#a la ringling brothers

[cadmusfly]

Non Comprehensive List of the Nice Spanish Paintings That Mysteriously Ended Up in Marshal Soult's Collection

Sourced from the essay Seville's Artistic Heritage during the French Occupation in the book Manet/Velázquez: The French Taste for Spanish Painting, which can be downloaded for free on the Met's website which is frankly awesome but i wish someone OCRed their book

In 1852 at the sale of his collection, there were 109 paintings up for sale - 78 from the Seville School, including 15 Murillos and 15 Zurbaráns.

It's interesting that Soult wanted to legitimize his ownership of these paintings via receipts and official documentation - the biography of him I was machine translating talks about the king questioning his collection and him pulling out receipts for each painting. But, well, the essay puts it like this: "The existence of an official letter can be explained by Soult's desire to dress up in legal or formal terms what was in reality theft or extortion."

I might put excerpts from the essay in a different post, but for now, let's look at the list! Modern locations of the paintings are in parentheses, and I must say, for an essay critical of historical reappropriation of artwork, a lot of these artworks are still extant. Not a dig or anything, just an observation.

I do not condone extorting or stealing priceless Spanish artworks anyway

On with the show!

Murillo The Immaculate Conception (Museo Nacional del Prado, Madrid) Virgin and Child (Walker Art Gallery, Liverpool) Saint Elizabeth of Hungary Nursing the Sick (Church of the Hospital de la Caridad, Seville) Christ Healing the Paralytic at the Pool of Bethesda (National Gallery, London) The Return of the Prodigal Son (National Gallery of Art, Washington, D.C.) Abraham and the Three Angels (National Gallery Of Canada, Ottawa) The Liberation of Saint Peter (State Hermitage Museum, St. Petersburg) Saint Junipero and the Pauper (Musée du Louvre, Paris) Saint Salvador de Horta and the Inquisitor Of Aragon (Musée Bonnat, Bayonne) Brother Julián de Alcalá and the Soul of Philip II (Sterling and Francine Clark Art Institute, Williamstown, Mass.) The Angels' Kitchen (Musée du Louvre, Paris) The Dream Of the Patrician (Museo Nacional del Prado, Madrid) The Patrician John and His Wife (Museo Nacional del Prado, Madrid) The Triumph of the Eucharist (Lord Farringdon Collection, Buscot Park, Farringdon, England) Saint Augustine in Ecstasy [Not sourced from the above book, from a Christies auction actually]

Herrera the Elder The Israelites Receiving Manna (unknown/destroyed?) Moses Striking the Rock (unknown/destroyed?) The Marriage at Cana (unknown/destroyed?) The Multiplication of the Loaves and Fishes (Musée d'Amiens, destroyed in 1918) Last Communion of Saint Bonaventure (Musée du Louvre, Paris) Saint Basil Dictating His Doctrine (Musée du Louvre, Paris)

Zurbarán Saint Apollonia (Musée du Louvre, Paris) Saint Lucy Musée des Beaux-Arts, Chartres Saint Anthony Abbot (private collection, Madrid) Saint Lawrence (State Hermitage, St. Petersburg) Saint Bonaventure at the Council of Lyon (Musée du Louvre, Paris) Saint Bonaventure on His Bier (Musée du Louvre, Paris) The Apotheosis of Saint Thomas Aquinas (Museo de Bellas Artes, Seville) Saints Romanus and Barulas (Art Institute of Chicago) paintings of the archangel Gabriel and Saint Agatha (both Musée de Montpellier)

Cano Saint John with the Poisoned Chalice and Saint James the Apostle (both Musée du Louvre, Paris) Saint John Giving Communion to the Virgin (Palazzo Bianco, Genoa) Saint John's Vision Of God (John and Mable Ringling Museum Of Art, Sarasota) Charity and Faith (present location unknown; 1852 Soult sale) Saint Agnes (destroyed in fire in the Staatliche Museen, Berlin)

Uncertain source, thought to be Murillo at the time A Resting Virgin (usually identified as The Holy Family with the Infant Saint John the Baptist, Wallace Collection London) The Death Of Abel Saint Peter Saint Paul

Other artists in his collection whose specific works weren't named Sebastiån de Llanos Valdés Pedro de Camprobin José Antolinez Sebastiån Gomez

[newyorkthegoldenage]

Famous circus clown Emmett Kelly tries to hit an apple held by Brooklyn Dodger president Walter O’Malley with a loaf of Italian bread. They were at the New York Press Photographers’ Association dinner at Mama Leone’s restaurant on January 28, 1957. O’Malley announced that he had signed Kelly to “ease the tension at Ebbets Field.” (Rumors of desertion to LA?) Kelly had been with the Ringling Brothers & Barnum and Bailey Circus for 36 years before retiring the previous spring due to a union dispute.

Photo: Marty Lederhandler for the AP

[gregor-samsung]

“ Mentre la vita pubblica e persino quella privata assumono i caratteri dello spettacolo, è in atto un contromovimento che cerca di modellare lo spettacolo, il teatro, tutte le forme di espressione artistica, sulla realtà — di annullare la differenza stessa tra arte e vita. Entrambe le tendenze diffondono un senso dell’assurdo caratteristico della sensibilità contemporanea. Va notata la stretta connessione tra un eccesso di elementi spettacolari, il cinismo dell’atteggiamento disincantato ormai diffuso anche tra i bambini, l’impermeabilità alla sorpresa o alle emozioni violente e la conseguente indifferenza a distinguere tra illusione e realtà. Siamo troppo ciniche [scrive Joyce Maynard di se stessa e di una bambina di quattro anni che ha portato al circo], per non intuire il trabocchetto nel gioco di prestigio, l’imbottitura del Santa Claus dell’Esercito della Salvezza, i trucchi della telecamera negli show pubblicitari alla TV (“Non è la mano di un folletto che spunta fuori dalla lavatrice,” mi dice Hanna, “è soltanto un attore coi guanti.”) Non diversamente al circo... ella si appoggiò indietro sul sedile imbottito, la mia bambina di quattro anni... prevedendo capitomboli e scivoloni, severa, sveglia, triste, saggia, matura, disincantata, più assorta nello zucchero filato che affascinata dal Più Grande Spettacolo del Mondo. [...] Avevamo assistito, impassibili, a spettacoli ben più straordinari, tutto il nostro mondo era un’indigestione per gli occhi, un circo a dieci piste con cui non avrebbero potuto competere neppure i Ringling Brothers. Un uomo ficcò la testa nelle fauci di una tigre e io lo indicai alla mia gelida, imperturbabile amica, con espressioni di sbalordimento esagerato, e quando essa non si curava di guardare... le giravo la testa verso la tigre, la costringevo a seguire il numero. La tigre, penso, avrebbe potuto staccare la testa al domatore con un morso, inghiottirlo in un boccone e tramutarsi in scimmia e lei non avrebbe battuto ciglio. Davanti a noi almeno due dozzine di clown ammucchiati in una Volkswagen cercavano di uscirne senza che Hanna capisse qual era lo scopo di tutto ciò. Non è solo perché sa che escono da una botola che Hanna non riesce a entusiasmarsi. Anche se non fosse a conoscenza del trucco, non dimostrerebbe maggiore interesse.

