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Bandwagon, November - December 1962
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Bandwagon, Vol. 6, No. 6 (Nov-Dec), 1962. Note: Only some articles are included in this online edition. Many 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.
From an "Eye Witness" Story in The Lewiston (Maine) - Evening Journal -Tuesday, July 11, 1882.
This photo of Jumbo with his keeper, Mathew Scott, was taken at the Bridgeport, Conn., winterquarters in 1882. Pfening Collection.
"Between the hours of four and six o'clock, Tuesday morning, three long and heavy trains of cars came rumbling over the Maine Central Railroad Bridge into Lewiston. This city heard and understood the salutes of steam! Elephants stuck their trunks through crevices in their cars. Sky-reaching giraffes stretched out their long necks and peered over the telegraph wires upon the awakening city. There was an occasional groan, now and then a bellow. All this meant Barnum-Jumbo' The station was thronged with people, when the circus cars came in and were quickly and methodically unloaded. The cumbersome cages and mighty chariots were unshipped with the same ease with which a top buggy could be rolled off an ordinary freight car! There was a perfect system of ropes and runs, strong, but simple in their arrangement.
The first train contained the horses, tents, laborers, etc. The next train the menagerie; the last train the performers in sleeping cars. They were unloaded in the order in which they arrived and the cars were then switched onto sidings.
Looming high above a herd of twenty elephants which were driven through the Square, a few minutes before seven o'clock - was the massive, gigantic sovereign of elephants - Jumbo! The other full-grown elephants looked like babies beside him. The huge beasts, which one year ago, overshadowed the brute creation of this continent, were dwarfed in the presence of this African monster! His great bones protruded like gables on a Dutch house!
Jumbo doesn't fatten in this climate. Each of his big flopping ears looks like a side of sole leather! Hundreds of people watched his passage in astonishment. By the time Jumbo and his companions had reached the showgrounds, the host of circus laborers were erecting a long line of tall masts which from a distance, might be thought an inland harbor where a fleet lay at anchor. In a few hours, the great spread of canvas was completed. The exhibition tent is 466 feet long and 270 feet wide. The performers dress in a tent as large as any ordinary circus canvas. In one big tent, long breakfast tables were speedily spread; big kettles of odorous coffee were hung over fires, and a legion of cooks and waiters were frying whole sides of beef steak and serving them to Barnum's people; in tents of their own, harness makers and blacksmiths were at work.
Thousands of strangers poured into the city on special trains, in teams, and afoot, By nine o'clock, when the parade took place, the streets were packed four deep with crowds of city and country people. The man with the big balloons - the man with the ice cold lemonade - the man with the peanuts - the flustered woman with an infant in her arms and several more olive branches clinging to her gown - none of these scenes of Barnum's own day, were wanting.
The dazzling pageant consisted of 100 imposing chariots, numerous horsemen and horsewomen, strange and savage wild beasts, blaring bands, and occupied 25 minutes in passing a given point.
First came two outriders in spangles - then a glittering, gilt band chariot with 15 elegantly uniformed musicians - half a score of riders in red helmets and gold capes - open cage of four leopards - also four lions five panthers - snakes in a glass den. The big Chime of Bells Wagon - seven coal black Stallions led by their German grooms. An enormous eight horse chariot, surmounted by the Goddess of Liberty, sitting on a big globe, surrounded by gorgeously costumed attendants; then the Continental Band in an eight horse chariot. Cavalcade of helmeted knights and their fair ladies; two ornate cage wagons containing tigers and lions; the big "Orchest Melochor" grinding out music - this is a big thing! Four camels with handsome trappings; a fancy miniature wagon drawn by four zebras; and another charming chariot with a little girl driver, drawn by four camels; Indian Band of eight men -"Give the bass drummer a puff," shouted one redskin to this reporter.
Six more camels; a chariot drawn by the small elephant "Tipp" - two more elephants; a heavy chariot drawn by four great elephants with strong hawsers for tugs, driven by a stout rider with a sharp prod; a line of gilded cage wagons containing hyenas, jaguars, polar bears, antelope, and a weird looking bird, called an Emu. Ten ladies mounted on beautiful white horses, accompanied by ten English jockies. Two hippodrome chariots driven by ladies clad in Roman togs. Kris Kringle and his reindeer - The Old Lady in the Shoe; with her mischievous brood peeking out between the laces! - the famous gilt peacock cart; the car of Neptune, drawn by eight gray horses; the Scotch bag-pipers; jubilee singers; a tremendous cage wagon in which the "Blood Sweating Hippopotamus" splashed mightily about in his tank. The triumphal car of the gold elephant, escorted by a herd of ten elephants; and finally the ear-splitting but mellifluous steam calliope!
Following the parade, the newspaper craft of the city were waited upon very politely by Mr. D. S. Thomas, Barnum's chief press agent. An introduction to Jumbo by Mr. Thomas was an occasion long to be remembered! This huge but gentle creature - ate bread and drank lemonade from the guest's hands. He rolled a two pound loaf under his tongue in a manner that indicated a whole bakery might possibly afford him a square meal! He enjoys iced lemonade keenly in hot weather. It is poured into his mouth by the pitcherful. Jumbo has only one bad habit - he chews tobacco! This is contrary to all elephant customs we've heard! Prof. Arstingstall says "Jumbo is like a great boy." - Mr. Scott, who has been Jumbo's private keeper for seventeen years, says: "The old fellow sometimes gets a little fidgety." "Queen" and her young baby, "Bridgeport" - had a fire hose turned on them this morning and enjoyed the cooling bath immensely! - "Whelp" is the bad elephant in the herd and has a vicious disposition. There is also a bad monkey, in a cage by himself. He is called "Guiteau." He killed an Italian, who was teasing him in New York, by opening an artery in his neck. There are wild animals from every quarter of the globe in Barnum's big menagerie but needless to state - the greatest attraction of them all - is Dear Old Jumbo!
The circus performance in three rings is on a scale commensurate with the rest of the show - simply immense in the aggregation of the most skilled performers in the world! There were over 10,000 people in the main tent this afternoon and although it was uncomfortably warm; no one in the vast throng of wide-eyed spectators had time to complain, so intent were they upon the 1001 wonders unfolding in the air and upon the ground!
An even larger crowd is expected to be on hand when the performance is repeated this evening and then, when the last race has been run on the hippodrome track - we will bid a fond adieu to Barnum and Jumbo and eagerly await their triumphal return next summer!
The Arthur Bros. Circus of 1942-1945 was one of many new shows that opened shop for business in the years following the depression of the 1930's and operated during the seasons that the United States was committed to World War II. Many show wise folks in the amusement industry found this to be the time to form new units as the populace had operated under a tight rein on the purse strings during the long depression but now found that with all the new wartime economy, they had the extra bucks to get out and enjoy themselves without having to count the pennies.
