Circus Scrap Book

April 1931, No. 10

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Riders

The following questions were recently put to Charles W. Fish, the world-renowned bareback rider, and the answers will be found most interesting: Who are the male riders who do somersaults on a bareback horse? I presume you mean those who are now doing them. They are: Willie Marks, Johnnie Davenport, "Stick" Davenport, Archie O'Brien, Willie Demott, Frank Melville, William Dutton, Peter Barlow (English), George Hernandez (also English), Orrin Hollis, Willie O'Dale, William Showles and myself. - Who do "forwards"? George Hernandez, Orrin Hollis, William Showles and myself. - Who do "backwards"? I believe I am the only one doing a "backward-back" regularly, or in other words, daily, with the possible exception of George Hernandez. A number of others do it occasionally. - Who do clean jumps up from the ground? The names are too numerous to mention, and while it is one of the most effective tricks in equestrianism, yet it is one of the easiest to learn. There are many doing it who do not even know how to stand correctly on a horse. - Who was the first bareback rider? The credit of being the first bareback rider lays between an Englishman named Jack Hunter and an American named Charlie La Forest, who contested for superiority as principal riders previous to 1840. I do not know the exact year. La Forest was declared the best rider of the two. Levi North was the first to do a somersault on horseback (pad), alighting on his hands and knees. Tim Turner was the first to do the somersault (pad), alighting on his feet. These two did this in 1840. To Charles J. Rogers belongs the credit of doing the first forward somersault on a horse, alighting in "his fork," or astride of the pad. This was also in 1840 with Welsh and Bartlett's Circus, at that time located on the site of St. Nicholas Hotel. Rogers was also the first to do the "Indian" on a bareback horse. John Glenroy was the first to do a back somersault on a bareback horse. - Who are the celebrated bareback riders of the old world? George Hernandez is the only name that stands out prominently, although I believe there are others on the Continent whose names would not be out of place under this heading, but unfortunately no one here seems to remember their names. - What lady rider does somersaults? At present I can recall to mind none doing them. Louisa Renz (pad), and Mollie Brown (bareback), have done them. I have heard of another in Europe, but the name escapes me. - What lady riders do clean "jumps up?"? Emma Bell, the Meers Sisters (Rose and Lillie), Rosita La Plata and several others in Europe. - What are the particular specialties of the different riders. I can name but one trick not done by more than one rider; that is a somersault alighting on one foot. This trick is done by me, and I was the first, and, as far as I know, the only one that ever did it. - What is the greatest number of somersaults done in string? No one has ever done any number of somersaults in a string, or "swing," as we term it. The only records I have ever heard of was thirty-six somersaults without pausing to rest by John O'Brien, now high school rider with Barnum & Bailey, and the same number by Wooda Cook during his act. I have on several occasions done 18 somersaults through balloons in three parts of the ring without stopping. I presume others have done as many or more. It is merely a matter of endurance, which to me seemed more a test of strength than skill. - Was a double somersault ever successfully accomplished by a rider? No. - What is the general style of riding in the Old World? Mostly pad riding, in which one man stands out alone, John F. Clark, a young Englishman, whose tricks are said to be wonderful. But as a rule the lady riders of Europe excel the men. In general style they differ but little, if any, from our American riders. - What are the names of the celebrated circuses of Europe? Heading the list stands the Circus Renz, Germany, then follows the Noveau Cirque, Paris; Salamonsky's, St. Petersburg, Russia; Cinniselli's Moscow, Russia; Cirque d'Hiver and Cirqu d'Ete (winter and summer circus; two buildings, one company), Paris; Circus Carre, Germany; Circo Parrish, Madrid, Spain; Circo Allegria, Barcelona, Spain; Circus Wolf, Germany; Hengler's Grand Cirque, with buildings in London, Hull, Liverpool, Glasgow and Dublin; Sanger's London, and John Henry Cook, Scotland and North of England. That I believe includes the leading circuses of Europe. I forgot to mention also the Cirque Fernando, Paris. - What is the style of the show given? The style is circus pure and simple, trick and high-school horses being a principal feature of all circuses. They are numerous and good. All acts and artists are placed before the public as prominently as their talents demand, and are drawing-cards in consequence when of a high order of merit. Spectacular pantomimes, on a scale of grandeur undreamed of in our country, are produced. Cinderella, Seven Dwarfs, Montano, Africano, The Students, Carnival on the Ice, and The World Upside Down are the most elaborate and costly of production. Next to the opera, the circus takes second place. Czar Alexander of Russia, and King Victor Emanuel of Italy are especially fond of this class of entertainment. Galtano Cinniselli is honorary equerry to the King of Italy. The circus was under Government patronage in St. Petersburg, under Alexander II. A royal box is seen in all circuses in Europe, and is never occupied except by members of the royal family. In France this box is now called the state box. There is no rush in giving a circus performance as we give it here. Twelve or fourteen acts constitute a programme, including an intermission of ten minutes after the seventh act. This intermission gives an opportunity for friends to visit each other in the boxes, exchange bon-bons, order ices, or pay a visit to the stables and look at the stock. The stable is one of the principal features of the circus. They are kept exquisitely clean, well lighted, the horses heads turned outwards, the grooms in livery and polite. A bell announces the end of the ten minutes, the audience return to their seats and the performance is resumed. An excellent orchestra is also a feature, sweet sounds charm the ear and add materially to the attraction of the circuses in the Old World.

