communications for ASC at the time, said, “When we sensed there was a chance to get the X Games, we decided this would be a bigger bang than anything else we were considering. The fact that a resort of Aspen’s stature was interested in hosting their event was appealing to ESPN in that they felt being accepted here gave their event tremendous credibility.”

Not everyone in Aspen was thrilled, of course. Some feared X Games crowds were just rowdy hip-hoppers with bad attitudes and no money. Even after the games succeeded, familiar questions around town were, “What do people see in all of this? And why do they like it better than the World Cup races?” Even early on, Winter X outdrew Aspen’s World Cup races, live and on TV. Sponsors, naturally, noticed.

When three full rings of the Winter X circus went off simultaneously, either you got it or you didn’t. With skiers arcing high above the walls of the SuperPipe, padded gladiators battling down a full-contact BoarderCross course, snowmobiles flying through the sky in the tear-ass SnoCross races, music pounding and Jumbotrons flashing images of it all to every corner of the premises, it was action-packed snow theater for our short-attention-span times. Not incidentally it also featured great athletes doing crazy and amazing athletic things.

As an index of the event’s importance, the entire U.S. Olympic freestyle snowboarding team showed up in Aspen to compete in the 2002 SuperPipe, just a few weeks before the Winter Olympics in Salt Lake City.

Aspen’s own three-time Winter X gold medalist Gretchen Bleiler boiled it down when she said, “For me the Olympics will always be huge, but the X Games are becoming the modern Olympics because the kids are really into them.”

On the business side, ESPN ramped up world domination plans by launching the X Games Global Championship in May 2003. A team event with both winter and summer sports, it was held simultaneously in Austin, Texas and Whistler Blackcomb, British Columbia. More than 69,000 spectators attended live, Team USA won, and women’s ski SuperPipe was introduced with rising star Sarah Burke taking gold. There hasn’t been a second edition. ESPN found other ways to become an international brand.

By 2010, live annual attendance blew past 80,000. The games were carried across all ABC and ESPN media platforms, including clips on iPod, nightly X Center highlights, and daily mobile content.

In 2004, the first time ESPN and ABC broadcast the games live, they added massive lighting for nighttime, prime time viewing. It helped juice up television viewership over 30 percent from the previous year. And by 2006 viewership hit a record of more than 747,000 households, raising the 2005 numbers by 45 percent. The audience in every form was expanding exponentially.

The juggernaut helped create big stars such as Bleiler, White, Kelly Clark, Travis Rice, Lindsey Jacobellis, Tanner Hall and Sarah Burke. Winter X raised the bar every year on what could be done, expanding the limits of the sports and providing unprecedented opportunities for riders who had few other options at the time.

The Games also became labs for advancements in park and pipe gear, as well as features like twin tips that made their way to the general public. The entire new hard and soft goods industry that had sprung up for boarding got a huge boost as dedicated park and pipe ski lines such as Armada and 4FRNT joined pioneers like Burton and Jones, and crossovers from the surfing and skateboarding worlds like Oakley and Quiksilver, all flourishing in the bright lights of the X Games.

“Winter X has brought sports like skiing and snowboarding into people’s living rooms that probably would never have seen them before,” said Chris Davenport in 2004, when he became an announcer for them. Davenport got a bronze in Skier X at Crested Butte in 1998. “It’s one of my prize possessions, seeing how big the X Games have become,” he said, adding that they’ve “helped mainstream our sports and the athletes that participate, leading to more money from sponsors. Today we see more kids getting into skiing and snowboarding because they have been exposed to them through Winter X.”

Meanwhile, ESPN’s long shot bet on crazy youth looked brilliant. “In 10 years the X Games have become, pound for pound, one of the most valuable enterprises in television sports‚—and a favorite venue for Sony, Gillette and other marketers eager to reach an elusive audience: 12-19-year olds,” wrote Monte Burke in Forbes in February of 2004. It was no secret ESPN targeted generations X and Y, and succeeded. Burke also noted that in four years TV ratings for the winter games increased 88 percent, and that in 2003, 37 million people watched some slice of them.

He further pointed out that the astronomical cost of buying major league sports rights was predicted by Morgan Stanley to cause “billions of dollars in losses for the four major broadcast networks in the next four years.” On the other hand, the X Games, winter and summer, were expected to bring in up to $70 million for 2003 and net $15 million, “though ESPN executives insist the franchise’s overall profit is only $1 million.”

However much they’re cashing in, it’s in large part because they own the games outright, coughing up zero for TV rights, with no risk of losing them to a rival network in a bidding war. Disney, ESPN’s owner, doesn’t break out ESPN’s financial performance, so it’s hard to know how much that network makes, let alone its X Games brand. But the fact that reruns air constantly suggests healthy ad sales.

One important question Burke raised in Forbes was whether athletes are fairly compensated given the amount of money the games generate. Some athletes said no, and made attempts to unionize and launch competing events. But many of the top competitors seemed to agree with Barrett Christy, who made $100,000 annually in endorsements, when she said, “They’re not paying us enough, but I’m where I am because of ESPN.”

For ESPN’s part, President George Bodenheimer said, “No one is holding a gun to anyone’s head to participate.” Then they began adjusting their awards scale.

“When the X Games first started, the total prize money was $186,000,” said ESPN PR director Katie Moses Swope. She then explained that as the games and athletes were progressing, so were the financial rewards. For 2007, gold medal wins were reportedly worth $20,000, and by 2008 were up to $30,000 out of a total purse of a million dollars.

Meanwhile, athletes understood that winning Winter X metal, and the constant drumbeat of media coverage on ESPN, helped them earn name recognition with kids everywhere. The program guide became a Who’s Who of extreme sports.

ESPN introduced disabled sports at Winter X 2007 with a combined men’s and women’s MonoSkier X event, with Tyler Walker taking home the first gold, and Sarah Will, the top female finisher, coming in fourth overall.

