2021 06 WJU Circus Fanfare NOV DEC

NOV/DEC 2021
VOL. 51 NO. 6 ISSN 1056-1463
1971 It’s All About the Music! 2021
Windjammers Unlimited
the circus music
historical society
© Copyright 2021 by Windjammers Unlimited, Inc. All Rights Reserved. Circus Fanfare - mywju.org 1
windjammers
Officers and Trustees
President & Trustee ** Treasurer Trustee ** Trustee *
Don Covington Howard Habenicht Teresa Cosenza Vicki Pinson
525 I Avenue 82 Country Club Drive 8193 Baythorne Dr. 1010 Weatherboard St.
Coronado, CA 62118-1637 Bloomingdale, IL 60108-1262 Mentor, OH 44060-5973 Henderson, NV 89011-3121
(619) 437-4146 (630) 529-2295 (440) 667-3566 (404) 316-4680
[email protected] [email protected] [email protected] [email protected]
Vice President & Trustee * Editor & Trustee * Trustee ** Trustee **

Lynette Garlan Rod Everhart Gerald Guilbeaux William Yoh
1002 Rose Ave. 1205 Briar Ridge Dr. 213 S. Demanade Blvd 3360 Levanto Dr
Coraopolis, PA 15108-1817 Keller, TX 76248-8374 Lafayette, LA 70503-2545 Melbourne, FL 32940-8633
(412) 916-8131 (610) 662-1932 (337) 654-3642 (321) 693-8119
[email protected] [email protected] [email protected] yoh@cfl.rr.com
Secretary & Trustee * Webmaster Trustee * Trustee **

Joseph Shearin Andrew Rawls Frank Manola April R. Zink
425 Silver Beach Dr 50A Butters Row P.O. Box 143006
1169 Belle Meade Island Dr.
Miami, FL 33138-5253 Daytona Beach, FL 32117 Wilmington, MA 01877-3341 Gainesville, FL 32614-3006
(224) 622-9663 (502) 338-8024 (978) 988-3822 (352) 262-3455
wjuwebmast@mywju,org [email protected] [email protected]
[email protected]
Windjammers Unlimited, Inc. * Trustee until 1/1/2023

is a 501(c)3 Circus Music Historical Societytm ** Trustee until 1/1/2025
windjammers unlimited hall of fame

For bios on the Hall of Fame Laureates, go to mywju.org and Hall of Fame tab
1974 Karl L. King 1996 Perry G. Lowery 2013 Robert P. Hills, Jr.*
1974 Merle Evans 1997 William Pruyn 2014 Charlie Stevenson
1975 Fred Jewell 1998 Everette James 2014 Joe Basile
1975 Robert Hoe, Jr. 1999 Eddie Woeckner 2016 Richard Whitmarsh
1976 Vic Robbins 2000 Robert D. Peckham* 2017 Keith Greene
1976 Henry Kyes 2001 Jack Bell 2017 Paul Bierley
1977 A. Lee Hinckley 2002 Joe Browning 2018 Thomas G. Canham
1978 Russell Alexander 2003 Joseph Gorton 2019 Charles E. Ringling
1979 Ramon Escorcia 2003 Lewis Bader 2019 Norman E. Smith
1980 Charles E. Duble 2004 Carl Clair 2020 James S. Robinson
1981 J.J. Richards 2005 Joseph A. Emidy 2020 James P. Wolfscale
1982 Albert C. Sweet 2005 William Merrick
* For service to Windjammers Unlimited
1983 Charles L. Barnhouse 2006 William Sweeney
1984 Walter P. English 2006 Ned Kendall
1985 Leonard B. Smith 2007 Charles Schlarbaum meritorious service award
1986 Paul Yoder 2007 Joe Stefan
1987 Earle M. Moss 2008 George Ganweiler 2018 Arthur E. Stensvad* (WJU #2)
1988 Henry Fillmore 2009 Sverre O. Braathen WJU Co-Founder
1989 Douglas D. MacLeod* 2009 Harry Crigler 2018 Connie Thomas* (WJU #1128)
1990 Ward Stauth* 2010 Carl “Pop” Neel Past president; host of six
1991 Clinton “Johnnie” Evans 2010 Harvey Phillips summer meets
1992 James A. Perkins 2011 Charles L. Gebest 2020 Ron Keller* (WJU #492)
1993 Ray “Red” Floyd 2012 William Weldon
Past-president; host of three
1994 Leonard PAUL Luckey 2012 Mike Montgomery*
1995 Hale A. Vandercook 2013 Charles H. Bennett, Jr.* meets; long-time conductor
2 November/December 2021 mywju.org

unlimited, inc.
Table of Contents
P. 1 Cover - Circus Fanfare Covers 2021
P. 2 - 3 Officers & Table of Contents
P. 4 President’s Message - Don Covington
P. 5 2022 Convention Playlist - Ron Keller
P. 6 - 9 The Circus Band’s Music - Robert C. Holt
P. 10 - 12 Hall of Fame (P.G. Lowery) - Betsy Kellem
P. 13 British Isles Circus Bands - Gavin Holman
P. 14 - 15 Holiday Promos - CFA, CMB, CHS, WJU
P. 16 - 17 1962 Cristiani-Wallace Progr. - Eric Beheim
P. 18 - 19 WJU Fans of Railroading - Rod Everhart
P. 20 - 21 Tribute to Richard E. Prince - Rod Everhart
P. 22 Circus on the Move - Rod Everhart
P. 23 Obituaries - (R. Zellner, T. Shellenberger)
B&B European Tour Poster text: The Barnum
P. 24 - 25 Member Spotlight (Don Albright) - Rod E. & Bailey Greatest Show on Earth. A realistic picture of
P. 25 WJU Contact and Membership Information the arrival of our four trains of 70 long railway cars built
P. 26 - 27 The Henry Fillmore Problem - Andy Glover at Stoke on Trent from American plans to transport
the mammoth show from city to city with its horses,
P. 27 Back Cover Comments - Chris Berry two menageries and vast show material. The World’s
P. 28 Back Cover - “100 Railway Cars” Poster largest, grandest, best amusement institution.
PLEASE RENEW YOUR MEMBERSHIP
ANNUAL DUES UPCOMING EVENTS
Annual dues for 2022 are to be paid WJU Annual Convention #50 is
after 10/1/2021 and before 12/31/2021. scheduled for January 11-16, 2022
at the Marriott Courtyard,
Your Board of Trustees decided at their Bradenton, Florida
July Board Meeting to increase the
annual dues to $50 for Individuals and WJU Summer Meet will be
$60 for a family of two (same address). July 12-17, 2022, Oasis Hotel &
Dues for students are $20/year. Convention Center, Springfield, MO
(note the timing has been updated
New members joining between because of hotel availability!)
10/1/2021 and 1/31/2022 are offered a
50% discount on the 2022 Dues. We look forward to a “live”
Convention and Meet once again,
Pay online or via check to WJU but plans are subject to change if
Secretary. conditions warrant.
Windjammers Unlimited - Circus Fanfare November/December 2021 3

PRESIDENT’S MESSAGE
By Don Covington, President, WJU #119
We sure do live in interesting times. Musicians have a reputation for being flexible, adapting as
necessary so that they can continue to share their talents despite trying circumstances. There
is no better example of this than old time circus musicians who managed to provide marvelous
performances while enduring grueling schedules, unpredictable weather and the toll of constant
travel. It was a hard life, yet many veterans returned year after year. When asked, they would
admit it was not the meager salary they earned or the chance to escape from home that drew
them back, but rather the satisfaction of being part of a musical ensemble that was absolutely
critical to the success of the show. Their music was the heartbeat and the life blood of the circus.
As a bonus, the charts were both a challenge and fun to play. Being part of the circus band made
all of the hardships tolerable.
More recently, the lure of playing classic circus tunes as part of a Windjammers circus band has
attracted generations of musicians to the sunny South each winter for fifty years. We have survived some highly unusual
times. There is nothing better than circus music to revive the spirit and energize the mind. I can’t wait to be part of a circus
band again. The crowd is forming on the midway; the performers are in wardrobe for the opening. Grab your horn and head
for the big top. After a long intermission, it’s show time. I look forward to seeing you in Florida in January 2022.
Don
MISSED THE 2021 VIRTUAL SUMMER CORRECTION

MEET? The JUL/AUG 2021 cover photo caption was in
Events are digital, so you can watch at your leisure. Go to error. The Sverre Braathen photo was taken in
mywju.org to register and pay the nominal participation fee 1960, not 1961 as shown in the Milner Library
of $20. You will be emailed the Program Booklet which will database, and the bandleader is Joe Rossi.
contain the links to all eleven events. Joe Stefan is the trumpeter second from left.
Thanks to Charlie Bennett for catching this.
AMAZON SMILE SIDE NOTE