La sovraesposizione a illusioni prefabbricate distrugge rapidamente la loro efficacia rappresentativa. La componente illusoria del reale non produce, come sarebbe prevedibile, una intensificazione del senso della realtà, ma genera, nei confronti della realtà stessa, uno stato di allarmante indifferenza. Il nostro senso della realtà si trova allora a dipendere, per quanto sembri strano, dalla nostra disponibilità ad accettare l’aspetto illusorio del reale. Persino la comprensione razionale delle tecniche illusorie non annulla la nostra capacità di considerare l’illusione prodotta come una rappresentazione della realtà. La smania di conoscere i trucchi del prestigiatore, come l’interesse suscitato recentemente dagli effetti speciali di un film quale Guerre stellari, hanno in comune con lo studio della letteratura il desiderio di apprendere dai maestri dell’illusione lezioni sulla realtà stessa. Ma quando si riscontra un’indifferenza totale persino per la meccanica dell’illusione, è prevedibile il collasso della stessa idea di realtà, che dipende in ogni suo elemento dalla distinzione tra natura e artificio, realtà e illusione. Tale indifferenza rivela l'erosione della capacità di interessarsi a qualsiasi cosa esterna al sé. Così la bambina impassibile, che ha già visto tutto, si riempie di zucchero filato e quanto succede non le importerebbe neppure se non sapesse in che modo ventiquattro clown riescono a infilarsi in una macchina. “

Christopher Lasch, La cultura del narcisismo. L’individuo in fuga dal sociale in un’età di disillusioni collettive; Nuova postfazione dell’autore, traduzione di Marina Bocconcelli, Fabbri (collana Saggi Tascabili), 1992. [Libro elettronico]

[Edizione originale: The Culture of Narcissism: American Life in an Age of Diminishing Expectations, W. W. Norton, New York City, 1979]

[circusfans-italia]

ALMANACCO DEL 45° FESTIVAL DI MONTE-CARLO - EDIZIONE 2023

ALMANACCO DEL 45° FESTIVAL DI MONTE-CARLO – EDIZIONE 2023

20 gennaio - 29 gennaio 2023 GIURIA - Odette Bouglione (Francia), Cirque d'Hiver Bouglione - Antonio Buccioni (Italia), Presidente Ente Nazionale Circhi - Luisa Raluy (Spagna), Circo Raluy Legacy - Michel Rios (Francia), Artista internazionale - Aldo Vazquez (USA), Circo Hermanos Vazquez - Sosina Wogayehu (Etiopia), Ethio Circus Entertainment PALMARES DEL 45° FESTIVAL DI MONTE-CARLO CLOWN D'OR  René Casselly Junior avec Merrylu Casselly et Quincy Azzario - Jockey equestre CLOWN D'ARGENT Flying Martini - Trapezio volante Troupe Mustafa Danguir Viktoriia Dziuba - verticalista Secret of my soul - sostenuto al cerchio aereo Alex Giona - dressage in libertà Bruno Togni - tigri di 3 diversi colori CLOWN DE BRONZE Troupe Bingo Circus Theatre – Equilibrist pictures Mistery of Gentlemen - acrobatica sui globi Deadly Games - coltelli e balestre Elisa Cussadié - addestramento di pappagalli

JUNIOR D'OR - NEW GENERATION Ameli Bilyk - filo molle JUNIOR D'ARGENT- NEW GENERATION Vladislava Naraieva - verticalista Sofiia Hrechko - contorsionista JUNIOR DE BRONZE - NEW GENERATION  Kimberly Zavatta - cinghie aeree PREMI SPECIALI (CLICCA QUI) Un Festival molto atteso, dopo due anni di sospensione a causa della Pandemia e che risente dell'assenza di troupe russe (a causa del conflitto con l'Ucraina e le conseguenti sanzioni internazionali) e cinesi (ancora per ragioni sanitarie) e con una nutrita presenza italiana. Un Festival di grandi exploit e altrettanto grandi delusioni e amarezze. Il quadruplo al trapezio volante e il numero ormai unico al mondo di tigri di colori diversi proposto da Bruno Togni fanno sperare nel ritorno dell'Italia sul gradino più alto del podio, ma l'algida serata di premiazione sotto allo Chapiteau di Fontvielle (che per il primo anno sostituisce la tradizionale dinner gala all'Hotel Fairmont) farà cadere la speranza. Argento per entrambi. Ma un Argento che come dice Roberto Guideri "ha riflessi dorati"). Alla serata di proclamazione della domenica e alla premiazione del martedì saranno assenti sia la Principessa Stephanie, influenzata (come Petit Gougou presente ma debilitato nella voce), sia il Principe Alberto. Dunque un Festival anomalo anche nel rito. Ma che comunque regalerà momenti di grande circo. Oltre ai due summenzionati Bruno e Michael, sarà il Festival di René Casselly Junior, di Quincy Azzario e Merrylu Casselly: il loro pas-de-trois equestre rimarrà uno dei momenti più belli di questi ultimi anni. Ottimi piazzamenti per i cavalli di Alex Giona, per i pappagalli di Alessio Fochesato presentati da Elisa Cussadié e per le cinghie di Kimberly Zavatta. Il tricolore sventola anche sulla comicità del nostro Mr. Lorenz ormai in forza nelle grandi case europee. E la mano italiana è quella che ha scoperto in Kenya il talento dei Black Blues Brothers, rendendoli un fenomeno internazionale. Dunque un Festival importante, non solo per l'Italia, che ha fatto scoprire personaggi del calibro di Wesley Williams (escluso dal podio, ma che oggi svetta nel nuovo Ringling) e Peter Marvey (il suo "diamante" sarà una delle grandi illusioni più belle mai viste al Festival del Circo di Monte Carlo!), complicato dai disagi internazionali ma che, pur tra alti e bassi, ha evidenziato alcune delle gemme del Circo Europeo.

ELENCO PARTECIPANTI

2023

TRIO EQUIVOKEE CLOWN WESLEY WILLIAMS MONOCICLO A GRANDE ALTEZZA ALEX GIONA CAVALLI IN LIBERTA ELISA CUSSADIE PAPPAGALLI KRIS E HARRISON KREMO GIOCOLIERI BRUNO TOGNI TIGRI TROUPE MUSTAFA DANGUIR FILO ALTO TROUPE DANGUIR DOPPIA RUOTA DEL CORAGGIO VIKTORIIA DZIUBA EQULIBRISTA SECRET OF MY SOUL CERCHIO AEREO THE BLACK BLUES BROTHERS SALTI A TERRA E PIRAMIDI PETER MARVEY MAGIA E GRANDI ILLUSIONI TEATRO CIRCO BINGO ANIMATORI DUST IN THE WIND ADAGIO ACROBATICO MYSTERY  OF GENTLEMEN SALTI IN BANCHINA SU GLOBI MARIONETTE'S DREAM SALTI ALLA CORDA DEADLY GAMES COLTELLI E BALESTRE RENE & MERRYLU CASSELLY E QUINCY AZZARIO ACROBAZIE EQUESTRI MR. LORENZ CLOWN DI RIPRESA THE FLYING MARTINI TRAPEZIO VOLANTE KIMBERLY ZAVATTA - NEW GENERATION CINGHIE AEREE AMELI BILYK - NEW GENERATION FILO MOLLE VLADYSLAVA NARAIEVA - NEW GENERATION EQUILIBRISTA SOFIIA HRECHKO - NEW GENERATION CONTORSIONISTA VLADI JAGGI ORCHESTRA PETIT GOUGOU M. LOYAL

RENE CASSELLY JR - MERRYLU CASSELLY - QUINCY AZZARIO

BRUNO TOGNI

FLYING MARTINI

ALEX GIONA

VIKTORIIA DZIUBA

TROUPE MUSTAFA DANGUIR

SECRET OF MY SOUL

ELISA CUSSADIE' e ALESSIO FOCHESATO

TROUPE BINGO

MYSTERY OF GENTLEMEN

DEADLY GAMES

AMELI BILYK - NEW GENERATION

VLADISLAVA NARAIEVA - NEW GENERATION

SOFIIA HRECHKO - NEW GENERATION

KIMBERLY ZAVATTA

Mr. LORENZ (Lorenzo Carnevale)

