Bandwagon, February 1952

Bandwagon, Vol. 7, No. 2 (Feb), 1952. Note: Only some articles are included in this online edition. Illustrations are not included. The Circus Historical Society does not guarantee the accuracy of information contained in the information in these online articles. Information should always be checked with additional sources.

A Gala Day in Iowa Circus History

On the morning of Aug. 12, 1905, the sun rose early to shine a full day on what was to be one of the greatest days in Iowa Circus history, for this was the day that The Great Floto Shows, The Circus Beautiful, and Pawnee Bills Wild West and Great Far East Co. played day and date in this little city. This was said to have been one of the few times that two major tented attractions ever played in so small a city, of about 4,000 inhabitants. The writer recalls vividly hearing the Circus trains pulling into town in the early morning hours, living as I do only a stones throw from the railroad.

By six o'clock they began to unload, and the people began to crowd around the runs to watch the work, which is always an interesting sight. The Floto Show come in over the Iowa Central road and began unloading at the freight depot crossing on Hamilton Ave. Mr. Frank Tammen was there on his horse to direct the work, being Manager that season. The lot was a short haul of five blocks at the south end of Broad Street.

Pawnee Bill Show come in over the Rock Island road, and were spotted at the freight depot crossing on West Street. There was much visiting at the runs by people from both shows and everything was very friendly, even though the billing for forty miles around showed much, rivalry. Every available barn and shed for miles around was covered with bills and posters announcing the coming of these two great shows on the same day. No paper was covered and the billing war seemed to be on friendly terms.

By ten o'clock the streets were lined with people, out to see the parade, and what a parade it was. If one were to live two lifetimes, I doubt if they would ever see two parades like these again. Both shows went all out to get the crowds that lined the streets for blocks. Flotos had three bands, bagpipers, etc. There were many fine horses mounted by the gentlemen and lady riders of the show, all costumed in the finest regalia of gold and silver spangeled suits, followed by open cages and finely pointed tableau wagons, clowns and minstrel bands, ponies of all colors, whites, blacks, and spotted, in two, four, and six horse hitches, pulling small cages and carts, all spottlessly groomed, a great delight to the children who ran beside them down the street.

The wagons were followed by the camels carrying riders, and elephants led by Christian Zeitz, who by the way seems to be the only man now living who was a department head on that show of 1905. He was superintendent of the Menagerie and now owns an orange grove at Kissamee, Fla. His wife rode in the Howdah on one of the elephants in the parade that day in 1905. As the end of the parade came in sight the steam calliope started to play, and he was an excellent musician on this unique instrument.

As the calliope swung around the corner of Broad Street and 5th Ave., Gordon W. Lillie (Pawnee Bill), and his wife, May Lillie, on their fine horses, were there to follow Flotos parade right around the business district. It was a great parade, with nearly every one on the show in it. Indians in their warlike regalia, Russian Cossacks on black horses, American and Mexican cowboys right from the plains of Texas and Oklahoma. No drug store banjo playing broncho busters in this bunch of ropers and riders.

There were South American Vaqueros with their Bolas, from the Pampas of Brazil, Singhalese herdsmen from far away Ceylon playing their tom toms, Australian Bushmen with boomerangs, Arabians riding fine Arabian steeds, an old fashioned prairie schooner drawn by oxen, the old stage coach, and the pony express.

There was the usual outside free acts on the show grounds as the parades ended, with the usual large crowds on hand to witness the entertainment. The Pawnee Bill Show had advertised an airship and many thought this was going to be flown right after the parade. It was not shown however, until you were inside of the arena, where is was roped off in a small inclosure. It was a small model of a Blimp, about six feet high and fifteen feet long. Not large enough to carry a man.

The afternoon performance of the Wild West Show was on a par with the Cody Show, and consisted of Rough Riding and Broncho busting by the cowboys, lariet spinning and roping by Mexican Joe - I believe this was really a fine piece of work with the lasso. Princess Wenona in a very good sharpshooting act, and May Lillie riding a horse and breaking glass balls thrown in the air with a rifle.