A quick inventory of the 1942 season shows that at least 32 circuses hit the road and toured with varying success depending on the usual ingredients, the territory, the specific routing, the management and the other intricate things that show up in the ledger book at the end of the season. The last show to take formation in this 1942 season was the Arthur's American Circus, founded, framed and operated by Martin E. Arthur. This can probably be termed as a show that fate created as Arthur had been connected with various carnival operations during his seasons in show business. He had opened this season as the sideshow operator of the Hildebrand Carnival that played throughout the Pacific coast and the Rocky Mountain states. When this show folded in Utah, Arthur took his equipment that was suitable for conversion to circus use and moved into Las Vegas, Nevada. There during the week of October 13, he completely reframed the equipment into a circus. Seats and other necessary equipment needed was purchased from Bud Anderson. The show opened to great business and made the balance of the season with phenomenal success. Arthur brought the show back to his quarters on Dallas Street in Venice, California.
During the winter of 1942-1943, the show was completely reframed and emerged as a good size truck show for the 1943 season. The big top had been replaced with one that was a 100' with 3 30's. All seating had been rebuilt and the show now had a long side chair grandstand, starbacks on the short side and a good set of blues. Also new was the title which now read Arthur Bros. North American Circus. A fine spec entitled "Pan American" led off a two hour show and this was backed by a twelve piece band. The big top did not make the season and was replaced twice. The first replacement was a 120' with 2 40's and a 50' and later another top was used, this one a 110' with 3 30's. The original menagerie top was a 70' with 3 30"s, probably the 1942 big top, and this was replaced during the run with an 80' with 2 30's and a 40'. The sideshow top was a 60' with 3 30's. The menagerie had been built up and contained six cages, six heads of lead stock and twenty horses. Also featured here were the four show owned bulls, Shirley, Gentry Babe, Wilhelmena and Vera. The midway had the usual joints plus the kidshow and a money making pit show.
Opening early to beat the Russell Bros. Circus up the West Coast, the show encountered plenty of opposition but managed to survive a rough season and returned to winter again at Venice. Reportedly, the grift was very heavy and managed to carry the show through this and two succeeding seasons.
Opening day of the 1944 season found the show had now grown to major proportions and making a fine presentation both physically and in the performance. A new big top, a 130' with 3 50's had been bought. This was a very colorful top being trimmed with red, white and blue stars and stripes along the ridges. The reserves were now all chairs, 10 high plus the usual blues on both ends. A twelve piece band and air cally backed up a nifty two hour and fifteen minute performance.
1. Spec, "Bagdad."
2. Sonny Moore's Dogs and Ponies; Christiansen's Ponies; Mary Thorne's Mules (6).
3. Avila, Roman Rings; the Coteras. Trampoline; Escalante's, Aerial Bars.
4. Mary Thorne, Liberty Horses; Christiansen's Liberty Horses; Grace Hanneford, Baton Twirling on Horseback.
5. Clown Walkaround.
6. Capt. O'Connor, Hoops and Wagon Wheel Balancing; Alex Acevedo, Wire Walking; Maury Marmalejo, Wire Act.
7. Elephant acts in all rings.
8. Clown turn.
9. Theresa Morales, Aerial Act.
10. The Craigs, Balancing Act; Avila, Hand Balancing.
11. Mable Mix, Concert Announcement.
12. Castang's Chimps.
13. Miss Maxine, Aerial Acrobatics.
14. Moe and Joe, twin elephants on track.
15. High School and Gaited Horses.
16. Acevedos. Juggling; Marcello's, Rolling Globe.
17. Clowns.
18. Poodles Hanneford and Family, Riding Act.
19. Mable Mix and Chief Sugar Brown Family, second concert pitch.
20. Tex Orton, Wire Act; Conteras Sisters, Wire Act.
21. Clown Boxing Gag.
22. Arthur's Golden Palominos, presented by Jorgen Christiansen.
Ducats went for 55c and $1.10 for general admission in the afternoons and an additional 20c being tacked on adult general admission for the night show. Reserves sold for 90c and the concert for 25c. The midway featured a midget horse pit show, a solid concession lineup and a large 5 pole sideshow fronted by a colorful bannerline and headed by Rudy Jacobi.
The staff had not been overlooked and took on the looks of a major show with people in key positions that knew the business. Besides listing Martin Arthur as owner, it listed Jimmy Woods, General Manager; Bob O'Hara, Asst. Manager; Theo Forstall, Treasurer; Frank "Kokomo" Anders, Legal Adjuster; Cal Hicks, Front Door; Edw. Coe, Manager; Ed Beck, Personal Rep.; Julian West, Secretary; Harvey Walters, Press; Chas. "Spud" Redrick, Bandmaster; Betty Coe, Downtown Tickets; Fred Stewart, Lights; Elmer Voorhies, Cookhouse; Jos. Webb, Supt.; Wm. Mitchell,, Mechanic; Tex Orton, Props; Rudy Jacobi, Sideshow Manager.
All trucks had been repainted red with white lettering and some trim done in gold. The fleet consisted in the main of large semi's and the show was loaded quite heavy on the following units:
Semi's
6 Cookhouse.
15 Bulls (2)
25 Bulls (2).
38 Sleeper.
47 Sideshow canvas and props.
45 Horses.
49 Seat planks.
55 Horses.
59 Blues.
65 Palomino liberty horses.
66 Light plants.
99 Stringers, bibles and big top poles.
85 Cage, 4 sections, bears, monkeys, kangaroos.
19 Big top canvas.
- White ticket wagon. 101' Red ticket wagon. 109 Chairs.
- Stringers.
- Menagerie, canvas aild poles. Trucks.
31 Panel, purchasing agent.
33 Bulls (2).
- Tow truck.
- Gas truck.
- Cage, 4 section, 2 leopards, tiger, lion.
The show had both good and bad business but continued along the route facing the usual wartime restrictions. Late in the season found extremely rough going in Southern Texas with a series of truck breakdowns and fires, loads of grief from the Highway Patrol for neglecting to buy state plates plus the fact that many units were overloaded. Late matinees were a regular diet but in the main the show made money. At San Antonio the grift in the sideshow erupted in a wild brawl with soldiers and show hands participating. The lucky boys in this instance caused the show to be put off limits to all Army personnel in the area. The Billboard reports at times were rather meager but some indications were rumored that the show was going to convert to rail operation for the following season. Closing the season, the circus found its way back to California and here the beginning of some contradicting elements arise. One report had the show wintering in the Calabasas area at the Paramount Ranch but Paul Eagles states that the show wintered at Baldwin Park. Winterquarters news was almost nil until February 24 when a statement was issued to The Billboard that Arthur Bros. Circus was definitely converting to a rail show for the coming season and had already bought ten cars and some wagons from Louis Goebel.