WESLEY WILLIAMS

PETER MARVEY Bruno Togni, un Clown d'Argento dai riflessi dorati GUARDA IL VIDEO

GUARDA LA PHOTOGALLERY DELLO SPETTACOLO

GALA SHOW SHOW DI SELEZIONE A   SHOW DI SELEZIONE B   Credit della 45° edizione del Festival: - Urs Pilz, Direzione artistica e Regia Generale, coordinatore della Giuria - Alain Frere, Consigliere artistico - Assistenti alla direzione artistica e tecnica Stefan Huchtenbrock, Tommy Cardarelli, Kristian Kristof - Regia degli spettacoli Daris Huesca, Enrico Caroli, Tino Caroli, Steven Carroli (assistente) Foto  Centre de Presse Charly Gallo, Maurizio Colombo, Antonio Vanoli, Manu Vitali, Michael Alesi, Cristophe Roullin e archivi Circusfans Video Archivio Maurizio Colombo, si ringrazia Roberto Guideri per il video di Bruno Togni e Circus Video Visitate la nostra sezione

ALMANACCO DEL FESTIVAL INTERNATIONAL DU CIRQUE DE MONTE-CARLO

ALMANACCO DEL 45° FESTIVAL DI MONTE-CARLO – EDIZIONE 2023 Info Festival Cirque de Monte Carlo Se questo articolo ti è piaciuto condividilo sui tuoi social utilizzando i bottoni che trovi qui sotto   Read the full article

[tengomilpalabrasparati]

𝓗𝓲𝓼𝓽𝓸𝓻𝓲𝓪

La mujer que levantaba hombres con una sola mano

Katharina Brumbach nació en la parte de atrás de unvagón de circo en 1884 en Viena (Austria, entonces Imperio Austrohúngaro). Aquel entorno mágico del circo de finales del XIX, en el que crecería, marcaría su vida para siempre, hasta el punto de convertirse en uno de los mayores ídolos circenses de todos los tiempos. Sus padres, Johanna y Philippe Brumbach, artistas de circo de origen bávaro muy famosos por su extraordinaria fuerza física, tuvieron una familia numerosa, catorce hijos en total, en la que se realizaron hazañas que, aún hoy, no han sido superadas.

Desde su nacimiento, parecía predestinada a convertirse en Lady Hércules, la mujer más fuerte del mundo. Tal vez por orgullo familiar, todos sus hermanos probaron suerte en el mundo de la fuerza, pero solo ella alcanzó fama mundial por sus logros. Desde muy pequeña, mostraba una fortaleza inesperada para su edad y, además, sorprendía a todos con su disciplina en los entrenamientos y la consecución de los ejercicios.  Cuando llegó a la adolescencia, medía 1.80 cm y pesaba 91 kilos, algo desproporcionado para la época, lo que auguraba una fuerza física inusitada y nunca antes vista en una mujer.

Se cuenta que su padre, que fue conocido por levantar 225 kilos con un dedo, les decía a los hombres que asistían al espectáculo circense que podrían ganar un suculento premio en metálico, 100 marcos, si derrotaban a su hija en la lucha libre. Muchos se pavoneaban y se atrevían a intentarlo, dando por hecho que la vencerían con mucha facilidad. Nunca nadie lo consiguió. Así empezó la leyenda de Lady Hércules. 

A su alrededor, la gente le proponía todo tipo de retos, pero Katie no se acobardaba ante ninguno. Justo a principios del siglo XX, cuando contaba 16 años, conoció a Max Heymann, un joven acróbata de circo de 19 años, que quiso retarla en una competición, como estrategia para relanzar su carrera artística. La joven no lo dudó, asumió el reto propuesto y ganó. De ahí nació una hermosa historia de amor que duró 52 años y una prolífica carrera artística en pareja que incluía un número en el que ella elevaba a su marido sobre su cabeza con una sola mano y lo manipulaba como si ella fuera un soldado y él, su fusil. 

En 1911, buscando mejores oportunidades artísticas, se mudó a Nueva York. Este fue un año muy importante en su vida, ya que alcanzó varios hitos en su carrera profesional. Por un lado, fue contratada por el Ringling Brothers and Barnum & Bailey Circus, el más grande y famoso de todos los circos de EEUU, que estuvo en activo desde 1871 hasta 2007. Una vez instalada en la ciudad, decidió dar un paso más en su carrera y, mostrando un gran valor y confianza en sí misma, ofreció un desafío al reconocidísimo Eugen Sandow, considerado, en aquel momento, como el “espécimen masculino perfecto”, por sus medidas corporales e increíble fuerza. Actualmente, Eugen es considerado el padre del culturismo, ya que fue el primero en realizar exhibiciones públicas de musculatura. Pues bien, el día de la competición, los dos forzudos comenzaron levantando pesos por turnos. En un momento dado, llegó la hora de levantar un peso de 136 kg. Katie fue capaz de levantarlo sobre su cabeza con un solo brazo, mientras Eugene solamente consiguió hacerlo hasta su pecho. Fue un éxito rotundo y desde aquel momento, Katie adoptó el nombre de Sandwina, en homenaje a su admirado colega Sandow. Esta hazaña se incluyó, posteriormente, en el Libro Guiness de los Récords, ¡y estuvo vigente durante 75 años! 

Así, Lady Hércules se convirtió, oficialmente, en la mujer más fuerte del mundo, título que ostentó desde 1911 hasta 1986, cuando le sería arrebatado por Karyn Marshall, que consiguió levantar 220 kilos. Gracias a este episodio, Brumbach obtuvo una gran popularidad en su tiempo y demostró que su fuerza no entendía de género, ya que podía superar tanto a hombres como a mujeres. De hecho, aquel día no solo ganó el título de «mujer más fuerte del mundo», sino que demostró que en aquel momento era la persona más fuerte, ya que había conseguido superar al hombre que ostentaba el récord masculino.

La increíble fuerza de Katie, sin embargo, fue valiosa mucho más allá de los logros físicos. Lo más maravilloso de su trayectoria es que la artista circense trasladó esa valentía, fortaleza y perseverancia al activismo social. En 1912, en el mismo Madison Square Garden II donde ella había debutado, se presentó públicamente ante la prensa mundial la primera sociedad sufragista del mundo del circo, llamada Suffragette Ladies of the Barnum & Bailey Circus, de la que Brumbach fue vicepresidenta y a la que pertenecían más de 800 mujeres. Esta asociación trabajó duramente durante muchos años junto a la Woman’s Political Union para reivindicar los derechos de las mujeres en los Estados Unidos.  Estas dos instituciones junto a muchas otras, consiguieron que, finalmente, en 1920 se reconociese el derecho nacional al voto de las mujeres estadounidenses.

Después de una carrera artística plagada de proezas, durante la que dio a luz y crió a sus dos hijos, Theodore y Alfred, la mujer más fuerte del mundo decidió retirarse a los 64 años, pero no abandonó el activismo. Mostró su faceta más solidaria cuando, junto a su marido, empezó a trabajar para la Works Progress Administration (WPA) Circus, un ambicioso proyecto social que ofrecía empleo a artistas en paro durante la época de la Gran Depresión. De esta forma, las familias más desfavorecidas podían disfrutar de espectáculos circenses de calidad que, de otra forma, no hubieran podido permitirse.