There was a troupe of Russian Cossacks who did some wonderful riding, about the best this writer has ever seen. May Lillie also put her fine horse through some fine high school feats, much to the liking of the large crowd. The Australian Bushmen did some fine work with the boomerang and battle axe throwing.

It was a good two hour performance and everyone seemed pleased.

The Pawnee Bill Show this season was transported on one train of about fifteen cars. They had a very good band, as yet I have been unable to find out who the leader was.

A noticeable feature of the advertising was the fact that both ads were on the same page, Floto's using about one-fourth of the page, and Pawnee Bill's the other three quarters. At the lower part of Pawnee Bill's ad was a special invitation to attend his Historical Wild West performance, where you would be accorded the same courteous treatment you would have were you to enter his own private home. No uncivility by any employee is tolerated, and none will occur. Signed, Major Gorden W. Lillie.

These advertisements were run in the leading Grinnell paper, the Herald, two or three weeks before the date of showing. Floto's did not use as much space as they had been here before and were well known locally as a good clean Circus.

Nearly everyone witnessed both shows, those who saw Pawnee Bill's in the afternoon went to the Floto Show at night, each seemed to do about the same amount of business.

The writer and his wife attended the night performance of the Floto Show, arriving a little late, we took in the Side Show which was just closing. Al Windecker, the magician whom I had seen on the Barnum and Bailey Show a year before, was doing magic here also. John Zubolakis, clay modeler, was there. Vallicetas Lions and Tigers were shown in the Side Show. "Princess Carmen" did a ring act.

This seems to have been the only time in Iowa Circus history that two large railroad shows have met in such a friendly duel.

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The End of the Norris & Rowe Circus 42 Years Ago

The Norris & Rowe Circus first took the road in 1902, its territory being the Western states. In 1907 and 1909 the show went into Eastern Canada playing Fredericton, New Brunswick, both years. The fall of 1909 found the show in Southern Indiana. A severe wind storm struck the show while at Princeton, Indiana, sometime in October, and Evansville, Indiana, was selected as winter quarters. The 1910 season opened in Evansville, a two day stand, April 15 and 16. The city was well billed and plenty of newspaper advertising used. If I remember correctly there were 22 cars with the show. They were the old wooden type cars, the flat cars sagged in the center when loaded with the heavy wagons.

None of the cars or wagons had seen paint from the year before. The side show tent was new, also the entire line of side show banners. All other canvas had been used the season previous and did not present an attractive appearance. Show had quite a spread with a 4-pole big top, with double row of quarter poles. Two rings and center stage were used.

Bad luck started on opening day during the first performance. The weather was ideal, the parade was out on time and the streets were packed with the usual crowds to see the circus parade, now a memory of other days. There were a few elaborate hand carved tableaux and two band wagons still with the show from its prosperous days. The baggage stock in good condition while all parade wardrobe was from the year before. During the performance opening day the wardrobe lady with the show whose name I have forgotten, shot and killed a man for peeking into the ladies dressing room. From reports the fellow had been warned to stay away more than once. This happening caused some excitement on the lot, many leaving the performance when the word was passed around of the happening. The lady was arrested and placed in jail but I have no record of how the case was settled. The next morning the front page of The Evansville Courier had the full account of the event with a sketch of the tent showing how the shot was fired from the inside, etc. This sketch was drawn by Karl K. Knecht, cartoonist of the newspaper, and one of the first CFA members.