Purchasing via Amazon? Use Amazon Smile and WJU
receives 0.5%. No cost to you. The SEP/OCT 2021 Fanfare had an article on
https://smile.amazon.com/ch/23-7356228 Carl Frangkiser and the Unity Band. John
Wetzel notes Keith House (WJU #558) was the
cornet soloist for Carl’s Unity Band. Keith
WINDJAMMERS APPAREL memorized 11 cornet solos and would rotate
them with the band. After Carl died, Keith
Available with the 50th or standard logo
became its director.
Go to the Apparel Tab on our website.
ADDRESS CHANGE? [email protected]

or Mail to Joe Shearin, 1169 Belle Meade Island Dr., Miami, FL. 33138-5253

PLAYLIST FOR JANUARY CONVENTION
January 11-16, 2022 - Music Selected by Ron Keller, WJU #492
MARCHES OVERTURES
Across the Atlantic Russell Alexander Golden Dragon Karl King
Air Waves Joseph Olivadoti Lustspiel Keler-Bela
Barnum & Bailey’s Favorite + Karl King Princess of India + Karl King
Barnum & Bailey’s Royal Pageant C. E. Duble
Basses on a Rampage G. H. Huffine TWO STEPS
Battle Royal Fred Jewell Country Shuffle Guy Holmes
Bennet’s Triumphal M. H. Ribble Georgia Girl Karl King
The Billboard John Klohr Jungle Queen + George Barnard
Bravura C. E. Duble Kentucky Sunrise Karl King
Caesar’s Triumphal G. F. Mitchell The Walking Frog Karl King
The Cantonians Russell Alexander
The Center Ring Karl King GALOPS
Circus Bandwagon Merle Evans The Big Cage + Karl King
Circus King C. E. Duble Shoot the Chutes Russell Alexander
Circus on Parade Richard Rogers Walsenburg Karl King
Circusdom Fred Jewell Whip & Spur Thos. Allen
El Caballero Joseph Olivadoti
El Campo Fred Jewell ONE – STEPS
Entry of the Gladiators + Julius Fucik/Laurendeau Broadway One-Step Karl King
Evan’s Fashion Plate C. E. Duble Stop It! Mel Kaufman
Folie’s Bergere Paul Lincke/Royer
From Tropic to Tropic Russell Alexander MOOD MUSIC
Garland Entree Karl King Passing of the Red Man Karl King
Gloria F. H. Losey South of Rio Joseph Olivadoti
Greatest Show on Earth + Victor Young Wyoming Days Karl King
Hamlin Rifles R. B. Hall
Harper Joy’s triumphal Charles Post WALTZES
In Storm & Sunshine J. C. Heed Among the Roses + C. L. Barnhouse
Mid-West Glory Austyn Edwards Crimson Petal Fred Jewell
Old Berlin F. Von Blon/Lake Lady of Spain + T. Evans/Cailliet
Olympia Hippodrome Russell Alexander Moonlight on the Nile + Karl King
Pride of the Illini Karl King Nights of Gladness C. Aucliffe
Quality Plus Fred Jewell Roses of Memory Fred Jewell
Red Wagons Merle Evans Vision of Cleopatra Karl King
Ringling Bros. Grand Entry Al Sweet
Rolling Thunder Henry Fillmore FOX TROT
Royal Bridesmaids John Casto Abdalla Karl King
Royal Decree + W. P. English
Russian Circus March Donashevsky SAMBA
Salute to Sterling J. J. Richards Copa Cabana + Harold Walters
Sells Floto Triumphal Karl King
The Southerner + Russell Alexander NOVELTIES
Trombones Triumphant Don Keller At the Gremlin Ball Charles Hill
Under the Big Top Charles Storm Ferdinand the Bull Malotte/Yoder
War March of the Tartars Karl King Jolly Tromboneers Francis A. Myers
Wizard of the West C. E. Duble Lazy Luke John Francis Galuska
Zacatecas Genaro Codina Military Escort in 5 Ways Henry Fillmore
The Zouaves Will Huff Teddy Bears Picnic + J. Bratton/Yoder
Trombone Blues + Fred Jewell
+ Indicates Center Ring Concert titles

THE CIRCUS BAND’S MUSIC
By Robert C. Holt, reprinted from THE HOLTON FANFARE, Spring 1964 (from Ron Keller collection; images added)
Robert C. Holt taught band in the Lodi (Wisconsin) Schools and received his bachelor’s degree from the University of
Wisconsin in Milwaukee and his master’s from the Madison campus. He is a native of Baraboo, the “Circus City”
and former home of the Ringling Bros. Circus, where he gained a natural interest in the Circus. As a member of the Class
of 1955 at Baraboo High School, his senior quote was: “I’m not a musician - I am the whole high school band.”
Musician’s Union 1942 Music in Emergencies

THE “GREATEST SHOW ON EARTH” is here. But wait a Circus music has been used to keep the crowd calm. Ten
minute, something is missing. It doesn’t have the emotional Royal Bengal Tigers of the Ringling Brothers Barnum and
impact and the thrill of other years. The performers are Bailey Circus just finished their act and were making their
of the same fine caliber, but where is the band? Music is way toward their cages. Suddenly the biggest cat sprang
coming from a phonograph instead of from the colorful band. on the back of another and sunk his teeth into its neck.
Bandmaster Merle Evans, cornet to his lips, shouted,
This was the year 1942 when the musicians’ union allocated “Repeat to the double bar and ready ‘Knights’”! The trainer
every bit of the United States to one local or another, and cracked his whip over the fighting tigers as the others
union scale applied to the circus. Circus musicians who snarled. One crouched and sprang at the trainer. He parried
had been able to get along comfortably on fifteen to twenty with a stool. A free-for-all seemed inevitable. “Knights”,
dollars a week were now to be paid forty to eighty dollars yelled the bandmaster, leading off with his cornet. The
a week. Mr. North would not pay this amount and the crowd seemed to breathe easier, as the band led off with the
musicians were forced to go on strike. stirring march “Knights of the Road.” The trainer managed
to get the tigers under control and back to their cages. The
The canned music which the circus was forced to use was band swung into “Happy Days are Here Again.” With his
not satisfactory, because music is the heartbeat of the circus. compelling music and split-second thinking, Evans probably
A circus without a band is like a ship without a rudder. The averted a panic.
band, with its hundreds of cues, tempo changes, different
types of music, varying volumes, rollicking from one mood Sousa’s march, “Stars and Stripes Forever”, is not played in
to another, is the medium that transports the audience the circus (because of its more classical march style) except
subconsciously from their seats to the circus ring to live a when there is a catastrophe. It is a signal to the circus
part of the performance. It interprets the spirit of the acts, people for an unscheduled ‘all out’ and is known to them as
suggests changes and contrasts, and shapes a continued the “Disaster March.’”
pattern. It lends a subconscious emotional impact at a
moment of climax with the drum roll. The band’s music
July 6, 1944
lends dignity, poise, and courage to the performer. It is a
great inspiration of the performers, both human and animal.
The circus had the band back the following year.
Circus Street Parades

The circus band in the early days was a form of audio
advertising. Ticket sellers, animal trainers, roustabouts and
anyone that could play a horn was used to make up a band
for the circus parade. Upon the completion of the parade,
the musicians would return to their regularly assigned duties.
At first the band marched in front of the procession. Then
the band was put on the bandwagon. Probably somewhere
in between came the Ringling Mounted Band of 1897.
The circus street parade began to disappear in the 1920’s During a circus performance in Hartford, Connecticut, Evans
because cities became reluctant to have heavy wagons was among the first to spot a flame running along the tent
tearing up the streets. Also, the circus lot was pushed top. He pointed towards it and the band started playing the
farther and farther away from the business districts, so trio of “Stars and Stripes.” Upon hearing, like a call to arms,
parades became too time-consuming, and automobile traffic the bull man in the back yelled “Tails” and forty elephants
increased to such a point that streets could not be tied up for hooked trunks and tails together and were led out. Trainers
that long. rounded up the animals and the troupers united to direct the
crowd out.

The whole top of the tent was aflame, people were jumping Pre-Season Preparation
from the bleachers and running for the exits. Evans yelled Way back in March, the show was really begun. In the
“Repeat!” Charred canvas was falling over the bandstand circus’ winter quarters the bandmaster must watch the acts
and white-hot cables threatened the brass and rhythm men. in rehearsal. Compiling the score demands the greatest
“Ten more bars!” The kettledrum heads caught fire and the of care. First, each number must fit the needs of the act it
rope holding the main pole started burning. Evans yelled accompanies and from these rhythmically suited numbers,
“Jump!” and the pole crashed down, just missing them. he must choose those that are expressive as good music
Spectators remarked afterwards that it was the band that and keep to the tradition of the circus.
kept them from panicking.
The bandmaster must first get a rough sketch of the program
For accidents of a less catastrophic sort Evans uses what from the general director. From the choreographer he
he calls his “chicken song.” It has never been written down gets an idea of how the show will be staged. Then the
but the bandsmen know it well and are prepared to play it in bandmaster must watch and study every act bit by bit,
case athletes sprawl, horses bolt, rigging fails, canvas rips in memorizing everything, the timing of each slink of a panther,
the high wind and other less important accidents. It means and each swing by the aerial artist.
“Stand-by, performers … we’ll have to take a fresh start.”
The acts are planned and rehearsed without music. From
Center Ring Concerts here he must dream up accompaniments to fit each act from
The circus performance begins with a thirty-minute band original music, familiar music, opera, cakewalks, foxtrots,
concert in the center ring while people are coming in. This waltzes, marches, galops, rumbas, and polkas; anything that
was a classical concert where the band could shine as sounds “circus” and fits the action at hand. He must choose
an attraction. Usually it opened with an overture, such as suitable themes or strains running anywhere from 16 to 64
“Forza del Destino” by Verdi, “Oberon” by Weber, “Ruy Blas” bars,
by Mendelssohn, “Overture to Barber of Seville” by Rossini,
or “Mirella” by Gounod. This was followed by a lighter The big production numbers like the “Parade of the
selection like Friml’s “Rose Marie,” Gershwin’s “Rhapsody in Holidays” and “The Marriage of Gargantua” are worked out
Blue,” or Romberg’s “New Moon.” Next was either a march first. Here the music must definitely capture the meaning of
or a suite like Safranek’s “Don Quixote.” A modern foxtrot the spectacle by awakening memories and associations in
frequently closed the concert. the audience.
The average three-hour show requires approximately 200