Al final de su vida, su marido y ella abrieron un restaurante cuyo nombre era un homenaje a toda su carrera: Kati Sandwina, World’s Strongest Woman, Bar and Grill. Uno de los principales atractivos del negocio familiar es que de vez en cuando Katherine hacía alguno de sus viejos números como doblar barras de acero o lanzar a su marido hacia el techo, como hacía cuando se enamoraron, lo que resultaba muy divertido para el público del restaurante.

Finalmente, en 1952, la mujer más fuerte del mundo falleció por un cáncer al que su fortaleza no pudo vencer. Sin embargo, nos dejó una historia de superación, valentía y determinación que servirá de inspiración a las mujeres y hombres que oigan hablar de ella. Quedan para siempre sus hazañas, sus retos superados y su mayor lucha: la de la justicia y la igualdad.

[callmeanxietygirl]

La N39ra más alta del mundo

Mme Abomah, conocida como la Giganta del Amazonas y la Giganta Africana. Alguna vez fue la dama más alta del mundo a fines del siglo XIX y principios del XX. Abomah era una celebridad internacional conocida como la Giganta del Amazonas y la Giganta Africana. A principios de 1900, viajó por todo el mundo como la mujer más alta del mundo. Ella fue catalogada como de 7'4 "/ 7'6" de altura. Su verdadero nombre pudo haber sido Ella Grigsby. Un anuncio en el periódico también la llama “Ella Abomah”. Cuando aún era adolescente y bella, Abomah comenzó a trabajar para Elihu y Harriet Williams. Se especula que, dado que Grigsby era el nombre del propietario de esclavos de sus padres, ella se mostró reacia a usarlo y, por lo tanto, adoptó el apellido de su empleador. Sin embargo, en muchas fuentes, se la conoce simplemente como "Abomah

Abomah afirmó que ninguno de sus otros hermanos era inusualmente grande y que varios promotores de vodevil y circo la habían contactado para firmar un contrato y hacer una gira como giganta, pero siempre se negó. Sin embargo, mientras trabajaba como cocinera en su Carolina del Sur natal, aceptó ser contratada por Frank C. Bostock para una gira por las Islas Británicas en 1896.

En sus propias palabras Mme. Abomah dice: “Nací cerca de Cross Hill en el condado de Laurens. Ninguna de mis hermanas o hermanos es inusualmente grande. Durante años, cada vez que un hombre del espectáculo me veía, quería que firmara un contrato, pero nunca pude decidirme a dejar Columbia. Finalmente, en el otoño de 1896, mientras cocinaba para una familia prominente en Columbia, el Gerente F.C. Bostock consiguió que me inscribiera en una gira”. (1915)

Bostock la renombró Mme. Abomah (Abomey era la entonces capital de Dahomey, ahora conocida como Benin), y la presentó como una princesa guerrera africana. Fue anunciada como una amazona de Dahomey; una de las guardaespaldas de la vida real que protegió al gobernante.

Se dice que Abomah y su manager llevaron su acto a Europa porque el racismo en Europa no era tan pronunciado como en los Estados Unidos y el público allí sería más receptivo a una mujer negra muy alta, fuerte y hermosa. En el transcurso de su carrera de 30 años, Abomah realizó una gira no solo por Gran Bretaña sino por la mayor parte de Europa continental, Australia y Nueva Zelanda, América del Sur y Cuba.

Según su panfleto biográfico, que vendía en sus espectáculos, Abomah apareció en 1900 en Liverpool con Reynold's Waxworks and Exhibition; 1901 y 1902 en la Alhambra, Blackpool; 1903 con Reynold's y luego de gira por Australia; temporadas 1904-08, de gira por Nueva Zelanda; 1909, gira sudamericana; 1910-11, gira europea; 1912-13, Fábrica de cera de Reynold; 1914, recorriendo salones de variedades ingleses; 1917 Dreamland en Coney Island y Cuba; 1918 con Barnum y Bailey. En 1920 estuvo en Dreamland and the World's Museum y en 1921 nuevamente en el World's Museum de Filadelfia cuando se anunció que navegaría hacia París para un compromiso de tres meses.

En Nueva Zelanda, Abomah tenía un guardarropa muy caro y extenso. Ella también tenía un asistente, lo que invocaba un sentido de realeza.

Gran Bretaña declaró la guerra a Alemania en agosto de 1914. Abomah canceló sus giras y regresó a los Estados Unidos en marzo de 1915 evitando por poco los ataques a Londres de los zepelines alemanes en abril. Trabajó para Ringling Brothers Barnum & Bailey y en Coney Island. Su carrera continuó hasta la década de 1920, y luego aparentemente desapareció de la historia.

[armatofu]

Fotografía retrato de nueva remasterización y restauración, de María Cristina del Pino Segura Gómez (6/11/1931 - 25/10/2017), conocida artísticamente como Pinito del Oro, nacida en Las Palmas de Gran Canaria, en su retirada del mundo del circo a los 38 años de edad, cuando se despedía en el Circo Price de Madrid en 1970, la mejor trapecista del mundo, que se hizo famosa mundialmente al trabajar muchos años en el mejor circo de todas las épocas, el famoso Ringling Brothers de Estados Unidos, esta fotografía tiene una antiguedad de hace 53 años...

[crossbowstunts]

Happy World Elephant Day! Cover photo of my grandfather riding an elephant in the Ringling Brothers Circus 1936. Second photo with the elephant I rode in the show Winds of The Gods in Las Vegas 1994. #WorldElephantDay (at Luxor Hotel and Casino) https://www.instagram.com/p/ChON9YdsACO/?igshid=NGJjMDIxMWI=

[wildwormies]

Ok I may be thinking of a new oc or a new au and I’m not sure which it is yet

[prettyoddfever]

Panic at the Disco in American Valley

here's a tag for pictures

Panic at the Disco was MTV’s Artist of the Week starting on Monday, April 7th in 2008 (the Honda Civic Tour started later that week). The Buzzworthy post announcing this said:

You’ll either be incensed or elated that Panic At the Disco is this week’s MTV Artist of the Week. Or you might not even recognize them — the band that used to sound like nervous teenagers trapped in a fun house with a few synthesizers, some Ringling Brothers costumes, and a severe anxiety disorder dropped the extraneous punctuation, stopped writing songs with titles that could double as character-count-maxing Twitter updates, and completely revamped their sound.

Three years and several personal triumphs and tragedies (the death of Ryan Ross’ father, the replacement of Brent Wilson with Jon Walker and the ensuing fallout, scores of sold-out shows, a Grammy nomination) after selling more than two million copies of their debut album, A Fever You Can’t Sweat Out, Panic is now all grown up. And, for a band that’s taken a lot of s— from knee-jerk anti-emo reactionaries, they appear more determined than ever to keep on the sunny side.

Of all of the blogs, comments, articles and talk of Panic’s transformative sophomore album, Pretty. Odd. (which impressively debuted at #2 its first week out) and its similarities to the Kinks, the Beach Boys, the Beatles and ELO, perhaps the most astute and succinct observation was that of Spin magazine writer Barry Walters, who summarized the new album’s tone thusly: ‘Pretty. Odd. lives up to its title because it dares to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility.’

Indeed, the album bounces and shines with harmony and hope (just enough zeal without too much eye-roll-inducing zest — vigor without the nauseating vim), indicating that Panic seems to have gotten over the paranoia and angst and dared to be confidently, even outwardly, happy. And seriously, who besides the Jonas Brothers (and maybe Sean Kingston) does that these days?

And speaking of happiness minus extreme cheesiness (cautious optimism, if you will), what could be happier — or more classic rock — than a good, old-fashioned American road trip in a VW van? Watch Panic embark on the most surreal journey of their lives (which is saying a lot considering they’re from Las Vegas) in their Artist of the Week video spots all this week on MTV.