In 2010, Winter X went global with an event in Tignes, France. Games followed around the world, but 10 years later only Norway plays host outside North America. Now ESPN has licensed Winter X Games in China and Asia in 2021 and beyond, and is optimistic about further franchising.

In April of 2020 Luis Sanchez followed up on Monte Burke’s story 16 years earlier by doing “some detective work” for a financial website on Disney’s media properties. Sanchez concluded that “ESPN likely generated at least $11.4 billion of revenue last year.”

Assuming total expenses of around $9 billion, “it implies that ESPN generates over $2 billion of annual operating income … and probably a good deal more.”

Given that profits are hard to come by in the major sports league coverage, it isn’t unreasonable to think that the X Games could be earning hundreds of millions or more of that total. Perhaps reflecting these impressive figures, an X Games gold medal in 2020 came with a $50,000 check.

A new generation of stars is rising to the occasion. Former teen sensation Chloe Kim already has seven medals, including five gold, from seven Snowboard SuperPipes starting in 2015. Reigning Snowboard Big Air queen Jamie Anderson takes lots of risks and gets lots of injuries. Also, lots of medals: 16 so far, more than any other female snowboarder in Winter X, ever. And last year skier Gus Kenworthy (five medals and counting) threw the first ever switch triple rodeo 1440 (three backflips with four full rotations) in Slopestyle, as the barrage of high-flying aerials continues. There’s no end in sight.

It’s a fitting metaphor for the Winter X Games, still flying high, unleashing genius and breaking records—a quarter of a century later. 

Amateur photographers: Paul Ryan feels your pain.

Blue sky, green trees, white snow, happy skier. Every ski photographer risks producing cliché images.

Paul Ryan understands. “In today’s world, we are saturated with photographs in the media and online. Sometimes when I go out to shoot, these images pop up and scream at me ‘Someone’s done that! I’ve seen that!’” he says.

Ryan, 83, offers this wisdom gleaned from six decades behind a lens: “Be open for something odd and new, not necessarily strange, but a different vision of the familiar. Perhaps a juxtaposition of disparate elements in the same frame. Wash from your mind all the classic images that linger from the past. Images by others you’ve seen and loved, even images that you see right away—the obvious.”

To that end, when shooting, he strives for “an empty mind, or at least a clean vision,” a reference to the 1970 book Zen Mind, Beginner’s Mind, which he found inspiring early in his career.

Photo top of page: Ryan started his career as the staff photographer at California’s Sugar Bowl resort. The Silver Belt, the final big race of the season, was held in the late spring. Part of the post-race festivities was a softball game on skis between the racers. “The European racers, unfamiliar with baseball, found the game amusing,” Ryan says. Buddy Werner, a natural athlete and a born competitor, took the softball game—and winning it—seriously. Those are American Olympians Tom Corcoran and Linda Meyers watching the action.

Ryan grew up in Boston and, after taking a BS in engineering, moved to Stowe to pursue what he imagined could be a career in ski racing. An Eastern snow drought in 1960-61 led him to Aspen, and for a few years he spent winters racing and summers in San Francisco, going to film school. He eventually found himself at Sugar Bowl Resort in California for the final race of the season, where general manager Ed Siegel candidly told him that his future wasn’t in ski racing, and hired him as resort photographer.

It was a good fit. John Fry eventually hired Ryan as the staff photographer at SKI magazine for several years. He traveled the world shooting for SKI and other periodicals.

But his professional pursuits expanded beyond skiing. He chronicled the 1960s counterculture in San Francisco. He studied under the greats of the time, including Minor White and Ansel Adams. His photography has been honored in numerous shows, with recent exhibits including “The Sea Ranch, Architecture, Environment, and Idealism” at the San Francisco Museum of Modern Art.

Ryan has easily pivoted between photography and cinematography. His cinema credits include Robert Redford’s “A River Runs Through It” and “The Horse Whisperer.” His documentary work includes “Gimme Shelter,” “Salvador Dali,” and recently a film on George Soros.

He has always found his way back to the mountains. Here are some of his favorite images from a different era. “When on the side of the mountain, I had to pre-visualize the end result, not seeing the film until days later,” Ryan says from his home in Santa Monica, California.

Ryan said that White, one of his early mentors, introduced him to the idea that a compelling photograph is more than a static image—it has an afterlife, of sorts.

“White spoke of ‘Equivalents,’ which is a photographic concept that the photograph mirrors something in ourselves—something that remains in mind after the literal image has faded,” Ryan explains.

To reach that end, Ryan says, the strongest images touch upon a commonality, something universal across the human experience. These images draw the viewer into the frame and into a broader narrative. “The most powerful photos evoke something beyond what was literally in front of the lens. This may come from the implication of what happened just before or of what might happen a moment after,” he says. “What remains is not only the image of the time and place, but a visual residue connected to a broader spectrum of our own experience.”

Of course, in order to achieve White’s concept of “Equivalents,” the photographer does have to first nail the shot. These days, with everyone shooting an endless stream of digital photos at the press of a button, that’s an achievement that’s often underappreciated.

Not by Ryan. “To achieve a high level of visual acuity is demanding,” he notes, “particularly while simultaneously navigating deep powder, an icy mogul field, high speeds or the intensity of race day—all with an array of cameras in check.” 

This is the second installment of a two-part photo essay series from Paul Ryan. (See part 1 in the September/October issue.) View this photo essay as a mini-master class in photography, as Ryan explains his approach to his craft and the intriguing backstories to each image. Find more of Ryan’s work at paulryanphotography.com.

Ryan first got to know Billy Kidd during the 1960 season at Stowe. “He was always friendly and curious about photography and actually filmed some of the Megève downhill for me when I was making the Lange film, Ski Racer. This photo was taken at Kidd’s home in Stowe circa 1967. The wall was lined with trophies and his bibs from the 1964 Innsbruck Olympics, where Kidd and Jimmie Heuga became the first American men to win alpine medals. “Ever since 1966, Billy was plagued with recurring ankle injuries,” Ryan recalls. “It was interesting to see a young admirer realizing that even a hero is vulnerable.” Ryan was fascinated throughout his career with catching athletes away from the competition, believing that these moments can tell a story as revealing as the athletic action itself.