I recall but a few of the staff, Walter Shannon, Manager; Herbert Maddy, press agent with show; Charlie Tinney, bandmaster with fine band of 20 musicians. The writer was a trombonist. Tinney had been leader with Cole Bros. Circus (Martin Downs, Owner) and a few musicians were from that show that toured 1906 to 1909. Who the manager of side show was I do not remember. Among the attractions were "Zip" Barnum's "what is it" in charge of Cap White. Zip was with Ringling show years later and a famous side show attraction. Chief Debro and wife, billed as the Eskimo Midgets were there and later were with the Mighty Haag Circus. They hailed from Kendallville, Ind. A good colored band and minstrels were in the side show and an aeroplane was on exhibition, a novelty at that time.

A strong well balanced big top performance was presented. Just a few acts I recall were the Flying Moore's, four people aerial return act. They were from Muncie, Ind. The DeComa Troupe also did a similar act. Two Japanese troupes did a fine exhibition of foot juggling and balancing; the Baker troupe performed on the center stage and were trick bicycle riders, later were with Barnum & Bailey show. The Davenport's were the feature riding acts. The Albion sisters, and the Earl sisters did trapeze, roman rings, and iron-jaw numbers. Jack Albion was producing clown, and Stoddard and Wallace also clowns who later were with Sun Brothers Circus. The names here mentioned were all well known performers 40 years ago and later. No wild west acts of any kind. The real hippodrome races closed the performance including the Roman chariot races. The march played for the grand entry or tournament was "On Dress Parade" by W. Paris Chambers, the same march used for entry with Gentry Brothers show.

The stand following Evansville was Henderson, Ky., Monday, April 18. It was a raw chilly day and snow flakes fell during the parade. Both shows given to poor business. Princeton, Ky., was made Tuesday where the weather was cold and slim crowds on hand. Wednesday the show was in Paducah, Ky., and for some reason the train was not unloaded and remained in the railroad yards all day. Reports were, money had to be advanced for transportation. Hopkinsville, Ky., was the Thursday date, another cold, cloudy day. Parade out on time and both shows given to fair attendance. Central City was the Friday date. Nothing unloaded. Saturday, April 23, the show was in Owensboro, Ky. Parade out on time. Chilly weather. Snow fell during the afternoon performance. All the tents really white at this stand from the snow. Business poor. Louisville, Ky., was the next stand, Monday and Tuesday, April 25 and 26. Parade out on time and both shows given to fair attendance Monday, though the weather was cool. A rain started Tuesday morning and continued during the afternoon. No performance given and orders come to "Take it down." Show started loading about 4:00 P.M. that day. Following stand was Shelbyville, Ky. Here the sun was shining again and warmer weather. Parade went out and for some reason only an afternoon performance was given.

That afternoon I received a telegram from Gentry Bros. Shows in Indiana, that had just opened a few days before. I left the Norris & Rowe Circus at Shelbyville, Ky., having to wait for train until after midnight. The next day I was with Gentry Bros. show where all was peace and contentment. I saw the Norris & Rowe show load and the last glimpse of it I had was the caboose with the red lights at the end of the flat cars as it pulled out for another town. Quite a few other show folks, including performers and musicians, had already left as we knew things were bad and the end in sight soon. Just a week later the show was billed to appear in Newport, Ky., opposite Cincinnati. It was attached there by the Donaldson Lithographing Company. Notice of the attachment and the ending of the show appeared in The Cincinnati Enquirer at the time. No one received any pay whatever. The troupers had no trouble being placed with other shows as there was plenty to choose from in 1910. A few days later Col. Ben E. Wallace of the Hagenbeck-Wallace Show had the Norris & Rowe train taken to Peru, Ind., and the property was offered at auction sales, one in June, another in August. Both sales were advertised in The Billboard. The only piece of printed matter I have of that show is a flashy letterhead with picture of H. S. Rowe, owner and manager. That was the end of the Norris & Rowe Circus, a name well known over 40 years ago in the far West. The title has never been used since.