cues or music changes blended together into one score.
The numbers must be carefully fitted together. Many
modulations are used, for it would sound monotonous if
the score were all in one key, and much of the effect would
be lost. When a new act begins, when a great production
number enters, when an emotional lift is needed, a
modulation is used.
The circus performance is made up of many different acts,

each requiring its own kind of music. Because certain music
was needed for certain circus acts, composers of band
music began to turn their talents toward the music of the
circus as they (the composers) turned circus musician and
circus band leaders and realized its need. Of course, many
Ringling poster promoting Liberati’s 60-person band, costing
$1,000 per day but “given to patrons at no extra charge.” of the accompaniments for the acts still used existing familiar
musical literature.
A predecessor of the center ring concert was the Great
Liberati’s Grand Military Concert Band of sixty “superb Wire Acts
soloists” engaged in 1895 solely for the purpose of playing Among the performers in the circus were the wire artists.
an innovation in the circus -- the ring concert. It was an The tight wire artists required eccentric dance music for their
hour-long band concert in the center ring consisting of heavy act. “In a Persian Market” adds gaiety and interest to these
overtures, descriptive pieces, operatic selections, solos by acts. The slack wire walker dressed in his Spanish finery
fine soloists, and selections from musical comedies. and executing intricate Spanish steps on the metallic thread,
could not be expected to perform without a lively Mexican
When the show is about to start, the band moves to the or Spanish dance like the “Fontella” Cuban dance by W.H.
bandstand, and gets ready to accompany the performers in Kiefer. An example of the high wire act’s accompaniment
their acts. might be one of the Wallendas’: “It’s Been So Long”; waltz;

“Sin to Tell a Lie”; “Would You?”; “Two Hearts in ¾ Time”; Popular Pachyderms - The Elephants
Galop: “They’re Off” by Jewell (performers descend from The elephants need ponderous music to emphasize their
high wire and the Bb concert chord ends the lengthy score). ponderousness. The heavy strains of Fučík-Laurendeau’s
“Entry of the Gladiators” (Thunder and Blazes) and W.P.
English’s “Royal Decree” fit the elephant act.
In 1941 a special act was planned for the elephants

called the “Ballet of the Elephants.” This was to be an
extravagant ballet with ladies in exotic dress and fifty
elephants in fetching ballet skirts. First the ladies danced
regular ballets (condensed versions) to Weber’s “Invitation
to the Dance” and the “Dance of the Hours.” Then the
elephants were to perform to a specially written number by a
serious composer, Igor Stravinsky.
John Ringling North telephoned Stravinsky and asked him to

write the music for the ballet. George Balanchine worked out
the choreography and sent it to Stravinsky requesting four
minutes and fifteen seconds of music.
Aerial Flyers on the Trapeze
The maestro failed to take the circus people seriously until
In the graceful trapeze act, the toe tapping beat of a
North called again to find out how it was progressing. He
march would be greatly out of place. The music should
suddenly realized that North was serious about having him,
be a dreamy waltz of marked and continuous rhythm but
one of the greatest composers of the present day, compose
without conflicting rhythms within the strain. The swing of
music for the circus. This was a far cry from the symphony,
the waltz should make the spectator swing along with the
opera and the ballet.
rhythm of the trapeze. The music should be melodic but not
technically showy enough to distract from the performer.
The impact of the commission staggered Stravinsky because
maybe he thought the circus was too foreign to his aesthetic
The soft, quiet music makes it possible for the artists way up
ability to warrant his great musical mind to be used for
in the peak of the tent to hear the cues and commands that
such purpose. This was too much for him. He went home
are so important to the proficiency of their dangerous work.
(according to the story, and it could be just a story!) and
The performers feel a sense of relaxation and calmness
sat at a table incubating possible inspirational potential for
from hearing the quiet, restful rhythm of the smooth legato
elephantine music. Incubation completed – he wrote.
tones of the waltz. Notable examples are the “Southern
Rose Waltz” by K.L. King, “Wedding of the Winds” by John
The elephant ballet was born – making circus history,
T. Hall, “Spring, Beautiful Spring,” “Tales of Vienna Woods,”
because it is the first and only time that a “long hair” was
“Skaters Waltz,” “Crimson Petal Waltz,” and the “Hungarian
ever commissioned to write music for the circus – and this
Rhapsody #2.” The last two numbers were from the act of
metaphorical musical phantasmagoria cost the circus $1500.
Lillian Leitzel, the aerialist with the Ringling Brothers Circus
who was killed in Denmark when the rigging failed. Merle
Evans would not thereafter use any of her music.
The Clowns
The clowns, cavorting their nonsense around the
hippodrome track, show off to an accompaniment of blaring
trombones sliding around the scale, and cornets giving out
with a little jazz which creates the atmosphere of joy and
gay abandon that completes the setting for the clowns. It is
rollicking music that is fast, then slow, to provide the variety
which is the chief stock in trade of the clowns.
For their entrance, the clowns use a fast galop like

“High Riding.” The “Anvil Chorus” might be used as
an accompaniment for walking around. Life was also
pumped into the clowns with Fred Jewell’s “Trombone
Blues,” Fillmore’s “Lassus Trombone,” and Harry Alford’s George Balanchine mollifyng a temperamental ballet dancer.
Merle Evans often commented he didn’t like Stravinsky’s
“Clownette.” They might even buckety-buck to a popular
“Circus Polka” score, the band didn’t like playing it, and the
number like “Ac-cen-tchu-ate the Positive.” elephants didn’t want to work with the music either.

Horse Acts Acrobats
Horse acts used practically every type of music. They To march in their places in the ring, a selection like the
are particularly conscious and alert to changes of musical “Parade of the Wooden Soldiers” is played for the acrobats.
tempos. The horses are rehearsed first in the routines, and They might continue their act to some Spanish manuscripts
the music is then set to this routine. The horses and animals such as “Contrabandista” and “Chavalayo, Ado De Espano”
do not keep time with the music. The band watches the and concluding with Ivan Bchokoff’s “The Cossack Patrol.”
animals and takes the tempo from them. A typical program
for the bare-back riders would be: “Regimental Pride” by Finale - The SPEC
Heed (entrance); “La Pere De La Victoire” (Father of Victory) For a finale the circus includes a “spec” or spectacle in
by Ganne; “Siboney” (rumba); “South American Joe”; “Lady which all the circus performers take part in a parade around
in Red”; “Grand Galop Militaire” by C. Bohn. the tent. Slower marches are used. It takes place near the
end of the program rather than at the beginning because
Spirited marches in 6/8 time like Vandercook’s “Our Colonel” people might still be coming in at the beginning. It might be
and “High Pride” by J.C. Heed seem to make little ponies compared to the “curtain call” of the theatrical world.
prance all the more. A program for Rudy Rudynoff’s
thoroughbreds was: “Coe Band March” (entrance); “March Superstitions
of Time”; “Don’t Give Up the Ship”; “Dancing Feet” (fox trot); As in much of the show world, the circus music one has its
“Diane” (waltz); “You” (fox trot); “Galop Topertitti” by Dolby own jinx or superstitions. Merle Evans to this day will not
(finish). play the “Light Cavalry Overture” by Von Suppé. He played
the overture while with the Buffalo Bill Show and his first
The galop is a type of number used often in horse acts and chair clarinetist died almost immediately. His band played
also in many of the other acts, particularly for entrances and it again after a few years when he was with a carnival and
exits. It is used to give the effect of speed and whirlwind the horses ran away with the bandwagon, killing several
dare-devil action. To instill in the mind the speed of the of the bandsmen. He played it with his Ringling Band and
horses and the truly daredevil feat of the rider balancing the circus was involved in a train wreck that night. This is
himself on his plunging, snorting, wide-eyed steed, the band evidence enough to make anyone superstitious.
plays at a furious tempo (one to a bar, but written in two) with
heavy drums and screaming brass. Conclusion
The music is certainly an integral part of the circus. The
The galop in the form that we know it today was devised original circus band music that is written by circus people
and put into use by Mr. William Sweeney [WJU Hall of Fame remains a tremendous monument to the music of America.
2006], a Sheridan, Wyoming barber and small-town band
leader who went with the Buffalo Bill Wild West Show. Merle Evans during his off season with the circus travels
Sweeney saw the need for this type of music to bring to the throughout the Midwest, guest conducting and giving the
human musical mind a picture of galloping horses, steer music students much of his vast circus band knowledge.
roping, and bucking broncos. He took the galop that is Mr. Fred Parfrey, high school band director at Beaver Dam,
found occasionally intermixed in the scores of operas and Wisconsin, presents high school circus band concerts with
put it into practical use in the band. It has had wide-spread Merle Evans as the featured star. Mr. Evans conducts
use in the circus. Some examples of the galop are: “The the band, plays his little cornet with the band and gives
Steeplechase Galop” – R. Alexander; “They’re Off” – F. a short talk about the circus. Mr. Parfrey’s concerts are
Jewell; “The Bastinado Galop” – R. Alexander; “Galop Prince programmed almost entirely of circus music.
of Decorah” – P.G.
Lowery; “Winter Circus Band Music is
Sports Galop” – G. a definite educational
Holmes; “Sunshine medium that has given
Galop” – K.L. King; teaching material and
“Galop Go” – Fred much inspiration to
Jewell; “Big Cage the music students of
Galop” – K.L. King. America.
Wild Animal Acts

