Bandwagon, March - April 1977

Bandwagon, Vol. 21, No. 2 (Mar-Apr), 1977. 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.

Kicking Sawdust in the Center Ring of Memories

By John C. Kunzog. Bandwagon, Vol. 21, No. 2 (Mar-Apr), 1977, pp. 4-16.

The author of this article wrote publicity for the various circuses owned by J. Augustus Jones from 1912 through 1918.

In the scattered and complex history of the circus, the story of John Augustus Jones and his three brothers has been sedately locked in serpentine coils of the past.

The Golden Age of the circus has been placed in the two decades embracing the period from 1880 to 1900. By the turn of the century there were over 100 circuses showing in the United States. Many were small wagon shows that laid their routes into the hinterland, bringing amusement variety to small communities surfeited with vapid church socials, school spelling bees, and lawn festivals affairs that were deadly monotonous in their repetitious presentation.

The small wagon shows that boasted the title circus seldom had a menagerie or even an elephant. Only the trick monkey and trick mule, plus clever riding on educated horses provided a surcease from the stereotyped entertainment of small villages. If the show boasted a feminine rider her gown of shimmering silk or velvet made the eyes of the spectators sparkle in admiration and her performance was the delectable frosting on the cake of ecstatic enjoyment, while the quips of clown and ringmaster provided enough mirth material to last sometime.

It was during this era that there was unusual excitement in the early part of 1892 at a farm in Warren County known as the Jones farm, situated in the northwestern sector of Pennsylvania, between the village of Chandlers Valley and the borough of Sugar Grove.

Neighboring farmers and residents made frequent visits to view some of the animals being quartered at the farm not conventional farm animals but beautiful ponies, a couple of mules and a donkey, that rumor had it were trick animals; plus the magnificent draft horses that caused the blood of viewers to pulsate in envious admiration.

What caused the excitement was the unrefuted story that young John Augustus Jones, who had trouped with a small wagon show for the past decade, was launching a circus of his own.

It was in 1885, when as a young man of 17, he left his home in Chandlers Valley to travel with a small circus with winter quarters at Tidioute, also in Warren County. His knowledge of animals made him an important member of the show.

Like many small units of that period, the show was laced with grift and young Jones learned all the gimmicks as well as becoming a devotee of poker dice.

He was with the show several seasons when it became bogged down in the mud lot of financial distress. Jones, endowed with shrewd business acumen and a propensity for saving his money, was able to be the successful bidder at the foreclosure sale.

With the arrival of a flat-sided and enclosed red wagon to the farm from a wagon maker at Warren the county seat caused the mercury in the thermometer of local public opinion to rise and fall, depending what faction was discussing the matter. When narrated in church circles the mercury plummeted to a low point; it spiraled upward when the opposite side related the event, considering the circus a star in the crown of the small village.

As both sides fanned the rumor blaze with their divergent views they had to agree on one point: the accouchement of a circus was taking place before their very eyes.

J. Augustus Jones is shown in a sketch by Nealey Walters. Author's Collection.

Young Jones proved the Horatio Alger theme could take place. Having trouped with a show for seven years, he learned much about the outdoor show business, and now 24 years old he was owner of a small circus.

In early May, 1892 Jones Overland Circus went on tour. First stand was Youngsville, Pa., 7 miles; then Pittsfield, 3 miles, a lumber village; then Garland, 3 miles, then to Grand Valley, 6 miles, an oil town where the show remained a week.

Oil boom towns were a beehive of activity during the daytime, but after dark the only scene of merriment was at the barrooms. Thus the brilliantly lighted circus, which used a style of Drummond illumination, oxygen flame impinged on lime, induced the fortune seekers to attend the show as a break in the chain of vapid dissertations in the saloons. Streets were dark, no sidewalks, no street lights, and women never ventured out at night except on rare occasions and circus night was one of them.

According to Jones, the outstanding display of his first show was a clown skit. A donkey was forced to sit on its haunches and then with much painstaking care, the clown draped a buggy lap robe around the animal, fastening it at the neck with a large blanket safety pin. He placed a horse hat on the animal. (A soft straw hat, with holes for the ears, placed on horses during summer to protect them from the sun's rays). On this hat had been sewn two large ribbon streamers, which were tied into a large bow. Standing aside to view the animal, the clown scratched his head to denote something was missing. He spied a girl in the seats wearing a flower (a plant of course) and requested the flower, which was given to him. He then pinned it on the robe. At this point a man with a violin and one with a flute entered the ring and proceeded to play. The clown began to sing "Wait for the Wagon," with the donkey braying in discordant unison.

While this odd duet was being rendered, another clown entered the ring with a boy's four-wheeled cart, at that time referred to as a wagon, and then proceeded to place in the cart a box marked "200 pounds weight," as a parody to the song being rendered by the odd duet.

The incongruity of the scene, the subtle, silent parody brought howls of delirious delight from men of the oil fields speculators who saw fortunes made and lost in a day.

There was a display of clog dancing, tight rope walking, acrobats, a trick mule that defied anyone to ride him or a trick pony. Other presentations, too, but they challenge the memory.

The sideshow boasted a fire king, snake charmer, Punch and Judy, deformed calf a product of the Jones farm; a magician and a glass blower.

The show laid its route southward through the oil regions, showing only in the smaller towns. It was early November when Jones Overland Circus returned to its winter quarters at Chandlers Valley. Jones was well pleased with his excursion into the circus business as owner.

For several years Jones was out with his wagon show, adding new attractions each season. Success seemed to come natural and he dreamed of a railroad show to enable him to cover new territory. The dream was to be realized, and two railroad cars were ordered. They would be delivered at Pittsburgh, Pa., and the equipment and animals would be shipped to that point.

Yet the fascinating picture of Jones Model Plate Shows suddenly dimmed when on February 18, 1898, the United States battleship Maine was blown up and sank in Havana Harbor, with the loss of several American lives. As the war clouds grew ever darker, Jones was worried. He was too far involved in his new undertaking to turn back, yet failure of the venture could jeopardize the family homestead, as the father had signed notes to help finance his son's enlarged show.