One of the many challenges of nailing a great image is “photographing people up close in difficult situations,” Ryan says. Fortunately, Ryan had spent a lot of time with the Canadian team and earned its trust, such as after a nasty downhill tumble by racer Andrée Crepeau, who recalls the crash. “It was on the flats at the bottom of the downhill in Stowe, where I learned that catching an edge is not always reversible. And down I went, face first—real quick.” The resulting image captures both the physical toll of the crash and the indominable spirit of the Canadian’s women’s team. “In photographing emotional situations, it’s always better to be physically close to the people rather than standing farther back with a telephoto lens,” Ryan says.

Great photography is at the intersection of art and science, according to Ryan. Getting the technical aspects right, such as the light, focus and framing, is key. But some of it is just heading into the field and hoping for the best. “Shooting ski action at slower than normal shutter speeds, here 1/8 second, is photographing without the luxury of certainty,” Ryan says. “After a while you get better at anticipating the results, but it’s still guesswork.” Here, at Stowe, the “obscuration of the subject promotes an awareness of the overall graphics in the frame.” Ryan also liked the flame-like gate banner flickering above the racer’s head.

Contrasts help bring a viewer into the frame, seeking out details of the surprising image. “In this case it was the ominous dark tree in the white landscape that attracted me,” Ryan says. “I waited for a bit, assuming a skier would come into the frame. He did and that completed the image.”

In 1970, Ryan made a documentary film on Austrian ski champion Karl Schranz. He filmed for several weeks on the World Cup circuit. “But I was curious to film Karl’s off-season life in his hometown of St. Anton,” Ryan says. He traveled to St. Anton in the summer, after the race season, and talked to locals who knew Schranz since his boyhood. “Karl brought us to meet his mother, who lived in the same small house she had for the last fifty years,” Ryan recalls. “As a widow, she had raised five children.” With photos and medals decorating this modest shrine to her son, Ryan likes the image because it tells as much about Schranz and his upbringing as it does about his mother.

Mammoth was one of the first destinations on Ryan’s unofficial resort itinerary when he headed West as a young racer in the 1960s. “I spent a lot of time there, both skiing and photographing the Mammoth racing program.” The racing operation was a top-notch group, whose roster frequently included members of Mammoth founder Dave McCoy’s family. At the end of a training day, racer Kandi McCoy chats with Dennis Agee, a junior coach at the time, who went on to become the Alpine Director of the U.S. Ski Team. “I liked her shy reaction to a coach’s compliment,” Ryan says.

In 1968, John Fry “had the idea to send me to do a photo story on skiing in the flatlands of the Midwest” for SKI. Ryan ended up at Boyne Mountain, Michigan, with its modest vertical of 500 feet. “For Othmar Schneider, a past Olympic champion and previously at Stowe where I knew him, it must have been confining,” Ryan says. “This image had a feeling of him reaching for something greater—or at least higher.”

John Fry and Mort Lund assigned Ryan to do a photo essay for SKI specifically on the experience of the downhill discipline. “This is the only event where there is a day or more to prepare, inspecting the course and taking a practice run,” Ryan says. “But there is never the sense of totally understanding what it will be like on race day.” At the end of the day prior to the race, there’s one last inspection down the course. Ryan strived to capture the intense preparation and anticipation in this early evening shot of a solitary racer looking down the course. Ryan: “I often find it rewarding to hang around for that extra hour at the end of the day, after the main action has ended. The light is dramatic and interesting things sometimes happen.”

All photographers have favorite assignments. This was one of Ryan’s. “One of my first and most gratifying assignments at SKI was a photo essay on Nancy Greene on the 1967 race circuit. I followed her travels for three weeks, on and off the course,” Ryan says. As well as being a superb racing talent, Ryan learned that Greene was a good friend and dedicated mentor to her teammates. Greene also didn’t let any aspect of her gear go uninspected. “Like many racers of the era, she personally paid exacting attention to the details of her skis,” Ryan says.

For Ryan’s 1969 photo essay, “The Steepness of Stowe” for SKI, he began experimenting with colored gel filters on the lens. “I liked the creative effect and usually made a few photographs this way on most other assignments,” Ryan notes, such as here as part of a story on Roger Staub at Vail (see right). With the analog film of the time, there was no way to know how the gels were working until the film was processed days later.

Digital photography now provides instant feedback (see above). “In contrast, a couple of years ago at the World Cup finals at Aspen I was fascinated with the maze of blue lines left by the multiple course markings. Shooting digitally, I could see the image right away and later, in Photoshop, I was able to exaggerate my impression of the intensity of the blue dye,” Ryan says. “Photography now has evolved to allow for, and even expect, imagery beyond simple representation of reality.”

Beat writers are often accused of writing stories for the audience of other beat writers, bringing nuances into play that can only be picked up on by other pros. The same goes for photographers. Ryan was attracted to the action in this shot for a SKI assignment. The racer is in sharp focus at the 1968 Grenoble Winter Games, with other elements blurred. However, “I liked the patrol sled waiting in the background behind the fencing,” Ryan says. “It quietly portrayed a sense of risk and danger.”

Ryan competed in the Roch Cup slalom in 1962, which became a hinge point in his career. “This was the last of my efforts at ski racing,” Ryan says. “I was decent, but when I was up against world-class racers, I realized I should spend more time at photography.” And for that decision in 1962, skiing’s visual legacy is, indeed, a bit richer.

Bota bags could be having a moment. These holdovers from skiing’s golden age laugh at today’s need for social distancing. 

What will skiing, riding and cross-county look like in 2020-2021? Will gondolas be fully loaded? Will six-seat chairs be limited to a maximum of only two to three people from the same family? No one knows for certain, and policies vary between resorts. But one thing is sure: In a time of social distancing, skiers will be reluctant to pass around that pocket flask of
Jägermeister to ward off the chill.