Side-Show Freaks and Barkers

There has always been considerable difference of opinion among circus folks as to who was the best talker, the old-timer or the present day circus orator. Having been in the circus business for a good many years and having been a circus talker during the early years of my circus life, it was my good fortune to become acquainted with nearly all of the old-school of side-show managers and talkers of any note, and I consider the old-timer far superior to the circus orator of today. There are many, perhaps, who will debate this point.

Among my many friends and acquaintances who are old-timers are Pete Staunton, Doc John E. Ogden, Bert J. Chipman, Lew Graham, Arthur Hoffman, Jimmy McNulty, Bobby Kane, Whitey Matthews, Frank (Skinny) Rosenthal, Doc Crosby, Al. Conlin, Doc Hickey, Al. Salvail, Tom Ambrose, Cal. Towers, Frank Blitz, Lew Aronson, Al. Mastiff, Bobby Fountaine, Doc Palmer, Ben Bowman, Hugh Harrison, Frank McCart, Ike Shipley, Lew Nickols, Doc Miller, Harley Halflin, Doc Foster, Phil Elsworth, Pop McFarland, Nosey Bell, Fred Griffin, Fred Coley, Bill Tumber, Joe McCullum, Chas. Philson, Doc Colby known as the crazy Doctor, and many others.

Most of the old-timers (and I use the words old-timers in a most respectful way) have either retired or passed to the Great Beyond. Still there are a few left in the business. Doc Ogden takes a turn at it now and then, Arthur Hoffman is still active, and good old Pete Staunton is in harness, and is one of the best all-around circus orators in the business. None of the younger set can compare with him. Pete has been assistant to Clyde Ingalls, manager of Ringling Brothers' circus annex, during the past season and made most of the openings. All the men I have mentioned were not side-show managers. Many of them were just talkers, but any one of them was capable of jumping in on a moment's notice and making a first-class opening.

We all have our favorite talkers, and my pick would be Lew Graham, Bert Chipman, Pete Staunton, Hugh Harrison, Doc Ogden, and Arthur Hoffman. My reason for naming these men is that they knew the English language and could use it properly as well as fluently. Their vocabulary was large and they never hesitated for an expressive word. Doc Crosby, Doc Hickey, and several others I might mention, may have been more flowery talkers, but they were not as convincing as the men I have mentioned.

Not one of these men that I have picked were of the stereotyped class of talkers, who had to learn their openings by heart before they could deliver them. Any one of them could step out in front of a line of banners and talk just as naturally and as intelligently about them the first time they ever laid eyes on them as they could had they been talking about them all season.