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State of Florida Acquires Chambers Collection

Philadelphia continued to be enthusiastic over the various companies that appeared there, but it was around New York City and in southern Connecticut that the true American circus had its development. The New York counties of Westchester, Putnam and Dutchess, and the Connecticut one of Fairfield remained the circus center, from the earliest years of the 19th century for more than 100 years - in fact until John Ringling brought the show to Sarasota.

In the early days, ship captains brought parrots and monkeys and other small animals into all seaports, but it was customary for them also to take larger animals into New York. That was undoubtedly one reason the menagerie grew to exciting proportions in the neighborhood.

The first large animal exhibited was an African elephant called Old Bet, bought in London for $20 by the brother of Hakaliah Bailey, and sold to Hakaliah for $1,000. Old Bet was shipped up river to Sing Sing (now Ossining), nearest river port to Stephentown (later Somers) where Hakaliah lived. The owner showed her in barns and tavern yards in the region around, and made money. He added other animals, and soon leased the enterprise to Uncle Nate Howe of Putnam County, who took it on tour through New England. Thus New Englanders acquired a taste for gazing at various strange animals. And Hakaliah Bailey made so much money he built the Elephant Hotel in Stephentown - now the Somers Town Hall.

Three men of Westchester County - Messrs. June, Titus and Angevine - decided to get onto the menagerie bandwagon. After 1821, they exhibited during the winter in a building at 37 Bowery in the city, and during the touring season either leased various traveling menageries or took them onto the road themselves. Members of their families carried on for more than a half century.

New York wasn't so liberal as Philadelphia; so, when George C. Crane of Somers joined them, and they established the "Zoological Institute," it was advertised as education, to avoid antagonizing the puritanical. Nevertheless, two elephants were killed, and other animals were shot or poisoned by fanatics, who thought the menagerie was as evil as the theater or circus.

Wealthy men joined the combine, and soon they were sending costly expeditions to Africa, to bring back rhinoceroses, hippopotamuses and giraffes. They also got animals from Asia, from the Polar regions, and from South America.

Seals, sea lions and all kinds of fish were included, and very soon after this fakes, such as sea monsters and mermaids, began to appear. The process of gulling the public, which Barnum was to carry to unprecedented lengths, was well on its way.

The spirit that inspired such tricks must have been closely related to the one that brought forth polysyllabic designations like Hippozoonomadon, Equescurriculum, Hippo-Olympiad, Hippocoloscilum, Quadrapatheon and Octoplexzara.

We find records, in more legitimate style, of the Raymond and Waring Menagerie, the American National Caravan, the Animals of the Scriptures, the Association's Menagerie and Aviary, and Van Amburgh's and Driesbach's Trained Animal Exhibits. Gradually, the companies began to acquire top tents, use band wagons, and carry horses to draw the cages overland.

Heralds show when a circus first crossed the Alleghenies, when one first was put onto the railroad, and when the first one went to the West Coast. It was no time at all before the circus had become a national institution.

During the growth of the menagerie, circus or equestrian performances were being developed in Putnam and Fairfield counties. Nathan and Seth B. Howe of Brewster, N. Y., and Aron Turner of Danbury, Conn., were pioneers. During that period, the name of Levi J. North, "The North Star," appears again and again.

North, born in 1814, was an acrobat as well as a great rider. He is said to have been the first man who ever turned a somersault on horseback, and he received a medal in England for turning 55 consecutive ones.

A few years afterward, he gave a command performance for Louis Philippe, in Paris. He was constantly before the public for 40 years, and rode until he was 52. Shortly before he retired, he built an amphitheater in Chicago, copied after Astley's in London, and his family continued the tradition. Victoria, his daughter, was an actress and singer, as well as an equestrienne.

By Civil War times, the two businesses of circus and menagerie had virtually become one. Every circus had its menagerie, as an expected part of the show.

The whole process may be traced in detail through the material now in the Museum of the American Circus. It may be approached, of course, from the point of view of the company, that of the performers, or that of the individuals who acted as entrepreneurs.