Mr. Eagles, however, reports that the show trucks had been sold during the winter and that he was contacted during January of 1945 by Mr. Arthur and commissioned to start buying cars to put out a 15 car rail show. This was a major undertaking on such short notice but work was begun immediately and contacts were made. The Billboard reported that the following equipment had been purchased: 2 former Al G. Barnes cars from a construction company at Tonopah, Nevada, one from a defunct Tonopah railroad, two from Capt. Hutton, who had featured whale shows, and one from Howard Y. Bary at Trenton, New Jersey.
Here again there are two versions as Mr. Eagles has come up with the following information. One stock and one flat were purchased from a contracting firm and were former Al G. Barnes cars; three coaches were purchased from the Alabama, Tennessee & Southern Railroad at York, Alabama; one 80' stock car and a private car from Patty Conklin; 2 whale cars from Capt. Hutton, one at Houston, Texas, and the other at Natchez, Mississippi; two flats rented from Foley & Burke Carnival; one system flat leased; one all steel advance car bought from the Nickel Plate Railroad but not delivered until the show got to Great Falls, Montana. This totals thirteen cars and we must assume that the other car was either the one from Howard Y. Bary or the one mentioned in The Billboard as coming from the defunct Tonopah Railroad. This would have to be a flat car as all records and photos show the train consisted of one advance car, two stocks, four coaches and seven flats. Larry Black was sent to both Natchez and Houston to have the whales removed and rendered and while this work was being done, the cars were started to be converted into flats. All flats and stocks were billed into quarters but the four coaches were late in arriving and were worked over on the Southern Pacific tracks at Baldwin Park. The private car was numbered No. 1 and very little work was required on this. No. 26 was a straight day coach in good shape and was converted with little trouble. The other two coaches were numbered No. 34 and No. 77 and both were combination cars. No. 34 had the side doors removed and windows installed but No. 77 had been a combination coach, mail and express car and the two sets of doors on each side were left intact. A large tiger head was painted between the doors. All cars were painted red with white lettering and aluminum roofs. All coaches were lettered with Arthur Bros. Circus and the sub title of, "The Finest Show on Earth" lettered in above the windows. When the advance car joined, it too was painted red with white lettering except that the sub title read, "America's Newest and Finest Show." This, too, was a combination car. The advance car and the private car were both of steel construction while the other three coaches were of steel and wood.
Both stock cars were of steel construction and received the same paint treatment as the coaches. The 80' car became the bull car and had a double set of doors while the other car had a single set of doors and was used for the horse and lead stock car.
All flats were steel and were painted to conform with the rest of the train. When completed, the train made a very flashy appearance and although the paint had faded during the season to some extent, it still looked in good shape when the show closed. Don Smith reported that the train and wagons both had been painted a sickly shade of red and said that Terrell Jacobs had told him that this was because good paint was hard to get during the war and that something had to be done to cover the orange and blue paint scheme that had been on the wagons from the Hagenbeck-Wallace days.
Arthur was more fortunate in acquiring wagons than he had been in securing his rail equipment since Louis Goebel at 1000 Oaks, Calif., had secured much of the equipment left from the ill fated Hagenbeck-Wallace Circus that Howard Y. Bary had toured in both 1937-38. This show had come to grief in that tragic season which almost killed off all circuses. The wagons had been kept in fairly good condition as there was still a demand for equipment of this nature at the movie studios. Since this was the last circus to use steel tired wheels and old time circus equipment, I believe that it deserves more than just a passing word and so an attempt will be made to give some background on all units.
Cages
No. 55 Cross cage.
No. 65 Cross cage (Both of these were on the Cole Bros. Circus and it is generally accepted that Zach Terrell traded them to Goebels in 1940 when the Cole show played in Calif. Cole had suffered a near disastrous fire during the Winter and was short on equipment. Neither of these cages have any distinguishing markings but came from either Geo. Christy or the Hall
farm when the Cole show was formed during the Winter of 1934-35.
Cage No. 85 3 section and built in chute for cat act. Came from H-W.
Cage No. 95 2 section and center chute for cat act. Came from H-W.
Tabs and Ticket Wagons
No. 40 Red wagon, General Admission Tickets. Had old style domed roof and had been used on both H-W and Sells-Floto.
No. 11 White wagon. Reserved Seat Wagon. This had been the sideshow trunk wagon on the 1934 H-W Circus. On the Bary edition it had carried the famed Blackaman pictorial.
No. 71 Trunk wagon. This had been in the famed 1934 H-W parade also with Little Bo Peep on one side and Mother Goose on the other. Still carried the same paintings.
Baggage Wagons
No. 66 Light plant. Built new for H-W in 1938 by Springfield Wagon & Trailer Co. of Springfield, Mo.
No. 17 Concessions, built by Springfield for H-W.
No. 23 Props and blacksmith, built by Springfield for H-W.
No. 4 Reserves, planks, jacks and stringers, old H-W.
No. 6 Cookhouse, old H-W drop frame wagon.
No. 18 Band equipment, props and dogs old H-W.
No. 27 Blue planks and jacks, old H-W.
No. 39 Stringers, old H-W.
No. 47 Sideshow props and canvas, old H-W.
No. 75 Marquee and props, old H-W.
No. 109 Chairs, old H-W. (All wagons from N9- 4 through No. 109 were steel tired wooden wagons and had seen service on H-W Circus, both of the Bary ownership and also under the American Circus Corp. banner.)
No. 89 Big top and menagerie canvas wagon, probably converted by Arthur from truck show equipment.
No. 99 Big top pole wagon, probably converted from truck show. All wagons were given a complete paint job with the four cages, and No.'s 71 and 11 painted in white with red trim and the balance of the wagons having white lettering on a red background.
When finally framed and ready to leave for their first under canvas stand, the show loaded as follows:
Flat
Going overland with their own trucks were Walter Jennier, Jorgen Christiansen and Ken Maynard, the latter two using semi's and carrying horses.
It was presumed that the show would open in the Los Angeles area but Buster Cronin and his Cronin Bros. Circus had nailed down the traditional Washington and Hill St. lot and to further complicate matters, Art Concello and his new Russell Bros. Pan Pacific Circus had contracted to play an extended engagement in the Pan Pacific Auditorium. Facing this sort of opposition, Arthur set his first stand for Oxnard, California, about sixty miles from quarters and kicked off his season there on March 26. When viewed on the lot, this one was a throwback to the older shows and brought back many a fond memory. This looked like a circus and with the old steel tired wooden wheels even sounded like one. Of course, the other side of the coin showed that the old time grift was still present but this had come to be an accepted fact. No mention had been found of new canvas being ordered but the big top was a different size from the one last used the previous season, this one being a 115' with 3 50' centers and using one row of quarters. Reserved chairs on the long side were 6 high with four rows of jokers and the short side had five high with four on the ground. Blues on both ends were 10 high and probably all seating was the same as used in 1944. Reportedly, the total seating was about 5,000.