So it is my honest opinion that these men that I have picked were among the greatest in show business, and that they have no equals today, and their names will go down in any circus history.

Lew Graham was without a doubt the greatest announcer that ever stepped into a circus tent. He was in a class by himself. He is the only one I ever knew who could walk into that center ring of Ringling Brothers mammoth circus tent and make himself heard in every part of the enclosure. Since he has been forced to retire on account of ill-health, no one man has ever put it over as good as Lew was able to do it.

Some of the younger circus folks claim that it is harder today for the present-day side-show orator to convince the public of the merits of their exhibitions, owing to the fact that years ago circus day was almost a holiday. The circuses then gave the public a series of free exhibitions that held them on the lot a greater part of the day and consequently the side-show got a much longer grind than they do now. This is true, to a certain extent, but on the other hand we must not overlook the fact that the circus of the earlier day did not get the railroad service afforded the circus of today, and were very often so late getting into town that it was almost impossible to get the parade out on the streets before noon. Many times it had to be eliminated altogether. When this happened the side-show of the earlier day did not get as long a grind at the public as the side-show does now. I do not think that the folks in the larger cities came on the lot any earlier than they do now, and furthermore, the old-time sideshow did not begin to have the "flash and pomp" of the side-show of today.

I cannot remember any one of the old-time side-shows that had a line of gayly painted banners, two high ("double deckers" as they are called) that reached from the front of the lot to the Marquee of the Big Top. You were lucky if you had seven or eight banners in front of the show you were working. Nearly all of the circuses in those days had the "Lucky Boys" and the side show was used principally for them to work in. ("Lucky Boys" are usually pickpockets, Ed.)

When I first joined Lemen Brothers circus, Bert Chipman was manager of the side-show. I have known him to go along day after day and get from three to fifteen hundred dollars a day at ten cents admission. With nothing more in the Kid Show than a lot of old snakes, Joe Lucasie the Albino, Pigs Leslie, Paul Petrosky the Demon Child, (made of plaster paris) a Half Lady Illusion, and a colored band of about seven pieces. I would like to meet the side-show manager of today who could get that kind of money with that kind of frame up at ten cents admission. Talk about the side-show being dressed up, - Bert didn't even have a stage cover. If you gave the public that kind of a show nowadays you would be pinched for obtaining money under false pretenses.

No doubt some will disagree with me on my selection of talkers, but as I said before, we all have our favorites, and the right to our own opinion. I still claim the men I have mentioned were among the greatest talkers in the show business. Nearly every talker I knew was particularly strong on some particular line of talk.

"Whispering" Tom Ambrose who had the Cooch Show on the John Robinson 10 Big Shows a number of years ago, was a master at making cooch show openings. He had a line of cooch chatter all his own; he could take you back into ancient history, in the days of old King Herod, and tell you how Salome, the old King's beautiful step-daughter, caused poor old John, the Baptist, to lose his head, all on account of that naughty-naughty dance and how many European thrones had since fallen all on account of that very same terpsichorean manoeuvre. Tom was a wonderful talker along those lines. Later, he became an advertising man and had the advertising banners on the Yankee Robinson Shows for several seasons. He went from there to the Al. G. Barnes circus and was still in that position when he passed away.

Doc Ogden could turn more people on the "come out" of a circus with his Wild Man talk than any other talker I ever knew. His Wild Man talk was about the classiest along that line. I am reasonably sure that any of the old-timers will agree with me on that.

I used to get an awful kick out of Skinny Rosenthal's Big Snake and Live Goat Ballyho. He would bring out the Big Snake (about as big around as your arm) and a full grown live goat.

He would tell his audience he was going to feed the goat to the snake at the next performance. He would use this ballyho so often that it would become a huge joke with the natives. Yet he never failed to turn a few of them, no matter how often he used it. Skinny was not the worst side-show manager in the business by any means.