The time is right to bring back the bota bag.

Martini trees were a legendary and beloved feature of Taos Ski Valley dating back to the mid-1950s. What could be more memorable than coming across a hidden glass porrón buried in a tree well containing a perfectly-chilled gin martini?

Better yet, what if you could carry a martini around all day? And instead of breakable glass, carry it in a bota bag—a wineskin sling pouch traditionally made of leather, which presumably imparted some retsina-like flavor to the wine. Modern versions with plastic liners could carry martinis, wine or some other bracing refreshment that could be consumed while skiing or riding. What’s more, you could share some liquid courage with your friends and loved ones from a safe social distance of six feet—or farther—depending upon your aim.

The forerunner of the bota bag was the waterskin dating back some 5,000 years. Normally made of sheep or goat skin, it retained water naturally, perfect for desert crossings until the invention of the canteen. The first images of these bladders are from ancient Assyrians, who used them as floats in approximately 3000 B.C.

Botas have an especially long history in Spain. Traditional models were made from leather and lined with goat bladders, often suspended by a red braided shoulder strap. Tree sap was used to prevent liquids from seeping through. Its modern iteration has a handy cap that contains a nozzle with its own stopper to dispense the liquid, usually wine, sometimes peppermint schnapps, or any preferred adult beverage. (Botas have been known to be filled with Mateus, then after the bottle is emptied, it can be turned into a fine candle holder suitable for a college dorm room.)

Technique was—and remains—critically important when employing a bota, especially to the Basques, who called it a zahato. No less a drinking authority than Ernest Hemingway explains in the 1926 novel The Sun Also Rises: “He was a young fellow and he held the wine bottle at full arms’ length and raised it high up, squeezing the leather bag with his hand so the stream of wine hissed into his mouth. He held the bag out there, the wine making a flat, hard trajectory into his mouth, and he kept on swallowing smoothly and regularly.” Enough said.

Today, thanks to the internet, there are bota tutorials. Greg Morrill’s blog Retro-skiing.com explains, “First hold the spout with one hand and support the bag with the other hand. Now tip your head back with your mouth open, lift the bota toward your mouth, and squeeze the bag to squirt the wine into your mouth.” Morrill continues, “The mark of an expert bota-user was that once he or she started drinking, the bota would be moved to arms-length while still drinking! Just remember you’ll have to increase the pressure as you move the bota.”

There was a time during the bota’s heyday in the mid- to late-20th century when it was common to see skiers enthusiastically swigging from these soft canteens on a lift, or while a group of friends partied mid-mountain, skis stuck in the snow to form backrests. Often when snow surrounded the nozzle, you could swill icy cold wine slush into your mouth.

Few ski products bring back such a flood of warm memories, or in one case, a rush of adrenaline. My cousin Alan Blumenfeld, 74, from Voorhees, New Jersey, remembers serving on ski patrol at the Big Vanilla at Davos ski area north of New York, and watching from a distance as a hapless skier took an egg-beater fall off a small mogul.

He almost made it until a ski tip caught an edge. “When I skied down to the point of his decimation, the entire area surrounding him was a vibrant red! My heart started racing. I marked off the area quickly and immediately started to check him for what might have been extreme bleeding,” Blumenfeld recalls. “Much to my relief I found that he was fine; the bota bag that was hanging off his neck had exploded during the fall. He was soaked in Chianti. It could have been a scene from The Texas Chainsaw Massacre.” In the end, all was well. “The skier had a few bruises,” Blumenfeld says. “But the bota was terminal, and never recovered.”

There was something slightly illicit about the appeal of bota bags. Brian Fairbank, 74, chairman of Fairbank Group based at Jiminy Peak Mountain Resort in western Massachusetts, recalls, “the only time I used one was when I was under drinking age and an older buddy got some red wine to put in it. I can remember hiding it under my parka and skiing off trail to take a swig.”

A full 16 years old at the time, “I remember thinking how cool it was to drink without getting caught—until I got sick. My stomach and head were killing me,” Fairbank remembers. “That was it for me and bota bags.”

Cindy Suh, 50, of Bricktown, New Jersey, learned later in life that her father had an ulterior motive when breaking out the bota bag. “I always thought it was so cool that my dad would let me drink from it when we were on the ski lift. Years later he told me that prior to that I would just cry all the way up the mountain, saying it was too cold to keep skiing. The wine kept me from crying and shivering.”

The martini trees can still be found at Taos, although in this litigious age, they’re tightly monitored, hung from trees in handcarved wooden lockboxes. Meanwhile, bota bags continue to be sold — in both traditional old-school versions and modern styles that use neoprene to encase one-liter sports bottles made of HDPE-recyclable, BPA-free plastic to handle liquids hot or cold. Have times changed.

Could botas, however, once again be ready for prime time? Perhaps in an era of pandemic-induced social distancing, swigging from a shared bottle of Jager will give way to tossing around a bota bag like some colorful Hemingway character … and then simply taking aim. 

ISHA vice president Jeff Blumenfeld, a resident of Boulder,
Colorado, is the president of the North American Snowsports Journalists Association (NASJA.org). He is author of Travel with Purpose: A Field Guide to Voluntourism (travelwithpurposebook.com.)

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When cartoons take a run at skiing, mayhem ensues.

Goofy does not live up to his name in what might be the most realistic instructional cartoon on skiing (above). Part of Goofy’s “How To” oeuvre, The Art of Skiing shows viewers how to dress, load a chairlift and kick-turn, and even features an authentic yodeler on the soundtrack.

What is quickly learned from total immersion into the golden age of animation, roughly the 1930s through the 1970s, is that when Hollywood animators put characters on skis, they suspend the laws of physics. From the earliest cartoon depictions to a recent animated relaunch on HBO, skiing is primed for slapstick humor, visual punchlines and lots and lots of long freefalls.

