How a Boy Earned Money Fifty Years Ago
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Wisconsin Circus Woes and the Great Dan Rice
200318_EP 5/20/05 10:57 AM Page 18 W ISCONSIN M AGAZINE OF H ISTORY Missouri Historical Society Courtesy of the author In this daguerreotype portrait taken in 1848, Rice’s eyes reveal intelligence and a penchant for mischief; both were crucial to creating clever commentaries As this February on current events. 1860 courier for Wisconsin Circus Woes Dan Rice’s Great Show attests, his audiences got the and the Great Dan Rice usual circus fare of “Educated Mules,” “Anecdote Song and By David Carlyon Story,” and an “Unequaled Troupe,” as well as ircus is regularly told in tales of sweetness and light, and Wisconsin’s cele- a grand spectacle, brated past fills that sentimental bill. In the 1870s, Dan Castello and William “The Magic Ring.” CC. Coup started a show in Racine before heading east to call on P. T. Bar- num, not yet a circus man, to ask for the use of his name to create Barnum & Bailey. Glory—and stories—followed. In the 1880s, the Ringling brothers emerged from Baraboo, and storied glory followed them too. Of course, not all is glorious. Fred Dahlinger Jr. and Stuart Thayer’s Badger State Showmen gives a taste of the tribula- tions that attend circuses, as does Milton J. Bates’s article, “The Wintermutes’ Gigan- tic Little Circus,” which appeared in the Autumn 2003 issue of this magazine. Trouble 18 S UMMER 2005 200318_EP 5/12/05 8:45 PM Page 19 W ISCONSIN M AGAZINE OF H ISTORY hit especially hard in the nineteenth century. Self-anointed Taylor—circuses didn’t have “band chariots” in 1848—nor arbiters of morality condemned the circus, accidents on the lot did “on the bandwagon” start with him. -
Appendix A: 1976 Clown College and 1977 Blue Unit Route
A p p e n d i x A : 1 9 7 6 C l o w n College and 1977 Blue Unit Route There’s nothing so dangerous as sitting still. You’ve only got one life, one youth, and you can let it slip through your fingers; nothing easier. Willa Cather, The Bohemian Girl CHAPTER 1 • ROMANCE OF THE RED NOSE Clown College, Ringling Arena, Venice, Sep.–Nov. 1976 CHAPTER 2 • BOWL OF CHERRIES Rehearsals and first performances, Ringling Arena, Venice, Jan. 10–Feb. 2 CHAPTER 3 • RUBBER NOSE MEETS THE ROAD Lakeland Civic Center, Feb. 4–6 Atlanta Omni, Feb. 9–20 Savannah Civic Center, Feb. 22–23 Asheville Civic Center, Feb. 25–27 Raleigh, Dorton Arena, Mar. 1–6 Fayetteville, Cumberland County Memorial Arena, Mar. 8–9 Columbia, Carolina Coliseum, Mar. 11–13 Charlotte Coliseum, Mar. 15–20 CHAPTER 4 • THE SHOW BUSINESS Knoxville, Civic Coliseum, Mar. 22–27 Cincinnati, Riverfront Coliseum, Mar. 30–Apr. 3 168 Appendix A Washington, DC, Armory, Apr. 6–17 Largo, Capital Centre, Apr. 20-May 1 CHAPTER 5 • LOVE ‘EM & LEAVE ‘EM Binghamton, Broome County Veterans Memorial Arena, May 4–8 Hartford, Civic Center, May 10–15 Portland, Cumberland County Civic Center, May 17–22 CHAPTER 6 • GOOD OL’ DAYS? Troy, RPI Field House, May 25–30 Providence Civic Center, June 1–5 Niagara Falls, International Convention Center, June 8–12 Wheeling Civic Center, June 15–19 Charleston Civic Center, June 21–22 Memphis, Mid-South Coliseum, June 24–26 CHAPTER 7 • RODEO ROUTE Little Rock, T.H. Barton Coliseum, June 28–29 Huntsville, von Braun Civic Center, July 1–4 Dallas, Convention Center, July 6–11 New Orleans, Superdome, July 14–17 Houston, Summit, July 20–31 Abilene, Taylor County Expo Center, August 2–3 Lubbock, Civic Center, August 5–7 CHAPTER 8 • SPIRIT OF ST. -
Circus and the City New York, 1793–2010