Short video clips that were 15-40 seconds long aired during commercials that week (this fan still has them on their youtube). MTV also had a short clip of the acoustic Nine in the Afternoon performance online and then the full video was posted a bit later. (There were other Artist of the Week interviews + pictures too, but I’m just focusing on the American Valley content in this post). All of the promo pictures were taken by Bryan Hainer.

Oh, and Ryan’s whole cheese whiz line didn’t become a *thing* until after the split... I have no idea why people latched onto that but it’s interesting lol.

FILMING THE VIDEO

The band shot the American Valley video in March after they returned from their European tour. They shared some pictures from the shoot on FOE before the end of the month. 

Brennan Stasiewicz wrote and directed the shorts within American Valley. Here are some of his comments about the shoot:

“Once the band, cast and crew were all inside the inflatable dragon, chaos ensued. It was nearly impossible to balance yourself while standing, mostly because the weight on the inside was too much for the air pump to bear. The word from outside the dragon is that it started going limp, slowly deflating away.”

“Brendon had no problem at all driving the fully restored 1962 VW bus. The only problem was that the speedometer was broken. Fortunately the green machine couldn’t go faster than about 50 mph.”

“The shakers used in the video were bought at the small town store in Nipton, CA where they were performing.”

“As the cast of Little Miss Sunshine can attest to, being inside a VW bus in the middle of the desert, with no windows open, makes for a long, hot day. Inside the van were the band and three crewmembers: a cameraman, audio man, and the director. Because of the tight space, the director had to lie down and hide in the back of the van, which unfortunately is right above the hot engine.”

MTV said the footage was shot in Baker & Nipton in California, as well as Jean in Nevada. Some fans later went on a road trip to take pictures at as many locations as possible and their pictures were pretty fun.

The full American Valley video at the top of this post was included on the dvd that came with the Live in Chicago cd, which was released in December 2008 at the end of the Pretty. Odd. era. Alt Press asked Spencer more about how the band made the video:

“We basically get together with [MTV], tell them the concept or theme of it, and that was our theme--that we were driving home from that tour in California to Vegas, and along the way, we stopped at different kind-of-famous spots that have been in movies and stuff. They wanted to get a couple things from Fear And Loathing In Las Vegas. It seemed like a cool concept, [and] we play some of the songs acoustic. But at that time, we had never done the songs acoustic; we had never learned them. So the two days leading up to us [were] just us trying to figure out [how] we're gonna do all these songs. So I think we were a little bit rough on those, but maybe it's a good thing for the bonus feature.”

Spencer was asked if the VW bus was theirs:

“Oh man, I wish that was ours. It [belonged to] some guy who restores [vehicles like that] in California and they found it. We showed up in Barstow, which is halfway between Vegas and L.A. and they had it there in the morning. We were like, ‘Fuck, man, this thing is awesome. Wish I could just drive it home.’ But there was no AC, so the whole time we were driving, we're just sweating our asses off and there were like three camera guys and the four of us in that little thing the whole time. So it was fun, but I don't know if I'd want to drive that thing everyday.”

THE MAIN POST

[weclassybouquetfun]

The Golden Globes nominations are out and...

When my faves aren’t nominated, or when the nominees deviate from what has been the norm throughout awards season it’s clownery of the highest Ringling Brothers and Barnum & Bailey order. 

SHOCKS - No nomination for Delroy Lindo despite him dominating in Best Actor category in many circles.  Same with Paul Raci (SOUND OF MUSIC), Kingsley Ben-Adir (ONE NIGHT IN MIAMI), Zendaya (EUPHORIA, MALCOLM & MARIE), castmembers of FARGO and Ellen Burstyn (PIECES OF A WOMAN). No nomination for MINARI’s  Yuh-Jung Youn.

The Hollywood Foreign Press Association did not nominate EUROVISON SONG CONTEST: THE STORY OF FIRE SAGA in Comedy/Musical or Best Song. 

Pleasant shock? That these three guys are nominated at the same time. 

Best Television Series – Musical or Comedy Emily in Paris The Flight Attendant The Great Schitt’s Creek Ted Lasso”

Best Performance by an Actor in a TV – Drama Jason Bateman Josh O’Connor Bob Odenkirk Al Pacino Matthew Rhys

Best Performance by an Actress in a Limited Series or Motion Picture Made for TV Cate Blanchett Daisy Edgar-Jones Nicole Kidman Anya Taylor-Joy

Shira Haas (she and costar Amit Rahav are nominated for a Spirit award and their other costar Jeff Wilbusch was nominated for an International Press Award)

  Best Director – Motion Picture Emerald Fennell (“Promising Young Woman”) David Fincher, “Mank” Regina King, “One Night in Miami” Aaron Sorkin, “The Trial of the Chicago 7” Chloé Zhao, “Nomadland”

Best Actress in a Motion Picture – Musical or Comedy Maria Bakalova (“Borat Subsequent Moviefilm”) Kate Hudson (“Music”) Michelle Pfeiffer (“French Exit”) Rosamund Pike (“I Care a Lot”) Anya Taylor-Joy (“Emma”)

Best Actor in a Motion Picture – Drama Riz Ahmed (“Sound of Metal”) 

Anthony Hopkins (“The Father”) Gary Oldman (“Mank”) Tahar Rahim (“The Mauritanian”) Chadwick Boseman (”Ma Rainey’s Black Bottom”)

Best Television Series – Drama The Crown Lovecraft Country The Mandalorian Ozark Ratched

Best Performance by an Actress in a Television Series – Drama Olivia Colman (“The Crown”) Jodie Comer (“Killing Eve”) Emma Corrin (“The Crown”) Laura Linney (“Ozark”) Sarah Paulson (“Ratched”)

Best Performance by an Actor in a Limited Series or Motion Picture Made for TV

Bryan Cranston (“Your Honor”) Jeff Daniels (“The Comey Rule”) Hugh Grant (“The Undoing”) Mark Ruffalo (“I Know This Much Is True”)

Ethan Hawke (“The Good Lord Bird”)

  Best Actor in a Motion Picture – Musical or Comedy Sacha Baron Cohen (“Borat Subsequent Moviefilm”)

  James Corden (“The Prom”) Lin-Manuel Miranda (“Hamilton”) Andy Samberg (“Palm Springs”)

Dev Patel (“The Personal History of David Copperfield”)

Best Actress in a Motion Picture – Drama Viola Davis (“Ma Rainey’s Black Bottom”)

  Andra Day (“The United States vs. Billie Holiday”) Vanessa Kirby (“Pieces of a Woman”) Frances McDormand (“Nomadland”) Carey Mulligan (“Promising Young Woman”)

Best Motion Picture – Drama The Father Mank Promising Young Woman The Trial of the Chicago 7

Nomadland

Best Actor in a Supporting Role in Any Motion Picture

Sacha Baron Cohen (“The Trial of the Chicago 7”) Daniel Kaluuya (“Judas and the Black Messiah”) Bill Murray (“On the Rocks”) Leslie Odom, Jr. (“One Night in Miami”)

Jared Leto (“The Little Things”)

  Best Original Score – Motion Picture The Midnight Sky – Alexandre Desplat Tenet – Ludwig Göransson News of the World – James Newton Howard Mank - Trent Reznor, Atticus Ross Soul – Trent Reznor, Atticus Ross, Jon Batiste

Best Performance by an Actress in a Television Series – Musical or Comedy Lily Collins (“Emily in Paris”) Kaley Cuoco (“The Flight Attendant”) Jane Levy (“Zoey’s Extraordinary Playlist”) Catherine O’Hara (“Schitt’s Creek”)

Elle Fanning (”The Great”)