The wild animal acts
often use music from
the Far East, and
especially from India.
“Purple Carnival” is
a favorite for the cat
acts and numbers of
Merle’s early 1960s circus band. Though smaller than the grandiose bands of
this sort. yesteryear, these explosive bands still rocked the rafters and went like the wind.
windjammers
hall of fame
P. G. LOWERY (1869-1942), Inductee 1996
By Betsy Golden Kellem - attorney, historian and author. Her blog is Drinks With Dead People
If I say the words “circus music,” you probably have a certain A talented musician from childhood, P.G. claimed to have
type of music in your mind straight away – something loud, been largely self-taught – having left school to work on the
fast and slightly drunk – like a 1902 band recording of a farm, he found an old cornet in the attic and practiced in
typical “galop.” And that’s certainly on point, but it doesn’t the barn whenever he could. He worked his way into local
clue you in to the fact that during the early 20th century, bands and competitions, and in 1895 enrolled in the Boston
while largely white bands played under the big top, some of Conservatory of Music, where he was its first African-
the most exciting circus music was happening over in the American graduate.
sideshow, where bands made up of black musicians not only
played fast marches and brassy trombone “smears,” but For the first quarter of the 20th century, the circus was a
innovated in ragtime, jazz and blues years before they would reliable source of work for black musicians, who made up
come into full public popularity. the majority of “sideshow bands,” and Lowery settled on the
circus as a primary source of work.
Perhaps the most impressive figure in these groups was
the bandleader P.G. Lowery, a classically-trained cornet Despite criticism of the circus as a low-class industry, Lowery
player who boiled down his many successes into a simple emphasized its opportunity for African-American musicians:
motto: “Good things cometh to he who waiteth as long as he “It is generally understood by the public at large,” he said,
hustleth while he waiteth.” “that circus people have a tough time. I deny the assertion
and will say for good treatment, equal justice and sure
Perry George Lowery was born in Topeka on October 11, salary, give me the circus.”
1869, to formerly enslaved parents who settled in Kansas
after the Civil War. The Lowerys were a musical family and A gifted businessman as well as a musician, Lowery
formed a community brass band while working to establish advocated for other black performers and employees:
and enlarge their land claim. training leaders and musicians, creating opportunities for
P.G. Lowery’s Band & Minstrels, Ringling Bros. and Barnum & Bailey Circus, ca. 1919. Photo courtesy New York Public Library

talented black performers, and improving overall labor Lowery brought his band to Madison Square Garden for
conditions at the circus, going so far as to lead a 1915 the opening of the Ringling Brothers and Barnum & Bailey
strike on the Hagenbeck-Wallace show in protest of wage show’s New York run, where they were the first black band to
and benefit cuts for black staff members. Historian Sakina play for the main show.
Hughes notes that he “protested the demeaning messages
of the minstrel show with his own touring show called, ‘This Fun Facts:
is Not a Minstrel Show,’ and formed a labor union for black
showmen to help ensure that wages, living conditions and Biographer Clifford Watkins
benefits were up to standard.” suggests that Lowery’s
path to the Boston
Lowery was renowned for the quality of his band and Conservatory was paved
the ability to teach others in a certain style and quality of by competition winnings –
performance, making others recognizable as being from he believes that the prize
the “Lowery school.” A report in the Indianapolis Freeman in an 1894 competition at
in 1913 noted that each member of the band was always the Hutchinson (Kansas)
“striving hard to be able to add credit to the world-wide Musical Jubilee for the
reputation of Mr. Lowery as a bandmaster, and to be able “finest rendered cornet solo”
to play with credit in any band in the United States, as P.G. may have been scholarship
always freely shares his schooling, which he paid very dearly funds to the Conservatory.
for in Boston.”
Ragtime was growing in popularity during the late 19th and
That said, it was not a free and easy path. Lowery early 20th century period during which Lowery’s bands were
succeeded in obtaining a dedicated train car for his entertaining circus audiences, and Scott Joplin was among
musicians on the road, but that was less a prestige move those who sang Lowery’s praises. The composer dedicated
than a necessity, traveling amongst segregation and his 1902 piece “A Breeze From Alabama” to Lowery.
prejudice.
Lowery’s only known composition is “The Prince of Decorah”
Sideshow bands were still secondary to the white main-tent Galop (1905), dedicated to his friend, Benjamin O. Marsh,
ensembles. And there was a lot of dog-whistle journalism and published by B.O. Marsh of Decorah, Iowa.
around Lowery’s ability and race, despite the fact that all
evidence points to the fact that the “best under canvas” Circus bands were versatile and hardworking, with those
label was not an exaggeration. One concert review notes in the biz referring to musicians as “windjammers” for the
that Lowery captivated the crowd by holding a note for sixty amount of air they pushed through horns for hours and hours
seconds. A Kansas newspaper, the Eureka Herald, claimed: on end. In any circus, musicians were an indispensable
“…if it was not for his color [Lowery] would probably be part of the show. Bands entertained passing customers
looked upon as the peer of any living cornetist.” The Herald and accompanied barkers shouting their pitch – or “bally”
also quoted the Bedford (Iowa) News as saying, “Kansas – out on the sideshow and the midway; played in parades
has one of the greatest colored protégés in the person of and concerts; and in a tent, musicians would set tempo,
Mr. P.G. Lowery, the cornet soloist who thrilled the city with punctuate action (not unlike a movie score), provide sound
enthusiasm. Just think! He never took a lesson on the effects, whip up emotion
instrument he is the master of. He has the greatest compass, or patriotism, and even
the fastest execution, the sweetest tones of any cornetist signal staff if something
that has ever visited our city, and he is a gentleman.” wasn’t right. Circus
musicians had to be
For his part, Lowery maintained forward momentum as a skilled, nimble, resilient
matter of principle, saying: and – yes – able to jump
on the bandwagon.
“I attribute the success of my band to private training. All
band masters [should] know the possibilities of each member Following other circus
of his band and select music within the limit of their ability. gigs noted on the next
In conclusion as we are about to take one more step from page, Lowery was
the old year to the new let us start with renewed vigor; let us with Ringling Bros.
march hand in hand and throw off all appearance of malice and Barnum & Bailey
and back-biting and as we reach the top we must work hard Circus 1919 to 1931.
to hold our place. We must constantly produce something Afterwards, he was
new to attract the attention of those below us.” with other shows until
his death at age 73
Hard work paid off: having toured and played with his own in Cleveland, Ohio on
ensembles and many of the major circuses, in 1920 P.G. December 15, 1942.
P.G. Lowery’s Band with Ringling-Barnum, 1930s. Photo courtesy of Ringling Museum
P.G. Lowery’s Band & Minstrels, Ringling Bros. and Barnum & Bailey Circus, ca. 1924. Lowery with his cornet, 1902
Prior to his April 16, 1919 to

September 12, 1931 stint with
the Ringling-Barnum show, P.G.
Lowery worked with the Sells Bros.
& Forepaugh Circus, Hagenbeck-
Wallace, Ringling Bros. Circus,
Cole Brothers, and Barnum &
Bailey. After Ringling-Barnum, he
was with Gorman Bros. Circus,
Cole Bros.-Clyde Beatty Circus,
Robbins Bros. Circus, Downie
Bros. Circus, and lastly, the Cole
Bros. Circus.
P.G. Lowery’s Band, Ringling Bros. and Barnum & Bailey Circus, 1920s.