Circus and the City New York, 1793–2010 Libsohn–Ehrenberg. “April Manhattan.” Cue, the Weekly Magazine of New York Life (April 1945), 16. On view September 21, 2012– February 3, 2013 Exhibition From September 21, 2012, to February 3, 2013, the Bard Graduate Center: Decorative Arts, Design History, Mate- rial Culture (BGC) will present Circus and the City: New York, 1793–2010, an exhibition that uses New York City as a lens through which to explore the extraordinary de- velopment and spectacular pageantry of the American circus. Through a wide variety of ephemera, images, and artifacts, the exhibition documents the history of the circus in the city, from the seminal equestrian displays of the late eighteenth century through the iconic late nineteenth-century American railroad circus to the Big Apple Circus of today. From humble beginnings, the circus grew into the most popular form of entertain- “Nixon & Co.’s Mammoth Circus: The Great Australian ment in the United States. By the turn of the twentieth Rider James Melville as He Appeared Before the Press of New York in His Opening Rehearsal at Niblo’s Garden,” century, New York City was its most important market 1859. Poster, printed by Sarony, Major, & Knapp, New and the place where cutting-edge circus performances York. Courtesy, American Antiquarian Society. and exhibitions were introduced to the nation. “Circus and the City promises to be one of the grandest and it offers a compelling look at how New York City exhibitions about the American circus ever mounted, influenced and inspired this iconic form of American popular entertainment,” said curator Matthew Witt- mann, a curatorial fellow at the BGC. -
History of Vaudeville in America…
GLOBAL ARTS: Performances For Schools Presents Tomáš Kubínek Friday, February 13, 2009 Concert Hall at 10:00 am Study Guides for Teachers are also available on our website at www.fineartscenter.com - select For School Audiences under Education, then select Resource Room. Please fill out our online surveys at http://www.umass.edu/fac/centerwide/school/index.html for the Registration Process and each Event. Thank you Biography….. Who is Tomas Kubinek? Tomáš Kubínekʹs internationally acclaimed solo performances play to packed theaters around the world. After a sold‐out run on Broadway, The New York Times lauded his work as ʺAbsolutely expert!ʺ ʺHilarious and enormously talented!ʺ trumpeted Englandʹs Time Out, after appearances at Londonʹs Royal Festival Hall. A collision of theatre and music‐hall, his exuberant one‐man show is equal parts comic brilliance, virtuosic vaudeville and irresistible charm. ʺPhysical Poet and Verbal Acrobat! Needless Risk‐Taker...Professor of Fantastically Useless Inventions...Arduous Advocate of The Commonplace Miracle. Certified Lunatic and Master of the Impossible...ʺ The Early Years Tomás Kubínek ‐ (toh‐mawsh koo‐bee‐neck), was born in Prague and at the age of three was smuggled out of the country by his parents to escape the 1968 Soviet invasion of Czechoslovakia. After two months in a refugee camp in Austria, the Kubínek family was granted asylum in Canada and it was there, in St. Catharines, Ontario, that Tomas, age 5, witnessed his first circus. He became passionately interested in clowns, circus, theater and magic and his perplexed yet well‐adjusted parents took him to see every show that passed through town. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard “Uncle Sam” in New Orleans Dan Rice (1823 – 1900), who has been called “The Most Famous Man You've Never Heard Of”, was the first truly great clown of the American circus. He was also an animal trainer, strong man, dancer, composer, commentator, homespun political humorist, actor, director, producer and politician. He transformed the circus into its modern-day model by mixing animals, acrobats and clowns. Before the Civil War (during the height of his career), Rice was more of a household name than Abraham Lincoln or Mark Twain. “The Greatest Show on Earth” on Carondelet Street, 2012 Making popular the terms “Greatest Show” and “One Horse Show”, he was a dynamic force in America’s new “pop culture”. Decades before other circuses (especially the “Ringling Bros. and Barnum & Bailey Circus”) used the phrase, an Arkansas newspaper praised Rice’s as “The Greatest Show on Earth”. Early in his career with only a single horse, he was mocked by rival circuses who said he had a “One Horse Show”. Rice turned the derogatory expression into a plus by putting on a terrific show, and the phrase became attached to him thereafter. Rice was known as “The American Grimaldi”, after the inventive superstar of the Georgian pantomime, Joseph Grimaldi (1778 – 1837). Grimaldi was an innovator, acrobat and comic genius who pioneered the clown’s slap, wig, white face paint, red nose, flouncy trousers and huge shoes – for which he was nicknamed Joe Frankenstein (for Mary Shelley’s creation). -