It was on April 25 that the United States declared war on Spain and the call went out for the mustering in of the National Guard and for volunteers for military service. With the ship of state awash by the waves of war, Jones knew this would deplete towns and cities of young men, the potential patrons of a circus. He made a decision to follow them and with consummate care routed his show to towns near training camps at Virginia, Rhode Island, Alabama, Florida and Louisiana.

It was a smart move. Not only were the soldiers at encampments hungry for entertainment, but the wives and sweethearts of many soldiers had followed their loved ones to towns near camps to be with them until time of embarkation. Quite frequently soldiers would attend the show every day or two to dispel the vapidity of camp life.

Jones knew when a new contingent would arrive, how long they would remain. The show shuttled back and forth between nearby cities and army camps in the southern states.

It is a facet of American history that the Spanish-American War was the only war where men were not drafted into service. The army invading Cuba was composed of the regular army, National Guard and volunteers.

When a nation is at war, every possible source of revenue is taxed to provide revenue. In our war with Spain this was no exception and each circus was taxed $100.00 and each side show $30.00 by the federal government. To these taxes each municipality demanded their share, as well as the individual states. These taxes cut into the profits of the shows and forced many small outfits to cancel the season.

The New York Clipper, issue of May 7, 1898, gives this Information: Roster of J. Augustus Jones' One-ring Show

J. Augustus Jones, proprietor and manager. Harry Bubb, advance with two assistants; Mons. Cadieu, bounding wire performer; The Three Grant Brothers, Tom, Los and Charles, comedy Chinese acrobats; Peco and Bosco, singing and talking clowns; The Vanes, double trapeze act; Charles Grane, perpendicular ladder; Tom Boscoe, juggler and clown wire act; Prof. T. J. Watson, leader of band and orchestra with ten musicians: James Carey, Ed. Jones (no relation), Ed. Parker, Robert Caswell, H. M. Kester, Ike Sheeley, Harry Leigh, Bob Cusick, J. R. Stone and Bert Daniels; Concert roster: Ernest Hickok, black face comedian; Edward and Sarah Parker, sketch team; Booth Brothers, batons; E. Colarado, Dutch comedian; Mattie Mora, soubrette; Ben Stanley, tramp monologist. Side show people are: Prof. Teel, magic and ventriloquism; Madam Teel, fortune teller; Sig. Dormento, impalement act; Prof. Jordan, glass blower; Bessie Day, snake charmer; Will C. Lane, door talker; Dan Daly, master of transportation; Frank Shephard, boss canvasman; George Hale, boss property man; Cookhouse in charge of Will Jacoby.

The reader will note that the Clipper used J. Augustus Jones instead of John. For some reason Jones had an aversion to the name John and preferred to be known as J. Augustus, which form he had established as his legal signature.

Because of restricted space, Jones had taken a page from circus history and returned to the use of flat-sided wagons. These were not the familiar red baggage wagons, but were smaller and painted white with red trim, while on the sides and back, in beautiful colors, were allegorical or historical scenes. The custom of using this style wagon was dying out as Jones was bowing into the show business. A semi-retired scenic painter from Geneva, Ohio, Stanley Lewis, was engaged for the work. (It is quite probable that this artist did work for Walter L. Main when that show used such equipment.) Washington Crossing the Delaware, Battle of Lexington and similar scenes were delineated, care being taken not to depict any battles of the recent War of Rebellion lest it fan the blaze of hatred. For behind the curtain of pleasantries of southerners lay the raw wou for the damyankees, which in the South was one word.

These wagons were used in the parade, which was a must for all shows. Yet as the vehicles rolled over the southern roads it was evident that Jones had capitulated to the South. At the top of the wagons at each corner was an American flag while between them, sides and back, was a Confederate flag. At that period this was not too unusual. Many business places had both the Stars and Stripes and the Stars and Bars on the same flag pole, the former, of course, at the top. Jones was out to make money and welcomed the dollars from Southerners as well as others. He also had given stern orders to all workers to ignore any slurs about Yankees that any Southern hothead might make.

Nearly the entire circus personnel took part in the parade. Grooms and roustabouts were attired in colorful long coats, their boots sparkling from an application of beef tallow and lampblack. Feminine members rode horseback sidesaddle, gowned in shimmering gowns. Each wagon was pulled by a double span of horses to enhance the effect.

Lacking the needed railroad facilities, Jones always rented a carriage and team in which he and his wife, Martha, rode leading the parade. All horses were gaily caparisoned in red, white and blue plumes and many times the wheel spokes were entwined with bunting. With his heart keeping tempo with the music from the circus band J. Augustus Jones led the procession and paraded into the pages of circus history.

His first railroad season was successful. As the New Year of 1899 made its bow for recognition, Jones still was out showing under southern skies.

The signing of the peace treaty on December 10, 1898, put a pin in the bubble of prosperity that the nation had been enjoying. Cancellation of war contracts created much unemployment, but the pinch was not felt too much until late 1899. Jones was able to operate profitably. He had no menagerie to eat up the proceeds of the ticket wagon and was able to route the show where he received good patronage.

The year 1900 was presidential election year. William McKinley was seeking re-election on the Republican ticket; William Jennings Bryan headed the Democratic ticket, and in the early part of the year the political pot was boiling.

The Republicans campaigned on the slogan of "Full Dinner Pail." It was a heated campaign but it made money for Jones by taking some of the "slush funds" of the Republican party. There was a campaign cry that went: "McKinley rides a carriage, Roosevelt rides a rig, Stevenson rides a nanny goat While Bryan rides a pig."

This was worked into a clown skit. Clowns supposedly representing McKinley and Roosevelt in horse-drawn vehicles, followed by a clown in a cart drawn by a goat, then a clown in a cart drawn by a pig. This procession circled the hippodrome track while the band played patriotic selections. It brought howls of delight from spectators, for the inference to the quatrain was readily apparent.

In many places the local Republicans augmented the circus parade by having a column following the circus parade. These marchers invariably carried a tinplate dinner pail, the emblem of the campaign. They were not part of the circus parade, merely part of the circus scene.

Whether it was the "slush fund" or honest profits, the fact remains that a Pullman car was ordered and in 1902 another show was launched, Cole & Rogers, to be managed by Elmer Jones, a brother.