BRITISH ISLES 19th CENTURY CIRCUS BANDS
News Extracts Collected by Gavin Holman, WJU #3943 - www.ibew.co.uk PART 3 - 1884 to 1887
and “a fearful din was the result, but the menagerie band
The life and times of circus and menagerie bands in the British
prevailed, and the crowd cheered its victory.”
Isles in the 19th century – extracts from contemporary reports:
• Bostock & Wombwell’s Menagerie Band contributed to

• Harmston’s Circus Band had the sad duty, during the the celebrations in Edinburgh, seeing in the New Year of
circus’ visit to York in September 1884, of playing at the 1886, performing and entertaining the throngs of people in
funeral of the clown “Little Bell” (real name James Bell) who the High Street.
died suddenly on his way home after a performance.
• Hengler’s Circus appeared in Huddersfield, settling in
• Sanger’s Circus performed at Sandringham in January St Paul’s Street, in September 1886. The Circus Band,
1885, and the Circus Band, led by Vincent C. White, of twelve performers, played a wide selection of music,
entertained the crowds as they awaited the Royal party. including “The Standard Bearer” (Meyer), and the overture to
“The Bohemian Girl” (Balfe).
• Hengler’s Circus appeared at Nottingham in February
1885, and it was noted that Hengler’s Circus Band, led • Cook’s Royal Circus was appearing in Glasgow in March
by Charles Elcock, was a pleasing exception to the rule 1886, when the Circus Band resigned after an argument
that circus bands were generally of an inferior character with the manager, Charles Reed, over them being required
and sometimes even agonizing to listen to. It was regarded to do window billing and pass out tickets in addition to
as being the best in the country, with a good and varied their musical duties. The band members were Mr Beckett
repertoire, with each performer a master of his instrument. In (leader), H.M. Holding, G. Taylor, T. Oakes, W. Yetman, W.
September 1885, the Circus Band’s conductor was George Mason, J. Nolan, H. Gresty, and Tom Burt.
Clements.
• The celebrations in Falmouth for Victoria’s Jubilee in June
• Bostock & Wombwell’s Menagerie visited Helensburgh 1887 were enhanced by the use of the visiting Wombwell’s
in April 1885, and the Menagerie Band, set up outside the Menagerie Band, band carriage, camels, elephants, and
show, was a significant attraction. horses for the grand procession. This echoed the similar
event for the coronation of Queen Victoria in 1838 when,
coincidentally, Wombwell’s Menagerie had also been in
Falmouth, and played for the celebrations.
• In June 1885, Bostock & Wombwell’s Menagerie were at

the far end of the country, at St Ives. They then processed
from there to Penzance led by the Menagerie Band, with the
“musicians in a gay uniform in an imposing band carriage, Wombwell’s Menagerie Band
drawn by a very fine elephant.”
George Wombwell (1777-1850) was the most famous of
• The Bostock & Wombwell’s Menagerie arrived in Victorian menagerie exhibitors and showmen. It began
Torquay, based at Ellacombe, in July 1885. During their stay, with buying two boas from South America and exibiting
the local Salvation Army, with its band, passed down the them in taverns. He rapidly added exotic animals from
side of the exhibition, musicians blowing. The Menagerie Africa, Australia and South America, forming his traveling
Band took this as a challenge, commencing with the air menagerie in 1810. By 1839 he had fifteen wagons and a
“The Campbells are Coming.” Each band blew its strongest, brass band.
wishing you a joyous holiday season ..

.. and a musical & happy new year !

The 1962 Cristiani-Wallace Bros. Circus Musical Program
An Overview by By Eric Beheim, WJU #66
Eric Beheim continues his series of documenting the Musical Programs of various circuses. This is the 18 th
consecutive Circus Fanfare with one or more of his articles. We greatly appreciate Eric’s support of the
Windjammers Unlimited Preservation and Education Mission as it relates to the music of the American circus.
In 1934, the Cristiani Family suspended their circus

operations in Italy and came to America to perform their
world acclaimed bareback riding act for the Ringling Bros.
and Barnum & Bailey Circus.
After touring with Ringling and other circuses for a number

of years, in 1948 Papa and Mama Cristiani, along with their
children and grandchildren, became partners in the King
Bros. Circus. In 1952 and 1953, the show was known as the
King Bros. & Cristiani Circus.
In 1954, the Cristianis started their own circus under the title
Bailey Bros. & Cristiani Circus. Moving on trucks and
appearing in ballparks rather than in a tent, Bailey Bros. &
Cristiani made history by becoming the first circus to appear
in Alaska after having traveled there via the Alcan Highway.
By the early 1960's, economics had reduced the Cristiani
In 1956, the show was reorganized as an under-canvas circus, now renamed Cristiani - Wallace Bros., to a
operation and was renamed Cristiani Bros. Circus. By the medium- sized truck show touring mostly east of the
late 1950s, it was traveling on a fleet of fifty-two trucks and Mississippi River. Unlike many of the other smaller circuses
was considered by many to be second only to the Ringling whose “bands” consisted of only two or three players,
show in terms of size and the quality of its performance. Cristiani-Wallace continued to use a band of at least 8
players.
Adding to the success of the Cristiani Bros. Circus was a
band made up of first-class players performing musical In 1962, the Cristiani-Wallace bandleader was Howard
programs that favored the works of Karl L. King, J. J. Stratton. Compared to the other circus bandleaders who
Richards, Fred Jewell, Walter P. English, and other toured in the early 1960s, not too much is known about
traditional circus music composers. Stratton other than he returned to conduct the Cristiani-
Wallace band again in 1963. It is probably safe to assume,
The Cristiani Bros. Circus’ 1959 musical program was the however, that he was an experienced circus musician and a
subject of an article that appeared in the previous issue of fine bandleader.
Circus Fanfare, Vol. 51, No. 3, MAY/JUNE 2021.
In October 1962, some far-sighted circus music fan arranged
to record a Cristiani - Wallace Bros. Circus performance
while the show was playing in Eau Gallie, Florida. Abridged
to 76 minutes, this recording has been circulating on the
collectors’ market for many years now.
Recently, Don Covington (WJU #119), Andy Glover (WJU

#423) and I listened to this recording with the idea of listing
the music titles it contains. In summary, we all agreed the
band “hung tough” throughout the performance, especially
on the galops.
Since most of the announcements were edited out, we could

only guess at the acts this music was accompanying. In
some cases, the musical selections themselves helped to
identify the type of act being presented. The acts listed in
the following year’s 1963 Cristiani-Wallace souvenir program
suggested some additional possibilities.

Here are the titles we were able to come up with from the Act 9 -
1962 Cristiani-Wallace musical program: (Leaping over
Elephants?)
Opening Fanfare: Light Cavalry Overture Fanfare (Suppé) Big Cage Galop (King),
Circus Echoes (Hughes),
Act 1 - Mixed Wild Animal Act Big Cage Galop (reprise),
William Tell Storm Music (Rossini), Salute to the Sultan drum roll, Big Cage Galop
(King), chord, (unidentified), Abdallah (King), Around (reprise)
the World (Young), chord, Col. Bogey (Alford), chord, El
Cumbanchero (Hernandez), Begin the Beguine (Porter), Act 10 -
chord, The Big Cage Galop (King), Teddy Bears’ Picnic (Liberty Horses?)
(Bratton), The Big Cage Galop (reprise), Bows Fanfare The Huntress (King),
(unidentified waltz),
Act 2 - (dog act?) Deep Purple (DeRose),
This Could Be the Start of Something Big (Allen), The (unidentified march), At a
Most Beautiful Girl in the World (Rodgers), Anna in Cuba, Georgia Camp Meeting
(unidentified waltz), The Lady in Red (Wrubel), Poor Butterfly (Mills), (unidentified march
(Hubbell), This Could be the Start of Something Big (reprise), reprise), Dixie (Emmett),
(unidentified preudo-American Indian number) chord, (unidentified march
reprise)
Act 3
Quality Plus (Jewell), (unidentified waltz), (unidentified), Act 11 - Clowns
chord, (unidentified), chord Kentucky Sunrise (King)
Act 4 - Clowns Act 12

Stop It! (Kaufman) There’s No Business
Like Show Business
Act 5 - (Oscar Cristiani’s Performing Baby Elepant?) (Berlin), Manhattan
Arabian Nights (King), Hearse Song, (unidentified march), (Rodgers), chord, There’s
Beautiful Ohio (Earl), The Merry-Go-Round Broke Down No Business Like Show
(Friend), Turkey in the Straw, Streets of Cairo* (Bloom), Business (reprise)
(unidentified march), (unidentified march), (unidentified
march), March of the Toys (Herbert), Kiefer’s Special Act 13 -
(Kiefer), Charmaine (Rapee), Kiefer’s Special (reprise), drum (Hippo walkaround?)
roll, Kiefer’s Special (reprise) Jungle Queen (Barnard)
Act 6 Act 14 - High Jumping Horses

Ringling Bros. Grand Entry (Sweet), (unidentified), Tequila Geneva Galop (Richards), Excelsior Galop (King),
(Flores), Eclipse Galop (King), chord, Eclipse Galop (reprise) Homestretch Galop (King), Homestretch Galop (reprised
three times)
Act 7
On the Warpath (King), Tenderly (Gross), (unidentified Act 15 - Clowns
galop), On the Warpath (reprise) In My Merry Oldsmobile (Edwards)
Act 8 - Oscar Cristiani Elephants Act 16 - Cannon

Thunder and Blazes (Fucik), Alice Blue Gown (McCarthy), Beyond the Blue Horizon (Whiting), cannon shot, Beyond the
My Hero (Straus), (unidentified twist number), Turkey in the Blue Horizon (reprise)
Straw, Streets of Cairo* (Bloom), Royal Decree (English),
London Bridge, Royal Decree trio, chord, Garland Entree Playout Music
(King), chord, (unidentified) Stars and Stripes Forever trio (Sousa)
** Streets of Cairo (Bloom) is alternatively known as Dance of the Midway. This is the “Hoochie-Koochie” tune (i.e. “On the
other side of France, where the people wear no pants.”) It is attributed to Sol Bloom, who managed the Streets of Cairo
midway attraction at the 1893 Chicago World’s Fair. The tune was never copyrighted and has been used continuously ever
since. This is a traditional elephant act number for Cristiani.

