Reply: 22 November, 2006 - The poster you mention was printed by Strobridge in 1938 when John Ringling North was able to gain control of the show and wanted to add many spectacular attractions. He brought Terrell Jacobs - one of the greatest of the big cat trainers - over from the 1937 Hagenbeck-Wallace show with his wonderful lion act; also a number of black leopards (at least ten) were bought for the act on the poster but Jacobs was unable to put the act together. At the show's opening at Madison Square Garden, Jacobs worked a single black leopard in a short act in addition to his Lion act. The poster continued to be used despite the above and was posted at various 1938 stands. The 1938 tour was cut short by labor difficulties and Jacobs was among the acts taken to North Dakota to join the Barnes-Sells-Floto Circus. The full story of the act on the poster was told by Joe Bradbury in the Christmas 1977 issue of White Tops. Regards - Whitey

Reply: 22 November, 2006 - This happened in recent years with a great billing stand back East, when valuable, antique, original posters were discovered, photographed, documented, and I believe, saved. In your case, be certain this billing is professionally photographed, and seek out the local historians who may lead efforts to save this location, or professionally re-claim the billing thereon. This artwork was used for the 1938 season. Good luck. Roger Smith, steelarena314@hotmail.com

Reply: 21 November, 2006 - I would recommend that you read Stuart Thayer's two volumes, "Traveling Showmen" (1997) and "The Performers" (2005). They will define for you the American circus in the 1840s. You can supplement them with his "Annals of the American Circus 1793-1860." Fred Dahlinger

Reply: 01 December, 2006 - Thank you very much for the recommendations, Mr. Dahlinger! They sound perfect, and I look forward to reading them. Cheers! - Amber D. Yuellien

Reply: 19 November, 2006 - Joe McKennon's book "Pictorial History of the American Carnival" lists a Great White Way Shows as operational 1913-1925 and 1932 [Vol. II, page 170]. It was a railroad carnival, not a circus. There very well could have been a back end wild animal show, as was often featured on larger carnivals. The acts that your great uncle described would have been part of a tented illusion show. You'll find some interesting coverage of such activity in his book "Seeing is Believing." The owner was C. M. Nigro, with his partner being J. George Loos [I, page 119] McKennon also lists Nigro Combined Shows 1910, Nigro & Loos Shows 1911-1912 and Nigro & Stevenson Shows 1918 [II, page 177]. There are further listings of Loos in Vol. II, page 174. McKennon did not include a biography of either man in his book, but does mention that Nigro was attempting to start a poultry farm near Racine, Wisconsin in September 1930 [I, page 119]. The Great White Way title was derived from one of the then popular names for New York's Broadway, a canyon of theater marquees and lights, especially around Times Square. A carnival midway would have been just a microcosm of such illumination in the community where it appeared. The phrase is documented in use by 1902. Perhaps one of the carnival historians that surveys this column will be able to provide further assistance; I'll copy them on this response. If not, scanning of the weekly issues of the "Billboard" and the "New York Clipper" will be your best sources, along with a check of www.newspaperarchive.com. A quick Googling of "Great White Way Shows" provided two hits on the site, in the Wichita Daily Times of April 27, 1913 and the Sheboygan Press of October 4, 1927. If you're lucky, an obituary for Nigro might be found in the index to "Variety" obituaries, or in Racine records, and with the date in hand you can then go to "Billboard" for additional coverage. Fred Dahlinger

Reply: 20 November, 2006 - "His" book, above, refers to Al W. Stencell. Fred Dahlinger

Reply: 17 November, 2006 - Carrie, It seems like the Ghio may be correct. In the recent issue of Bandwagon, "En Route to the Great Eastern," Part Four, by William L. Slout, p. 18. Regarding the 1872 Great Eastern: "The museum consisted of . . . Signor Ghio, warbler; . . ." - Judy Griffin

Reply: 19 November, 2006 - Ghio would have been a novelty singer, a sort of Tiny Tim "Human Canary." There was a quartet that later imitated a steam calliope. Fred Dahlinger

Reply: 20 November, 2006 - Hello, I have a sighting of the Signor Ghio in Auckland, New Zealand, July/August 1864. The show was called "THE GRAND EXHIBITION of LIVING WONDERS. The show consisted of the Swiss Bearded Lady; and her son, the bearded boy; and Signor Ghio, the Swiss Warbler, the great imitator of birds and Animals, a first class violinist. Swiss "bird" warblers are a whistle that fits on the tongue and top of the mouth (are still available today in some joke and novelty shops.) and leave the hands free to do other things. Perhaps in his case to play the violin. Cheers! - John Sullivan

Reply: 21 November, 2006 - Replies to #1641, Swiss Bird Imitator - Thank you, Judy, Fred, and John Sullivan! This really clears things up! I do have the recent Bandwagon and I read the article "En Route....". Thank you again for your help! Sincerely, Carrie