The State Historical Society of Missour
OCTOBER 1952 Published Quarterly By The State Historical Society of Missour COLUMBIA, MISSOURI THE STATE HISTORICAL SOCIETY OF MISSOURI The State Historical Society of Missouri, heretofore organized under the laws of this State, shall be the trustee of this State.—Laws of Missouri, 1899, R. S. of Mo., 1949, Chapter 183. OFFICERS 1950-1953 E. E. SWAIN, Kirksville, President GEORGE ROBB ELLISON, Maryville, First Vice-President RUSH H. LIMBAUGH, Cape Girardeau, Second Vice-President HENRY A. BUNDSCHU, Independence, Third Vice-President BARTLETT BODER, St. Joseph, Fourth Vice-President RAY V. DENSLOW, Trenton, Fifth Vice-President LOUIS J. SIECK, St. Louis, Sixth Vice-President R. B. PRICE, Columbia, Treasurer. FLOYD C. SHOEMAKER, Columbia, Secretary and Librarian TRUSTEES Permanent Trustees, Former Presidents of the Society ISIDOR LOEB, St. Louis WILLIAM SOUTHERN, JR., ALLEN MCREYNOLDS, Carthage Independence GEORGE A. ROZIER, Jefferson City G. L. ZWICK, St. Joseph Term Expires at Annual Meeting, 1951 RALPH P. BIEBER, St. Louis HENRY C. THOMPSON, Bonne Terre ARTHUR V. BURROWES, St. Joseph WILLIAM L. VANDEVENTER, LAURENCE J. KENNY, S. J., St. Louis Springfield JOSEPH H. MOORE, Charleston GEORGE H. WILLIAMS, California ISRAEL A. SMITH, Independence CHARLES L. WOODS, Rolla Term Expires at Annual Meeting, 1952 JESSE W. BARRETT, St. Louis GEORGE H. SCRUTON, Sedalia CHESTER A. BRADLEY, Kansas City JAMES TODD, Moberly GEORGE ROBB ELLISON, Maryville T. BALLARD WATTERS, Marshfield FRANK L. MOTT, Columbia L. M. WHITE, Mexico JOSEPH PULITZER, St. Louis Term Expires at Annual Meeting, 1953 FRANK P. BRIGGS, Macon ALBERT L. REEVES, Kansas City STEPHEN B. HUNTER, Cape Girardeau E. E. SWAIN, Kirksville WALDO P. -
History of Minstrelsy, Its Inner Workings and Business
Introduction - 1 1 Inside Look at Minstrelsy - 37 The Photos - 65 More Photos - 97 Songs - 117 History of Minstrelsy, Its inner workings and business. "Minstrelsy is an ancient art." This project is to explore the inner working of minstrelsy. During its heyday, from the 1840s to the end of World War I it was the major exponent of entertainment in America. Minstrelsy has been around for centuries -from King David, to the medieval troubadours and finally to the shores of America. In America it took place before, during and after the emancipation of the Negro slaves and spread across the continent both with professional white and Negro groups (both using black face) and with minstrel shows produced by churches, schools and social organizations. Etc. While professional minstrels became less popular, minstrels did last long into the 20th century. (Personnel note-My father played bones in a church minstrel in the late 1930s and my brother and I (playing accordions) played in the olio part of a church minstrel in the 1940s.) Few forms or styles of entertainment last over generations. There are revivals but these are just points in time. An 'art' has an influence on a society. Rap music can be seen as a present day reversal of the minstrels. Eventually the public had problems accepting the minstrel with its black faced individuals. Strangely the height of minstrel happened after the Civil War. As with any art form, minstrelsy evolved, dropping its first part and became a spectacular revue taking the Olio into vaudeville. Black face was a familiar theatrical device in Europe (Shakespeare's Othello) as black was not permitted to be onstage. -
Walt Whitman: Nineteenth-Century Popular Culture