Best Television Limited Series or Motion Picture Made for TV Normal People The Queen’s Gambit Small Axe The Undoing Unorthodox

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for TV John Boyega (“Small Axe”) Brendan Gleeson (“The Comey Rule”) Dan Levy (“Schitt’s Creek”) Jim Parsons (“Hollywood”) Donald Sutherland (“The Undoing”)

Best Motion Picture – Musical or Comedy Borat Subsequent Moviefilm Hamilton Palm Springs Music The Prom

Best Actress in a Supporting Role in Any Motion Picture Glenn Close (“Hillbilly Elegy”) Olivia Colman (“The Father”) Jodie Foster (“The Mauritanian”) Amanda Seyfried (“Mank”) Helena Zengel (“News of the World”)

Best Motion Picture – Foreign Language La Llorona The Life Ahead Minari Two of Us

Another Round / Druk

  Best Screenplay – Motion Picture Promising Young Woman Mank The Trial of the Chicago 7 The Father Nomadland

Best Performance by an Actor in a Television Series – Musical or Comedy Don Cheadle Nicholas Hoult Eugene Levy Jason Sudeikis Ramy Youssef

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for TV  Gillian Anderson Helena Bonham Carter Julia Garner Annie Murphy Cynthia Nixon

Best Original Song – Motion Picture “Fight for You” from “Judas and the Black Messiah” – H.E.R., Dernst Emile II, Tiara Thomas

“Hear My Voice” from “The Trial of the Chicago 7” – Daniel Pemberton, Celeste

“Io Si (Seen)” from “The Life Ahead”  Diane Warren, Laura Pausini, Niccolò Agliardi

“Speak Now” from “One Night in Miami” – Leslie Odom Jr, Sam Ashworth

“Tigress & Tweed” from “The United States vs. Billie Holliday”

Best Motion Picture – Animated The Croods: A New Age Onward Over the Moon Soul Wolfwalkers

[photon1963]

C’est quoi ce cirque ? The Greatest Show on Earth   De Cécile B. de Mille *

Et Sybeth m’était conté sous le plus grand chapiteau du monde…

Et si bête soit-elle – ne rapporterait-elle pas – comme le veut sa fonction - d’enfumeuse - la parole du gouvernement ? Aux mots près ?

Au cirque, il y a une hiérarchie bien établie chez les clowns – Il y a celui qui fait rire car il est rustre et grotesque (c’est l’étymologie saxonne du mot) – il fait le pitre – il fait office de bouc émissaire. Il est surtout celui qui est instrumenté par un autre clown bien plus retors et plus fieffé que lui – Celui-ci est un manipulateur né – Il porte comme patronyme… juste un prénom …  C’est l’«Auguste» – c’est lui (du roi ?) le bouffon–  et pour lui, question étymologie, il vaut mieux convoquer celle issue de l’italien Pagliaccio qui fait référence à la paille (d’où paillasse- paillasson- le clown à la barbe paillasse qui nous met sur la paille) – Son domaine d’intervention à lui à des limites et se heurte toujours au clown blanc qui le domine du haut de sa superbe – Ce dernier aime à jouer à « monsieur Loyal », il n’hésite jamais à s’attribuer le beau rôle. Ce maitre clown – clown parmi les clowns, est reconnaissable à sa figure trop lisse et à un (pas deux) sourcil exagérément relevé. Cet élément, très caractéristique, concoure au côté hypnotique de son discours qui se veut toujours vertueux (c’est un idéologue Pierrot  à vieilles lunes - hors sol- et autoritaire qui veut être aimé – admiré).

Les clowns sont les maitres de cérémonies d’un vaste Barnum où nous voyons défiler tout un bestiaire prouvant leur propension au dressage de population diverses et variées d’animaux réputés indomptables – il y a les bourricots et les chameaux qui marchent et remarchent inlassablement en cercles concentriques – sont-ils les seuls qui pensent que l’on peut qualifier d’avancement leur parcours ? Ne voient t’ils point qu’ils pataugent dans leur propre déjection – tour après tour ? Et que dire de ces drôles de zèbres qui font presse dans leurs cages dorées aux coins carrés et plats comme le sont ceux qu’ils mettent dans l’écran? – Les ratures noires, sur fond blanc de leurs imprimaturs dépareillés de forçats bavards qu’ils arborent fièrement comme évidence du « bien panser » cher à leurs maitres, ne sont-ils pas, pour leur public tout aussi captif - par cette illusion hypnotique de ce qui leur parait tourner bien rond - le garant d’un monde où chacun selon son mérite à le droit à sa juste ration de bête à foin? De fausses ruades en farce braiements, cette bande d’ongulés toujours à lécher les mains de ceux qui les nourrissent, rêve comme distinguo de « Poulichinelle », d’une rouge boutonnière et d’un chiffon-torchon de même couleur – marque de leur indéfectible servilité - à passer sur leur ostentatoire et cavalière encolure comme emblème superfétatoire à leur bêtise affichée.

A ce cirque, il y a aussi des fauves à la jaune pelisse que l’on fait mine de dresser en leur parlant Lallemand - Ils se font fouetter – bastonner et bafouer – on les oblige à emprunter des parcours balisés fait de cercles enflammés et de passerelles sans issues – A ses débonnaires félins que l’on humilie, force est de leur faire montrer dents et griffes devant des spectateurs  sidérés par la peur que les barreaux,  pourtant fait du même acier trempé que n’importe quelles armes de désencerclement massives,  viennent à céder. Ne voient-ils pas dans l’œil de ces gros matous qu’ils réclament non une sidération par des cons mais juste et simplement de la considération - Eux - les premiers de corvées – pour qui sans leur secours invisible et non reconnu, le chapiteau – s’effondrerait. Car le public ne vient que rarement voir les prestidigitateurs car c’est de notoriété qu’il y a un truc qu’ils ne révéleront jamais. La fascination va toujours vers les vrais faussaires – ceux qui tiennent plus du mentaliste - bien plus tendance – celui qui vous fera faire – avec votre consentement - la poule ou le mouton (là le registre est celui des animaux domestiques de la basse-cour) à vous qui vous enorgueillissez de n’avoir - en d’aucune manière - la moindre parenté d’avec le chimpanzé.

Enfin il n’y aurait pas de cirque sans son cortège d’équilibristes et autres funambules. Ils marchent sur la corde raide mais retombent toujours sur leurs pieds malgré les situations intenables dans lesquelles ils évoluent – ils fixent des assiettes au bout de leurs baguettes rigides et nous font craindre pour la sécu et vont même jusqu’à nous faire perdre toute assurance. Ce sont des  fildeféristes thuriféraires de la peur – les accro-Bates de la psychose - C’est ce qu’ils vendent – Ils savent manager le suspens - Ils sont perchés à de tels sommets qu’ils excellent à nous considérer uniquement sous l’angle statistique : « Il y a une masse mousseuse surnuméraire de dodus raminagrosbides, sans-dents et apeurés en dessous de nous qui amortira la chute probable de notre cordée - Un bon conte à minet à ruissellement effondrement garanti et c’est mort pour eux - le tour est joué – nous on s’en sort  – joker jackpot– on a le parachute doré … »

Ce sont des risque-tout ce qui ne leur appartient pas – des trompes la mort des autres – des gonflés à l’hélium – les baudruches de haut vol du plus grand des barnums de tous les temps – Ce sont de sinistres histrions distillant le plus monstrueux spectacle jamais présenté :

Le big show effroi.  En tournée générale planétaire

Un seul programme – une seule devise : On vous ferme les yeux

En grandes pompes façon Borniol en ta maison ou fusil à pompe qui éborgne dans ta gueule.