THE WJU & RAILROADING CONNECTION
By Rod Everhart, WJU #1351
service in Nebraska. Union Pacific #844 still exists as one
of only two operational steam locomotives left on the Union
Pacific roster, but it is only used for “celebrity runs” such as
the “Cheyenne Frontiers Day” excursion.
In 1991, Art Stensvad authored

a book about the steam-to-
diesel transition of the Union
Pacific Railroad in North Platte,
Nebraska. The book is titled
“High Iron to North Platte:
The Team that got Windjammers Unlimited rolling (left to right):
The Union Pacific Railroad
Art Stensvad (Co-Founder, WJU #2), Bob Hills (1st President, in Transition, 1940-1959”.
WJU #71), Ward Stauth (Secretary/Treasurer, WJU #82) and Art died July 18, 1998 and a
Charles Bennett, Jr. (Co-Founder, WJU #1) dozen years later, his son, R.D. “Bob” Stensvad, issued a
To many current Windjammers Unlimited members, it third edition of the book.
may come as a surprise that some number of our earliest
members carried a “Railroad Buffs” label in addition to loving Charlie Bennett’s connection with the railroads started with
circus music. The four fellows who got WJU off the ground his father, Charles H. Bennett, Sr. (WJU #148), who had a
were all big railroad fans, and because of that many of those railroad career spanning more than 40 years. He introduced
they encouraged to join WJU also had a railroad connection. Charlie to Art Stensvad, knowing that Art also loved circus
music. While Charlie grew up in a “railroad” household,
Charlie H. Bennett, Jr. (WJU #1) and Arthur E. Stensvad his direct tie to railroads was his career with the Railroad
(WJU #2) launched Windjammers Unlimited on January 1, Retirement Board. Not surprisingly, Charlie has an extensive
1971. Art was a long-time employee of the Union Pacific collection of model trains taking up space in his basement.
Railroad, having spent many years as a locomotive engineer.
During a rare in-person visit with Art, Charlie was able to
sit in the locomotive cab of a Union Pacific engine in North
Platte, NE. Charlie acknowledges that he did not run the
train, but Art did let him pull the whistle cord a few times.
Art Stensvad in 1955 on duty with Union Pacific Charlie Bennett, Jr. testing out the engineer’s seat
One of America’s most famous steam engines was Union First WJU President Robert P. Hills, Jr. (WJU #71) was
Pacific #844. Art was in the cab for #844’s last regular also “a big train nut.” He belonged to at least one railroad
freight service run. That engine was also known as the museum and loved to go trackside, shooting railroad and
“Living Legend”, built in December 1944 as a class “FEF-3” circus photos.
4-8-4 “Northern” type steam locomotive capable of between
4,000 and 5,000 drawbar horsepower and running at up to Initial WJU Secretary/Treasurer Ward Stauth (WJU #82)
120 mph. Most of its career was pulling passenger trains, was another enthusiast riding the rails, photographing trains,
but from 1957 to 1959, when diesel-electric locomotives took and playing circus music on his tuba. In particular, Ward
over passenger service, #844 was reassigned to fast freight knew a lot about the Louisville, New Albany, and Corydon

line. On his first visit to Stauth’s farm in Corydon, IN, Charlie of ticket punch devices. Rich once reported “We have over
Bennett, Jr. was given a first-class tour of the short line 1,400 cut shapes. Only rarely do you ever see any two
railroad’s facilities. exactly alike.”
Windjammer Lloyd E. Stagner (1923-2008) was a prolific Without question, many of our other Windjammers members
author of books regarding railroads. He is credited with have significant railroading experiences, and/or have
31 books on railroading, with titles such as: Chicago Great model railroads sequestered in their basements. Past
Western, Illinois Central Steam Finale, Santa Fe 1940-1971, WJU presidents Ron Keller and Don Albright are certainly
Rock Island, North American Hudsons (The 4 6 4 Steam examples of that. Frequent Circus Fanfare author Eric
Locomotive), Frisco Steam Finale 1946-1952, Missouri Beheim (WJU #66) routinely rides the rails, documenting
Pacific Steam Finale, and Burlington Route Steam Finale. in detail his journeys and sharing them via the Amtrak
Unlimited on-line forum. Further, Eric loves photographing
Another early WJU member who favored trains was Fred O-gauge toy trains in realistic diorama scenes. Classic Toy
W. Schmidt (1936-2009), who became a WJU Trustee in Trains magazine frequently publishes his photos relative to
1981. Fred was a tuba player who often was playing in the his rail photo recreations in miniature. Here is a sample:
percussion section. He lived in a rural area north of Abilene,
KS and had an old railroad private car parked in his front
yard. Fred had worked a few summers out of Durango,
CO on the Rio Grande Narrow Gauge Railroad’s steam
locomotive as a fireman.
Clarinet player Bob Harrison, WJU #8, was a circus gig

buddy of Charlie Bennett and he also loved to ride on trains.
On three occasions the two of them attended the WJU
Convention by traveling via Amtrak. Meeting them at the
train depot for the very first Convention in Key Biscayne, FL Another Windjammer member who had a significant
in January 1973 was another train buff, Jack “Tiny” Stagg connection with railroading was Richard E. Prince (WJU
(WJU #140). #902). Like Art Stensvad, he had a career with Union
Pacific. He published ten books relating to certain railroads
Ed Ballenger (WJU #597) was and their history. More importantly, while with WJU, he
another huge train fan. Ed played posted an incredible 61 articles to the Circus Fanfare. His
baritone at WJU events and did legacy is worth further comment, so please read more about
his best to capture video and Richard in the following “Tribute to Richard E. Prince”
audio snippets of our recording article.
sessions. Members who knew
him well probably still have a Since railroads were so instrumental to the expansion of
box of his VHS tapes in a closet circuses, it is not surprising that the windjammers traveling
somewhere. But Ed also loved with those circuses became wedded to the railroads. As
“chasing” trains, riding steam trains at every opportunity. a rule, they had no other home. No car. And their limited
possessions were those that could fit in their compartment
Rich “All Aboard Amtrak” Copeland (WJU #1849) retired on the train. At a young age, tubist Harvey Phillips (WJU
from Amtrak in 2014 and loved Club Cars as well as Barnum #197, 2010 WJU Hall of Fame) joined the King Bros. Circus
& Bailey’s Favorite. Rich, at his office at Philadelphia’s for a summer gig. That was short-lived as Merle Evans
30th Street Station, collected tickets and revenue from the reached out to him and hired him onto the Ringling Bros and
Keystone Service conductors, and maintained the inventory Barnum & Bailey Circus Band. The circus traveled and lived
on four trains while on tour. Harvey commented: “There was
a definite kind of caste system and we musicians were in the
hierarchy. We traveled in the fourth section and were on the
last train to leave a city and the last to arrive in the next. We
had double-length cars and the band all stayed together. We
had a porter who made our beds and took care of a kitchen
where we could get snacks late at night. We also had our
laundry and dry cleaning taken care of. You could leave
something out in the morning for the porter and it would be
back, cleaned and pressed by evening.”
Just like traditional circus music, however, memories of

Rich Copeland as an Amtrak employee prior to retiring in 2014
historic trains are kept alive by those who remember!

TRIBUTE TO RICHARD E. PRINCE, WJU #902
He later transferred to the Mechanical Engineering

Department at the South Louisville location.
In 1952, Prince joined the Mechanical Engineering

Department of the Union Pacific Railroad and was sent to
Green River, WY, where he was part of the Gas Turbine
Locomotive Staff for fifteen years. In 1969 he transferred
to the Omaha Mechanical Engineering Department of the
Union Pacific Railroad. He was still at the Omaha location
when he retired from Union Pacific in 1983. Richard died
December 19, 2002.
Prince’s association with the railroads went well beyond

his work as it also became a significant hobby. With
excellent writing and researching skills, Prince embarked on
writing books about certain railroads and their history. He
published ten such books and those sold in excess of 20,000
copies. You can still find some of those via Amazon Books
and E-Bay with prices ranging from $25 (softcover) to $500
(Central of Georgia - 1st edition hardback.)
Here are his titles: Atlantic Coast Line Railroad; Central

Former Windjammers member Richard E. Prince was no of Georgia Railway; Georgia Railroad & West Point Route;
doubt an Editor’s dream come true. Richard posted 61 Louisville & Nashville Steam Locomotives; Nashville,
articles to the Circus Fanfare over the seven-year span Chattanooga & St. Louis Railway; Norfolk & Western;
1986-1993, if you count, for example, a two-part topic spread Norfolk Southern; Seaboard Air Line Railway; Southern
over two issues as two articles. As a result, his legacy Railway System; Richmond-Washington Line.
remains with us via Fanfares posted on our website.
As a result of applying his writing skills to circus topics, we
Prince joined Windjammers Unlimited in 1986 as our have the on-going benefit of Prince’s well-researched articles
member #902. He played trombone in various groups yet on a number of notable circus music celebrities. It is a
I have not been able to confirm he was ever able to attend legacy we are quite pleased to have.
one of our Annual Conventions or Summer Meets.
With the launch of the new and improved Windjammers

Website in May 2020, our historic Circus Fanfares are now
posted there in scanned PDF format. Therefore, all of
Richard Prince’s articles are accessible to our membership. I
urge you to sign on and explore those and the array of other
information and audio recordings posted there. The list of
Prince’s articles is on the accompanying page.
Richard Edward Prince was born January 5, 1920, to

Richard Edward Prince, Sr. and Marion (Anderson) Prince,
and was raised in Norfolk, VA. He attended the Georgia
School of Technology in Atlanta, GA, graduating in 1942 with
a B.S. degree in Mechanical Engineering. After serving
as a special apprentice at the L&N Railroad Shop in South
Louisville, KY for a year, he joined the Merchant Marine.
During his WWII service, Prince obtained his 3rd Assistant

Engineer License and was on steam-powered Liberty ships.
When the war ended, Prince returned to the L&N Railroad,
completed his apprenticeship, and became Assistant to the
General Foreman in the steam back shop and roundhouse.