The country was getting back into the realm of prosperity. Theodore Roosevelt was President, having been sworn in following the assassination of McKinley. The Buffalo Bill Wild West and other frontier shows were proving popular. J. Augustus Jones planned a Wild West show. It was titled Indian Bill's Wild West and Mexican Hippodrome. The show opened the season at McKees Rocks, Pa. on April 22,1903. It was enthusiastically received.

When Jones launched his Wild West show there was one person whose guiding hand did much to make the venture a success: Chief Rolling Thunder, a Seneca Indian of the Allegheny Indian Reservation, Steamburg, N.Y. His Americanized name was Lewis Newell. Chief Rolling Thunder was no newcomer to the show scene. For many years he had his own medicine show. He knew what booking agencies to contact for the needed talent. Most of the Indians were of the Seneca Nation and were under the supervision of an Indian named Kenjockety, also of the reservation.

Chief Rolling Thunder was mentor to Jones for many years and was a familiar figure at Warren. At all stands he had a tent on the grounds where he vended his medicine, Kiowa, a tonic; Wisheta Rub, a liniment in solid form. There also was an item called Circus Oil, that promised its users to have supple limbs like the athletes on the show.

A New York Clipper item said:

"Indian Bill's Wild West and Mexican Hippodrome played Waterbury (Conn.) on July 4, three days after Barnum and Bailey's Show, and turned people away at both performances. Actual number of paid admissions for both performances was 14,320. Side show receipts over $800.00 for the day. Bill Brainard reported big business in Oriental Annex. He has five genuine Arabian dancing girls and four Arabian musicians."

An item in the Clipper later in the season (Nov. 14, 1903) reads:

"Indian Bill's Wild West and Mexican Hippodrome, J. Augustus Jones, sole owner and manager. Show opened at McKees Rocks, Pa. April 22. Closed at Fairmount, W. Va. October 3. Shipped to winter quarters Clifton Forge, Va. All one-day stands. Used 28 railroads, traveled 8,000 miles.

"Equipment: Three sleepers, five flats, three stocks, one advertising car, 100 head of stock and 200 people.

"This was Mr. Jones first season in handling a large show, but proved a good manager as season very successful. Mr. Jones also owns and operates the Model Plate Show, best equipped two-car show in America. This show now in South and will remain out all winter."

A big feature was Indian Bill's Mexican Band, whose music delighted many and brought cries of "encore."

While the railroad cars and contents were on trackage at Clifton Forge, Va., the draft horses and other animals were shipped to the Jones farm at Chandlers Valley, Pa., for the winter.

Another Jones brother had joined the show, Aleck. Also deserving special mention was another employee, Harry P. Bowman, who served as ticket seller. Bowman authored a book published in 1942, "As Told on a Sunday Run."

By 1904 four more cars were added to the smaller unit and the name changed to Cole and Rogers Railroad Shows. At the close of the Northern tour the show was reduced to two cars to play the South for the winter. But as this truncated Cole and Rogers Show moved southward it encountered quarantine problems. Yellow fever was scourging many sections. Health officials were checking records of where the circus had showed for the last 60 days.

Elmer was in charge of the show and was familiar with these quarantine regulations. He showed in towns free of the disease so as to have a "clean bill of health." In October he showed in North Carolina, Virginia, Alabama and Georgia, missing only a few dates. The virulence of the epidemic was subsiding as he moved farther south.

Today few persons know the reason for such a two-car circus. Yet it was these small units that brought a respite from the monotony of drudgery that was the anathema of toilers in cotton and tobacco fields. These shows were a bright spot in their lives, their only entertainment except the occasional traveling drama. The movies were still in the future for most isolated towns.

Elmer Jones related of the stark poignancy of youngsters. Girls were dressed in burlap or heavy cotton grain bags, more times than not with only a hole cut out for the head and slits at the sides for armholes. Boys wore pants fashioned out of flour or grain bags, sometimes contrasting remnants of two bags used in a single pair of pants.

"Hell," said Elmer, "you had to be made of stone not to feel sorry for them. Their birthright was hard work from infancy to the grave, and heartaches all through life."

"The South," continued Elmer, "was a section of contrasts. It could best be likened as a woman dressed in silks and finery. She was the city. But lift her silken skirt and her petticoat of poverty, tattered and dirty, became visible. They were the raiment of the farm worker, the sharecropper, the cotton-chopper.

"While city folks were riding in carriages drawn by sleek horses, the rural dweller was ambling along in a wagon with dish-shaped wheels, frequently pulled by a mule and a cow hitched together."

The circus was a magnet for young and old alike, the posters beckoning them to save their pennies for the big day. The circus always had a band, and as a canvas tent cannot muffle the music, young and old who just couldn't pay the nominal admission price, would gather outside in a nearby field and in jubilant frenzy dance as the music was wafted through the air.

Many times admission was free-made possible by civic-minded organizations. If not, Elmer Jones, to his ever-lasting credit, had some workers pass out special admission tickets to misfortune's favorites. As they entered the tent they were directed to a section in the rear, in the South facetiously referred to as "Nigger Heaven." It was still the period of segregation and the "poor whites" sat on one end of the section, the Negroes on the other.

It was Elmer Jones who related of extra-curricular activities of troupers doing "something not down on the bills," while playing in the Deep South. Love knows no region or season. It blooms in wheat fields of the North as well as in the Cotton Belt. But the learned Northern swain could transcribe his own love missives, but the unschooled Southern cotton-chopper or hoe-boy, who left school at 10, may have a hard struggle to indite a love letter. Spelling was not his forte.

So Southern lovers of both sexes often sought the help of circus folk to write a love letter "fancy like" that they could mail to their heart throb. They had the letter sheet and matching envelope that was purchased at the village store for one cent. Few persons had need for a full box of stationery consisting of 24 sheets and 24 envelopes which sold for ten cents. They bought one sheet and one envelope for one cent.

This they would take to the circus before show time, single out the person they believed would heed their plea and request them to write the missive. If it were a young man he would ask a man; if it were a girl who wanted the letter written, she would try to contact a woman. There were few stands in the deep South where such a request was not made. Not only was the request always granted, but the show always put the necessary two-cent stamp on the envelope; otherwise it might be several weeks before the lovelorn would be able to get the funds for postage.