AD- creepy c’est fini !  The show-man- must go home

Il y a aussi des clowns aux blancs chapiteaux qui font spectacle de Salamandre et Véron – mais ça c’est juste pour faire le Buzz hein ! Quelle mascarade …

* Cécile B de Mille - B comme billet car cé-ci-le « ringling brothers and barnum & bailey clown college »  joue bien le jeu de la société freaky du spectacle qu’il touche le pactole )

[newyorkthegoldenage]

Eighteen-year old Robert Wadlow of Alton, Illinois, waits at a traffic light surrounded by a crowd, April 7, 1937. Robert' s father and manager, Harold Wadlow, is at left. The two were on a nationwide tour of schools, theaters and lecture halls. Robert, who was 8 feet and 4 inches tall, later joined the Ringling Brothers Circus for a six-week appearance.

Photo: Associated Press via the La Crosse Tribune

[strang-news]

//Sarasota Excursion//

By Mitchell Clarke

So, you've found yourself needing an escape, yearning for beaches that rival Miami, cuisine as diverse as Los Angele’s culinary excursions, and cultural venues reminiscent of world cities like New York and London. You’re in luck, because it just so happens that our satellite office is situated in a place that has all three. Yes, I’m referring to that shining hidden gem on the west coast of our state, Sarasota.

THE BEACHES

What makes this place so special you might ask? Let's get down to the most common thing Sarasota is known for, its beaches. Voted numerous times as the number one beach in America, Siesta Key stands out as a clear natural beauty. Miles of white sandy shoreline make up Arriving at Siesta Key feels monumental. A double-height pavilion greets you as a gateway to the Gulf of Mexico, as well as providing some much needed shade from the blistering Florida sun. One drawback, when named the number one beach in America, is that everyone and their mother (including my own) want to visit. If you want to avoid the larger crowds, head through St. Armand’s Circle and check out Lido Beach, a smaller, more compact version of Siesta Key, or take a little longer drive through Longboat Key to the small little beach village of Anna Maria Island. Wherever you go, be sure to get there early to get the best spot you can find. Depending on the time of the year, you could find yourself elbow to elbow with snowbirds from up north.

THE FOOD

One of the many delights of Sarasota include its food culture. Quick bistro-styled sandwiches at Classico, elevated Italian cuisine at Cafe Epicure, and Peruvian inspired dishes at Selva can be found all on the same block downtown. Down the street you can grab a quick latte at Buddy Brew, or spend some time al fresco at the French-owned C’est La Vie. In fact, outdoor seating has become a staple of the Sarasota food scene, taking full advantage of the fabulous tree-lined and spacious sidewalks of Main Street. For more plant-base diners, Lila raises the caliber of vegan cuisine at an affordable price. A more “traditional” take on southern seafood cuisine can be found at Owen’s Fish Camp. While the wait will be long no matter what time you arrive, the backyard bar experience and the Low Country Boil for Two make it well worth the wait. Closer to our office in the Rosemary District, one doesn’t have to travel far to find a good and decently priced meal. The avocado toast at the Overton, or a grilled cheese at Artisan Cheese Company all make for good comfort two blocks away. However, my personal favorite will always be the Pad Thai served at Spice Station, making for a quick bite that leaves me wanting more.

THE ATTRACTIONS

One never expects that a small town to have such powerful cultural attractions. Sarasota, you might find is no regular small town. While certainly growing, it has held a rich cultural history for well over a century. Starting as a winter destination for the Ringling Brothers (yes, those Ringling Brothers), they made Sarasota their forever home. The impact they had is omni-present, with streets, centers, museums, and ever a college named after them. When John Ringling passed away, he left his art collection to the state of Florida, creating the John and Mable Ringling Museum of Art. 21 galleries are centered around a Venetian-styled courtyard, with works ranging from the Renaissance to modern day artists displayed. One can also view more modern curated pieces a little further south, at the recently opened Sarasota Art Museum. A stroll downtown will also give you a real impression of the impact art and culture have on this place. Sarasota Opera House, Florida Studio Theatre sit squarely downtown, with multiple art installations and murals situated on roundabouts and building elevations. A night of the theatre is possible with multiple locations, including the aforementioned Florida Studio Theatre with it’s experimental theatre troupes and cabaret, the classical theatre experience of the Asolo Repertory, and the West-coast Black Theatre Troupe, giving voice to productions that celebrate African American history and experiences. If you ever feel like getting to some of the roots of our firm’s design philosophy, stop by Architecture Sarasota downtown to learn more about the likes of Paul Rudolph and Gene Leedy. Better yet, take one of their fantastic house tours that stop at some classic Rudolph schemes, such as the Umbrella House, Cocoon House, and Revere Quality House. Known as a playground for architects in the ‘50s and ‘60s, Sarasota became an experimentation in building modern schemes that fully embraces its site. Something that strikes close to home for all of us I’m sure.

Sarasota’s most priceless asset is the 15-acre Marie Selby Botanical Gardens downtown. With over 20,000 plants and trees, one can get lost for hours through the multiple gardens and groves of Banyan trees that line up along Sarasota Bay. If you merely want a five minute walk and consider it a hike (we’ve all done it don’t worry), then a little trip through the Lido Key Mangroves gives you just that. A raised boardwalk weaves through, taking you to a dock with a full view of Sarasota Bay. On the other side of the Bay, you’ll find Bayfront Park, extending around Bayfront Drive to Ringling Causeway. Once again, you’re given spectacular views of the Bay, and a popular jogging path for many of Sarasota’s citizens (including myself) A little further out of town, you can find Myakka River State Park, where you can become one with nature through hiking, camping, or the ever popular bird watching. Just….avoid the alligators, no need to become fully one with nature, right?

For more information on this special place, and a further breakdown on some of the fabulous places mentioned, take a look at https://www.visitsarasota.com/, and we hope to see you soon!

[circusfans-italia]