Popeye crashes off ski jumps. Wile E. Coyote falls off cliffs with an ice machine on his back. The Pink Panther is engulfed in a giant snowball, while Homer Simpson hangs from a chair upside down and is blasted by a frigid fan gun and fiery snowcat exhaust, to name just a few.

Each stunt is more gravity-defying than the next one, often relying on a host of products, usually from the Acme Corporation, makers of sticks of dynamite, intricate booby traps, and anvils and bank safes that inevitably are dropped on unsuspecting heads.

And when viewed through 21st century goggles, some animation was so politically incorrect as to be downright cringeworthy, from Betty Boop resisting an unwanted suitor, to Tom from Tom & Jerry panting over a ski bunny, to poking fun at poor Mr. Magoo for his near-sightedness.

The sight gags are endless. There are drunken St. Bernards, skiers on the wooden runners of a rocking horse, a dachshund too long for a single pair of skis riding atop two pairs of them, and characters sailing off ski jumps with parachutes.

You’ll often see one of the most popular of all ski sight gags: downhill tracks on both sides of a tree, as if the cartoon character went through unharmed. (A tip of the hat to Charles Addams’ famous 1940 cartoon “The Skier” in the New Yorker that set the gold standard.) But in cartoonland, no one is seriously injured. Like a classic clown bop bag, they bounce back up for even more indignities in the next scene.

Lucille Ball broke her leg skiing while starring in a TV sitcom, and her real-world accident (and her subsequent leg cast) was famously written into that season. “But in cartoons, characters get hurt, you laugh, and you move on to the next gag,” A.B. Osborne, Professor of Animation at Georgia’s Augusta University, explains. 

What is it about skiing that appeals to cartoon animators? “It’s a visual sport and people get it immediately,” Osborn says. “When someone is going down a hill on skis, you don’t have to explain it. I never went skiing in my life, but I know what it is.”

Hours viewing vintage cartoons online reveals a world where skiing was considered glamorous and a colorful theme for all manner of cold-weather comedy and conflict. Popularized in 1930 during the start of Hollywood’s golden era of animation, these short-form cartoons ran before main features, then were eventually broadcast on TV. Many were inspired by vaudeville acts such as The Three Stooges and Laurel and Hardy, according to Robert Ito writing in the New York Times (May 29, 2020).

Pandemic Antidote

Watching ski cartoons from a couch is the perfect antidote to a cranky Covid-19 lockdown. According to CartoonResearch.com, the earliest references in titles to ski themes are from the Mutt and Jeff shorts. Among the 292 animated cartoons produced from 1916-1926 that depict skiing are On Ice (1918), Mutt and Jeff in Switzerland (1919), The Frozen North (1919), The Far North (1921), and Any Ice Today (1922). American cartoonist Paul Terry’s series of animated short subjects based upon Aesop’s Fables included ski scenes in On the Ice (1924), An Alpine Flapper (1926), and Cracked Ice (1927).

Those shorts are unavailable, so I wasn’t able to confirm their ski content. The earliest cartoon depiction I could confirm is Krazy Kat’s Snow Time (1932). When Krazy tries to jump in his skates over a row of barrels, he misjudges the distance and crashes into the last barrel, breaking it into slats, two of which stick to his feet as skis. He slides uncontrollably down the pond, jumping over small snow mounds. A snowman unzips his “snow” suit, revealing a skeleton inside, and tosses the snow back at Krazy, who grows into a giant snowball.

Betty Boop & Pudgy in Thrills and Chills (1938) is one of the least circulated or known of all the Betty Boop episodes. According to CartoonResearch.com, Betty tries to get on a train to the mountains, but her way is blocked by a freckle-faced male doofus who demands, “Hey pretty girl. Give me a kiss and I’ll let you in.” He then stalks her for more than six minutes. He eventually saves Betty and her dog Pudgy from peril. The dastardly interloper finally gets his kiss—from the dog. Politically correct it’s not.

Goofy’s The Art of Skiing (1941) is one of the most definitive ski cartoons in animation history. This was the first in Goofy’s acclaimed “How To” catalogue of shorts in which the character tackled a recognized sport. Walt Disney Productions animators even retained a professional yodeler to provide an authentic soundtrack.

In the cartoon, Goofy explains how to dress for the day’s activities—including devising his own challenge of putting on trousers when his feet are already in skis. Finally reaching the summit by way of a chair lift, he demonstrates a kick-turn, and how to get up when fallen. He lands backwards and skis in reverse, which, of course, eventually leads to him going off a ski jump—except Goofy forgets to lace his ski boots, which separate his skis from his feet shortly after takeoff. He manages to get hold of both of them, using the skis as glider wings to maneuver between mountain peaks, then finally crash-lands through the window of his own room at the ski lodge. Goofy falls instantly sound asleep, to close out the perfect day on the slopes.

One of the cleverest of all sight gags, which channels Rube Goldberg, appears in Fast and Furry-ous (1949) a Warner Bros. Looney Tunes Road Runner cartoon that shows a resourceful Wile E. Coyote strapping a full-size refrigerator to his back, then feeding ice cubes into a meat grinder to create a strip of skiable crushed ice. It works great—until he skis off a cliff.

Back in the 1950s, any infirmity was seemingly fair game. In Magoo Goes Skiing (1954) the opening sets up a gag to follow, as the severely near-sighted Magoo calls out to a mountain peak with his best attempt at a yodel—but is disappointed to hear no echo. The fact that he’s serenading a picture on the ski lodge wall rather than a real mountain is the explanation. Magoo really intends to go skiing—but of course he picks up a St. Bernard along the way (another ski resort stereotype) whom he thinks is his nephew Waldo.

Skiing, and its alluring enthusiasts, has always offered plenty of opportunities for romantic entanglements. Incongruously, Popeye appears far from the sea in Ski-Jump Chump (1960), jealous that his sweetheart Olive Oyl is falling for Frenchman Gorgeous Pierre, the greatest ski jumper in the world. The sailorman, of course, eventually wins his sweetie back with the help of some spinach-fueled courage.