During the past 150 years, there have been scores of circus proprietors who have made tremendous fortunes in the business. Traditionally, a proprietor was addressed as "Governor." Some of the governors came of circus families, or themselves started circuses. Others got in by buying in. Some of the best known and most successful of the lot slipped figuratively under the edge of the tent.

For example, John Robinson (1807-1888) was first a night watchman for Rockwell's Circus. Adam Forepaugh (1831-1890) started his career as a butcher boy, and gradually made money in horse and mule contracts during the Civil War. He later furnished horses to circuses, and eventually bought stock in the Tom King. Benjamin A. Wallace (1848-1921) ran a livery stable from which he furnished horses and carriages for advance billposting agents, and hay for the circus horses. Two of the famous four Sells Brothers, who flourished in the last half of the 19th century, started as auctioneers and peddlers, who followed the circus to sell their wares.

The name Bailey has always been a great one in the circus business. George F. Bailey, a famous manager, last of that breed who financed and operated circuses from the background and were known as Flatfoots, was the nephew of Hakaliah who owned Old Bet. But the most famous of the Baileys was James Anthony whose original name was McGinness. He was adopted by one Fred H. Bailey, who drove into Pontiac, Mich., to "bill" the Robinson and Lake Circus, and found the bright and energetic young orphan working in a livery stable.

James Anthony Bailey (1847-1906) worked for his benefactor, and gradually acquired circus stock, until he was half-owner of the Cooper and Bailey show. In 1876, when he was still less than 30 years old, with an excellent company and menagerie, on his own initiative he toured 76,000 miles in two years - to Australia, Tasmania, the Dutch East Indies, back to Australia (where he bought a boat to transport his circus), to Peru, Chili, Argentina and Brazil. He is considered the greatest circus manager of all time.

A man named Jeremiah Joseph Mugivan (1871-1930) was responsible for activities that had a lasting effect on the Ringling interests and, through them, on Sarasota and Florida itself. Mugivan started out of Denver as a ticket seller, and had his own 10-car circus in 1904. He acquired properties right and left, and by 1929 owned five fully equipped circuses and had titles to others. It was he who organized the American Circus Company, and he who forced a showdown with John Ringling, in 1929, for the 1930 spring dates for the circus in Madison Square Garden, New York. Ringling accepted the challenge and bought the corporation's entire holdings for, it is rumored, $1,900,000. It was that debt, incurred at the beginning of the Depression, that hung over John Ringlin's head for six long years, hampering him in the building of his art museum, and complicating his personal life.

When it comes to the contemporary scene, there are hundreds of photographs, programs and route books, in the Chambers Collection, from which one can gather information about various circuses during the past 20 years.

American theater programs go back to 1849 at the New York Astor Place Opera House; English ones, to 1819. On programs appear the names of such personages as William C. Macready, Eliza Paton, Nat Goodwin, Richard Mansfield, Charles Kean, William Faversham and Joseph Jefferson. There's a program of the original performances of "Uncle Tom's Cabin," shortly after it was first published in book form, in 1852. All the great theaterical favorites of a generation or two ago are seen in the autographed photographs.

The person who peruses the books and pamphlets on various methods of fooling eye and ear may learn the A, B, C, of Ventriloquism, Cheiro's Guide to the Hand, Magic for Everyone, the life story of Houdini, the Rationale of Mesmerism, popular magic for the amateur conjurer, and card tricks without sleight of hand or apparatus. Probably the most important volume in this part of the collection is "Hoyle's Games," 1760, autographed by the author.

Oddities collected by Mr. Chambers, and now become the property of the State of Florida, include such books as "Gallerie Historique de la revolution Francaise," with 50 portraits of the most remarkable personages of that period; and "The Romance of Madame Tussaud's," by John T. Tussaud.

A few of these items undoubtedly will go eventually to other museums or libraries, or to individuals; but the greater part of the Chambers Collection will stay in the Circus Museum in Sarasota.

