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Life in the circus in the 19th century.
In this memoir, George Conklin shares his experiences as a lion tamer and circus performer, recounting his encounters with wild animals, colorful characters, and unexpected challenges. With humor and candor, he offers a behind-the-scenes look into the thrilling and dangerous world of the circus. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 edition. Excerpt: ... GREAT BRITAIN AND THE CONTINENT MY first trip to England was made in the fall of 1889 with the Barnum & Bailey show. This invasion of the "Old Country" was the idea of Mr. Bailey who worked out the plans for the undertaking, which was in the nature of an experiment, for no large American circus had ever before been to Europe, and just what its reception would be was problematical. It was a daring venture. If it "took," there were limitless possibilities in the way of success; if it did not, there was not only a diminishment of prestige, but a staggering financial loss to face. We sailed from New York October 20, 1889, in especially chartered boats, and reached London without mishap. Of course our coming had been much heralded in England, but there was a certain amount of skepticism as to our show being any better than the English, a feeling which of course was most pronounced among the British showmen themselves. The feeling was well shown by an incident that occurred soon after we docked and before we had begun to unload. A fellow who was proprietor of a small menagerie somewhere near London came on board, full of curiosity. It was Frank Bostock, later well known in this country, but at that time unheard of, "What 'ave you got to hexcite the Henglish people?" he asked me. "Oh, we've got some elephants, and some lions and tigers, some giraffes, some monkeys, and a lot of other animals, and a first-class circus," I told him. "Why, we've got loyns and toigers and helephants, and all those things over 'ere. You cawn't interest the people with those things, you know," Bostock answered, and Willie Sholes, a rider, who had been listening, broke in: "Never mind, Johnnie Bull, we've got a Yankee circus here, and we're going to show you fellows a...
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The nineteenth century saw the American circus move from a reviled and rejected form of entertainment to the “Greatest Show on Earth.” Circus Life by Micah D. Childress looks at this transition from the perspective of the people who owned and worked in circuses and how they responded to the new incentives that rapid industrialization made possible. The circus has long been a subject of fascination for many, as evidenced by the millions of Americans that have attended circus performances over many decades since 1870, when the circus established itself as a truly unique entertainment enterprise. Yet the few analyses of the circus that do exist have only examined the circus as its own closed microcosm—the “circus family.” Circus Life, on the other hand, places circus employees in the larger context of the history of US workers and corporate America. Focusing on the circus as a business-entertainment venture, Childress pushes the scholarship on circuses to new depths, examining the performers, managers, and laborers’ lives and how the circus evolved as it grew in popularity over time. Beginning with circuses in the antebellum era, Childress examines changes in circuses as gender balances shifted, industrialization influenced the nature of shows, and customers and crowds became increasingly more middle-class. As a study in sport and social history, Childress’s account demonstrates how the itinerant nature of the circus drew specific types of workers and performers, and how the circus was internally in constant upheaval due to the changing profile of its patrons and a changing economy. MICAH D. CHILDRESS received his PhD in history from Purdue University and currently works as a Realtor® in Grand Rapids, Michigan. His articles have appeared in Popular Entertainment Studies and American Studies.
Davis examines the history and cultural significance of circuses and Wild West shows in turn-of-the-century America.
The Routledge Circus Studies Reader offers an absorbing critical introduction to this diverse and emerging field. It brings together the work of over 30 scholars in this discipline, including Janet Davis, Helen Stoddart and Peta Tait, to highlight and address the field’s key historical, critical and theoretical issues. It is organised into three accessible sections, Perspectives, Precedents and Presents, which approach historical aspects, current issues, and the future of circus performance. The chapters, grouped together into 13 theme-based sub-sections, provide a clear entry point into the field and emphasise the diversity of approaches available to students and scholars of circus studies. Classic accounts of performance, including pieces by Philippe Petit and Friedrich Nietzsche, are included alongside more recent scholarship in the field. Edited by two scholars whose work is strongly connected to the dynamic world of performance, The Routledge Circus Studies Reader is an essential teaching and study resource for the emerging discipline of circus studies. It also provides a stimulating introduction to the field for lovers of circus.
"Joe Nickell - once a carnival pitchman, then a magician, private detective, and investigative writer - has pursued sideshow secrets for years and has worked the famous carnival midway at the Canadian National Exhibition. For this book, he interviewed showmen and performers, collected carnival memorabilia, researched published accounts of sideshows and their lore, and even performed some classic sideshow feats, such as eating fire and lying on a bed of nails as a cinderblock was broken on his chest. The result of these varied efforts, Secrets of the Sideshows tells the captivating story of the magic, tricks - real or illusory - and performers of the world's midway shows."--BOOK JACKET.