Reply: 24 November, 2006 - Tommy Kayes' circus is mentioned in my book 'Twentieth Century Circus People, 1901-1950' (Lingdales Press, Formby, 2003), p.153; - KAYES, Tommy. Lion trainer, famous for his 'bouncing' lion act. Born 27th July 1901, son of William 'Buff Bill' Kayes and Elizabeth nee Baker. Brother of Pricilla Kayes, another big cat trainer. Known as Capt. Tommy Kayes. Took over the circus of his father, run by his mother during the Great War. After the War he took over the role of lion-tamer from his brother Billy. Also toured theatres, performing the fastest lion act in the world, two big lions in a small 20' by 9' cage. In 1930 was with his brother Timothy Kayes' lion show, during its Scottish tour. Was with "Bostock and Wombwell's Jungle" in its last year, 1931, presenting lions and tigers, following which all the animals were transferred to Whipsnade Zoo. In January 1932 he was presented with a massive solid gold medal, by Frank Bostock, to commemorate his contributions to the Bostock and Wombwell show. With Pat Collins' new Lion Show, Tipton Wakes, in July 1932, "a remarkably smart trainer". At the Agricultural Hall Circus, Islington, 1932-33, with his lions. With Collins' Lion Show, at Newcastle-under-Lyme, in January 1934, later travelling with Robert Fossett's circus, when his sister was his assistant. Tommy Kayes' 'Lion Arena' was at the Newcastle Town Moor Fair, in June 1935. Attacked by a lion when he slipped and fell, at Skegness, in 1934. Was badly mauled by a lion, at the 1937 Birmingham Onion Fair. With Frank Stuart's Anglo-American circus, in 1939. With Rosaire's circus, touring in 1942. With Kelly's Australian circus, in 1943. In 1944, working with Rex Lloyd's Royal George Circus, was reported to be seriously ill, with pleurisy and pneumonia, at Hawick, Scotland. Later reported to be progressing favourably. He was released from hospital needing to convalesce many weeks, "lucky to be alive". He was advised to give up performing with lions, but refused. 'I can't give up my lions', he said, 'I couldn't live without them'. The "chest cold", which he wouldn't let interfere with his work, finally compelled him to rest. He pulled his caravan into a stable yard in Battersea and died there on 19th March 1946, aged 44 years. After his death it was opined that "He gave such a lot and received so little in return (Sources - World's Fair, 30/1/1932, p.9, col.3; ibid, 23/7/1932, p.45, col.2. P.185; ibid, 31/10/1936, p.31. Photo; ibid, 26/3/1932, p.28, col.3; ibid, 27/1/1934, p.7, col.1; ibid, 5/2/1934, p.32, col.1; ibid, 3/3/1934, p.32, col.3; ibid, 4/8/1934, p.1, col.1; ibid, 31/10/1936, p.31, photo; ibid, 9/1/1937, p.42, col.1; ibid, 10/4/1937, p.33, col.2; ibid, 26/6/1937, p.32, col.5; ibid, 4/12/1937, p.1, col.2; ibid, 9/4/1938, p.31, photo; ibid, 18/6/1938, p.32, col.1; ibid, 31/12/1938, p.53, col.1; ibid, 9/11/1940, p.12, col.3; ibid, 7/12/1940, p.1, col.1; ibid, 28/12/1940, p.1, col.3, photo; ibid, 17/6/1944, p.1, col.2; ibid, 1/7/1944, p.13, col.3; ibid, 21/7/1945, p.12, col.3; 31/7/1943, p.13, col.3; ibid, 17/6/1944, p.1, col.2; ibid, 1/7/1944, p.13, col.3; ibid, 23/9/1944, p.12, col.3; ibid, 6/4/1946, p.16, col.2;ibid, 23/3/1946, p.1, col.2; ibid, 30/3/1946, p.12, col.2; ibid, 15/3/1952, p.6, col.2, photo; ibid, 27/1/1968, p.8, col.4; R. Croft-Cooke, "The Circus Book"; Frank Foster, 'Pink Coat...', p.140; P.M. Morris, 'Sawdust and Spotlight'(1960), p.28; Edward Seago, 'Circus Company' (1933), p.266). I hope this information is of interest. John Turner.

Reply: 24 November, 2006 - On the website www.circusmuseum.nl/eng you will find a section called 'freaks' with many sideshow acts. Search and type the word " siamese" and you get the beautiful siamese twins, Mi-Na and Nee-Sa Long but also a four-legged man or two-legged brothers called Jean et Jacques Libbera. Herman Voogd, hvoogd@teylersmuseum.nl

Reply: 21 November, 2006 - Conqueror is likely a name used for marketing purposes. It appears on a poster aggrandizing the beast in the current issue of "Bandwagon" (L, 5, page 20, Tibbals collection). At the 1875 sale of the Great Eastern circus in Lebanon, Ohio, a small elephant named "Bismark" (sic) was sold to the Cincinnati zoo and walked to that location by Sol Stephan, who remained with the facility. A yellow-card stereoview exists of an elephant at that facility. It documents a modest female Asiatic elephant with a ride howdah. Part III of Slout's Great Eastern story places Bismark and a smaller "baby" elephant with the Col. C. T. Ames menagerie. Bismark was apparently acquired for the Great Eastern at the late 1871 sale of the Ames show. The beast was surely named for the Iron Chancellor, Otto von Bismarck (1815-1898), but why a female was given such a name is surely not clear. It, too, may have been a name for public use, with another more familiar nickname used by the handlers. Fred Dahlinger

Reply: 21 November, 2006 - Conqueror was bought by the Cincinnati Zoo at the auction of Haight's Circus on 26 February 1875. Stuart Thayer.

Reply: 17 Feb 2008 - Hi Chris, I hope you find this message as it’s is a long time since you posted you question. I have a little information on Atrato which I would be happy to pass on to you. The first mention I have of him is in May 1867 in Leeds when he appeared at Thornton’s Varieties as ‘Geretti and Atrato’, gymnastic act. In February 1869, when they appeared at Portsmouth they are billed as trapeze artists. Atrato then went on to appear with my G.G. Grandfather Thomas Culeen as ‘Culeen and Atrato’, trapeze artists before they both went on to have circuses of their own. Please contact me at culeen@hotmail.co.uk if you would like more details. Best wishes, Jane

Reply: 27 November, 2006 - Mary, try asking Dan Meyer at http://www.swordswallow.com/index.php. - Tom

Reply: 15 November, 2006 - Yes, it's true. They sold for around 25 cents. They came on a piece of twine with a safety pin at the end and you would pin them to your shirt or coat. They were a kind of chameleon. They would change colors when exited. They also sold baby sea turtles. Just like the custom of selling baby chicks or ducks during Easter; they would usually not live long. Sadly. Erny Karoly

Reply: 19 November, 2006 - There have been some queries on this topic in the past. Try searching for them using the "edit" function within each group of queries and you might find the answers that you're seeking. Fred Dahlinger

Reply: 15 November, 2006 - I found some archived messages from 2004, #s 94 and 98 regarding the Escalante Brothers. It's time consuming but searching the archived messages can really help and they are easily broken into 50 messages/group. Good luck! Carrie, Annandale, VA

Reply: 12 November, 2006 - Caroline, I'm glad to see you're working on this bio. Mine is on Mabel Stark. Good luck in your research. When I worked for Clyde Beatty, in 1964, Dick Clemens delivered meat for the cats on several stands. He was always accompanied by his wife, Mary, who was of Japanese extraction, and who recently passed. The meat came boxed, and he'd pull up to the meat freezer in the front of 51 Prop Wagon. I'd transfer the heavy boxes into the locker and he was generous with my tips. Dick was a very colorful man, but this is the only way I knew him, as I never saw his act, and never saw him again after that season. Wishing you well on this project, steelarena314@hotmail.com, Roger Smith.

