Sawdust & Spangles Part 3

They played, as I have said, to phenomenal business. For two weeks thousands of persons daily struggled for the privilege of paying ten cents to see this amusing fake. At the end of that time one of the employes betrayed the secret to a reporter and the attraction was rendered valueless. Strange to relate, the success of this "fake" was the means of bringing from Europe the original dog-faced boy, "Jo-jo,"

who for several years drew a good salary at the various dime museums, but never created so much excitement by virtue of his genuineness as the "fake" did.

THE TWO-HEADED GIRL'S THREE-HEADED RIVAL

Millie Christine, the "two-headed nightingale," had been exhibiting in New York City, and public attention was called, shortly afterward, to the fact that a lady with three perfect heads would be exhibited on a certain day. Now, this strange being was really an optical illusion, built on the same lines as the ghost show invented by Professor Pepper.

Three girls were used, and all portions of their figures not intended to be shown were covered with a black cloth. The whole illusion is merely an effect of light and shade.

Still another "fake" that not only "drew" well but positively deceived the whole New York press, was the "Dahomey Giant." About 1882 a very tall specimen of the African race walked into an Eastern museum looking for work. He was actually over seven feet in height, and had never been on exhibition. Knowing that his value as a negro giant would be but little, the proprietors resolved to introduce him as a monster wild African. After consulting Rev. J. G. Woods' Ill.u.s.trated History of the Uncivilized Races, it was determined to make a Dahomey of the tall North Carolinian. A theatrical costumer was set to work to make him a picturesque garb. A spurious cablegram was issued, purporting to be from Farini, of London, stating that the Dahomey giant had sailed with his interpreter from London and would arrive in Boston on or about a certain date.

The man, with his interpreter, was then taken by train to Boston, from which city they, in due time, wired the museum proprietor of their arrival. That telegram was answered by another telling them to take the first Fall River boat for New York City. The press was then notified, and the representatives of five New York papers were actually sent to the pier the following morning to interview the distinguished stranger from Dahomey. The man had been well schooled, and pretending not to know a word of the English language, could not, of course, converse with the reporters. But his interpreter managed to fill them up very comfortably. At all events, long and interesting accounts of the "snuff-colored giant from Dahomey" appeared in most of the dailies, and for several weeks this Dahomey was the stellar attraction at that particular dime museum. The advent of summer and its consequent circus season closing the city museums, the Dahomey "joined out" with a side show in which, for successive seasons, he posed as a Dahomey giant, a Maori from New Zealand, an Australian aborigine and a Kaffir. This man's success was the initiative for a score of other negroes, who posed as representatives of any foreign races the side-show proprietor wished to exhibit.

MISSING LINKS AND DANCING TURKEYS

Krao, the "missing link," as she was called, was simply a hairy child, and almost exactly like Annie Jones, who was exhibited by Barnum as the "Esau Child." A great card for museums at one time was the "human-faced chicken." The first one placed on exhibition was purchased in good faith by an acquaintance of mine, and proved a good attraction. A visiting farmer, however, declared that it was nothing but an ordinary chicken which had had its bill frozen off, and so it proved.

Dancing turkeys were then introduced and caused great amus.e.m.e.nt. The awkward birds would walk onto their exhibition stage and go through a decidedly grotesque dance, their mode of lifting their feet being highly laughable. The truth was that the stage on which they danced was a piece of sheet-iron covered with a cloth. The iron was heated to an uncomfortable degree by gas jets underneath. What the public accepted as dancing was really the efforts made by the birds to prevent their feet from being burned.

THE SALARIES PAID TO FREAKS

The spread of the dime museum craze created a great demand for freaks and a consequent rise in their salaries. I know I am violating no confidence when I say that at various times the following freaks have drawn weekly the sums set opposite their names:

"La Tocci Twins," $1,000.00 "Millie Christine," 600.00 "Wild Man of Borneo," 300.00 "Chang, the Chinese Giant," 400.00 "Chemah, the Chinese Dwarf," 300.00 Ordinary giants and midgets, 30.00 to 100.00 Bearded ladies, 30.00 to 75.00 Living skeletons, 30.00 to 75.00 Armless men, 30.00 to 100.00 Ossified men, 30.00 to 200.00

And as an offset to the above figures, I have heard of a tatooed man who would talk outside, exhibit himself inside, do a turn of magic, lift barrels of water with his teeth, and, as boss canvasman, superintend the putting up and pulling down of the show, all for six dollars a week. He must have been first cousin to the man who traveled with the circus simply to be able to sit on the fence and hear the band play.

It will doubtless seem incredible to the person unused to the society of freaks that these unfortunates should take a seeming pride in their distinguishing misfortunes and be jealous of their reputations; this, however, is one of the strongest traits of the typical freak. In our show at one time we carried two giants, a Captain Benhein, a Frenchman, and Colonel Goshin, an Arabian. These two fellows were almost insanely jealous of each other, and it was ludicrous to hear the threats which they exchanged; many times it seemed that a personal encounter was imminent, but the Arabian's courage seemed in inverse proportion to his size.