Meet the Flintstones

Things get sticky for the modern Stone Age family when Fred Flintstone and his pal Barney Rubble appear in The Flintstone’s Here’s Snow in Your Eyes (1962). The first primetime animated show on television was a sly take-off of The Honeymooners.

Fred and Barney are off to Stone Mountain Ski Resort for a Loyal Order of Water Buffalo Lodge convention. Because none of the members’ wives have been invited to go along, Wilma and Betty stoically remain at home—but their stoicism quickly evaporates when they learn that the resort is also the site of the Miss Winter Carnival beauty contest.

More recent favorites include the Pink Panther Pink Streaker (1975) wherein the famed big cat works at a ski area and unintentionally bedevils the Little Man character who is trying to learn to ski from a book appropriately titled, How to Ski. In Tom & Jerry The Ski Bunny (1975), set in the Swiss Alps, Tom competes against his mouse buddy Jerry for the affections of a female kitten dressed as a ski bunny.

No less of a show than The Simpsons, the longest running American sitcom of all time, headed to the mountains. In Little Big Mom (1999) the family visits Mount Embolism, where Homer must decide which double diamond trail to descend. “The Widowmaker? That one is for the ladies,” he says. The Spinebuster trail he calls “boring,” before deciding to take the Colostomizer run. The hapless character soon cries, “Oh my legs, this is the worst pain ever.”

Cartoons on the Rebound

Cartoons are coming back. One reason is Covid-19, which translates to a nationwide captive audience of homebound kids, along with adults who are primed for some feel-good nostalgic screen time. In fact, Looney Tunes Cartoons, a revamp of the classic Warner Bros. series that had its glory years in the 1940s and 1950s, premiered on HBO Max in May 2020.

Darryn King, in the May 17, 2020 Wall Street Journal, wrote “Animation has seen a 22 percent surge in viewership during lockdown, more than any other category, according to Reelgood, a website that analyzes streaming viewer behavior patterns. This is likely because of the huge demand for content for children stuck at home, but it is also possible that the art form, liberated from real-world constraints, is suitably escapist entertainment right now.”

These catastrophic cartoons convey just what skiing has been trying to overcome for decades, to be known as a relatively safe, healthy, family endeavor rather than as risky business. But where is the entertainment in that?

Then again, as ski resorts develop their Covid-era protocols for next season and require advance reservations, among other restrictions, if you find yourself skiing less, maybe what you need are more ski cartoons in your life. 

ISHA vice president Jeff Blumenfeld, a resident of Boulder, Colorado, is the president of the North American Snowsports Journalists Association (NASJA.org). He is author of Travel With Purpose: A Field Guide to Voluntourism (Rowman & Littlefield, 2019). Learn more at travelwithpurposebook.com.

After a career covering skiing, photographer Paul Ryan has seen it all.

Above: Ryan looks for contrasts when shooting. The dark shadows help visually pop the red-suited racer, next to the red gate, in this image from the 1968 Grenoble Olympic Games. Also, “I liked the sense of launching into the unseen downside of the jump.” Right: Jean-Claude Killy flashes his inimitable style on course in Stowe, Vermont in 1966. The following year, Killy earned the first World Cup overall title, winning 12 of 17 races. Next up: winning the triple crown of alpine skiing, with a sweep of all three Olympic golds at that time (downhill, giant slalom and slalom) at the 1968 Grenoble Winter Games. On skis or off, Killy was as photogenic as they come, says Ryan, who worked extensively with the champ over the years.

"I always was kind of a frustrated ski racer,” admits Paul Ryan, who dabbled in competitive racing in the 1960s. Raised in Newton, Massachusetts, Ryan played hockey for Rensselaer Polytechnic Institute in upstate New York, and after graduation headed north to Stowe, Vermont, to work and follow his racing dreams. In Stowe, racer Marvin Moriarty, of the Moriarty ski hat family, gave Ryan his first camera.

As young ski racers of that generation were likely to do, “a bunch of us decided to abandon career expectations and head out West, eventually landing in Aspen,” he recalls. Ryan and buddies made the racing rounds, competing at various Western resorts, including Mammoth Mountain, where “Dave McCoy let us sleep in the unfinished lodge.”

In the early 1960s, a career beckoned, so Ryan went to graduate film school in San Francisco, but continued to race. He found himself at Sugar Bowl Resort in California for the final race of the season, where he received the career advice of a lifetime. “You are not getting anywhere racing,” Ed Siegel, Sugar Bowl’s general manager told him. “But you’re a pretty good photographer. Come work for us.”

He did. “It was my first job getting paid to take pictures,” Ryan says with a laugh. Skiing remained a passion, but he found the time to pursue his craft in San Francisco, and made a name for himself chronicling the 1960s counterculture there. But he had found a home in skiing, and John Fry hired him as the staff photographer at SKI magazine for several years. He traveled the world shooting for SKI and other periodicals.

Ryan’s personal lens was always wider than just the sport of skiing. He studied under the greats of the time, including Minor White and Ansel Adams. His photography has been honored in international shows, with recent exhibits including “The Sea Ranch, Architecture, Environment, and Idealism” at the San Francisco Museum of Modern Art.

Ryan has always moved fluidly between still photography and cinematography. His cinema credits include Robert Redford’s A River Runs Through It and The Horse Whisperer. His documentary work includes Gimme Shelter, Salvador Dali, and recently a film on George Soros.

Ryan has always found his way back to the mountains. This photo essay illuminates an era in skiing’s history and also the progress of photography, which has changed as much as the sport that Ryan covers. 

“Photography has evolved enormously since the years when I was very involved in photographing the ski world,” Ryan, now 83, says from his home in Santa Monica, California. “Cameras and iPhones have become very mobile and everyone can take photos of anything.”

With the new mobile technology, “images are abundant and personal moments are revealed every day,” he notes. Ever the artist, Ryan sees these advancements not as a threat to his craft, but as new tools to use. “Photoshop makes possible the transformation of photographs into our own impressionistic images, and expressions of our thoughts superimposed onto the events in front of the lens,” he says. “It’s a visually exciting time.”