Reply: 16 November, 2006 - Dick Clemens and I worked for the same zoo director in Tokyo at different times of our lives, and Mary Clemens and I kept in touch until her passing. There are written accounts on Dick's Japan tour (in Japanese); I also have a few photos, some of which were used in December, 2005 issue of Bandwagon. Contact me for further information. Ken Kawata, Buteo007@aol.com

Reply: 07 Aug 2008 - An update: Recently, material from Dick's widow Mary, mostly cardboard boxes of family movies, correspondence and other documents, have been transferred by Mary's Power of Attorney to the Circus World Museum archival collection in Baraboo, Wisconsin. Ken Kawata

Reply: 12 November, 2006 - You are correct in that there are TOO many regulations now. Just about the first thing any Circus will be asked about is proof of insurance. Many times the local sponsor, town, or building they are in will need to be added as additionally insured. The circus that has animals generally falls under the scrutiny of the United States Dept. of Agriculture for licensing, inspections, record keeping, and veterinary care. All animals must have Health Certificates to travel from state to state along with certain test results depending on the specific anmals. Local Humane Societies also govern on the local level. Anyone with Endangered Species such as tigers or elephants also has a United States Dept. of Interior license. Anyone with animals trying to cross the US border into Canada, Mexico or abroad has a ton of paperwork with the CITIES agreement to get out of the US and then be able to return. State regulations vary from state to state. Some require electrical schematics be sent months ahead of time for approval. All require flame proof tents be used with cable structural lines to prevent the falling of the main poles rather than rope. Some States grant a licence for a certain amount of days such as 14 or 21 days to be in their state and then be out. Seating is highly inspected to prevent falls and collapsed seating. Local Fire Marshalls will conduct inspections as well as Police jurisdictions concerning parking and traffic flow. Local licences are required almost everywhere any show goes. Health Depts. govern the concession sales to make sure things are safely prepared for the going public and that waste water is removed in a viable manner. Then there is the Dept. of Transportation checking CDL drivers licences, weigh stations and Driver log books, fuel stamps, and safe condition of trucks lights, brakes etc. There is a sales tax license in every state they appear in on admissions and sales. There is the normal income tax witholding for the Federal Government and Social Security match by the employers on employees wages as well as shows filing their own Income Tax records. I might have missed something but that gives you a pretty good start. Bob Cline

Reply: 12 November, 2006 - In 1918, you would be referring to the M.L. Clark and Son's Circus. The original M.L. Clark Circus started in 1883 and remained under this title until 1901. His son joined as an owner in 1902 with the name changed to reflect the "and Son's Circus". They retained this title through 1929. They were a wagon show travelling from town to town by wagon and horse or walking if that was what was needed. If you will click on the top left of this page on Bandwagon and go to the articles from 1957 to 1996, you will find in 1958 one article called Ned and Mena, Famous Elephants. These are from the M.L. Clark and Sons's Circus. If you click the History button, you can find more information such as the winterquarters being in Alexandria, LA. in 1906 and 1908. A partial listing of performers from 1910 is there as well. The Circus World Museum Research Libray in Baraboo, Wisconsin can also be contacted. They might have information pertaining to the gentleman you are researching. They might also have Route books for years the show was out. These told of the daily route, members of the show, animals, performances, etc, Some even had daily diaries. I'm not sure what they would have available but they will have more than any other single source. Bob Cline

Reply: 13 November, 2006 - Thank you Mr. Cline for the information, it certainly gives me more to go on than what I presently have. The source was from my (husband's) Grandfather's military record in which it stated that he was employed by the M.L. Clark Show from Alexandria, LA in 1918. sue wedlock, weddick@hotmail.com

Reply: 19 November, 2006 - Homer Walton penned an account of the original M. L. Clark circus in "Bandwagon," March-April 1965, pages 4-11. It's not to be confused with the later motorized version operated by E. E. Coleman. Fred Dahlinger