Circus personnel were contacted because they wouldn't "talk." This also applied to those performing in the theatre. They were in town for only a short period. Traveling salesmen were frequently approached for the same reason. And those traveling in the South understood the situation and readily consented to help Dan Cupid. The clerks in the store could be entrusted with some letters but love missives were sacrosanct.

In its issue of April 7, 1906 the Billboard carried this story:

"The Indian Bill's Wild West and the Cole and Rogers Shows have been combined under the title of Jones Enormous Shows, under the personal direction and ownership of J. Augustus Jones. The winter quarters at Verona, Pa. (10 miles from Pittsburgh) is a scene of activity. Mr. Jones now is in the West to purchase 40 head of heavy draft horses. Show will consist of 16 cars with one car and a box brigade in advance."

Jones acquired a western style stage coach for the show to dramatize an Indian attack with its resulting gunfire, flaming arrows and thrilling horsemanship. Theodore Roosevelt was President at that time and Jones capitalized on that fact by having Rough Riders re-enact the Battle of San Juan Hill. The show continued for four years, with the title being changed to Cole & Cooper in 1908 for part of the season. Elmer had on the road the two-car circus under the titles of West & Wells, King & Tucker, Coulter & Coulter Dog and Pony Show for the years 1907-09 respectively.

The next change in title came in 1910 when the wild west theme again was emphasized. The new title being Jones Brothers Buffalo Ranch and Wild West. For the first time another brother, Richard T., was mentioned. This made four of the six Jones brothers actively engaged in the show business.

J. Augustus Jones frequently made trips to his home. He was leading stockholder and a director of Forest Furniture Manufacturing Co., of Youngsville, as well as director of the First National Bank of that borough; he also was director of the Warren Savings Bank. These and other business duties made him absent from the show, but he made sure that there was always a Jones in the ticket wagon.

When Jones went to rails he incurred an expense that irked him the cost of trackage for the railroad cars when the season closed. Not only was it an expense, the weather elements wreaked havoc on the painted cars.

It was in 1907 that a narrow gauge railroad was built from Youngsville, Pa. to Sugar Grove, Pa. a line that passed within three-quarters of a mile of the Jones farm at Chandlers Valley. The line had the third rail which allowed for the hauling of standard gauge cars.

The plat was like a triangle with North Warren and Warren at the apex, a leg nine miles south to Youngsville, then another leg of 10 miles north to Sugar Grove, and the base of 13 miles from Sugar Grove to North Warren without rail facilities. The Jones farm was in this triangle.

Each season Jones quartered his horses on the farm and at the start of the season the animals were walked to North Warren where they were kept in a field, protected from the elements by a tent, until the entire herd had then loaded on a train. The Dunkirk, Allegheny Valley and Pittsburgh Railroad operated through North Warren, Warren and Youngsville. This same procedure had to be followed at the close of the season.

Jones conceived a spur track to the farm and running the entire circus train into the sheds there. The roadbed would not sustain a 20-car loaded circus train but would carry a 7-car unit. Thus in less than a day the entire show train and animals could be at the DAV&P siding ready for the annual tour. As it now was, it required more than a day to just get the horses to the railroad.

The story of the Jones brothers and their circus titles cannot be properly told without relating the early days of Cole Brothers Circus. They are so closely interlocked that the history of one show cannot be told without alluding to the other.

In 1902 J. Augustus Jones launched the Cole and Rogers Railroad Circus. The name "Cole" had appeared in circus titles for nearly a century and made showmen look favorably on the title.

In 1906 at Erie, Pa., another show with a Cole title was born, The Great Cole Brothers United Shows, and the lithographs depicted three Cole brothers. The title had its origin at the Erie Lithograph Co., one of the big show print houses at that time. Not only did Erie Litho produce exceptionally beautiful paper for the show, but at Harborcreek, ten miles east of Erie, they had constructed barns and necessary track facilities for wintering a 20-car outfit.

The lithographs were the acme of perfection of the lithographer's art: handsome male performers to set feminine hearts a flutter; equestriennes delineated in short skirts and tight bodices, a magnet to intrigue the young blades; graceful animals from foreign lands to thrill the young; beautiful horses in riding and draft categories to be admired and envied by rural residents.

Erie Lithograph believed in boosting the city of Erie. A circus wintering in that area would put a lot of money into circulation. Sparked with such civic pride and enterprise the title was not offered to any small operator.

Martin J. Downs, of Toronto, Canada, who had the Sells and Downs title, viewed the beautiful lithos of a nonexistent show and drooled. The title was intriguing. Downs was successful in leasing both the show title and the winter facilities. As the show moved out of Birmingham, Ala., in 1906, where it wintered, the name of Sells and Downs became history and went on tour as The Great Cole Brothers United Shows.

For three years Downs had the title on the road and made money. It was in 1908 while viewing animals in the horse tent at Grove City, Pa., that he was kicked in the thigh by a fractious steed. Later he was taken to a Toronto hospital. Blood poisoning set in that could not be checked and in August, 1909, one leg was amputated in hopes of preventing further spread of the disease.

In 1909 the circus was under the direction of E. E. Goodell. The circus gave its closing performance on Saturday, October 9 and then headed for its winter quarters. In the meantime the crew at Harborcreek had been busy making arrangements for winter. Inclement weather prevented the crew from tarring the roof, but the needed hay, straw and grain had been stored and the necessary repairs completed. Saturday, October 9, was a mild, dry day and the crew began to pitch the roof, heating the tar in a back room of the huge barn and hoisting the heated material to the roof through a trap door.

Suddenly dense clouds of smoke billowed from the trap door followed by flames. The men rushed from the roof, finding safety by leaping onto a pile of sand that was to be used to cover the tar. Flames reached the bales of straw and within a few moments the entire structure was an inferno and soon a complete loss.

The show train arrived on Monday and as there were no basement barns for the elephants, a tent was erected, while a search was made for suitable winter quarters. A committee from the Corry (Pa.) Fair and Driving Association called upon E. E. Goodell offering to rent the Corry fair grounds buildings. Their proposition was accepted and the show train and all animals moved to that town, 36 miles from Erie.

On October 19, 1909 Martin J. Downs died in a Toronto hospital. The executors of the estate commissioned Fiss, Doerr & Carroll Horse Co., of New York City, purported to be the largest dealers in horses in the world, to sell the entire circus property. The sale was held at Corry January 28, 1910. Many showmen attending the sale expected the title to be offered, but it did not belong to Downs, it was only leased to him.