The menagerie top was a seventy with 2 30' and a 40' and contained the four cages, 2 camels, 2 buffalo, horses, a juice joint and the six bulls carried the previous season. Bill Woodcock states that the two punks were owned by Laura Anderson who had the concessions on the show, these being Bonnie and India and were billed as the twin baby elephants, Moe and Joe. Bill also is of the opinion that Mrs. Anderson also owned Gentry Babe but is not certain of this. The other three bulls were Shirley, Wilhelmena and Vera.
Out front the midway had a large sideshow fronted by a double decked bannerline, two ticket wagons and the usual joints. Operated by William DeBarrie, the annex featured a strong lineup of acts including Marcia Family, juggling, magic and punch; Miss Maria, sword box; Jolly Dowlen, Fat Lady; Hal Williams, armless boy; Jimmy Thompson, palmist and fortunes; Mrs. DeBarrie, bird act and sword box: Duke Kamakin, Hawaiian Troupe; Marie Gallew, snakes; Nelson Macias, rubber bones; Isaac Macias, juggler and a strong lineup of cooch dancers working the show and the blowoff. Here the lucky boys got in their licks, too.
Other canvas on the show included a three pole padroom and a three pole cookhouse operated by Mitt Carl.
Staffers and department heads listed in the official family included: Martin E. Arthur, General Mgr.; Bob O'Hara, Supt; Mrs. M. E. Arthur, Treasurer; Larry Black, Asst. Supt.; C. J. McDonnell, Contracting Press; Paul Eagles, General Agent; Geo. Coe, Contracting Agent; Harry Hendricks, Legal Adjuster; Frank Andrews, Asst. Legal Adjuster; Jack Austin, Bill Car; Tommy Williams, Announcer; Tex Orton, Props; "Sweaters" McFarland, Boss Canvasman; Frank Stewart, Electrician; Mitt Carl, Steward; Elmer Voorhies, Chef; Laura Anderson, Concessions; Frank Ellis, Diner and Purchasing Agent; Fred Jones, Head Usher; Tom Kittrell, Auditor, and Red Forbes, Builder.
Spud Redrick headed a fine 10 piece band with air cally and helped to sell a standard commercial circus program.
Display
1. Spec - all performers and animals.
2. Bernice Dean and her dogs - Ring 1. Alice Orton and her dogs - Ring 3.
3. The Acevedos, wheel riding in center ring.
4. Clown gag.
5. Cheerful Gardner doing a head carry with bull on the track.
6. Ring 1 - Jorgen Christensen and 5 mules. Ring 2 - Jos. Ryan and 4 liberty horses. Ring 3 - Miss Ryan and Arthur Bros, ponies.
7. Miss Aerielette on single trap (Ethel Jennier).
8. Ring 1 - Sing Lee Troupe in rhumba routine. Ring 3 - The Acevedos. juggling.
9. Sing Lee Troupe, hand balancing.
10. Elephants in all three rings.
11. In the center ring and on the track - Jorgen Christensen riding his horse "Sundurst."
12. Clowns.
13. Walter Jennier and sea lion "Buddv."
14. Concert announcement featuring Ken Maynard.
15. Ring 1 - The O'Connors, hoop juggling. Ring 3 - Acevedo, slack wire.
16. Elephants in center ring worked by Cheerful Gardner and Betty Acevedo.
17. Menage act.
18. Sing Lee troupe, chair balancing act finishing up with hand stand atop 8 chairs.
19. Tex and Alice Orton in perch act.
20. Concert announcement.
21. Clowns.
22. Jorgen Christensen and Palomino liberty act and a Shetland pony.
The concert, of course, featured the well known name of Tex Maynard who was assisted by Bernice Dean doing trick and fancy riding.
Opening day brought out great business and things were off to a fine start. Forty-seven stands had been booked in the state beginning with a circle of communities surrounding Los Angeles and then heading north. However, from the beginning Russell Bros, started using wait paper in towns that were booked by both shows and Arthur began having difficulty loading and unloading his train. Handling heavy loaded steel tired wagons with a minimum of help and most of that green didn't make for smooth sailing. The first shows missed were at Mojave on April 7 and all hands soon discovered that two words were in use also every day. Late and Chinese became the passwords. The show, because of short crews, were late in getting up. This caused late matinees almost every day. It was late getting down and loaded, late in leaving town and usually late in arriving. Chinese was the order of the day to keep things from being later than they usually were. This was a real workhouse and those that made the season earned every cent of their pay.
Oregon followed and Arthur hit a real bonanza at Portland on May 17-20 with advertised admissions announced at over 30,000 for the eight performances. A late matinee due to a late arrival and a rain soaked lot that caused the show to gilly everything on for the first day didn't auger well but the show overcame this adversity. Extra shows would probably have been in order but the commanding officer of Chico Air Field made the show off limits to military personnel because of a fuss stirred up by gambling losses. A special Saturday morning show was given for newsboys and soldiers from the Barnes General Hospital. Newspaper publicity hit a high peak at this spot and was given credit for bringing out the natives. Two days later at Corvallis a driving rain held the matinee to half but the night was almost full. All bulls were pressed into service to get the show out of the mud here. Centralia gave excellent business but a buffalo broke his neck at load out time and had to be destroyed.
The show continued on north into Washington for two weeks and then the eastward trek began that would eventually take it all the way to the east coast. Idaho was crossed with stops at Lewiston, Moscow and Couer de Alene, back into Spokane, Washington, for a three day stand and into Montana where the show suffered its first blowdown of the season at Miles City on July 4. On into North Dakota where the show blew its date at Stanley on July 8. Grand Forks on the 11th gave two full houses but another adversity happened when the big bull, Vera, died.
Minnesota and Michigan were hurried through and on into Wisconsin. Fondulac, Two Rivers and Sheboygan turned out poor houses and a tie up made the Waukesha date very late but the crowds stayed and a great days business was had. A blowdown was suffered that evening that took down all tops except the marquee, juice joint and Ken Maynard's top. All hands turned to and cleared the debris and by 8:45 what paying customers showed, were admitted to a blue sky performance. This storm killed off the top for a few days as it had already been through a blow-down and hail storm prior to this misfortune. Further complications had been dogging the show since opening as Russell had papered almost every spot with wait paper and a considerable amount of poison pen letters had caused the show to blow some spots and reschedule them. The Billboard of August 11 stated: "Arthur Granted Injunction to Halt 'Smear' Campaign," Boise, Idaho, August 4. Federal Judge Charles C. Cavanah, Wednesday (1) issued a temporary injunction on complaint of Martin E. Arthur and the Arthur Bros. Circus halting Arthur M. Concello and the Russell Bros. Circus from publishing or circulating documents which Arthur describes as "false and scandalous matter."