Reply: 04 Aug 2008 - Here are the results of a recent and admittedly not totally comprehensive study of "Balance Board History." Others may desire to augment this knowledge with their scholarship.
      A "quick" investigation suggests that the modern "rollo bollo" [aka "rolo bolo," "rolla bolla" and "rola bola"], the circus-style version of the more generic apparatus known as the "balance board," was derived from the circa 1952 "Bongo Board." The latter originated with Stanley Washburn, Jr.'s World War II observation of children in the Gold Coast [now Ghana] improvising a crude balance board from materials readily available to them. It was not unlike the origin of the "steel drums" from 55-gallon steel barrels; local people making use of processed raw material abandoned by others.
      The 1953-patented Bongo Board featured a built-in alignment tongue, on the bottom of the board, which engaged a groove in the cylinder, as per the link below. The patented version specifically included the tongue and groove so as to make it patentable; the simpler form without the "improvement" may have been considered too generic and within the public domain. As patented, the inventor presented it as a "game," perhaps as with the later "hula hoop," and not as a performance apparatus. Early publicity, such as the October 1953 Garry Moore television show appearance, suggest that it was initially presented simply as a challenge to maintain one's balance on the "toy." Commercial exploitation was surely the desired goal, as was partially achieved with the sale of the Bongo Board.
      Stage and circus performers eliminated the tongue and groove, making the feat more difficult by placing it into a live action mode, beyond the skill level of the amateur. The "wheel of death" underwent a similar transformation from a "static" balancing device to one of dynamic action in the circus. Following mastery of the basic balancing, rolo bolo artists went to multiple stacked cylinders in crossed-planes, spheres in lieu of cylinders, the addition of juggling while balancing, placing objects between their feet and the board, the standing of another person on their shoulders, etc., all to increase the difficulty and danger of the presentation.
      It's not clear if there is any earlier indication of the art. It may be one of those activities that appears in an old engraving. Some acts were introduced, attempted for a while and then abandoned, for a variety of reasons. "In-line roller skates," for example, were, according to Stuart Thayer, known in the 19th century, but never achieved popularity until a century later, apparently awaiting development of materials and design technology.
      Stuart Thayer's book "The Performers," which covers ring acts through 1860, doesn't mention the balance board apparatus. There are references to "Globe and Barrel" [pages 135-136], which were balancing acts involving spherical and cylindrical objects upon which a performer balanced himself. These obviously lack the additional dynamic element of the balancing board atop the cylinder, yet offer some related balancing challenge. Thayer found globe acts as early as 1841 [London], and in the US by 1850. Barrel acts were performed domestically as early as 1848.
      Antony Hippisley Coxe's book "A Seat at the Circus" mentions the "roller balancing act" [pages 66-67], but does not derive the history. He notes that it is a difficult act to present in the round, though some have mastered the additional techniques that can make it a success in that format. George Speaight's book "A History of the Circus" affirms the above and presents nothing on the rola bola as a stand-alone act.
      George Chindahl's book "A History of the Circus In America" [1959] includes in the enumeration of acts "Equilibristic - foot or feet stand - on board resting on rolling cylinder/supporting teammate" as well as "Equilibristic - foot or feet stand - on board resting on rolling globe," suggesting that within a few years the Bongo Board concept had been embraced and further amplified in possibilities by circus performers.
      There were never many practitioners of the globe and barrel acts, according to Thayer's study and survey. Despite there being variations, they were superseded by greater daredevil acts until such time as several men rolled up high ramps, inclines and spirals both on top of and inside of spheres. This took place from 1865 to the 1910s, both indoors and outside. [See Ricky Jay, "Learned Pigs and Fireproof Women," pages 202-211, and two of the color plates.]
      A check of U. S. Patents as listed in the links below revealed some similar devices, but nothing with all of the features of the Bongo Board. The house moving apparatus of 1879 [281,588] is actually quite similar to the balance board, but there's no intent for dynamic balance, only stable support and movement. A pivoting, seat shock absorber device incorporates the basic idea in 1922 [1,423,946], but in this instance the board moves the body, not vice-versa. Another similar item is something akin to a stair-step apparatus in 1931 [1,824,920]. These can be viewed at the USPTO, by inserting the numbers into the search block: http://patft.uspto.gov/netahtml/PTO/srchnum.htm
      The earliest presentation I located in www.newspaperarchive.com took place in 1956. The Lesack family [Bill, Norma and three-year old daughter "Bunky"] presented a number of acts at the 64th YMCA Gymboree, including juggling, adagio and "rollo bollo" board. [Winnipeg, Canada, Free Press, April 20, 1956] Their presentation was not described, so it's impossible to determine if it was simple static balancing, dynamic, or a combination of talents.
      The Cannestrellis were advertised as "rolo bolo" artists with the 1960 Cristiani Bros. Circus. [Stroudsburg, PA, Daily Record, May 20, 1960] They were then "rola bola" artists as early as 1962 with the Cristiani-Wallace Bros. Big 3-Ring Circus. [Ft. Pierce, FL News Tribune, October 5, 1962] My suspicion is that there was a combination of talents presented in a dynamic mode. The phrase "rola-bola" was also applied to a "crazy ball game" in 1961 advertisements. It was a four-ball game toy.
      Rita Rose, the "Darling of Variety," presented "Rolla Bolla," juggling and rolling globe at the Indiana County Centennial Fair in 1962. [Indiana, PA, Evening Gazette, August 20, 1962] The accompanying photograph shows her juggling, with a stand placed between the board and her feet. It guarantees by this time that the "modern" form of the dynamic, multiple-talent act had come into existence. Some links that may prove useful include:
http://davidmaisel.home.comcast.net/~davidmaisel/balance_boards/
Bongo_Board/Washburn_Bongo_Board_patent_description_n_drawings.pdf
http://davidmaisel.home.comcast.net/~davidmaisel/balance_boards/
Bongo_Board/photos/links_photos_n_video.htm
http://en.wikipedia.org/wiki/Balance_board
      John McConnell provided the following recollection that may be pertinent. "Tommy and Kay Frances did a very good rola bola act as 'The Martells.' They worked on a table about four feet off the ground. There is a photo of them on page 254 of my Hanneford book. The finish trick was Tommy on the board, Kay standing on his shoulders and a small dog doing a sit-up on her head. I don't know when they created the act. I first saw it in the early 1960's, but the photo in the book indicates it's circa 1956. If you wanted to check dates, you might look at Clyde Beatty programs for the early 1950's and Polack Bros. for the later 1950's. That's when Hannefords were on those shows, and The Martells might be listed."
      Dominique Jando advised as follows. "I have seen rola-bola acts in the fifties. 'Crazy Monroe' was the great rola-bola act in the sixties: rola-bola was nothing new then. I believe it existed before the war, and even much before that, with clowns like Auriol using a board and a bottle - and I wonder when the Chinese started playing with it. Louis Auriol (1806-1869), performed from 1847, when he debuted at Franconi’s, until 1862, when he retired. An image shows him doing his famous 'Flaschentanz' atop wine bottles." See Saltarino’s Artisten-Lexicon. Fred Dahlinger