I could go on down the line and tell you of many more talkers who were strong with some certain line of chatter, but I want to tell you something about the old-time freaks. I do not believe that the freaks of today are to be compared with the old-time freaks. Jonathan R. Bass, the Ossified Man, who actually turned to solid bone before he died. He was a puzzle to the medical profession. They were unable to diagnose his case correctly. Millie Christine was the first two headed lady ever placed on exhibition, and was for many years under the capable management of my old friend Frank Blitz. Chang, the Chinese Giant, was brought to this country by the P. T. Barnum show, and was one of the outstanding Giants of all time. Mr. and Mrs. Tom Thumb were the smallest couple ever placed on exhibition and were great entertainers. Ella Ewing was, without a doubt, the tallest woman that ever lived. George, the Turtle Boy, was one of the big money getters among the freaks. Lala Coolah was one of the strangest of all freaks. He actually had a separate body growing out of his chest. Chequeta, the Mexican Midget, was the smallest human being ever on exhibition. It was said that an ordinary finger ring would go around her wrist. The first time I ever saw her, her manager held her at arms' length on the palm of his hand during his entire lecture. Chas. Tripp, the Armless Wonder, was a wizard with his feet. He could do almost anything with them that an ordinary person could do with their hands. Joe Lucasie, of the Lucasie Family of Albinos, was an accomplished violinist and had studied under several of the big European masters. Joe was highly educated and a good entertainer. The Blue Man (Walters), who was with the Ringling Brothers' Circus for so many years, and whose entire body was as blue as indigo, was another outstanding freak. He was a fine-looking fellow, except for his color. Jo-Jo, the Dog-Faced Boy, was another great freak with great drawing power. Then we had Zip, Barnum's what-is-it, Prince Mungo, the Zulu Prince (from down in Virginia) and his troupe of trained Alligators. South Sea Island Joe, Delno Fritz, the Sword, Swallower, Del Fugo, the King of Fire Eaters, Alistair MacWilkie, the man with the twelve foot beard, and many other old-time freaks too numerous to mention. Those that I have mentioned were a few of the best ones. I am sure that if a side-show manager of today was lucky enough to have freaks like Bass, the Ossified man, Millie Christine, Lala Coolah, George, the Turtle Boy, Chequeta, and the Blue Man, he could get all of the money any one man needed.

I do not want to leave you with the impression that I think there are no good freaks in the business today, for there are any number of them. The Hilton Sisters, Siamese Twins, who since breaking into the business have repeatedly played all of the big vaudeville circuits throughout the U. S., Ko Ko, the Bird Girl, featured in the Annex of the Sells-Floto circus for the past two seasons, Doc Brewer's Pin Heads, who are the best ones I have ever seen, Bert Earls' Midgets, a fine collection of little people, are all high-class freaks. Still, none of them are quite so outstanding as some of the old-time freaks I have mentioned. In the earlier days not all of the freaks were with circuses. There were several circuits of Dime Museums that extended from coast to coast, that gave employment all year to high-class freaks. The Boston Dime Musee, Stone's, Huber's, and many others were in the East. Kohl & Middleton, Capt. White's London Dime Museum, Epstine's, and Frank Hall's Eden Musee were in Chicago. Sackett & Lawler were in Omaha, Lincoln, St. Joe, Denver and in several other cities in the Middle West. There was still another circuit on the Pacific Coast. The Big Freaks were featured in the billing matter of all of these houses just the same as the musical comedy or movie stars are today. However, all of the freaks I have mentioned were with the various circuses of yesterday, with the exception of Bass, the Ossified Man. He may have been with some circus at some time or other, but not to my knowledge. There are so many Fat People, Living Skeletons, Bearded Ladies, Pin Heads, Tattooed People, etc., that I did not attempt to name them. I think I have covered the field fairly well, so I will say, as the old-time side-show manager would say, “I thank you very kindly for your valuable time and undivided attention.”

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