Arthur asserts in a complaint filed in District Court here that Arthur Bros. Circus has been damaged in the amount of $500,000 by the activities of the Russell Bros. Circus.
The complaint said that Russell Bros, "have wrongfully and unlawfully depreciated the presentation of the plaintiff's circus." It added that the Russell Bros. Circus and others "have obtained certain telegrams, portions of which contain false and untrue matters of a libelous and scandalous nature concerning the plaintiff."
"The defendants have sent photostats to towns and cities where the plaintiff expected to show its circus from a week to two days before," the complaint further asserts. Arthur has charged as a result local police, civic groups and law enforcement bodies have refused to sponsor Arthur Bros. Circus and in some instances have withdrawn permits for presentation.
One week later the judge handed down his decision and failed to grant an injunction on a permanent basis and withdrawing a temporary injunction that had been awarded on August 1. No countersuits were filed. Since Arthur was now routed away from the area that he was in competition with Russell for, it is assumed that the tactics were halted.
Illinois and Indiana were crossed in one week and the dog days of August found the show in Ohio. Don Smith quotes what must have been an average day for the show with the happenings that he recalls on August 12 at Tiffin, Ohio. "I recall that during the dog acts, Display No. 4, there seemed to be 25 or 30 dogs and several ponies in the end rings when a strange dog appeared in the tent. Immediately, there was the wildest sort of pandemonium with all the show dogs joining in one grand pursuit of the intruder, up into the seats, and under them. The ponies took off thru the front door and one dragged Miss Dean into the seats, which collapsed like a thunder clap. Miss Dean was badly bruised and it was thought for awhile the pony might have to be shot but after a wild half hour, the show finally got off to a fresh start. There was a hard rain between shows and the crowds were slow to arrive so orders were given to tear down the side show and menagerie. As I had to leave for home about that time, I decided to follow the cage wagons down to the runs and take some loading shots. The two big H-W cages were pulled by a panel truck which could hardly handle them and they swayed from side to side and I kept a good distance behind. The sleepers and stocks were just a few blocks from the lot but the flats were located somewhere else and there seemed to be no markers to show the way. The cages went clear across town one way and back another way. Finally the driver stopped and asked if I knew where the flats were and I told him 'No,' and as it had started to rain again, I headed for home."
Meanwhile, the show had been using the menagerie top for a big top since the blowdown. Cheerful Gardner had rejoined after being out for several weeks and Terrell Jacobs had joined at Logansport, Indiana, on August 7. An interesting side note is that Don Smith reports that Terrell had a big arena wagon No. 22 that had been used on the Sells-Floto and John Robinson circuses, not a truck as reported being used when he and his equipment were on Austin Bros. Circus (Bandwagon Jan.-Feb., 1962). Ohio gave very light patronage to the show and another mishap occurred at Marietta when two sailors rammed a car into the train and caused a delay of several hours. Jacobs left the show here because of difficulty in poling his heavy cages and they had been dumped on several occasions. Ken Maynard also called it quits about this time and the show lost two of its top drawer names. Dailey Bros, was close by all through Ohio but no evidence of competition was witnessed.
September found the show crossing both North and South Carolina. Cheerful Gardner was again forced to leave the show having suffered a stroke. A rash of injuries and sickness included Betty Acevedo with a sprained foot and Larry Black out with a back injury among others. Salisbury and Winston-Salem, N. Carolina, came up with above average business with both spots having capacity matinees and straw nights. Durham also came through with a solid red one, but Gastonia had almost a blank in a heavy rain storm.
A handful of stops in Georgia and Florida completed the coast to coast tour and now the show turned west and headed for home with stops in Alabama, a week in Mississippi and three spots in Louisiana to mediocre business. Houma, Louisiana, was a real dilly with the haul from the runs to the lot being thirteen miles. A string of Texas towns began at Liberty on November 8 and followed this up with stops in Arizona at Douglas, Bisbee, Tucson, Casa Grande and closed out the season with a two day stand at Phoenix. The last month of the tour is not recorded in the Billboard and it can be surmised that business was not outstanding.
Arthur loaded out of Phoenix and headed for Baldwin Park, California, a rail move of 499 miles, and arrived there on November 27, at 3:00 P.M. Total rail mileage for the season was 15,236. The show had made a coast to coast and border to border tour, showed in 24 states and had been transported by fourteen different railroads.
Speculation was rife during December as to what would happen to Arthur and his equipment still loaded at Baldwin Park. The Billboard of Dec. 29 stated that Louis Goebel, who had a lien on the train and wagons, had offered the equipment to Clyde Beatty who was making anxious gestures toward forming a new rail show but that Beatty had nixed the deal. News also was making the rounds that someone had given Arthur a bad time all season with poison pen letters arriving ahead of the show at practically every spot which caused the show a great amount of difficulty and loss of business. Many people in the business had not expected to see the show make the season but somehow it did and limped back to quarters.
Following the collapse of the proposed Beatty sale, no other takers were found and the equipment remained at the Baldwin Park site for some time. During the winter months the train was gradually sold off piecemeal. Paul Eagles recently noted that he had billed three flats to an Eastern carnival. He thinks that this was the World of Mirth Show, and delivered to Baltimore, Maryland. The bull car No. 7 and coach No. 77 were sold to Sam Huston and two coaches, probably No. 26 and No. 34 were sold to the Royal American Show, where they remained until the end of the 1955 season at which time they were junked. It has never been established, and I can find no evidence, as to whether the leased cars were returned to their owners or remained at the siding. Gordon Borders states that the cars not sold off remained on a siding owned by the Pacific Electric Company for almost three years and were finally sold off but again the fact can not be established as to their final destination.
All equipment loaded on the flats had been removed but remained at trackside for quite some time. During the following spring, a fire in the wagons further reduced the equipment. Through the process of elimination, Gordon Borders, who has checked and rechecked the wagons still at 1000 Oaks and the Jungle Compounds, has determined that wagons 6, 109, 39, 71, 17 and 23 were destroyed during the fire. Also wagons 18, 11 and cage 55 suffered some damage.
Cage No. 85 was sold to a small zoo at Apache Junction, Arizona, which is about 50 miles from Phoenix. At last count the following wagons and cages were still around in various states of decay. Cages 55, 65 and 95, wagons 29, 4, 47, 11, 75 and 18. Also the red wagon No. 40. All of these are still owned by Louis Goebel and are located on the old Compound, now called Jungleland.
Wagon No. 71 can still be seen on TV in Frontier Circus and Circus Boy, both weekly shows. Its appearance now is a far cry from the days of the 1934 H-W parade.
Martin Arthur has returned to active participation in the carnival field. The title has remained unused but not forgotten by many who saw and considered this the last of the old time circuses.