Reply: 06 Aug 2008 - I appreciated the investigations about one of those acts whose origins are still uncertain. This confirms my believe that rola bola appearead in the circus only around 1950.
      It is very interesting to learn about those eraly traces in America. Concerning Europe, in the 50s, was possible to see it in his simplest form (a board and a cilynder on the ground) in the small travelling circuses or street family performers of the Latin countries: Italy, Spain, Portugal. It is only in the very late 50s that this appeared regularly in the circus. I believe that Crazy Monroe (from a Spanish family) was the first to structure this in a real circus act. I think he introduced the high platform (that at the time in Spain was used by handstand or similar act) to emphasize the height, the danger and the circular view. Monroe's act was still based on a single board and a single cylinder, but with remarkable tricks, as jumps or a lazo routine. Only in the finale he performed an handstand with three cylinders under the board. Later he added multiple boards. Monroe became an European circus star in the early 60s, generating dozens of imitators. The "Rola-bola" name can be easily have a Spanish derivation ("rola" meaning "to roll", and "rolo" is for "cylinder"). It is interesting that in all the European circus jargon and literature during the 70s and 80s (circus programs, magazines and books), the act always was called as "rola-rola". After Monroe, the act became more elaborated always by Spanish, Italians or Portuguese artists from circus dynasties. It became one of those specialties suitables for circus and night-clubs as well. Always with the high platform, it became based on showmanship, an attractive partner and in the 70s his technical appeal became the increasing number or boards or cylinders on a concept of progression. Remarkable in the 70s were Enrique Romero, Abilio (Spain), Manuel Goncalves (Portugal).
      The act took a new turn in Russia. Here too the rola-bola appeared in the late 50s: this is stated, even if vaguely, in the Russian Circus Dictionary (1st edition 1979, 2nd 2000). Effectively, in the early 60s the Gurevitch table of classification at the Moscow Circus School included this act. Some Russian pictures around 1960 shows rola-bola soloist on the high platform in the Spanish style. It is at that time that Russian clowns started to develop the popular rola-bola parody on the ground, mainly as a quick way to cover the ring change after the "serious" act. I think is dued to the Russians the development of acrobatics and handstands on rola-bola with two or more performers. In Gurevitch's wonderful "Specialties of the Soviet Circus" (1984), six pages are devoted to the rola-bola techniques, with elaborated illustrations. The author mentions examples dated 1966.
      Concerning the Chinese, I don't know traces of this act before the early 80s. By the 50s, the Chinese gradually started to improve their traditions and simultaneously absorbing the western circus specialties. In the seminal Quifeng's "Chinese Acrobatics Through the Ages (1985), the author treats "balancing on a swaying board" (exactly describing the rola-bola technique) as among "new skills". By describing "supporting several performers one on top of the others", they reveals (as for many other techniques) the direct influence of the Soviets and Gurevitch methods. From China and Russia, is not to forget the influence on North Korea: I saw in 1985 Sin Cheul Kyong, one of the best rola-bola soloist I can remember.
      Concerning the European literature, I've found nothing about the origins of the act. Thetard (1945) doesen't mention it; the Thetard revised editon by Dauven (1978) briefly mention some of the contemporaries of the late 70s; Le Grand Livre du Cirque (1977) too, describes some of the performers of the time; the same goes for Jando (Histoire Mondiale du Cirque, 1977), for Cervellati, Gasch and other Spanish and Italian sources (Speaight, Hippsley-Coxe and others having been searched before). - Raffaele De Ritis, Italy.

Reply: 10 November, 2006 - Pablo, E-mail me a circus4youth@earthlink,net. I can supply you with the info you need. Jim Cole

Reply: 10 November, 2006 - 3 posters and 3 foto's on www.circusmuseum.nl/eng . Search for Beatty. Herman Voogd, hvoogd@teylersmuseum.nl

Reply: 11 November, 2006 - Pablo: I'd be glad to assist your project. I worked for Mr. Beatty. E-mail me at steelarena314@hotmail.com. Roger Smith

Reply: 19 November, 2006 - Pablo. Go onto the following website: bucklesw.blogspot.com/ Be sure to use the exact lettering. Look under date Nov 12, 2006 and you will find several photos of Clyde Beatty. Good luck. John Goodall

Reply: 09 November, 2006 - I believe this chimpanzee was in the Bertram Mills Circus chimp act that appeared on the Polack Bros. Circus sometime in the 1950's. The act was trained and present by Rudi Lenz and one of his brothers. The Lenz are from Holland, a country with a number of animal dealers. That would be my guess on the animal's origin. Chimps would have been easily available during this time. Rudi and his wife Sue live in Venice, FL and I believe he has a brother living in Minnesota. It's been a long time but they might be able to name the animal's source. I had conversations with the late zoo historian Marvin Jones about this chimpanzee who may be the oldest chimp in captivity. Jim Alexander

Reply: 08 November, 2006 - None of the three names are listed in Slout's "Olympians," suggesting either limited circus involvement, stage names, or non-existence. You might check Cincinnati documentation for them, as that's where the show originated. Slout's series on the Great Eastern, currently being serialized in "Bandwagon," might be consulted, as well as articles about ballooning that he [1996] and Bob Parkinson [1961] wrote some years ago. You'll find these in the "Bandwagon" index on this website. There's also the Smithsonian book, "The Eagle Aloft," that can be consulted on early aeronauts. There may also be earlier queries about ballooning on this website to check. Fred Dahlinger

Reply: 09 November, 2006 - Apparently there is a poster of a Cardonas film: www.circusmuseum.nl/eng search for Cardonas. Herman Voogd, hvoogd@teylersmuseum.nl

Reply: 13 December, 2006 - Earlier this year, this short ran on TCM (Turner Classic Movies). It was produced by MGM. Try contacting TCM, owner of the MGM film library, or the great film libraries at film schools. In an earlier entry, you were advised to search for "Cardona". I've never seen so many incorrect spellings for a major circus name as is suffered by this family. You have it right. I wish you luck in your studies of The Flying Codonas. Roger Smith, steelarena314@hotmail.com

Reply: 06 November, 2006 - Hi, I do recall hearing about that Circus Tent Fire in South America. You do understand that this had nothing to do with Ringling Bros. Barnum & Bailey Circus. By 1962, Ringling was showing buildings only. That show did however suffer a horrific fire in 1944 in Hartford, CT. Since that tragic fire, all circus tents in the U.S. have been required to be treated with some type of flame proofing. There are presently many circus acts performing here in America that are from South America. Perhaps an elder member of one of those familys may recall the incident in greater detail. Jim Cole

Reply: 08 November, 2006 - Hello, The fire was on the 18th December,1961 at Niteroi which is the capital of Rio de Maneiro State in Brazil. According to newspaper reports the death toll was 323 (mostly children and women) and 600 injured. The tent was described as Nylon. It was called Circo Americano (American Circus) and was operated by the Estavanovich Brothers of Brazil. The police suspected that arsonists may have started the fire which flared up as spectators, half of them children were watching the finale of the matinee show. Another report stated the fire occurred in the middle of the afternoon performance. Regards, John Sullivan

Reply: 22 December, 2006 - The fire was in Niteroi, Brazil, on the 17th December 1961 in the matinee show at 3 p.m. The circus was The North American Circus, Danilo Stevanovich owner. During the trapeze act the fire star and Nena Stevanovich in the platform was the first one that having seen it and cry. The tent was of canvas waterproofed and rapidly it burned. The fire was intentional provoked by a dismissed worker days before. Three persons were arrest and condemned for the fact. If you need I have more information and newspapers photographs. Cesar Ortega. fliaortega@netverk.com.ar

Reply: 03 Aug 2008 - Hi, Elaine, I became of a traditional brazillian circus family, The François Circus Brothers. The Stevanovich's are our cousins, I remember the fire in 1961, I was 5 y.o. I research about circus and our families origins, it interest you? best regards, João Romano, from São Paulo, Brazil