The title was not out in 1910 but the following year W. H. Coulter leased the title and had it for 1911-1912 and lost his financial shirt. J. Augustus Jones got the title for 1913. Circus historians will recall that this was the year of the Buffalo Bill Shows debacle. Harry Wilson, who for years had the side show and also an animal act, found himself "at liberty" in August. He had assiduously saved his money through the years and was ready to become a circus owner. Many of the shows on the road had dubious records as money makers, but in J. Augustus Jones he found an operator who never had a bad season. Jones took Wilson on a tour of his farm and outlined plans for building winter quarters at the Jones farm by constructing a three-quarter mile spur track to the farm. Wilson half-heartedly approved but he wanted action now.

Jones had leased the Cole title for that season, but Wilson, it seemed, wanted his name "in lights" so to speak and the outfit went out as Jones Brothers and Wilson and at the end of a short season the outfit wintered in Norfolk, Va.

The draft horses were shipped to the Jones farm. Many persons don't know why early circuses wintered in the North. Draft horses were vitally important in the operation of a circus. But if these animals are taken too far south they lose their zest for labor and contract the heaves when put to heavy work. Not only that, but the animals must be exercised every day. At the Jones farm these horses were leased to boroughs for snowplow and street work, to operators of sugar camps and for general teaming. Jones refused to rent horses for use in lumber camps or oil fields. Sleighride parties were popular at that period and the Jones farm furnished the horsepower. What animals were not working were exercised by village youngsters. It is not generally known today, but horses must be taken out of the stable and exercised each day. If kept in their stalls they will become afflicted with agoraphobia a morbid fear of open spaces and it becomes almost impossible to get them to leave their stalls. Everyone has heard the term "Hobson's choice." Hobson operated a livery stable in England and hired out horses. But patrons had no choice of animal but had to accept the horse nearest the stable door. Hobson, it appears, understood the traits of horses and while he was laughed at and added a term to our language that means "no choice" he managed to get his animals exercised.

Wilson had a leopard act and with animals to feed he was induced to accept engagements in Virginia while he and Jones were putting the finishing touches on a 20-car show for the 1914 season.

Getting good acts was a task. The war in Europe prevented importation of performers while topflight acts in this country, not under contract, were flocking to the West Coast. The Panama Pacific Exposition had an insatiable maw for both headline and mediocre presentations.

Unemployment was serious in early 1914. New York City had the longest bread lines ever known. The submarine blockade prevented the shipping of American cotton to England's textile mills and Americans were urged to buy a bale of cotton to help the starving South.

After a short invasion of Ohio in May the Jones Brothers and Wilson Shows swung back into Pennsylvania mining regions and then followed the harvest circuit of the Midwest. The season closed at Parsons, (Kan.) in October. The draft horses were shipped to the Jones farm while the show train was routed to Hot Springs (Ark.) for the winter.

Hot Springs was teeming with night life at that period. Many went there for health reasons; others for financial. It was the hot spot of the nation for gambling in all forms as well as diversified forms of entertainment. Wilson was exhibiting his cat act.

In March, 1915, Jones Brothers & Wilson's Shows left winter quarters at Hot Springs, yet by midsummer there was a dissolution of partnership. Harry Wilson launched a new show under the title of Cook & Wilson's Wild Animal Circus. His route was in the industrial east where factories were busy on European war contracts. At the end of the season the show wintered at Trenton (N.J.)

In 1916 the Cook & Wilson show was making a stubborn stand in the East. An infantile paralysis epidemic was becoming serious. In many places schools were closed which was followed by a ban on any child under 16 years from attending shows or public gatherings. Owners of movie houses screamed to high heaven while the absence of children also plagued tent shows.

Wilson cut prices at many stands a foolish move. Those who could go, would have attended at regular price, while price concession still would not enable children to attend.

Incessant rain bedeviled the circus with mud lots daily. The unusual weather condition was blamed on the booming guns on the European war front. In March the National Guard was mustered into service to entrain for the West to fight Pancho Villa, the Mexican bandit, thus further depleting the East of potential patrons.

Cook & Wilson was billed to show at Albany (N.Y.) in August. The city and its environs truly were "billed like a circus." It was estimated that $2,000.00 were expended in billing and newspaper space. Then the jinx that haunted Wilson all season struck. The infantile paralysis epidemic became more virulent and as a precautionary measure against spreading of the disease the circus permit was cancelled. Two days later, at Walton (N.Y.) the circus folded. It was the final season. In early November Wilson, with his leopard act, sailed for Havana, Cuba, for a 20-week engagement at the Santos y Artigas Circus. The animals were the only thing Wilson salvaged from his venture.

Following dissolution of partnership with Wilson, Jones resumed the Cole title and remained west of the Mississippi River and again wintered at Hot Springs. He opened the 1916 season at that place in late March. He was in a strategic position to garner military money when the United States Army, under command of General John Pershing, entered Mexico to capture Villa, whose followers had raided a town in New Mexico. The troop movement westward released a lot of cash and the western section was enjoying a small boom.

Two years previously economic chaos swept the Cotton Belt as German submarine warfare closed European markets for the crop. Now a poor yield in the eastern cotton fields sent prices soaring to 19 cents a pound. Oklahoma and Texas had bumper crops and Cole Brothers Shows were routed to get their share of cotton dollars. In many stands there were three shows a day - the late one for workers in the cotton fields who were denied time off to attend the early shows.

It was presidential election year. "Preparedness" was the national theme. Woodrow Wilson sought a second term on the slogan: "He kept us out of the war." Winter quarters were at Riverside (Calif.) The late Bob Taber told this writer that Cole Brothers, with J. Augustus Jones in charge, arrived on Saturday, December 11. The following Monday Elmer Jones arrived with the Cooper Brothers shows. Both reported a successful season.

Owen Lewis and his January act is shown on the Cole show in 1917. Dunwoody Collection.

The Cole Bros. World-Toured Shows opened the 1917 season in Riverside on late March 7, using eight seventy foot flat cars, five stock cars and 6 coaches, one in advance. The big top, damaged in a blowdown during a tornado in Arizona the previous season, was replaced by a new top of khaki color. The sideshow tent as well as all other tops of the show were of this new color that had become popular during the Mexican border fight against Villa. The Cole show was the first with the khaki top.