My thanks for their invaluable help to both Paul Eagles and Larry Black, who served on this show and to CHS members Don Marcks, Gordon Borders, Robert MacDougal, Joe Bradbury, Bob Parkinson, Leonard Farley, Don Smith, Bob Tabor and to our late friend, Troy Scruggs, a true friend and a fine historian. Also to John VanMatre, former President of CHS and Bandwagon editor, and to our faithful friend, Bill Woodcock.
This year's edition of Kelly-Miller truly combines the old and the new, throwing in a bit of the European look. A new concept in tent making is employed in the big top.
While there's really no new rolling stock this season, several units have been left in quarters, with others taking on double duty.
Besides the new top, the really outstanding innovation seen on the Marlin Rodeo Grounds parking lot was the very fine scenic artistry of Henry Thompson. He's the one who redecorated the Hagen show in 1961.
Even tho K-M is a mud show, it gives the natives a chance to see some wagons come down the runs from the 40-foot reserved seat semis.
The shape of the new top is almost an ellipse. Each round end is 110' with the two outer middle pieces angling out to 120'. This makes the center middle piece 120' across. Its peak is also four feet higher to accommodate the flying act. A double row of quarterpoles is used to support the middles, only. The round ends have a single row. Their top is supported by four centerpoles, eight blue quarters, 24 red quarters, and some 60 sidepoles, and is guyed out to a double row of wooden stakes. The two outer centerpoles are 32' high, and the aluminum inner ones, 36'. In a scientific sense, it's a push-pole 110' round top with 3-40's, bulged out to 120' at its widest.
The arena steel stays up during the entire performance. It's spotted right behind center ring, thus the need for extra width. The three 28' rings are white scalloped in red, blue and orange, respectively. Reserved seats are nine-high mounted on five jack-knifed 40' semi units. They spot three on the long side and two on the back, or short side. These go for 75c more than the eleven-high blues on each end of the top that are occupied for $1.50 and 75c for those under twelve.
The new O. Henry top with last year's sidewall is dressed up with red and white striped seat masking that has the Coca-Cola emblem stitched on each section. They use netting on top of the striped material in front of the reserved sections.
Due to the late arrival of my Greyhound Super Scenicruiser in Marlin, I just missed the street parade. This, I was told, consisted of the bandwagon, several of the cages, the eleven bulls, and the air calliope wagon. They also had three tabs in the line-up. One had sunburst wheels and aluminum carvings. I believe it was built by CFA Spike Hansen, of San Antonio.
These parade wagons double as baggage units. The bandshell carries the arena steel; the three tabs, props, and the calliope carries the Hammond organ and the bandstand. These received conversion and decorative work in quarters at Hugo, Okla., by Henry Thompson.
Speaking of Henry Thompson, it's interesting to note that he used a different color scheme on nearly every piece of rolling stock. Basically the units are white with multi-colored pictorials and lettering. An outstanding exception is the European-looking marquee semi. This one is red with famous clown heads on it. You actually have to see this show to have full appreciation of the multitude of colors, as space will not permit a complete description of each vehicle in this review.
The marquee and the big top exterior do have a European air, but the Thompson painted bannerline and bally equipment out in front of the 50' with 5-20's combined sideshow and menagerie top look just as American as is humanly possible.
Entering the lot, see the 20x40' cookhouse, a kiddie airplane ride, pony sweep, turtle show, gorilla show, white wagon, and No. 1 stand semi on the right side. The middle has the diner trailer and three small wheeled joints that load on the marquee semi. These dispense floss, candy apples, and popcorn, etc. The novelty joint stands a bit to the right at the head of the midway. The left side has only the Canyon horse show and the kid-show.
The latter holds a dozen or so small cages, the hippo-rhino den, eleven bulls, the Cuneo act, zebra, one giraffe, three llamas, and a Punch and Judy show.
Other canvas includes a lean-to clown alley, a ringstock stable canopy, both 20x40', and a juice joint in the marquee-big top connection. This also enclosed the donniker trailer and was netted instead of sidewalled.
Show-owned ringstock seen in Marlin included six liberty horses and 26 Shetland ponies and donkeys. The rest were still reportedly in winterquarters.
Possibly the outstanding equipment conversions this season are the little bandshell and the No. 1 stand semi, which now sports a second deck and "apartments" for 22 butchers and others. They knocked off a light plant semi, the band sleeper, the Cuneo act semi, and the sixth seat wagon this season.
Kelly-Miller is now celebrating its 26th anniversary tour, and has come a long way since opening as a tiny dog and pony show back in 1936. Obert Miller, founder and past president of the show, believed in having plenty of pit and sideshow attractions on the lot. This way, he had something for everyone to see regardless of financial strain. This is still used today. On the show, but not seen, was snake exhibit. The truck had motor trouble.
Marlin is a town of some 7,000 population in the midst of rich farmlands, and it's nationally known for its hot mineral springs and bathing spas. Ed Riley and his car crews put up plenty of Neal Walters date sheets and Enquirer pictorials on phone poles, in windows and sniping daubs. Many of these are special sheets for the menagerie and the former John Cuneo-Hawthorne Wild Animal Fantasy.
Show uses a new line of press material for both stories and ad art. The 1962 sig cut says "Al G. Kelly and Miller Bros. New World Circus."
Due to an all-day rain and drizzle, only about a one-quarter house caught the matinee performance under the 2,500-seat big top. The show is under regular auspices at each stand this year for the first time. They have no grift and no aftershow.
Big top lighting is very adequate with clusters of three flood bulbs hanging from the ends of each crossed chandelier on the centerpoles. This makes 48 bulbs in all.
Two different bands play for the big show performance. First, Lloyd Watton and his family play the pre-show concert with trumpet, air calliope, and drums. Then the sideshow minstrel band plays until the flying act is being rigged. Finally, the Wattoons come back to play for the flyers and the bull finale. The Hammond organ was on the blink, so the Marlinites and I got to hear some real circus music, meaning the air calliope.
There was no printed program, so here's what the Marlin Saddle Club sponsored:
1. Al Loyal's headstand trap and a fine foot juggler in ring No. 3.
2. Capt. John Narfski's trained brown bears in the center ring; pony drill in ring No. 3.
3. Clowns, Peggy and Shorty Sylvester, Scotty Davis, Bob Enerico and Clarence Serouse In their interpretation of "Jargo."
4. The John Cuneo trained, and Betty "Empress Leota" presented Wild Animal Fantasy, embodying eight leopards, eight white wolfhounds, a zebra, and a black leopard in the steel arena. This is one of the most beautiful displays of its kind, anywhere, today.
5. Bounding wire on the track.
6. Spec, Picnic in Fairyland, had the following rundown in rainy day garb: Three bulls, Miss Loyal on a bareback horse, pony cart, pony surrey, two marchers, pony Mother Goose float, three bulls, burro-pulled covered wagon, five more bulls, and the clowns.