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications, UNL Libraries Libraries at University of Nebraska-Lincoln 4-2-2006 Walt Whitman: Nineteenth-century Popular Culture Brett Barney University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/libraryscience Part of the Library and Information Science Commons Barney, Brett, "Walt Whitman: Nineteenth-century Popular Culture" (2006). Faculty Publications, UNL Libraries. 111. https://digitalcommons.unl.edu/libraryscience/111 This Article is brought to you for free and open access by the Libraries at University of Nebraska-Lincoln at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications, UNL Libraries by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in A Companion to Walt Whitman, edited By Donald D. Kummings. Blackwell Publishing, Malden, MA, 2006, pp. 233–256. Copyright © 2006 by Blackwell Publishing Ltd. Used by permission. http://www.blackwellpublishing.com/ Chapter 15 Nineteenth-century Popular Culture Brett Barney It has been said that although “Whitman never used the term ‘popular culture’ . he came to personify it” (Fishwick 1999: 10), and a substantial body of recent criticism has been devoted to proving the truth of that statement. The most prominent exam- ples of this trend are David S. Reynolds’s acclaimed books, Beneath the American Re- naissance and Walt Whitman’s America. In the fi rst, Reynolds discusses Whitman as one of seven “responsive authors” who created “the major literature” of the antebellum era by transforming the “language and value systems [. .] of popular culture,” into “dense literary texts” (Reynolds 1988: 3). -
The Pennsylvania Barn
. ......................................... .......... BOOK Those interested in reviewing books should contact Nicholas Ciotola at [email protected]. Publishers and authors can send review copies to the Editor, Western Pennsylvania History, Historical Society of Western Pennsylvania, 1212 Smallman Street, Pittsburgh, PA, 15222. Crossroads of Commerce: The Pennsylvania The Most Learned Vourn i Ai erica. Under the Sotthern Sun: Stories of the Real Italy Railroad Calendar Art of Grit Teller A Life of Elizabeth Cr.em Fe g and the Americans Who Created It By Dan Cupper, photography by Ken Murry By Anne M. Ousterhout By Paul Paolicelli (Mechanicsburg: Stackpole Books, 2003) (University Park: Penn State University Press, (New York: St. Martin's Press, 2003) 150 color and 70 b/w photos, 184 pp., 2004) xxi + 263 pp., $24.95 hardcover $29.95 paperback Endnotes, index, xx + 391 pp., $35 hardcover This second book by Pittsburgh native Paul Starting in 1925, the Pennsylvania Railroad A full-length biography of "America's first great Paolicelli takes readers through the southern commissioned an oil painting of a PRR engine female savant" who educated herself in litera- Italian regions of Abruzzo, Basilicata, Calabria, for its wall calendars. Teller painted 27 of the ture, history, and languages. Born to a wealthy and Sicilia in an attempt to explore the complex 33 annual scenes plus three times that many family in 1737, Fergusson was at the center of and ever-changing concept of heritage among images in later life. The book includes stories of the cultural and intellectual world of colonial Americans of Italian descent. Explores many Pittsburgh's role as the western terminus of the America. -
The New Streamlines City Op Los Angeles
THE NEW STREAMLINES CITY OP LOS ANGELES THE LITTLE NUGGET THE NEW STREAMLINER CITY OF LOS ANGELES ♦ Photographs from—Charles R, Docherty, Albert Davis and many other collections THE LITTLE NUGGET WALT KUHN, the American artist, who began his career as a cartoonist in San Francisco and now paints pictures drawn from the circus and the stage, has made this a painter's holiday. He has created for the Union Pacific-Chicago & North Western in every detail the interior of this refresh ment establishment, modeled very freely from what we all imagine these hostelries looked like in the old bonanza days. This car was planned, without pretense, solely for your comfort and amusement. All furniture, curtains, carpets, etc., were especially designed by Mr. Kuhn for this car. The color combinations were chosen with the hope that their seemingly arbitrary character would tend to promote the proper exhilaration. Elements of slightly varied periods have been blended with independence, with the same purpose in mind. Perhaps the very practical canary in its gilded cage will give you the note necessary to the beginning of your appreciation. The photographs are the tribute of the Chicago & North Western-Union Pacific to the famous laugh-makers of the past. They are numbered so that you may identify them easily, and on the following pages a brief description of each is given. We regret that many more could not be included. The pictures on the walls, other than photos—the racehorses, clowns, minstrels, dancers, etc.—were created by the artist, freely but truly, from traditional sources. -