President Wilson was inaugurated for a second term in March. A month later the United States declared war on Germany. The country was in a patriotic ferment and many young men, eager for adventure, crowded recruiting stations to enlist. The first American troops sailed for France in June, the following month the first Liberty Loan was floated.

With the cauldron of patriotic and war fever seething and new government regulatory agencies being continually created, J. Augustus Jones added the patriotic flair to his show. In the parade each horse had a red, white and blue plume on its head. Flags graced the four top corners of each parade chariot, costumes of performers reflected the patriotic motif.

The first draft call was in June 1917. When Jones observed the raw recruits, many fresh from the farms, he searched his soul. How could he approve of wangling money from these lads who were on their way to the warfront? He knew that many would never return.

The new edict started with the ticket wagon no short changing. Vendors going through the seats were to wear caps prominently displaying the price of the commodity and the cautionary note: "Pay no more." The practice of coating copper cents with aluminum paint and having the butchers pass them out as a dime when making change was prohibited. The show did not benefit from this trickery but it had given tacit approval.

Once the most grift-studded show on the road, it suddenly became gyp free. "J.A. has gone Sunday School," whispered some showmen, and shook their heads as though that were a crime.

But the real gambling was carried on in a small enclosure in the horse tent or in the pie car on the siding. The local bloods who cared to pit their luck with the show gamesters were accommodated.

Without question the outstanding display of the 1917 season was that of Charles Gay and Muriel Croft in their presentation of animal subjugation. Following the routine jumping, rollovers and other tricks, Gay placed his head in a lion's mouth.

Miss Croft presented three lions riding horses, the latter executing maneuvers at word of command to single file, or three abreast with their feline mounts in the saddle. Leopards also were put through their paces.

But the highlight of the display was the Zoological Pyramid formed by joining two specially constructed ladders, 12 feet in height, with a platform at the top. A large lion with bushy mane ascended one of the ladders to reach the plateau and was followed by Miss Croft. Special board seats were hooked to the two ladders, one above the other. On the left sat four lions; on the right, four leopards.

The band played a patriotic selection, the lights dimmed and red fire on the ground colored the background while overhead showers of colored sparks cascaded upon the group. Gay had his charges on the pyramid in perfect control, as did Miss Croft have control of the lion by holding onto a collar concealed by the animal's mane.

As cats can readily ascend a ladder, coming down is something else. The platform on which Miss Croft and the lion stood had eye bolts at each corner holding chains from a center ring. A rope with a hook was inserted, the ladders parted at the top just enough to allow the platform to descend on a pulley amid a cascade of brilliant rockets. The animals then were sent to their cages and Miss Croft and Gay acknowledged the plaudits.

Another display with a patriotic motif was that of Miss Irene Eastham "who can sing louder than the band." Sitting on a white horse, her gown of red velvet nicely spread, her jacket of blue with a collar of white ruching completed her ensemble. As she sang patriotic songs, a flock of pigeons were released from various parts of the tent and they alighted upon her or the horse. It was a scene that would never be forgotten. (Miss Eastham also appeared as Irene Kober in the "Three Flying Kobers," aerial artists.)

It was the season for lofty displays which made the Rocky Mountain Goat presentation win approval. These animals walked across a narrow board high overhead without signs of fear.

Plants with war contracts were working overtime, and while unemployment was high the first three months of the year, by July there was a shortage of manpower and circus owners were faced with the problem of keeping workers from deserting the show for higher wages in factories.

Many times the men who erected the tents in the morning had harkened to the siren song of labor scouts and deserted the show to take better paying jobs in factories. Frequently the tear-down was performed by the faithful, assisted by performers, business personnel and local youngsters.

Jones never advertised for help in the trade papers, and very seldom in the local press. When desertions occurred, the hobo jungles, poolrooms and even city jails were scoured for recruits. Both J. Augustus and Elmer prided themselves as judges of character and consistently made good selections. Many times a drunk in city jail viewed the circus proposition as a blessing, yet didn't sober up until a hundred miles from home and it would require some work before he would have sufficient funds to return. In many instances by that time, hard work at the circus helped sweat the liquor out of his system and by the end of the season he was a better man, physically and mentally. Many recruits from the hobo jungles were well satisfied with their choice. They had three square meals a day and acceptable sleeping quarters.

By late 1917 the war picture was grim. Every week thousands of troops sailed for France, shrinking the list of potential circus patrons. The first Liberty Loan was floated in May of that year and J. Augustus Jones planned to invest $1,000 a week, yet there were several weeks when he failed to meet this quota. Business at the ticket wagon was slowly but steadily dwindling and when Cole Brothers World-Toured Shows pulled into Shreveport (La.) in late November Jones reported having acquired only $21,000 in bonds. Cooper Brothers Shows, under the management of Elmer Jones, reached Shreveport a week later. Both shows wintered at the State Fair Grounds.

On December 28, 1917 the government took over operation of the nation's railroads. A month later some shows were feeling the pinch of bureaucratic operation. There were embargoes and countless delays. Troop trains and those moving war material held high priority.

Showmen were worried and meetings were held every week or so. Show owners were urged to contact their Congressmen to help cut the Gordian Knot that held the movement of show trains to the whim of military brass.

Spiraling feed and labor costs induced Jones to auction off all animals of the Cole Show in mid-February, and then kicked himself for not acting sooner to eliminate this egregious expense.

Elmer Jones took out Cooper Brothers and Aleck and Richard Jones used the Hugo title. Both were two-car outfits and entailed no extra engine to move them. They could be coupled to local freight trains and even passenger trains. While the three brothers were out, J. Augustus Jones met with circus operators and analyzed the situation.

In July conditions were changing and circuses again were able to keep their dates. While theatres were being erected at training camps, a circus that was billed near a camp invariably was given top priority in railroad movement.

With this change in the transportation picture Jones planned on putting the Cole title on the road as a 16-car unit, consolidating the two smaller shows and adding new attractions.

Jones planned operating like he did the first year he went on rails: Playing near army camps where the soldiers were hungry for entertainment and also show in Southern cities for the winter months, including the New Orleans Mardi Gras.