Reply: 06 November, 2006 - Hi, Craig, These are interesting questions and I would imagine that others who routinely reply to the message board may have their own perspectives as well. So here are mine: I’m not sure that John Ringling North "saved" Big Bertha in the late 1930s; what he certainly did was restore family control, and that lead to all the family squabbles that, for all we know, may still play out among their descendants in subtle ways. I think it’s also fairly correct to say that Samuel Gumpertz appears to have been a steady-handed steward in keeping the show on the road during the extremely tricky Depression years. I don’t know what the books would show, profit or loss. It’s interesting to speculate what Ringling’s fortunes going into the 1940s might have been had there been no John Ringling North. Say what you will, he seized control decisively and made many attention-grabbing and spectacular changes from the physical operation to three-ring showmanship. Scores of exciting new imported acts. Ballet of the Elephants. Miles White, etc. Yes, would Cecil B. De Mille have made that wonderful movie? About your friends resenting North's striking the big top in Pittsburgh, I can easily relate. As a kid, for a while I hated JRN for ending the tented era – he did it only a year after the only time I ever saw the Greatest Show on Earth under canvas! My impression is that family resentment against North never ended. You raised an attractive idea – North could have scored great publicity and possibly greater profits by declaring a farewell season or two under the big top. Others at the time aired this same idea. By that point, I think he was worn down to the bone from having battled the family and the unions for nearly 20 volatile years, and Concello was not around to provide organizational stability. North told me that "labor" was the greatest problem he faced during his days in charge. I hope this answers your questions. Best regards, David

Reply: 07 November, 2006 - David: Thank You. We are on the same page. How much more ordinary our mutual lives would have been had there not been a John Ringling North and Art Concello. Your wonderful book, the tremendous movie "The Greatest Show On Earth" will keep me sitting on a Concello seat wagon center section watching the best taste in live entertainment and foot tapping to Maestro Merle Evans and The Ringling Bros. and Barnum & Bailey Combined Shows circus band. Our mutual memories are indeed alive and well. All My Best, Craig Johnson, Lock Haven, Pa.

Reply: 07 November, 2006 - Dear Craig. As usual Dave Hammarstrom gave the straight scoop. What many present day fans don't seem to remember is that the RBBB did not ever need saving. Now granted, if was rough going for the remainder of the season after the Hartford fire but as I understand it the show did enough business to make the nut. HOWEVER!!! Boys and girls, pay no attention to the press kits, the programs and/or all of the so called press agents, RBBB was not, had no need to be, and was never saved by the Felds. It is a matter of public record that Mr. Feld was not connected is any way shape or form what so ever with RBBB prior to the 1956 closing. After that Mr. Feld was just another one of the promotion companies that worked with RBBB. Some dates were very good, and others were just so so. As it was with all of the promoters. It is so sad that various publicity and marketing persona, in order to save their jobs, found it necessary to continue the "big lie" that the show was on it last legs both performance and business wise and that only the Felds could save it. Robert L. Mitchell

Reply: 10 November, 2006 - Hello All: I am a realist and a romantic at heart. In my way of thinking Big Bertha's finest hour was when she was filmed in the grand movie "The Greatest Show On Earth." What David and I saw under the biggest of Big Tops will never again be center stage in the USA! I saw a smaller Bertha in Madison Square Garden and the old Boston Garden and it wasn't the same. Unless you were able to see Big Bertha under canvas buy or rent the GSOE movie and then and only then will you experience what David and I saw in our youth. I feel even more fortunate as Art Concello was still GM when I saw BB in Erie, Pa. in 1951 and 1952. Best To All, Craig Johnson, Lock Haven, Pa.

Reply: 06 November, 2006 - The phrase was coined by a professional writer for the Ringling Bros. and Barnum & Bailey Circus named Jack Ryan. I believe it was established in 1977 or 1978. Mr. Ryan helped write the programs and performers Bios in the programs for many years and is still working for them. Bob Cline

Reply: 07 December, 2006 - It's at least a year older than that. I heard it in 1976, at Ringling Brothers and Barnum & Bailey Circus Clown College. My roommate wrote me a note that used the phrase. David Carlyon

Reply: 31 October, 2006 - Adrian Sharpe, calliope player with the 1906 Yankee Robinson circus, penned a memoir of the show that was printed in "Bandwagon," Sept-Oct 1967, pages 4-9. On page 8 is a photo of the show elephant Tom Tom with keeper "Boldman." His name might be found in "Billboard" or "New York Clipper" news columns for that year. I would doubt that he'd be listed in the guide to "Variety" obituaries, but lacking any other finding aid for "Billboard" obituaries it's worth a check. Fred Dahlinger

Reply: 31 October, 2006 - The Cozad and Norris & Rowe operations were an outgrowth of the dog and pony show movement that had started by the late 1880s and continued into the early 1900s. The first part of Chang Reynolds account of the Norris & Rowe circus has some coverage of the Norris brothers. See "Bandwagon," Jan-Feb 1972, pages 4-5. The newspaper extracts in the Chang Reynolds and Mike Sporrer papers at the Circus World Museum library might contain reference to the 1882 show, if such an entity existed. It may have been more along the lines of a stage act in 1882, the best references indicating that it didn't have a form as a traveling show until six years later. Chang reported Andrew's birth as taking place in 1863, which would have made him a youthful 19 or so in 1882, too young to have had much of a traveling enterprise. Rowe was born in 1866 and it's unlikely that he owned a show as a lad of 16. Sporrer's research uncovered dates no earlier than 1888. The other resource to scan would be the "New York Clipper," but it may well prove fruitless until 1888 or so. Fred Dahlinger

Reply: 31 October, 2006 - Thanks, Fred. I did find an Andrew C. Cozad in the 1900 census, a showman, born 1863, but I wasn't sure it was this man. Judy Griffin

Reply: 27 October, 2006 - I have many photos of this fine lady working cats, and backstage shots from 1994 - 2000. I would be more than happy to offer them as replacements. Susan can e-mail me at jsc2762r@earthlink.net. Jim Cole

Reply: 28 October, 2006 - There is one photo of Sue Lacey on www.circusmuseum.nl/eng. Please type 'lacey' in the seach area. The picture can be ordered if you like.