Nineteenth-Century American Poetry As a Fan Activity
When Readers Become Fans 99 When Readers Become Fans: Nineteenth-Century American Poetry as a Fan Activity David Haven Blake Poetry Fans In his autobiography Random Memories (1922), Ernest Longfellow re- counted life with his famous father, the poet Henry Wadsworth Longfellow. Ernest was a painter of modest reputation, and he filled his memoir with stories about the overseas travels that had played such an important role in his art. But to most readers, the memoir’s real appeal was its portrait of life inside Craigie House, the Cambridge mansion the Longfellow family had owned since 1843. Ernest devotes special attention to his father’s acquaintances, treating readers to brief, at times amusing, sketches of his many prominent visitors. We learn about such steadfast family friends as Charles Sumner, Louis Agassiz, and Oliver Wendell Holmes. We learn about visits from the Prince of Wales, the Hungarian revolutionary Lajos Kossuth, and the violinist Ole Bull. Ernest pays tribute to the actress Fanny Kemble and fondly recalls her compassion when as a boy he suffered from a stomachache. Not all of the portraits are admiring. Anthony Trollope comes off as tedious, loud-mouthed, and boastful. The humorist Bret Harte seemed so lost and dis- oriented that Ernest had to guide him back to his hotel. Considered to be among the closest of Longfellow’s friends, James Russell Lowell was capable of being extraordinarily gauche and inexplicably snubbed the family after Henry’s death. 0026-3079/2012/5201-099$2.50/0 American Studies, 52:1 (2012): 99-122 99 100 David Haven Blake Not only was the actress Sarah Bernhardt a guest, Ernest tells us, but she was rumored to have kissed his widowed father during her visit (E. -
American Theatre Playbill Collection, 1826-1873
Library Company of Philadelphia McA 5761.F AMERICAN THEATRE PLAYBILL COLLECTION 1826‐1873 (bulk dates 1860‐1865) 23 volumes September 2006 McA 5761.F 2 Descriptive Summary Repository Library Company of Philadelphia 1314 Locust Street, Philadelphia, PA 19107‐5698 Call Number McA 5761.F Title American Theatre Playbill Collection Inclusive Dates 1826‐1873 (bulk dates 1860‐1865) Quantity 23 volumes Language of Materials Materials are in English. Abstract The American Theatre Playbill Collection spans the period from 1826 to 1873 and covers performances held in Philadelphia theatres, both for repertory companies and vaudeville houses, as well as venues in Pennsylvania, New Jersey, Delaware, and Baltimore, Maryland. Administrative Information Restrictions to Access The collection is open to researchers. Acquisition Information Gifts of John A. McAllister, Samuel Breck, and James Rush; forms part of the McAllister Collection. Processing Information The collection was described in 2006 by Sandra Markham under grants from the National Endowment for the Humanities and the William Penn Foundation. Any views, findings, conclusions or recommendations expressed in this finding aid do not necessarily represent those of the National Endowment for the Humanities. Preferred Citation This collection should be cited as: [indicate specific item or series here], American Theatre Playbill Collection (McA 5761), The Library Company of Philadelphia. For permission to publish materials or images in this collection, contact the Coordinator of Rights and Reproductions, Library Company of Philadelphia, 1314 Locust St., Philadelphia, PA 19107‐5698. Please include complete citation(s) when making a request. See the Library Company’s website, http://www.librarycompany.org/, for further information. McA 5761.F 3 Online Catalog Headings Subject Names Chestnut Street Theatre (Philadelphia, Pa.) Arch Street Theatre (Philadelphia, Pa.) American Academy of Music (Philadelphia, Pa.) Academy of Music (Philadelphia, Pa.) Peale’s Museum (Philadelphia, Pa.) Walnut Street Theatre Eleventh St.