7. Ford Falcon demonstration with Peggy and Shorty in the trunk.
8. Juggling in all three rings.
9. Single bulls doing plank walks, foot stands, etc.
10. Clown camera gag.
11. Liberty horses (6) in center ring.
12. Hippo walkaround with "Miss Oklahoma" and John Narfski.
13. Aerial Ballet with four girls "up" in blue leotards with gold sequin trim.
14. Clown baseball game.
15. Fred Logan and a fast Louis Goebels four-lion act. These cats appear to be about half-grown.
16. Tight wire on the track.
17. Clown walkaround.
18. The Al Loyal riding act with four persons and three horses.
19. The big bull act with three in each of the end rings and five in center rings. This display is under the direction of Fred Logan and Robert D. Cline.
20. Clown stop.
21. The Flying Padillos (3) on an upright rigging running lengthwise of the top.
22. The long mount finale of the eleven bulls on the front track.
All out and over with no concert.
The 1962 rolling stock roster is as follows: ("S" denotes semi unit)
1. S-Advertising car No. 1.
2. Country route pickup.
3. Country route pickup.
4. Country route pickup.
5. Country route pickup.
18. S-Hippo den.
19. S-Seats and cross cages, etc.
20. S-Seats and cross cages, etc.
21. S-Seats and cross cages, etc.
22. Stakedriver (ex-RB-B&B).
23. Sideshow canvas spool.
25. Big top canvas spool.
26. S-Turtle show and sleeper.
28. S-No. 1 stand and sleeper.
29. S-Parade floats and big top poles.
30. S-Giraffe and kidshow band.
31. S-Seats and cross cages, etc.
32. S-Seats and cross cages, etc.
35. S-Performers' sleepers.
36. S-Gorilla show.
17. Cross cage-Leopards and panther.
91. Cross cage-Performing leopards.
92. Cross cage-Performing leopards.
93. Cross cage-Performing wolves.
94. Cross cage-Performing wolves.
66. Bandstand, calliope and organ wagon.
80. Prop and parade tab.
81. Sideshow props and tab.
84. Bandshell and arena steel.
95. Props and carved parade wagon.
74. International runs and shunt tractor.
75. Caterpiller runs and shuntt ractor.
38. Snake show.
39. Hauls No. 75.
40. S-Mechanical dept.
41. White and only ticket wagon.
42. S-House car for the Millers.
45. S-Bulls and sleeper.
46. S-Bulls and sleeper.
47. S-Bulls and sleeper.
53. Water wagon.
54. S-Ringstock and Canyon horse show.
55. S-Rhino and small hippo.
56. S-Ringstock.
58. S-Sleeper.
59. S-Cookhouse and extra big top center-poles.
60. S-Light plant and sleeper.
61. S-Marquee, tax box and offices.
95. Sunburst-wheeled tab wagon.
xx. Donnicker trailer.
xx. Ramps runs trailer for No. 74.
No. S 8-16 are small cross cages used to display a variety of animals in the sideshow-menagerie. Also three small joints ride on No. 61. The usual number of private living units, etc., prevailing.
As each member of the staff at least doubled in brass, I will try to give his major position.
Owner, D. R. Miller.
Manager, Joe McMahon.
Bill Car, Ed Riley.
Gen. Press Rep., Jack Arnott.
Legal Adjuster, Frank Ellis.
Lot Superintendent, Claude "Pete" Smith, Jr.
Concession Manager, lone Stevens.
Sideshow Manager, Henry Thompson.
Bull Boss Emeritus, Wm. Woodcock, Sr.
Bull Boss, Fred Logan.
Equestrian Director, Eugene Garner.
Bandmaster, Lloyd Watton.
Sideshow Bandmaster, King Chas. Weathersby, with six sidemen.
Boss Canvasman, Keller Pressley.
Ringstock Boss, Tom Pence.
White Wagon, Gladys Black.
Special thanks go to Joe McMahon, Bill Woodcock, Tom Pence, Pete Smith, Gene Garner and others for their assistance on the lot.
The title of Hoxie-Bardex Bros. Circus is a new one for 1962 and is used on combined equipment of Hoxie Tucker, who fielded Hoxie Bros. Circus for its initial season in 1961, and Dr. Milton Bartok who operated a medicine show. The two partners and their wives, who are active in the management, have framed during the past winter an exceptionally fine medium sized motorized circus whose equipment, although painted a rather unusual color, that of purple, lavender, and green, is as attractive as any on the road and a topic of conversation wherever circus enthusiasts gather.
The physical equipment of the 1961 Hoxie Bros. Circus and the Bartok medicine show has been augmented through several acquisitions during the past winter of vehicles, properties and animals. Six small cages were purchased from King Bros. Circus. Two elephants, Sabu and Minijak, were purchased from Ringling-Barnum, and a liberty horse act of 6 chocolate browns came from Dorey Miller. The liberty act had appeared on the Carson & Barnes Circus in 1961.
The big top is a rather unusual one. It was used on the Bartok med show and is a 70 ft. round cable top with three 50 ft. middle pieces. It is a bale ring type tent in good condition made of white canvas with 11 ft. white canvas sidewalls. Top uses six center poles, 4 main aluminum poles with 2 additional wooden poles spaced between the two end sections. No quarter poles are used and the row of side poles are made of wood and painted blue. The marquee is very attractive in red and blue with orange and blue strip sidewalls.
Seating arrangement inside the big top consists of blues 7 high with two sections at front end and one section at far end. Reserves utilize white painted planks, somewhat wider boards than the blues, and are 7 high on the long side and 5 high on the short side. The show uses no grandstand type chairs. Regular white canvas bunting is used in front of the reserves. The purple color scheme of the show is carried out in all departments and the backdoor curtains are made of purple material and the 3 rings have wooden ring curbs also painted purple. Actually the shade might best be called lavender and several shades of the purple base are used. The center ring has a neat ring mat and ring 3 has a wooden floor for the unicycle acts.
The interior lighting is adequate with wheel clusters of 4 bulbs each hung between the 4 aluminum center poles. Two metal poles with 4 bulb spots are placed around the center ring to give additional lighting.
So as not to place the customer at the end of the long tent at a disadvantage all feature acts do not work in the center ring but alternate in the three rings throughout the performance. No aerial rigging is erected at all and this is the first time this reporter can remember seeing a big top interior without the first trap, web, ladder, or some type of aerial rigging.
Music for the performance is provided by records played over the sound system mounted in the Volkswagen Sound Truck which is placed at the back door. Tex Allen is equestrian director and announcer.