These images here are from a different time, “when on the side of the mountain, I had to pre-visualize the end result, often not seeing the processed film until days later,” Ryan says.

Though the technology has changed, what constitutes a powerful image has not. Ryan says there are two main components to a successful photo: What he calls “the graphics” or the visual structure of the image, and “the human element,” or the emotions that are shown in the photograph.

Great photography combines both to reveal “Cartier-Bresson’s ‘decisive moment’ in time,” Ryan says. The art is in recognizing that instant. “A compelling photograph is not what happened a second before or a second after. It’s a single moment,” Ryan says. “A photographer’s goal is to capture that decisive moment.” 

This is Part 1 of a 2 part photo essay series from Paul Ryan, with the second installment in the November/December issue. View this photo essay as a mini-master class in photography, as Ryan explains his approach to his craft and the intriguing backstories to each image.

When it opened in 1930, the Seigniory Club was the largest ski resort in Canada...and possibly in North America. 

Photo above: Aerial photo of the Fairmont Le Château Montebello resort, on the north bank of the St. Lawrence River in western Quebec, highlighting the Log Château (main lodge) near the waterfront. Though it’s no longer a premier ski destination, winter guests at the luxury resort can still enjoy an extensive network of cross-country trails, snowshoeing, skating, tubing and sleigh rides.

The historic Le Château Montebello, 50 miles east of Ottawa in the Outaouais region of western Quebec, claims to be the largest log structure in the world. That may or may not be true. But while the architecture is impressive, the almost-forgotten ski history of the
hotel is legendary.

Extensive research by the late Pierre Dumas, a retired engineer who won an ISHA Award for his work in identifying and cataloging every ski area and jump in the history of Quebec (Skiing History, July-August 2017), has revealed that when it opened in 1930 the Seigniory Club, as the complex was then called, was the largest ski and winter sports resort in Canada...and possibly in North America.

First, a bit of background. In 1929, a Swiss-American businessman, Harold M. Saddlemire, met the auction price and bought the rural property—a seigneurial estate originally granted in 1674—near the village of Montebello on the Ottawa River. Saddlemire, a bold man with a vision, had already created Lucerne-in-Maine, an early resort conceived as a rustic holiday destination for wealthy Americans.

In Montebello, he thought bigger, approaching three major bank presidents, the premier of Quebec and the president of Canadian Pacific Railway (CPR). All endorsed his plans to acquire an additional 100 square miles and build Lucerne-in-Quebec, a year-round resort on a grand scale. For the construction, and the convenience of future guests, CPR built a special 3,700-foot spur line to its doorstep. In the book Building The Chateau Montebello, by Allan and Doris Muir, it’s reported that by 1930 the project had passed out of Saddlemire’s hands and plans had shifted to create the private, prestigious Seigniory Club. (The resort was owned by the CPR and leased to the Seigniory Club until 1970, when it was converted into a public resort by Canadian Pacific Hotels and renamed the Château Montebello.)

The owners engaged Montreal architect Harold Lawson and dreamed of building the largest log structure ever. They decided to open to the public on Dominion Day—July 1, 1930—just a few months away. Canadian Pacific built a spur line to reach the site, thousands of cedar logs were ordered from western Canada, and the project broke ground in late February.

The Crash of 1929 and the ensuing Depression had hit Canada hard, but the Château Montebello visionaries created a Canadian version of the American New Deal for the 3,500 workers they hired. Many were Scandinavian and Russian log craftsmen who worked with hand tools. Victor Nymark, a Finnish immigrant and master log builder, oversaw teams that worked around the clock in shifts to finish the project in less than four months, using 10,000 Western red cedars from British Columbia (40 miles laid end-to-end).

The grand 211-room resort hotel featured a snowflake-shaped floor plan and was, at the time, the largest log cabin in the world. It had the world’s tallest ski jump, a world-class bobsled run, cross-country and alpine slopes, a curling rink, a skating rink, a billiards room, a ballroom, a heated indoor swimming pool, fine dining, and a massive four-story, six-sided fireplace.

Three days after the grand opening on July 1, the Governor General of Canada attended a glittering costume ball at the club. For its first 40 years, the Seigniory Club remained an exclusive private retreat, attracting such luminaries as Prince Rainier and Princess Grace of Monaco, U.S. President Harry Truman, and entertainers Bing Crosby, Perry Como, Bette Davis and Joan Crawford. Today, it’s a luxury resort owned by the Fairmont chain, where wintertime guests can still enjoy an extensive cross-country trail network, snowshoeing, tubing, sleigh rides, dogsledding and ice skating.

In January 2015, I received an email from my friend, the late Pierre Dumas. He had attached a picture showing Patricia Paré at the finish line of the 1939 Women’s Dominion Ski Championships at the Seigniory Club in Montebello. He asked if this was my mother. Yes, I laughed. Looking at the photo, I could see that what she’d always told us kids was true: A downhill and giant slalom champion in the 1930s and the first professional female ski instructor in Canada, she always claimed she didn’t know how to ski as a young and daring racer. Her graceful style in later years made this seem unlikely. But while she won the race, one glance at the young woman in the picture proved her point: My mom just pointed her skis straight down the hill, and often said she either crashed or won.

Over the following years, I followed with fascination as Dumas unearthed and identified an extensive record of downhill skiing, jumping and bobsledding at Montebello. Working with other amateur historians, he found clues in old aerial photographs and other pictures, pored through mountains of old documents, and even located mortared rock mounds in the forest—the remaining foundations of the ski jumps and other installations.

In the pictures that accompany this article, you can see the scale of the venture, with its bobsled course designed by world-class German engineer Stanislaus Zentzytzki, and a ski jump designed by Norwegian engineer and renowned Canadian cross-country ski pioneer Herman “Jackrabbit” Smith-Johannsen. The builders spared no expense and hired top-ranking professionals to undertake each project.