CIRCUS FANFARE ARTICLES PROVIDED BY RICHARD E. PRINCE
1986 Vol 16 – 3: Karl L. King and His Music
1986 Vol 16 – 5: Henry Fillmore, Master of American Band Music
1987 Vol 17 – 1: Great American Circus Empire
1987 Vol 17 – 2: Military Band Time in London; Pt. 1 of 2
1987 Vol 17 – 3: Military Band Time in London; Pt. 2 of 2
1987 Vol 17 – 4: Great Old Time Salvation Army Marches & Composers; Pt. 1 of 2
1987 Vol 17 – 5: Great Old Time Salvation Army Marches & Composers; Pt. 2 of 2
1987 Vol 17 – 6: Buffalo Bill’s Wild West & Congress of Rough Riders of the World; Pt. 1 of 2
1988 Vol 18 – 2: Buffalo Bill’s Wild West & Congress of Rough Riders of the World; Pt. 2 of 2
1988 Vol 18 – 3: Sousa’s Band Plays the Old Corn Palace
1988 Vol 18 – 4: Karl King Band at the Corn Palace – List of Appearances over the Years
1988 Vol 18 – 4: J.J. Richards – All-American Bandmaster & Composer
1988 Vol 18 – 4: R.B. Hall March Featured in Royal British St. Parade – Imperial Life Guards
1988 Vol 18 – 4: A. Lee Hinckley – Circus Bandmaster – Modern Medium-Size Tent Shows.
1988 Vol 18 – 5: 1938 Big Top Band – Cole Bros. Bandleader, Eddie Woeckner (O.O. Parks; submitted by Prince)
1988 Vol 18 – 5: Victor H. Robbins – American Bandmaster
1988 Vol 18 – 5: C.L. Barnhouse, American Band Music Pioneer; Pt. 1 of 3
1989 Vol 19 – 1: March Music Notes and Bio for Dr. Ralph H. Woods
1989 Vol 19 – 1: How Jeremiah Mugivan and Bert Bowers Made It
1989 Vol 19 – 2: Robert G. Willaman, Master Clarinetist
1989 Vol 19 – 2: Harvey G. Phillips – Circus Music Golden Age Style: Instructor Homer F Lee, Circus Bandleader
1989 Vol 19 – 2: John Robinson Circus at The Battle of Jacksonville (submitted by Prince)
1989 Vol 19 – 3: Russell Alexander – Composer of the Vandercook Style of Circus Music
1989 Vol 19 – 4: W.P. English
1989 Vol 19 – 4: Earle M. Moss – Last of the Golden Age Circus Bandmasters; Pt. 1 of 3
1989 Vol 19 – 5: Robinson Famous Shows – Karl King’s First Circus
1989 Vol 19 – 5: Albert C, Sweet
1989 Vol 19 – 5: George Ganweiler, Outstanding Circus Bandmaster
1989 Vol 19 – 5: Don Keller, Champion of the Trombone Section
1989 Vol 19 – 6: W.N. Merrick
1990 Vol 20 – 1: H.A. Vandercook, Originator, New Style of Circus March; Pt. 1 of 2
1990 Vol 20 – 2: H.A. Vandercook, Originator, New Style of Circus March; Pt. 2 of 2
1990 Vol 20 – 2: Patricia Backhaus, WJU Cum Laude
1990 Vol 20 – 4: Charles E. Duble, Circus Musician & Composer; Pt. 1 of 2
1990 Vol 20 – 5: Charles E. Duble, Circus Musician & Composer; Pt. 2 of 2
1990 Vol 20 – 6: Karl L. King and Barnum & Bailey’s Favorite March
1991 Vol 21 – 1: Program Karl King Band, 100th Anniversary Concert
1991 Vol 21 – 3: O.A. Gilson & A.W. Hughes, Mysterious Team of Composers
1991 Vol 21 – 5: Harry Crigler’s American Band
1991 Vol 21 – 5: John Robinson’s 10 Big Shows
1991 Vol 21 – 5: C.L. Brown – Circus Bandmaster
1992 Vol 22 – 1: Carl M. Frangkiser, School Band Composer of Many Names; Pt. 1 of 3
1992 Vol 22 – 2: Al G. Barnes – Master Animal Trainer & Showman
1992 Vol 22 – 2: Harry J. Lincoln – March King of the Ghost Writers; Pt. 1 of 2
1992 Vol 22 – 2: Windjammers to ACB Convention
1992 Vol 22 – 2: George M. Rosenberg a.k.a. George Rosey
1992 Vol 22 – 3: Harry J. Lincoln – March King of the Ghost Writers; Pt. 2 of 2
1992 Vol 22 – 4: Fred Jewell – One of the Best
1992 Vol 22 – 4: Cincinnati’s Park Band Concerts & Bandmaster Walter Esberger
1992 Vol 22 – 5: U.S. Navy Band of Washington, DC
1992 Vol 22 – 6: Invictus March - dedicated to Merle Evans; based on poem by William Ernest Henley
1992 Vol 22 – 6: Charles Duble, Circus Season 1947
1992 Vol 22 – 6: U.S. Air Force Band
1992 Vol 22 – 6: Campbell Brothers Great Consolidated Shows
1993 Vol 23 – 3: 1924 U.S. Army Band – Pershing’s Own; Pt. 1 of 2
1993 Vol 23 – 4: 1924 U.S. Army Band – Pershing’s Own; Pt. 2 of 2
CIRCUS ON THE MOVE
The traditional American circus traveled most of the time,

moving from town to town on a near-daily basis. Because
of the magnitude of equipment and personnel that had to
be handled, this was no small task. A circus was a virtual
city unto itself. It had to carry its own blacksmith shop,
barbers and beauticians, doctors and first aid unit, and even
its own post office, of which the bandmaster was often the
postmaster. A staff of cooks and waiters might serve over
a million meals to the circus performers and staff during a
typical seven-month season.
In the early 1900s, most of the larger circuses traveled by

rail, benefiting from the comforts and speed of train travel.
These characteristics, as well as the larger bands and more
distinguished bandmasters of the big circus units, were
also quite appealing to circus musicians as their alternative
was to join a wagon show – also known as overlands, “mud
shows,” or caravans – that were pulled from town to town
by horses. As technology advanced, the wagon shows were
converted to truck shows. Just before the Depression, the
largest truck show was Downie Brothers Circus, and next in
line was the Mighty Haag Show.
Ringling Brothers Barnum & Bailey’s Combined Shows, 1923 RBBB Courier back page - 100 Rail Cars
Sells-Floto Circus, Paw-Sells Brothers, Cole Brothers, Clyde From the Chris Berry Collection
Beatty, and the Al G. Barnes Shows were all notable early
examples of circuses traveling via rail. Sells-Floto had 40 Unit ... and it was divided into seven rooms. More senior
cars, Robbins Brothers had 25, and Sparks Circus had 20. members could go to larger spaces on another car. Per
At its peak, the Ringling Brothers and Barnum & Bailey’s the contract between Feld Entertainment and the American
Circus required over 100 rail cars. Flat cars seventy-two feet Federation of Musicians, the rooms for circus band members
long were used to carry the circus wagons and other large had to be at least 7’ by 7’ in floor space, not counting bed
equipment. Secure stock cars were used for carrying the and counters. This provided musicians with extra space
animals, and sleeping cars housed the circus performers, for their instruments. [Read trombonist Megan O’Malley’s
roustabouts, and musicians. Musicians generally had the article on the Ringling Red Band Railcar in the July/August
space advantage! 2018 Circus Fanfare. Available at mywju.org]
In modern times, Ringling operated two circus trains, one for For the adventurous, the circus life was a good life,
the Blue Unit and one for the Red Unit. These were more made exciting by the daily applause and occasional
than one mile (1.6 km) in length with 36 passenger cars, mishaps, accented nightly by the clickity-clack of the train
4 stock cars, and 20 freight cars. The bands were smaller rolling across the nation, and comforted by the close
then, comprised of nine musicians. They had a designated companionship of others who also essentially knew no other
rail car as their quarters ... it was RBBX 41406 for the Red life but the circus.