Among the acts booked were:

Herr Louis Roth and his $50,000 group of black-maned African-bred lions. "Most sensational act of its kind before the public."

Mlle. Mable Stark. "Dainty bit of French femininity presenting a mixed group of leopards and panthers. A performance highly applauded in Europe." (Mable Stark was a protegee of Louis Roth).

Madame Rogers and her blue ribbon-winning liberty and waltzing horses, direct from Circus Schuman in Berlin, Germany.

Madame Bertina and her beautiful white Arabian horses in a magnificent equine statuesque display. The Whitties, eight young ladies in iron-jaw act, climaxing their display with the Butterfly Ballet while "swinging in huge arcs in mid-air hanging by their teeth."

Cheerful Gardner and his herd of performing elephants.

Prof. Oise Lucier's performing elephants, including Tex, the largest elephant in this country.

A menagerie comprising exotic animals from all foreign lands.

Prof. Brown's Military Band.

Free mile-long street parade.

More, much more. Traveling on a circus train of 16 steel railroad cars.

As many of the acts he signed still were under contract, Jones planned on opening in September and had the steel railroad cars taken to Aurora (Missouri) where the two small units were to join him.

Elmer had left the Cooper Shows in charge of Dick, while Aleck took charge of the Hugo unit. It was an unwritten rule that one of the Jones brothers would always be with a unit.

The large khaki tops of the Cole show of the previous season were to replace the mish-mash tops of the other two units.

On Wednesday, August 21, Jones had hired local help and a drayman with his team to unload the tents for inspection and airing. Then occurred an accident that defies description and explanation. While giving instructions to a worker in a car, and was near the rear of a horse, the animal raised its hind leg and kicked Jones in the left leg. The horseshoe caught Jones square in the knee and with a force so great that knee and hoof became locked. Quick, intelligent action on the part of workers prevented a greater calamity. One man grabbed the horse by the bit strap; another seized the horse's leg, holding it much as a blacksmith when shoeing, thus anchoring the animal stationary on three feet, while another man cut and tore the garments to free the knee.

The ligaments of the kneecap were torn and the knee bone broken; another break in the leg also was sustained. Aurora doctors could do no more than administer an opiate and Jones was rushed to St. John's Hospital at Springfield (Mo.) 35 miles distant. A railroad surgeon, experienced in bone injuries, treated Jones.

Elmer accompanied his brother to the hospital at Springfield and when he was informed of the seriousness of the injuries, he became panic-stricken at the thought of managing a 16-car show. Without consulting the other brothers, who as yet had not reached Aurora, he proceeded to cancel all the stellar attractions J. Augustus had signed.

Arrangements were made to take Jones to his home at Warren (Pa.) A hospital spring cot was provided, but because it was impossible to move him and also impossible to get the cot into the Pullman compartment, Jones made the trip to Warren in the baggage car. A special attendant was with him to Cleveland (Ohio) and here the writer relieved the attendant. I received a bottle of small pills (opium), towels and other items needed to care for the patient and we arrived in Warren Sunday morning, August 25. A horse-drawn ambulance was awaiting our arrival, and Jones was taken to his home at 24 Glenwood Avenue. Three doctors examined Jones and following a consultation, a specialist was called from Philadelphia. Following the latter's examination it was decided the patient's condition was not serious, but the loss of much blood necessitated the injection of serum. A brother-in-law of Jones donated blood at the State Hospital, North Warren, which was prepared into a serum and injected. The X-ray machine was still in the future.

Bedside reports stated that Jones was steadily improving, but these reports belied the true facts. The pallor of his face held the look of death. He passed away Sunday afternoon, September 1, 1918.

Elmer in the meantime consolidated the two small units into one, adopted the Cole title, yet before the show moved word was received of the death of J. Augustus Jones. The three brothers left for Warren to attend the funeral, which was held Saturday, September 7th.

The services were held in the First Presbyterian Church, and following those rites and an eulogy by the officiating clergyman, the rituals of the Masons and the Elks were conducted, both impressive in their presentation. Interment was in Oakland Cemetery, Warren.

John Augustus Jones was born September 13,1868 and died September 1, 1918, lacking 12 days of being 50 years old.

Survivors included his mother, who at an advanced age made her home with him; his wife, Martha; a son and a daughter; two other brothers not engaged in show business, and two sisters. He was a stockholder and director of the First National Bank of Youngsville and of the Warren Savings Bank; chief stockholder of the Forest Furniture Company of Youngsville, and also stockholder of many other Warren County enterprises, as well as much Warren borough real estate.

To give an insight of his charitable nature, every season when leaving on tour there was a sheaf of notes signed by him at the Youngsville bank and no doubt also at the Warren bank. Any person for whom he endorsed a note could have it renewed if he remembered the due date and paid the interest. Many a person acquired their home by the helping hand of Jones.

Requiescat in Pace

Following the burial services, Elmer and Aleck returned to the circus. Richard remained behind, withdrawing from the show business. He visualized trouble for the truncated outfit, and he was right.

The Cole paper depicting the stellar displays originally contracted by J. Augustus Jones, were being hung by the billing crew. Lon Gillette had assumed charge in the absence of the brothers. Trouble developed at West Plains (Mo.), where the show was billed for September 5. The show train pulled in and a patrolman on the grounds looked in disbelief as he saw the four-car train. Assured it was the complete circus, he conveyed this information to his superior. The police chief informed the mayor who called some councilmen and the group went to the show grounds. Besides the lack of feature acts, the "big herd of elephants 11, count 'em, 11" turned out to be only two pachyderms in the charge of Cheerful Gardner, who upheld his right to the name by his cheerful attitude despite troubles of the show.

The West Plains Daily Quill gives details of "something not down on the bills." In its issue of September 6 that newspaper said, in part:

"Yesterday evidently was a hoodoo day for Cole Brothers show, a small circus which arrived in West Plains at 7:45 yesterday morning, minus so many of the big features which it had advertised that city officials for a short time considered refusing to let them unload their train here. Not only did the show receive a cool reception from the weather man, but from the people of the town as well."

What the newspaper didn't say was that the town officials at first decided not to issue a permit for the abbreviated circus. Pleadings by Gillette, after explaining the mishap and death of Jones, induced the officials to relent, but only on the conditions that the admission price be reduced to 25 cents for adults; fifteen cents for children; ten cents for side show.