Throughout the 1930s, the Seigniory Club was an important center for the development and promotion of skiing, ski jumping, bobsledding and other winter sports. It hosted important races and served as a training location for overseas teams competing at the 1932 Winter Olympics in Lake Placid. Its jumping and bobsledding facilities were comparable to Lake Placid, and it had excellent ski slopes and trails. The one thing it didn’t have—and never installed—was a rope tow or lift, thus fixing it forever to an era in which races began with competitors trekking uphill.

Rhoda Wurtele, who with her late twin sister Rhona was a Canadian ski champion in the 1940s and 1950s, remembers running up the hills at the Seigniory on seven-foot-long skis to race down, as documented in Penguin Club scrapbooks. With its gentle hills, open fields and reliable snow, Montebello was particularly good for that kind of skiing, called “ski running.” This was a familiar term in the 1920s and 1930s, particularly in Canada, during an era in which skiing involved a lot of walking or running up the slopes in order to ski down.

By the 1930s, ski trains were bringing as many as 10,000 people to the Laurentians every weekend to destinations like Émile Cochand’s Chalet Cochand. Statistics for 1938 show that 10,000 Americans came to the area for the Christmas holidays alone. Montebello’s builders determined to make it the most important ski center in the region. With over a hundred square miles of land at their disposal and solid financial backing, they could easily pull it off. All through the 1930s, the Seigniory Club was a favored location for ski runners. Clubs challenged each other every winter, including the Montreal Ski Club, the McGill Red Birds, the Penguins, clubs from Ottawa and Toronto, and even a club that regularly came up from New York.

The club that took the overall prize did so by having the highest total points across all disciplines. For the women those were downhill, slalom and giant slalom, while the men included jumping. The year of my own mother’s victory, 1939, she won the downhill for the Penguins. It was part of a four-year run that saw the Penguins defend the title as overall winners at the Seigniory Club, until McGill beat them in 1941. In 1942 the Penguins came back with a new team and the Wurtele twins tied for first place in the downhill during a day of races held during a fierce blizzard. They took the title back for the Penguins.

When Cochand arrived from Switzerland in 1911, his first surprise was the diminutive size of the Laurentian hills. Races in the Alps could involve climbing mountain glaciers to take a downhill run covering 5,000 feet of elevation. Cochand quickly embraced the ski runner style and helped to develop it. But when the American Joe Ryan and other investors began to build lifts at resorts like Mont Tremblant in 1939, skiers opted for Alpine-style schusses and larger, steeper hills.

Montebello could not compete. It no longer hosted competitive winter sports, leaving the jump and bobsleigh track to fall into disuse. Through the decades, the resort has continued to maintain its cross-country ski trails, along with sleigh rides, skating and curling.

From a gathering spot for the people of the Petite Nation, to the land-grant estate belonging to Canada’s first bishop, to the building of the largest log structure in the world, Chateau Montebello has many stories to tell. Its one-time dominance as Canada’s largest ski resort is just one of them. Thanks to the diligent work of a team of heritage experts, we can begin to tell it. 

Joseph Graham is an historian and the son of Canadian ski pioneer Patricia Paré. The late Pierre Dumas won a 2017 ISHA Award for his work to document Quebec’s ski areas and jumps; for his obituary, see page 30. This article was funded by a grant from the Chawkers Foundation through a partnership with ISHA, the Canadian Ski Hall of Fame and Museum, and the Canadian Ski History Writers Project (https://skiinghistory.org/resources/canadian-ski-history-writers-project).

seigniory floor plan: Building the Chateau Montebello (allan and doris muir)

Inspiration for Sun Valley?

There is no evidence that the Seigniory Club provided the inspiration for W. Averell Harriman when he built his dream resort of Sun Valley in the mountains of Idaho in 1936. But the similarities between these two ground-breaking winter destination resorts does raise the question.

Sun Valley would also be built during the Depression, at the end of a Union Pacific railroad line, and in a hurry (seven months rather than four). Its 220-room resort hotel (versus 211) also featured a snowflake floor plan (though modified) and was built using rough lumber forms to leave wood-grain impressions in the concrete, which was acid-stained brown. It too had a heated pool, a skating rink, a ballroom, fine dining, and billiards were planned. Like Seigniory, Sun Valley drew the biggest names, including Hollywood stars, and was also featured in films.

The big difference? Alpine events were added to the Olympics in 1936, so Sun Valley’s emphasis, unlike Seigniory, was on downhill skiing. It had serious alpine slopes nearby and built the world’s first chairlift.

Sun Valley became the largest modern ski resort in North America, while Seigniory faded out of the alpine picture, though certainly not from world view. In 1981, the Canadian resort hosted the seventh G7 summit, and in 1983, it hosted NATO’s Nuclear Planning Group. —Bob Soden

When it snows, skiers ski, even amid calamity. That could change with Covid-19. By Andy Bigford

Skiers and the industry have confronted and overcome a variety of disasters—wars, gas shortages, recessions, and terrorism—none of which affected the sport more than the biggest annual influencer of all: the weather. This disaster is different. The novel coronavirus already has trimmed one-sixth of the prematurely closed 2019-20 season, an estimated 8 million skier days and $2 billion in revenue, according to the National Ski Areas Association (NSAA). Travel concerns, social distancing constraints, and the cratering economy could take a much bigger bite out of the upcoming 2020-21 season. Or not.

Just prior to the modern skiing age, World War II was the obvious exception to the weather rule. Many of the 60 or so “ski areas” operating in the U.S. closed during the conflict, as did countless community rope-tow hills, with resort improvements coming to a standstill. 

Stowe stayed open. With gas rationing in force, skiers commuted by train and bus, but the lifts spun just six hours a day. The sport supported the war effort in other ways. Stowe skier C. Minot “Minnie” Dole, who founded the National Ski Patrol in 1938, persuaded the U.S. State Department to create the 10th Mountain Division ski troops. At the 10th’s headquarters at Camp Hale in Leadville, Colorado, Ski Cooper was created and then opened to the public after the war...