No matter what a person is interested in, so long as it's some phase of the circus he'll find authentic material about it here - in the most comprehensive collection in the world.

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Official Route Gentry Bros. Circus, Season of 1927

Contributed by "Whitey" Gibson

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Cole & Walters Circus A Kelly-Miller Show in Miniature, Season 1951

We were both pleased and impressed by our initial visit to the Cole & Walters Circus at Hanover, Kansas, September 10th, 1951.

After spending an enjoyable day on the show as a guest of Mr. and Mrs. Herbert Walters, we feel that the finest praise we can give the show is in the statement that it is a miniature Kelly-Miller show.

Under the able management of Mr. Walters, we were quick to notice the some excellent qualities which has made the Kelly-Miller a leader in the motorized show world . . . the same high grade type of performance; the same well-conditioned animals; the same friendly and courteous attitude to both visiting fans and general public; and the same sound principles of conduct and operation without resorting to grift in any form. These policies have "paid off" for Kelly-Miller and we feel certain that succeeding seasons will see it paying off for the Cole & Walters.

The menagerie, housed in the side show, is quite adequate for a show of it's size - four elephants, two camels, Llama, two lions, kangeroo, deer, a cage of various species of monkeys, etc. The baby hippo which died early in the season has not yet been replaced. There is also an ape exhibit on the midway.

Big show admission is $1.00 with reserve seats an additional 50c, and the concert is 25c. Side show is 25c to all. Ape show, 10c.

The show moves on ten show-owned trucks, plus several independently owned vehicles and performers house trailers and makes a very good appearance on the lot. The canvas and equipment shows signs of a rugged season but is otherwise in good shape.

Herbert Walters, show's co-owner, manages the show. Mrs. Walters is on the front door and their daughter, Shirley Cole, takes part in the performance. Don McLaughlin is in charge of the office wagon. Ted LaVelda is side show manager. Frank Ellis has the concessions and Tillie Keyes presides over the cookhouse.

The performance is exceptionally good for a small show. Presented in two rings and a platform, it opens with a colorful grand entry and moves swiftly with few lags between numbers,

We can truthfully say that we could not spot a poor act in the entire performance. The whole show from start to finish is good - the sort of show that leaves you wishing it wasn't all over at the finale. All animals are well trained and the costuming is excellent even in the smaller acts. Property men are on their toes - not sitting around watching the performance. It is difficult to single out special acts in as well-rounded a performance as this so we will not attempt to play favorites, since we enjoyed one and all alike.

Like on all shows, of late, more clowns are needed. Don Hayden and Happy Wood, the show's two fun-makers do a fine job of getting laughs but half a dozen are really needed. Happy Wood also keeps the crowd amused working the come-in.

The concert presented by Chief Keyes and company is also above the average. We personally found it a welcome relief from the stereotyped "direct-from-Hollywood" cowboy and the Chief's feats with rope, rifle and knives are really something to see.

The band, under the direction of George Bell, was at this stand cut down to three members but replacements were on the way to join up. The trio who carried on succeeded in making up for the lack of quantity of players with the quality of their music and we are of the opinion that any circus fan would much prefer their real circus music to that of a larger band on records, or the Hammond organ with which the show started its season.

The show's four bulls were paraded to the business district at noon for a tie-in bally for Ford and International Harvester dealers.

Although the weather was ideal, the matinee attendance was very light. This was, we believe, due to the fact that the schools were not dismissed and also that the show came in right at the close of an extensive fair and celebration season in this locality. The night attendance was much better - better than a three-fourths house with the majority seated in the reserves and kid show and ape exhibit well patronized.

Here is another circus which we feel is a credit to the circus business and one which will - like the Kelly-Miller show - do much to educate the public to the fact that a show can travel on trucks and still put on a good performance. We hope that future seasons will see more shows of the high calibre of the Cole & Walters.

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