News of the size of the show was quickly reported by those who were on the grounds to watch the circus unload. These reports, plus inclement weather, resulted in a small turnout, mostly a "paper house."

The bad news of the abridged show its lack of advertised features, reached the towns ahead of the circus. Missouri is known as the "Show Me" state and its residents wanted what was advertised. Disappointment over the performance in general precipitated many disputes.

Resentment flared in many towns to the fighting point. Insults and derogatory epithets greeted the performers. Troupers, on tenterhooks over the situation and anticipating serious trouble, jumped the show, each stand having less displays than the previous one. "Doubling in brass" became a chore of the faithful. The circus ground to a halt at Corinth (Miss.) to end the 1918 season.

Here Elmer revamped the show as a 2-car outfit under the title of Cooper Brothers and played in the South.

In 1919-1920 he was out with the Cole title, but it was two-car, as were all his shows from then on. In 1920, at the close of the Northern trouping tour, he organized a minstrel show, at that time a form of entertainment enjoying public favor. His first burnt cork outfit was called Famous Alabama Minstrels, which was offered under canvas in the West.

In spring of 1921 Elmer acquired the title and went out as Wheeler Brothers. The Cooper show was out with Aleck managing. The Cole title lay dormant that season, but was revived the following year and continued until 1927 when the title was sold to John Pluto.

Elmer brought the Cole & Rogers title out of mothballs in 1927 and toured Canada. Aleck operated the Cooper Brothers show. During the Depression Aleck retired from the show business and purchased the hotel at Chandlers Valley. There was a large barn connected with the hostelry in which Elmer quartered his horses during the winter season. With Aleck out of the show business the Jones circus dynasty was inherited by Elmer who continued until the late 40s, when he retired.

He had waited too long. He failed to acquire the wealth amassed by his brother, J. Augustus Jones. There was a change in the amusement world. The two-car shows that carried entertainment to the hinterland were superseded by television.

Even Dame Fortune deserted Elmer, and her daughter, that brazen jade, Mis-fortune, clung to him as he entered the "G" door in the sideshow tent or in the pie car.

Following retirement, Elmer would visit Jamestown, Warren, Corry and other places to seek diversion from humdrum inactivity by shooting dice. He had earned the title "Gambler Jones."

Whatever his shortcomings, he never forgot his friends and he never refused to extend the helping hand. He was generous to a fault and even to the stranger who would ask he would "toss a fish." Each winter he would journey to Sarasota, Fla., to mingle with circus friends. He died at his home April 8, 1962. He was 83 years old.

The Afterpiece

When Richard Jones retired from the circus business to his home in North Warren (Pa.) he purchased the local livery stable. One of his first acts was to enlarge the building with a 60-foot addition, making it, no doubt, the longest livery stable in the state. But the addition was not used for stabling animals. A new sign on the building told of the new services: "Sales Stable and Carriage Painting." There are some graybeards in the village who will affirm that many of the "carriages" that rolled off the nearby railroad had six-inch wide wheels, the spokes painted red, and that in spite of the tarpaulin covering the carriage, they knew it was a circus parade wagon. On the sales stable angle, any species of animal was obtainable and one summer an elephant and a pair of camels grazed in contentment on the Jones farm at Chandlers Valley while awaiting their buyer to call for them.

The narrow gauge railroad that operated between Youngsville and Sugar Grove, its tracks only a short distance from the Jones farm, was mentioned earlier in this article. This rail line was built to provide freight and passenger traffic between the two boroughs and other smaller villages on the line. A chief source of revenue was the passenger traffic of students attending the Sugar Grove Seminary, operated by the Erie Conference of the United Brethren in Christ Church. It was the only rail line to Sugar Grove. At Youngsville connections were available to other railroads. In 1918, with this nation at war, the academy was closed. This loss of revenue sounded the deathknell for the "dinky". It seems ironic that the railroad upon which J. Augustus Jones based his hopes of building his winter-quarters on the family farm, should end its career the same year Jones died.

Every student of circus history has knowledge of the stigma of jinx that has been placed on J. Augustus Jones' death. He sustained fatal injuries from the kick of a dray horse like his predecessor using the Cole title, Martin Downs, and the jinx theory has prevailed through the years. The author of this article raises the question, "What jinx?" I was a reporter on the Warren Mirror at the time and wrote the Jones obituary. I wrote: "In this (kick by a dray horse) there is a strange coincidence in the death of Mr. Jones. Martin Downs, the original proprietor of the Cole Brothers Circus, was kicked by a farmer's horse while buying horses one time and passed away. That Mr. Jones should meet the same kind of death is more than passing strange."

I sent the Jones obituary to the Billboard and the New York Clipper. The "strange coincidence" became a jinx in their articles. And jinx it continues to be today to all writers despite the fact that no similar misfortune has befallen other owners of the title for nearly six decades.

The "strange coincidence" was that both men were kicked, not by circus horses, but by animals not belonging to the show. Fatal injuries from kicks by horses at that period were as common as fatal injuries in auto mishaps today. Horseshoeing at that time was considered a hazardous profession. The other newspaper, the Times, made no mention of the Downs' fatality. Jones had told me of the accident and I used the angle to "dress up" the obituary.

Mrs. Martha L. Jones, a grief-stricken widow, ordered erected one of the most outstanding memorials for her late husband's grave. It was ready for Memorial Day 1919. It consists of a life-size marble statue of a female figure placing a wreath on the grave. To her left is a granite pillar, 18 inches in diameter, but broken in half, and on which in has relief is the name, J. Augustus Jones.

The feminine figure represents Mrs. Jones; the broken pillar represents a life broken off before its mission was accomplished.

What was this mission? When the answer was available, no one asked. Now, when an answer is wanted, no one can give it. But I like to think the pillar marks J. Augustus Jones' crusade against grift in an effort to clean up the circus.

Mrs. Martha Jones passed away in 1962 and is buried beside her husband.

The broken pillar is slightly concave at the top and frequently birds build their nests in the hollow. At dawn they raise their voices to sing a requiem to J. Augustus Jones, who dared to fight grift at a period when it was considered a necessary evil.

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