The combination sideshow-menagerie tent is a 60 ft. round with one 30 ft. middle piece. It is made of white canvas and trimmed in red and is a bale ring type built by the Smith Manufacturing Co. The top was used as big top on Hoxie Bros. Circus last year. (Two additional middles were used then, of course). Two aluminum center poles, one row of wooden quarters painted white and one row of wooden side poles also painted white support the tent. Semi's No. 30 and 60 each have 3 sideshow panel banners painted on one side of the truck bodies. Semi's are placed back to back with rear of each vehicle almost to the bally platform. A canvas banner hangs above the platform lettered Side Show and Zoo. The two elephants and 5 of the 6 ex King Bros, animal cages complete the animal attractions in the tent. Another King Bros cage was empty and not unloaded. Attractions include fire eating, empalement, trick monkey, magic and nail walk. Bob Styles serves as sideshow manager. Tickets go for 25c. The entire show, including the sideshow banners on the trucks, were painted by CHS Roger Boyd and are most attractive. Ten colorful flags are placed on top of the panel banner trucks and add to the attractiveness of the midway.
Also on the midway, housed in a most attractive walkthrough den decorated with a banner panel and small flags, is the huge hippo acquired during the past winter from Norman Anderson. The hippo attraction is operated by David Bartok, son of the co-owner. The hippopotamus is a really big one and has been named Tina, after young Bartok's wife, who is the daughter of Belmonte Cristiani. Tickets are 25c and purple color scheme is used in the decorations of the cage truck.
Midway concessions include a neat grease joint using new blue and white striped canvas and two other small concession stands also decked out in the same color scheme. A pony ride, using 6 animals, completes the midway, which is as attractive and colorful as on any circus on the road today.
The show carries two elephants, Sabu and Minijak, both large Indian females. These bulls came to the country with the Hugo Schmidt group and had made the recent South American tour with Ringling International Circus. It is said they were getting too big to be easily loaded in the new Ringling-Barnum railway cars. Other lead stock include 7 horses, the six liberty acts and a snow white horse the show purchased for Col. Tim McCoy to ride. Latter is a frisky beauty and the Colonel handles it well, as only an old expert like himself can do.
Caged animals are housed in 5 of the 6 small cages.
No. 5 - 1 monkey (yellow), No. 6 - 1 pig (white), No. 8 - 2 monkeys (orange), No. 9 - 2 chickens (blue), No. 14 - 2 rabbits (red).
Another small ex King cage was temporarily empty and a weasel was housed in a small shifting cage.
All trucks are newly painted and most of them are lettered and scrolled. The title is painted in either light green, white or yellow. Units are numbered in white or yellow and some cabs are stenciled on the doors HBC. A few of the trucks have the Tim McCoy name as feature attraction painted on them. Truck list is as follows:
1. No. 10-Semi-Office, ticket wagon, spare parts, sleeps 4 in front compartment. (International). Purple.
2. No. 20-Straight-Light panel, 18 1/2 I. H. Deisel (Ford). Purple.
3. No. 30-Semi-Horses (7) and ponies (6) (ex Bartok truck). Has sideshow banners on one side. (Ford). Purple.
4. No. 60-Semi-Elephants (2) (ex Bartok truck). Has sleeping compartment for 6 in front end. Sideshow banners on one side. (Ford). Purple.
5. No. 40-Semi-Big Top poles, canvas, seat, props. (International). Purple.
6. No. 70-Straight-Sideshow equipment, 6 small cages loaded on it. (Ford). Purple.
7. No. 80-Panel pickup-Miscl. properties, pulls house trailer. Could be used as a bill car. (Ford). Purple.
8. Semi-Hippo Den. Sleeps 2 or 3 in front end. (International). Purple.
9. Straight-Water wagon, stake and chain with mounted stake driver, winch and boom. Also loads ring curbs. (Chevrolet). Purple.
10. Pickup-Cookhouse properties, pulls cookhouse trailer with kitchens. Trailer is ex Bartok concession trailer. (Ford). Pickup is purple, trailer is white.
11. Panel-Grease Joint and concessions. Purple.
12. Volkswagen Station Wagon. Sound truck, used for downtown bally and utility truck. Purple.
In addition to the above vehicles there is another purple pickup that pulls a house trailer, a blue and white concession panel truck and a blue and white p~anel concession and miscellaneous properties truck. The Johnson bear act and the Tim McCoy Wild West unit travels on privately owned vehicles and in the back and front yards are about a dozen house trailers, trucks and busses privately owned.
The show carries a cookhouse using a 20x20 white canvas top.
Ticket prices for the big show are adults $1.00, children 50c, with reserves an additional 25c for everyone.
The show's performer nut is quite heavy and some outstanding acts are presented for a circus of this size.
1. Spec, walkaround with all personnel, 6 horses, 1 brahma bull and 2 elephants in beautiful red and silver spec blankets.
2. Trampoline act in center ring. Henry and Ida Mae Crowell.
3. Clowns, balloon gag.
4. Perch Pole Act with the two Linderns in Ring 1. This is very good.
5. Trained Black Bears (3) presented by Hunkie Johnson in the center ring. Another very fine act.
6. Clowns, firecracker gag.
7. Miss Ida Mae (Crowell) Acrobatic Act in Ring 2.
8. Clowns, bottle juggling act.
9. The Great Zambrene on the bounding rope in a comedy drunk routine. Center Ring. Outstanding act.
10. Entrance of Col. Tim McCoy and announcement of his after show.
11. Acrobatic Act featuring the Mendells from Berlin, two men and a boy. Act is climaxed with a ladder climb with one of the Mendells doing handstand on head of his partner who ascends and descends a platform ladder. Another very fine act which "was well received by the audience. Center ring.
12. Zambrene Family Unicycle Act featuring 3 youngsters, 2 girls about 11 and 8 and a boy about 6. Very pleasing and sure fire hit with the audience. Presented in Ring 2.
13. Clowns, bullfighter gag using several dogs disguised as bulls.
14. Liberty Horses (6) worked in center ring by Hunkie Johnson. These are beautiful animals with attractive harness and tall colorful plumes.
15. Clowns, lost baby gag.
16. Trained elephants (2) presented by Hunkie Johnson. These two big ones perform fast and furious.
All out and all over
Tim McCoy presents his old time wild west aftershow which is sure to bring back memories of circus fans everywhere. Col. Tim McCoy later left the show in May).
The show has three clowns who do a very fine job. They include Prof. Maxie, Frank Chester and Baghonghi the noted dwarf clown long associated with the Cristianis.
The show uses half and one sheet date sheets done in red and white and yellow and black. Very few lithos were observed and no daubs. Many of the small and medium sized Georgia towns were several years fresh. Motorized equipment is in good condition and the show moves well and on time.
Doc Bartok and veteran Sam Warren are ahead of the show and Hoxie Tucker is manager back on the lot.
My special thanks go to CHS member Bill Elbirn who furnished many of the details of the motorized and other equipment.
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Last modified February 2006.
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