Reply: 01 February, 2007 - Hello from England. Please say hello to Sue for me. We used to be great friends - but lost contact when she went to America. If she needs any help in locating photos of her time in England - I maybe able to help. John Morris

Reply: 20 Aug 2008 - I took pictures of Susan Lacy when she worked the Hawthorn cats at Circus Vargas. Susan is certainly one of the best tiger trainers. She made a bad step and fell on her back and not one of the tigers moved. Susan suffered a fracture of her ankle when she stepped in a hole. She was forced to stay with the Hawthorn tigers for weeks while the ankle injury healed. I seen her perform nearly a hundred times. She rarely had to settle the tigers down. There was a Bengal tiger that worked with the white tigers. That tiger was a handful. She could calm the cat down by making a soft schussing sound. We have mutual friend who was the king of the lions. Wolfgang Holzmair who worked mix cats in his act years ago thought Susan was great. I once told Susan her cats did not perform anything other trainers do in their act. I went on to say it was here bonding and expertise with the tigers that made her act great. I never seen anyone handle tigers better and they showed their love for her. I wish her a great retirement and I can bet she lives near her tiger friends. Frank Rosenberg fdrosenberg@sbcglobal.net [photos submitted by Frank are not included here]

Reply: 27 October, 2006 - Check with Steve Gossard at Illinois State University. I believe that Al Dobritch's circus papers may now be housed there. Fred Dahlinger

Reply: 27 October, 2006 - I was on the show in Los Angeles when we went on strike, it took 1 1/2 hours at the end of the opening show to set the ramps for the jump. I remember Knievel stopping by the picket line out in front of the building in his Rolls Royce and tearing up the check he was paid. Bill Strong pharoah11@verizon.net

Reply: 26 October, 2006 - The following entries from my 'Dictionary of British Circus Biography' database have mostly been published in my 'Victorian Arena; the Performers' (Lingdales Press, Formby, 1995 and 2000) so please quote these if you publish anything!
      PURCHASE, Andrew. (1). Menagerie proprietor, originally a waxworks showman. Born Puddletown, Dorset, in 1802. As a boy worked on a farm and then went to sea for several years. Became a fairground showman in 1825. One of his lion tamers was Capt. Beaumont. Died 28th December 1879, aged 78 years. Buried in Brockley Cemetery, London. Father of Andrew (1837-1909), James (d.1875), Mark (d.1936) and Luke (still living in 1938) (Sources - World's Fair, 7/3/1925, p.24, col.2. P.109; ibid, 1938, ABC of the Shows; ibid, 20/2/1954, p.24, col.4;
      PURCHASE, Andrew. (1). (SUPPLEMENTED). Menagerie proprietor, formerly a waxworks showman. Born Puddletown, Dorset, on 15th July 1802, baptised at St. Mary's church, on 15th August 1802. The fourth of a family of six children. As a boy worked on a farm and then went to sea for several years. Became a fairground showman in 1825. One of his lion tamers was Capt. Beaumont. Married twice, first to Jane Verrier, his second wife Elizabeth being Jane's sister, both of Stoke St. Gregory, in Somerset. Died 28th December 1879, aged 78 years, at Deptford, Kent. Buried in Brockley Cemetery, London. Father of Harriett (1835-1887, married Frederick Buckley, traveller), Andrew (1835-1909), Jane (b.1839), James (1840-1875), Mark (1855-1935), Luke (still living in 1938) and Mary Ann (1860-?, married George Whiting). His will bequeathed £50 each to two of his brothers and left his leasehold beer house, 'The Builders Arms, Deptford, plus a further ten houses in that town, to his various children. World's Fair, 7/3/1925, p.24, col.2. P.109; ibid, 1938, ABC of the Shows; ibid, 20/2/1954, p.24, col.4; Nick Brady, e-mail of 24/6/2003;
      PURCHASE, Andrew. (2). Menagerist. Born 1835, in Sheffield, the son of Andrew Purchase, senior. Not a vast concern, but in 1899 had a good collection of animals, 5 or 6 cages, with 3 cages of waxworks. In 1908, his lion tamer Marco, a coloured man, was attacked at Purchase's menagerie. Partner in Purchase Brothers' Circus and Menagerie, which altogether comprised twenty wagons, which travelled in fourteen different countries, eight years abroad, before the Great War. Bob Gandey started out with them. Married twice, first to Elizabeth Jane Treloar, and second to Grace Grant. Died 11th August 1909, aged 74 years, in Brighton. Buried Brockley Cemetery, London. Retired but was with the menagerie for a time during the summer. His son Andrew (3) (1867-1942) was in partnership with his father, and continued the menagerie. Son Thomas (1877-1932) was a showman, daughter Jane (b.1877, married a Mr Abrahams), son James (b.1880) was a showman, who married Annie, as was son William (1884-1951, married Alice), daughter Grace Emily (b.1887) and son John Benjamin (born 1886, married Vic), manager of Pat Collins' lion show in the 1920s (Sources - Worlds Fair, 15/2/1908; ibid, 14/8/1909, ibid, 18/9/1909; ibid, 9/3/1929, p.18, col.3; ibid, 10/8/1929, p.24, col.2; ibid, 14/9/1929, p.11, col.1; ibid, 23/11/1935, p.19, col.2; ibid, 4/4/1953, p.20, col.5; Nick Brady, e-mail of 4/7/2003).
      PURCHASE, Andrew. (3) Of menagerie fame. Born 11th March 1867. Still alive in 1937, living in retirement with his son John (Sources - World's Fair, 13/3/1937, p.1, col.3; Nick Brady, e-mail of 9/9/2003).
      PURCHASE, Andrew. (3). Of waxworks and menagerie fame. Born 11th March 1867, the son of Andrew (2). Was with his father's waxworks show. As a young man set up a side-show of a performing seal, then added a giant horse. After the death of his father, he inherited the waxworks and toured this for some time. Gradually he introduced wild animals, making a waxworks and menagerie. In the meantime he had married, twice, and his sons became animal trainers, under the names Capt. Beaumont and Prof. Williams. Married first to Harriett Buckley and second to Daisey. Died 28th February 1942, 74 years of age. Father of Victoria Jane (married Cornelius Mahoney), Frank, John (1897-1958, showman, married Ann Crowther), Matilda (1896-1945, married Francis Brady), Albert (b.1898) and Edward (b.1900).(Sources - The Showman, 7/3/1902, p.41, col.2; World's Fair, 7/3/1942, p.1, col.2; Nick Brady, e-mail of 4/7/2003).
      PURCHASE, John. Menagerist and circus manager. John Benjamin, born 6th March 1886, at Cranbrook, Kent, the son of Andrew Purchase (2) of Menagerie and Waxwork Show fame. Brother of Andrew (3) (1867-1942), Thomas (1877-1932), Jane (b.1877, married Abrahams), James (b.1880), William (1884-1951) and Grace Emily (b.1887). Born with his father's menagerie show, on the village green. The fourth generation of the menagerie family. Travelled with the show in fourteen different countries, eight years abroad before the Great War. The show incorporated the Purchase Brothers, the circus and menagerie (8 wagons), and the New Wild West, altogther 20 wagons. Did his share of the ring work. In 1913 joined Thomas Ord Pinder's circus, with his uncle, under the names of 'Lariat Tom' and 'Jack Corbett'. In 1914 he went to South Africa with Bostock's Royal Italian Circus, staying three and a half years. At Singapore joined H.M. Forces, but was invalided out with malaria. Had three seasons with Frank Bostock, including one in France. Manager of Pat Collins' lion show in the 1920s. Joined G.B. Chapman's Zoo Circus, for the 1928-9 season, as general manager. At liberty in February 1929, his position having been taken over by Albert Flexmore. In 1948 was reported to be in South Africa, with John Kirk's circus. Said to have engineering qualifications. His brother William died in the USA in 1951. Celebrated his 78th birthday in 1964, at his home in Hanwell, London. Died 11th August 1964, at his home in Hanwell, London. Buried 17th August (Sources - World's Fair, 2/3/1929, p.10, col.3; ibid, 9/3/1929, p.18, col.3; ibid, 20/11/1948, p.1, col.5; ibid, 28/1/1950, p.14, col.5; ibid, 14/3/1964, p.1, col.5; ibid, 15/8/1964, p.1, col.5; Nick Brady, e-mail of 4/7/2003).
      PURCHASE, Mark. Showman. Born August 1855, son of Andrew Purchase (1) the menagerie and waxworks proprietor. Wife, Rosaline 'Rose', died 8th April 1931 in London, aged 79 years. Father of Lily. Died 15th July 1935, at Brockley (Sources - World's Fair, 18/4/1931, p.1, col.2; ibid, 8/4/1933, p.47, col.3; ibid, 26/8/1933, p.1, col.2. photo; ibid, 2/9/1933, p.33, col.2; ibid, 11/1/1936, p.52, col.3).
      PURCHASE, Mark. (SUPPLEMENTED) Showman. Born 25th August 1855, at Morpeth, Northumberland, second son of Andrew Purchase the menagerie and waxworks proprietor. His elder brother Matthew died in infancy. Wife, Mary Rosaline 'Rose', nee Tibbs, was born Deptford, Kent, in 1852. They had at least seven children, Mark (1875-1875), Lillian (1876-1967), Louisa Rosalind (1878-1956, married travelling showman William Wilson), William (1880-?), Flora Ellen (1882-1971, married travelling showman Herbert Andrew Whiting), Violet Minerva (1886-1946, married Leonard Albert Weller) and Lewis James (1889-1969, married Minnie 'Dolly' Piper). Wife died 8th April 1931 in London, aged 79 years. Father of Lily. Died 15th July 1935, at Brockley (Sources - World's Fair, 18/4/1931, p.1, col.2; ibid, 8/4/1933, p.47, col.3; ibid, 26/8/1933, p.1, col.2. photo; ibid, 2/9/1933, p.33, col.2; ibid, 11/1/1936, p.52, col.3; Nick Brady, e-mail of 9/9/2003).
      Please let me know if the above is helpful! Can I suggest that if you are interested in the British Purchases and you are seeking more information and photographs, you post your query on a British website? Try www.circusbiography.co.uk to reach a more targeted audience! Best wishe, John Turner.