THE LOVE-MAKING AND MERRY-MAKING OF THE FREAKS

Referring to Goshin as an Arabian brings to light a curious fact with regard to freaks of great size. He was not an Arabian, but a negro picked up by "Yank Robinson" in Kentucky. So confirmed is the habit of speaking of him as an Arabian that it has become second nature with me, and I think that this tendency is almost universal with showmen; they become so accustomed to enlarging on the fict.i.tious characters for which their freaks are played that I sometimes think they almost get to believe these stories themselves.

Among the freaks the women were almost universally jealous of their professional reputations. Hannah Battersbey, who weighed more than four hundred pounds, recognized Kate Heathley as her particular rival, and either of these women could be instantly thrown into a jealous pa.s.sion at the mention of the other's claim to superiority in the matter of weight. The strange alliances which sometimes took place in the freak world are well ill.u.s.trated by the marriage of the weighty Hannah to a living skeleton who touched the scales at sixty-five pounds.

Before leaving the subject of freaks I must mention the strangest sight that it was ever my fortune to look upon in the course of a life spent in a.s.sociation with human novelties. Early in my career I was fortunate enough to secure the show rights for a fair in Montgomery, Ala., which was held just at the end of the northern show season. This circ.u.mstance resulted in bringing to the fair a most unusual number of small shows, the main attractions of which were freaks of every kind and color. My royalties were very large, and I was naturally expected to do something handsome by the people who had contributed to this success; consequently I gave a dinner to the "freaks," and that banquet table presented a scene probably unrivaled in history. I only wish I were able to give anything approaching an adequate description of that festal board. At the head of the table was the towering figure of an eight-foot giant, while at the other extremity of the board sat a thirty-six-inch dwarf. The jests which were bandied between the banqueters are worthy a place in a history of wit. A single instance, however, will give an idea of the peculiar terms with which these people enlivened the occasion. As the "Armless Man" helped himself to potatoes, the "Bearded Lady" opposite him called out, "Hands off!" and the whole company shouted with laughter.

The famous "Australian Children," who made several fortunes for their exhibitors, came from Circleville, Ohio, and were the children of a mulatto. Occasionally the showman met with distressing but amusing experiences resulting from the identification of his freaks on the part of the public.

THE EXPOSURE OF THE "AZTEC CHILDREN"

While I was absent from my show my manager once engaged two boys with heads little larger than teacups; one of them had a club foot and had some little claim to intelligence. Our people had painted them to look like savages, and they were exhibited as the "Aztec Children." One day when the lecturer was expatiating upon these remarkable children a burlo countryman shouted:

"h.e.l.lo, John Evans, I know you; I worked in the harvest field with you many a day; oh, you can't fool me."

The "Aztec child" had been taught to make no reply to anything said to him, and the lecturer paid no attention to anything said to the countryman's interruption, but the countryman was not to be put down, and once more he shouted:

"Say, Bill Evans, maybe you think I don't know that club foot; just come off, now."

The audience was greatly amused at this, and the lecturer saw that he had plenty of trouble on hand; consequently he called the countryman aside and told him that he was certainly mistaken as to the ident.i.ty of the freak. "Oh, no, I ain't," replied the obdurate fellow; "and what is more, you and your whole shebang are frauds and humbugs." Then the lecturer took another tack, gave the countryman five dollars, and thought the incident closed; but it was not, for the fellow proceeded to spend his money on whisky and tell his friends of his discovery, with the result that the business at that point was ruined.

From the viewpoint of the showmen there are "fakers" and "fakirs."

Under the former head we cla.s.s the men who conceive and manufacture fakes of the kind already described. The fakirs are altogether of a different kind, being the camp-followers who hang on the heels of a circus for the purpose of swindling the public by every variety of device known to the "blackleg fraternity."

Frequently a number of illegitimate shows start out, and, before doing so, announce that faking privileges are to be leased. The leaders of the various gangs make the arrangements with the circus proprietors, depositing a sum of money in the ticket wagon with which to "square squeals," then the tribe of showmen and fakirs start out on their nefarious pilgrimages, the shows furnishing the transportation for the fakirs. One of the fakirs in connection with each show is selected as the "squarer." He is generally a member of various secret societies and orders, and his particular duty is to bribe the petty officers of the towns visited, to secure immunity from arrest. Lottery schemes, gambling games of every sort, pocket-picking and robbing are among the methods by which these fakirs reap their harvest.

AN ADVENTURE WITH A CIRCUS SHARP

My life has been frequently threatened and twice attempted because of my persistent determination to drive this thieving fraternity from my shows. One day in a small western town a man introduced himself to me as the brother of a very respectable Chicagoan and explained that he was on his way to Texas to join in certain speculations. I at once suspected him of being a fakir and gave orders to the manager of the side-show to get rid of him and all his kind. A little later the landlord came to me and said: "Mr. Coup, there is a fellow out here who says he will shoot you on sight; he is one of the men traveling with you." On investigation I found that he was not the man who had introduced himself to me, but was one of the gang attempting to work the show: he bore a desperate reputation, and was popularly credited with having killed several men; all of my employes stood in fear of him, and I concluded to appeal to the mayor of the town for necessary protection and a.s.sistance. Before doing so, however, I put on a heavy ulster, in each side-pocket of which I placed a loaded six-shooter.