ALMANACCO DEL 21° FESTIVAL DI MONTE-CARLO – EDIZIONE 1997

ALMANACCO DEL 21° FESTIVAL DI MONTE-CARLO – EDIZIONE 1997

30 gennaio - 6 febbraio 1997 GIURIA - Principe Ranieri III di Monaco, Presidente - Principessa Stephanie, Vice Presidente - Franck Gasser (Australia), Circus Royale - Ursel Otterberg (Germania), Deutschlandalle Berlino - Viktor Chemchour (Russia), Clown d'Argento al 3° Festival di Monte Carlo - Benny Berdino (Danimarca), Cirkus Arena - Greg Parkinson (Usa), The Circus World Museum - Xia Juhua (Cina), Presidente Associazione Artisti di Circo di Cina - Urs Pilz (Svizzera), coordinatore della giuria PALMARES DEL FESTIVAL DI MONTE-CARLO 21° EDIZIONE CLOWN D’ORO LA TROUPE ACROBATICA DI SHAN DONG - ACROBATI SU BICICLETTE CLOWN D’ARGENTO TROUPE PYONG YANG - VOLANTI FRANCO KNIE - ELEFANTI ZHANG THING - EQUILIBRISTA DUO MOUVANCE - TANGO AL TRAPEZIO Con l’edizione dei 20 anni si chiude la gestione artistica del Festival affidata alla famiglia svedese Bronett. Il Principe Ranieri nomina il suo amico Jaques Provence, cittadino monegasco con esperienze in ambito teatrale, coordinatore artistico. Ne risulta una edizione che si discosta dall’egemonia russa delle annate precedenti a vantaggio di una maggior varietà della composizione del cast, tutto di alto profilo e all’altezza della situazione. Certo, le edizioni dei primi anni sono un ricordo lontano, ma in questi anni non mancano belle scoperte e numeri tradizionali solidi e interessanti. Svettano le biciclette di Shan Dong e le trapeziste volanti di Pyong Yang, ma è anche la consacrazione definitiva degli splendidi Mouvance (tango al trapezio) uno dei numeri più rappresentativi degli anni Novanta, rimasto insuperato. Richard Chipperfield è una star tra le sue 12 tigri, un numero pronto a conquistare il mondo e dopo Arlette Gruss (che allora aveva le gabbie più interessanti) partirà per il Ringling dove la sua carriera purtroppo sarà bruscamente interrotta da un brutto incidente. Potessimo andare indietro nel tempo, gli daremmo un Argento! Tra le eccellenze di questa edizione la ruota della morte degli adrenalinici Alegria, che ispireranno negli anni a venire diverse coppie latino-americane; vivo apprezzamento per l’originale formazione alla bascula "in frack" dei Nouveau Russes, penalizzati dai numerosi errori, ma vincenti nell’innovazione della mise en piste. Due presentazioni differenti per gli elefanti di Franco Knie (una impreziosita da finimenti e testali in ottone, musiche e costumi di pregio). Si va sul sicuro con i leoni di Tom Dieck e i cavalli di Lucien Gruss, belle presentazioni ma che non sfondano. Gli originali giochi col fuoco di Ray Wold (visto in Italia al Golden Circus di Liana Orfei) per anni una attrazione di Las Vegas. Novità anche sul podio dell’orchestra dove arriva alla direzione l’elveticco Reto Parolari che inizia così il suo lungo periodo monegasco. Sicuramente un bel festival che rivedremmo molto volentieri. ELENCO PARTECIPANTI 1997 La troupe acrobatica di Shan Dong Acrobazie su biciclette Alegria Brothers Ruota della morte Alegria Octavio Giocoliere Iouri Boryikine  Giocoliere su sfera Richard Chipperfield Jr. Tigri Tom Dieck Sr. Leoni Lucien Gruss  Cavalleria Anatoly Kalinin  Skate board Franco Knie  Elefanti Masha Dimitri  Filo molle Duo Mouvance  Quadro aereo Nouveaux Russes (La troupe) Bascule Prosvirnin e Starikov Clowns Johnny Peers  Cani Flying Rodogels Trapezio volante Les Rossyann Clown musicali Sabu Trapezio Sylvia Zerbini  Trapezio Cirque de Pyong Yang Volteggi aerei Ray Wold Giochi col fuoco Zhang Ting Verticalista su piedestallo Sergio M. Loyal Parolari Reto Maestro d'orchestra

LA TROUPE ACROBATICA DI SHAN DONG

TROUPE PYONG YANG

FRANCO KNIE

ZHANG THING

DUO MOUVANCE

Il Programma del Galà

Il debutto del piccolo Victor Rossi, con padre Maurin e Sergio. 20 anni dopo avrebbe presentato il Festival New Generation di Monte Carlo, sempre in vesti di clown bianco. LES ROSSYANN

TOM DIECK

ALEGRIA BROTHERS

RICHARD CHIPPERFIELD JR.

RAY WALD

Gli elefanti di Franco Knie

Troupe di Pyong Yang

Duo Mouvance Credit della XXI edizione del Festival: - Jacques Provence, Coordinatore artistico - Alain Frere, Consigliere artistico - Regia degli spettacoli affidata al Circo Knie sotto la direzione di Franco Knie assistito da Patrick Rosseel David Dimitri Foto Dario Duranti e archivi Circusfans Video Archivio Maurizio Colombo Visitate la nostra sezione

ALMANACCO DEL FESTIVAL INTERNATIONAL DU CIRQUE DE MONTE-CARLO

ALMANACCO DEL 21° FESTIVAL DI MONTE-CARLO – EDIZIONE 1997 Se questo articolo ti è piaciuto condividilo sui tuoi social utilizzando i bottoni che trovi qui sotto Read the full article

[creepypastas-land]

El Gran Showman: La vida real de P.T. Barnum

P. T. Barnum fue el fundador de Barnum & Bailey Circus, que luego pasó a llamarse Ringling Brothers and Barnum & Bailey Circus, el circo más famoso de Estados Unidos desde 1871 hasta su cierre en 2017.

Barnum nació el 5 de julio de 1810, en Bethel, Connecticut. Desde los 12 años comenzó a vender productos, como dulces y alcohol. A los 20 años pagó mil dólares por Joice Heth, una esclava de tercera edad, e inventó la historia de que ella tenía 161 años y que había sido ex niñera de George Washington. Ambos viajaron juntos por el país contando su gran historia, logrando 1.500 dólares por semana. Cuando Joice Heth murió al año siguiente, se llegaron a vender entradas para su autopsia, donde se estimó que tenía 90 años menos de los que Barnum había asegurado. Si algo sabía hacer bien Barnum, era sacar el máximo beneficio a la ignorancia e inocencia de las personas. 

En su freak-show, no faltaban todo tipo de deformidades. Y si no las había, él las inventaba.  Entre sus rarezas estaban la mujere barbuda, sirenas, la mujer simio, el hombre más fuerte del mundo o el más diminuto. 

Su show ambulante continuaría por todo Estados Unidos hasta fundar un museo en 1941 llamado “Barnum’s American Museum”. No tuvo el menor escrúpulo en mentir y falsificar para conseguir más espectadores. Uno de sus mayores fraudes fue la sirena de Fiji, considerado el mayor engaño del Circo Barnum. Barnum intentó que un naturalista certificase que era una sirena auténtica sin conseguirlo, pero esto no le impidió exhibirla. 

La prensa y la gente que acudió a verla salían decepcionados al darse cuenta de que era un engendro compuesto por la cabeza y el torso de un mono cosido a la parte inferior de un pescado. Sin embargo, y a pesar de ser conscientes de la estafa, la gente acudia a verla.

Pasarían los años y con cada nueva temporada una flamante estafa nacería, y los engaños se acumularían. En 1871 gracias a esa montaña de mentiras y shows bizarros nace el “P. T. Barnum’s Grand Traveling Museum, Menagerie, Caravan & Hippodrome”. De este circo y los subsiguientes se originaron leyendas que perduraron hasta el día de hoy como Jumbo “El elefante más grande del mundo” el cual hasta posee una estatua; o la gigante Anna Swan.

El 7 de Agosto de 1891, con cuatro mansiones y una fortuna gigantesca Barnum muere quedando en su rostro una sonrisa que sorprendería a los concurrentes de su funeral. Unos años más tarde una estatua de bronce puro sería levantada en su honor en el Seaside Park. 

Las curiosidades del circo de P.T. Barnum

Barnum se cruzó con Jeftichew en 1884, y no dudó en llevarlo a los Estados Unidos. Creó para él una historia en la que supuestamente fue capturado dentro de una cueva, salvaje y casi imposible de domesticar.

Sprague inició sus giras a los 24 años en 1865, y un año después Barnum lo contrató para sumarse a su museo móvil. Se casó y tuvo tres hijos perfectamente sanos.

De nombre real Katharina Brumbach, «Sandwina» se hizo un lugar en el espectáculo tras derrotar al padre del fisicoculturismo, Eugen Sandow, en un levantamiento de pesas. Como era de esperarse, terminó entre las filas de Barnum.

Los gemelos de Siam que dieron nombre a los siameses. Chang y Eng Búnker, hermanos nacidos en Siam en 1811.  En el circo P.T. Barnum se les conocía como los “Siamese Twins”. 

La muejr barbuda. Annie Jones llegó al circo de Barnum con nueve meses de edad, y sus padres recibían 150 dólares semanales. Su carrera duró más de 35 años, y también se convirtió en una gran cantante.