Reply: 27 October, 2006 - Is there a particular Kelty picture you are looking for? Bill Strong

Reply: 30 October, 2006 - Bill Strong. There is a panoramic that is 8X48 that I once saw, the entire circus with the giant in the center, but it may not be quite that wide. There is also a troupe photo in the Eastman House in Rochester, New York. A very nice image which they will sell you in 8X10, too small to do it justice and disproportionate to the negative. lpw2000@comcast.net

Reply: 31 October, 2006 - Hello, E.J. Kelty took hundreds of circus photos. A good starting place for a history of the famous photographer is the book "Step Right this Way" which can be found on e-bay or other on line book stores. If you want to check out the web site: www.centuryflashlight.com you will find more photos and other information. It also has the information to purchase on this site to purchase a CD about his history. P.J. Holmes, pjholmes@airmail.net

Show No. 1 had a thing called the Watermelon Trust. Ten-people. Do not miss this one.
Show No. 2. Miller's Electric Theater
Show No. 3. The mystery of Damascus: The most mystifying feats of black art, and slight of hand ever gathered together at one time.
Show No. 4. Mille Veno, the animal queen, Handles wild animals and reptiles without fear.

Do not forget the date, All shows are under a waterproof tent. Perhaps you might list this circus so that others might gather some knowledge that it even existed. The internet draws a blank when you type in the google search box: "The Great Frank Miller Show." Thank You, Michael Oaks, a 74 year old citizen of Grants Pass and past president of the Josephine County Historical Society. Respond to this message, replies go to this board, not to the message sender.

Reply: 24 October, 2006 - Frank Miller's outfit was a traveling carnival. He might have had a circus or dog and pony show as one of his tented "back end shows, but it was a midway company and not a circus. It's listed in Joe McKennon's "Pictorial History of the American Carnival," with dates of 1912 and 1937-1938. Maxima and Lashell were the free acts, intended to attract people to the show grounds and hopefully spend money on the inside attractions and mechanical rides [likely a carousel and pleasure/Ferris wheel]. Besides local newspaper coverage, the other places to check for material would be in the carnival news columns of the Billboard and New York Clipper. You might inquire of your local librarian about obtaining them via interlibrary loan. They also printed winter quarters lists and from those you might be able to determine Miller's base of operations, and then contact the library there and inquire about him. It would not surprise me to learn that he mainly conducted his business in the Pacific Northwest. If all of Miller's attractions were under a single tent, it was quite unusual. Only the Cosmopolitan Carnival, circa 1906, had a large "big top" under which the entire midway was erected. Perhaps Miller's was something akin to that? Fred Dahlinger