With a finger on the trigger of each revolver I started out to find the mayor. While crossing the public square I met the man who had threatened to shoot me. Stopping squarely in front of him I said: "I believe you have threatened and intend to kill me, and I want to say to you that you will never find a better opportunity to do so than right now." He proposed to argue the question with me, but I simply insisted that he should leave town at once. The outlaw began a tirade of abuse, and remarked that he was a southern man. "Well," I answered, "if you wish to bring that question into the argument, I am a northern man, and you may tell this to all of your tribe." That ended the matter, and he left town that afternoon; but if he had not known that I had two six-shooters pointed directly at him, I would probably not have been left to tell the tale.

In my battles against the fakirs I have universally relied upon the strong arms of my husky "canvasmen," and more than once I have armed them with clubs concealed under their coats, with the result that the fakirs were driven from the field with broken arms and noses. It is a lamentable fact that not a few of the wealthiest showmen in this country have swelled their fortunes by the "rake-off" from the despicable gains of these blacklegs and tricksters.

IV

MOVING THE BIG SHOW

It requires several months of hard labor to prepare any show for the road, even those already organized, for, as a rule, all shows "lay off"

during the winter. With few exceptions the horses are allowed to "run out," and all the wagons and paraphernalia are stored in convenient winter quarters provided for the purpose. The wild animals are taken from their traveling cages and placed in more commodious ones. The manager then decides on his route for the coming season. This, in itself, is an arduous labor, for the cost of transportation becomes, necessarily, a most important consideration in his calculations.

The manager of a large show, however, can do this with comparative ease, since he does not fear opposition so much as does the manager of the small show and, consequently, may choose his own territory, while his small opponent must skirmish around to get out of the way of the larger show.

Therefore, the route of the big show is completed on paper not later than the first of February, and the first agent, usually the railroad contractor, begins his duties. Such a show as I am describing is perfectly safe in laying out its route thus early and advertising its days and dates for months in advance. And, having done this, woe betide any smaller concern which elects to show in the same neighborhood, for the larger show will immediately send an advance brigade and literally flood the country with their bills. Brigades of this kind are called "skirmishers," and are kept in readiness to jump to any point where their services are needed to fight any kind of opposition. They thus uphold a sort of monarchical right in the territory and prevent, if possible, the success of the lesser attraction. This makes it really far more difficult to manage a small show than a large one, as the latter has "the right of might," while the lesser shows are continually forced in each other's way, to their own detriment and often to their complete financial disaster. A large concern in a prosperous season clears an immense amount of money, but, on the other hand, a disastrous season is bound to result in an enormous loss.

THE FIRST ATTEMPT TO MOVE A CIRCUS BY RAIL

A few weeks before the time for opening the circus season the horses are taken in, stabled, groomed and fed with grain to get them "hard"

and in good condition for work. The wagons are overhauled, painted and gilded, and, if necessary, new ones are built. The various agents are by this time hard at work, each having his particular duties to perform.

Previous to 1872 the "railroad circus" was an unknown quant.i.ty. Like all other circuses of that day, the big show of which I was the manager traveled by wagon. During our first season our receipts amounted in round numbers to $400,000, exclusive of side shows, concerts and candy stands. Of course we showed in towns of all sizes and our daily receipts ranged from $1,000 to $7,000. Finding that the receipts in the larger towns were frequently twice and three times as much as in the smaller ones, I became convinced that we could at least double our receipts if we could ignore the small places and travel only from one big town to another, thereby drawing the cream of the trade from the adjacent small towns instead of trying to give a separate exhibition in each. This was my reason for determining to move the show by rail the following season.

To this end, therefore, I at once telegraphed to the superintendents of the different railroads asking if they could accommodate us and guarantee to get us to the various towns in time to give the exhibitions as advertised; and in order for us to do that it was necessary, I informed them, that we be landed in a town as early as six A.M. From some of the railroad superintendents came the reply, "Cannot furnish switch room," and from others, "Give further particulars."

After a great deal of correspondence I went to Philadelphia and interviewed the officials of the Pennsylvania Company. I urged and argued and argued and urged, until they said I was the most persistent man they had ever seen, and even told me they would pay me if I would leave them in peace. This, however, did not suit my purpose, and I hung on until I finally made arrangements with them.

After much preparation we eventually fixed upon New Brunswick, N.J., as our first loading place. We were new at the work and so commenced loading at eight P.M. and finished the job at eight A.M., with no extraordinary incidents except the breaking of one camel's back--the creature having the misfortune to slip off the "runs." From New Brunswick we went to Trenton, where I had hired Pullman cars for our performers and band, and cheaper cars for our laborers and other attaches.

THE SPARTAN HABITS OF THE OLD-TIMERS

Our experience with the vast crowds of the season before had given us the idea of building two rings and giving a double performance. This, of course, doubled our company, but it kept the audience in their seats, since they were precisely as well off in one part of the canvas as in another, whereas in the old one-ring show we found it impossible to prevent the people who were farthest from the ring from standing up.