OBITUARIES
Robert F. Zellner, WJU #2969

Robert F. Zellner, 88, of Palmyra, formerly of Gettysburg, East Stroudsburg, and Nazareth, PA, died Saturday, August 21,
2021, at Londonderry Village in Palmyra, PA, ending his battle with Parkinson's disease. Robert was a Windjammers
Unlimited member 2003-2007, playing saxophone. He spent 12 years as the Director of Bands for the East Stroudsburg (PA)
Area School District. He then joined the music faculty at Gettysburg College, where he served as Director of Bands and Music
Department Chair. He retired in 1998, after 30 years of service at the college. Zellner also brought music into the community
by organizing many community bands in Gettysburg and by conducting the Harrisburg Concert Band for 12 years. In addition
to conducting, Zellner also enjoyed performing in various instrumental ensembles, especially Big Bands. He is survived
by his wife of 66 years, Arlene Heckman Zellner, and two children: Kathy Saxton (John) and Gary (Carol). He had three
grandchildren and two great grandchildren.
Thomas H. Shellenberger, WJU #2056

Thomas H. Shellenberger, 73 of Williamsport, PA, passed away at his home on September
2 surrounded by his wife of 52 years, Judy (WJU #1710), and his daughters. He was born
in Lewistown, PA on September 14, 1947, the son of David A. and Beatrice Shellenberger.
Tom was a graduate of Juniata Joint High School in Mifflintown in Pennsylvania’s beautiful
Juniata County. After graduating from Mansfield State College, he pursued graduate
studies at Temple University, Villanova, the University of Louisville and SUNY Potsdam.
He participated in several jazz workshops at the University of North Texas.
Tom served as church choir director starting in 1970 through 2018 at High Street Methodist
Church (now Sojourner Truth), Covenant Central Presbyterian Church, Pine Street United
Methodist Church and First United Methodist Church. In the course of his musical career,
he taught in the Williamsport Area School District from 1970 to 1974 and Loyalsock Township Middle and High Schools from
1974 to 2004. His credits include musical direction of more than sixty high school and community theater productions. His
favorite roles to perform were Charlie in the musical “Shenandoah” and Harold Hill in the musical “The Music Man”. He also
loved being The Model of a Modern Major General in the “Pirates of Penzance” as well as Judge Turpin in “Sweeney Todd”.
One of his proudest moments as musical director was the production of “1776” at the Community Theater League.
Tom directed the choruses of Gesang Verein Harmonia (German Club) from 1975 -1986 and brought home many first place
trophies from competitive singing at the annual Sängerfests throughout the state. His high school vocal jazz ensemble,
“Knight Music”, helped pioneer vocal jazz in north-central Pennsylvania and received statewide recognition for its greatness.
Additionally, Tom presented numerous jazz clinics in New York and Pennsylvania and served as the Choral Reviewer for the
PMEA News. In 1998 he received the PMEA “Citation of Excellence” award. He was the former ACDA Jazz Chairman for
Pennsylvania. In 1994 he founded ”VJQ” the Vocal Jazz Quartet, an SATB group for which he arranged most of the music.
VJQ has been recognized for their vocal excellence, their unique sound and extensive jazz repertoire.
In 1998 Tom founded the Gatehouse Singers, a choral group that ministers to hospice patients and their families. He was
a member of the Masonic Lodge, Scottish Rite, Valley of Williamsport, the American Choral Directors Association, The
Association of Concert Bands and Windjammers Unlimited.
Tom was predeceased by his parents and brother, James E. Shellenberger. He is survived by his wife, Judith B.
Shellenberger, and daughters Anna L. Radspinner (Matthew) and Carol E. Schwanger (Daniel). Also surviving are seven
adorable granddaughters (Megan, Libby and Nina Radspinner and Madelyn, Eleanor, Miriam and Beatrice Schwanger) and
his brother, David N. Shellenberger. A “Celebration of Life” service was held at Covenant Central Presbyterian Church in
Williamsport on September 11th with the Rev. Richard D. Waters officiating. In lieu of flowers, memorial contributions may be
made in Tom’s name to the Williamsport Symphony Youth Orchestra, 220 West Fourth St., Williamsport, PA 17701.

member spotlight
DONALD R. ALBRIGHT, WJU #504
middle schools in the city. Later, he was at Trexler Middle
School. While the trumpet is Don’s primary instrument,
because of his teaching role he is able to play all band
instruments. Over the years, hundreds of “beginning” band
students benefitted from Don’s musical tutelage. It was a
challenge he thoroughly enjoyed.
Don Albright has a number of passions, and music, trains,

and travel are at the top of the list. In 1966, Don formally became a member of the famous
Allentown Band, a band claiming to being America’s oldest,
Don’s dad was a carpenter in Allentown, PA, and his having been established in 1828. Thus, for the next ten
parents were not musicians. However, when Don had the years Don played under the baton of the man who began
opportunity as a nine-year-old to take up an instrument, teaching the 9-year-old boy how to play cornet. With the
he instantly picked cornet and found a native talent for Allentown band, Don became assistant conductor, librarian,
music. He benefited from having lessons from Bert Meyers and solo cornetist. During this time he got to know Leonard
(Albertus L. Meyers 1890-1979), a music conductor and B. Smith (WJU #230; WJU Hall of Fame 1985), who would
cornet player who gained fame as the bandmaster of the be an occasional guest conductor.
Allentown Band for fifty years (1926-1976). West Park,
where the Allentown Band provided pubic concerts, was Don became known as a respected professional musician,
within walking distance of the Albright home. performing with the Allentown Symphony (for 10 years,
playing percussion), the Allentown Shrine Circus Band and
Progressing rapidly in his musical studies, he participated in numerous other concert, dance, German, and Italian bands.
each musical opportunity possible. In the Allentown High And perhaps even an occasional polka band.
School that meant orchestra (playing string bass), concert
band, marching band, pep band, and dance band. He knew When the Shrine Circus would come to town, Don would
early on a musical teaching career was in his future. be invited as one of the locally hired musicians to be in the
band. So, he gained some real “windjammers” experience.
Given his career aspirations, what is now known as West He even made friends with one of the elephants and
Chester University of Pennsylvania (WCU) was a logical believes that on subsequent circus trips to Allentown, that
college choice. The school, located about 70 miles from elephant remembered him!
Allentown, was known as West Chester State Teachers
College until 1960 when it was renamed West Chester Don was married and, in 1980, divorced. Their daughter,
State College and its curriculum offerings broadened Wendy Mae, is now a research nurse at the University of
to move the one-time academy into a comprehensive Kentucky in Lexington. His step-daughter, Kristina, lives in
college. WCU is now the largest of the 14 state universities Schnecksville, PA.
of the Pennsylvania State System of Higher Education
and the sixth largest university in the Commonwealth Along the way, Don learned about Windjammers Unlimited
of Pennsylvania. While there, Don was in the school’s and was intrigued. He also appreciated that the Annual
orchestra. He earned a Bachelor of Music degree, and later Conventions were in Florida, a favorite location of his. So,
on, a Master of Music Education. in 1980, he joined as WJU Member #504 and attended
his first Convention. As a result, he also got to know Paul
Upon graduation, Don was back in Allentown as the band Yoder (WJU #270; WJU Hall of Fame 1986) along with other
director at Francis D. Raub Middle School, one of four participating notables of that era. Don was an outstanding

addition to the solo cornet section and was soon one of our Riding trains is fun, too, but for Don, getting behind the
regular conductors, usually getting assigned the overture for wheel of his Mustang or one of his other vehicles (for
the center ring concerts. example, a turquoise van back in the day!) is a love as well.
Don has driven to all the States except Alaska and Hawaii
Ringling bandmasters and Windjammer members Merle (and he has flown to Hawaii on vacation.)
Evans (WJU #22; WJU Hall of Fame 1974) and Bill Pruyn
(WJU #914; WJU Hall of Fame 1997), and Clyde Beatty - Traveling with the Allentown Band over the years also took
Cole Bros. bandmaster Charles Schlarbaum (WJU #61, WJU him to Switzerland, Germany, France, and China. When he
Hall of Fame 2007) were significant influencers. Don also took a sabbatical from teaching, he traveled to the French
got to know Robert Hoe, Jr. (WJU #129; WJU Hall of Fame Polynesian island of Bora Bora, loving the location, views,
1975) and participated in recording a Heritage of the March people, and culture.
LP.
In his forty-one years with
Don became a Windjammers Unlimited trustee in 1987, and Windjammers Unlimited,
in 1995 was the host of our summer meet in Allentown. For Don has been a significant
a number of years, he was also active behind the scenes as contributor, and a player
the one running the copying machine to produce the music of more notes than we can
we played. For the four years 2004-2007, he was our tenth imagine. For many years
WJU president. Don counts Mike Montgomery (WJU #962 ; he sat in solo cornet chair
WJU Hall of Fame 2012) as another that had a big influence #1 of the rehearsal, concert
on him. and Sailor Circus band
sessions.
Like many of our founding Windjammers members, Don
had a special fascination with trains. In Don’s case, he It’s been a blessing to have
accumulated a “ton” of scale model trains... literally (almost). Donald Albright as part of
While many have model trains in their basement, Don’s our organization, and as
passion was for the much larger G-scale models. The track we wrap up celebrating our
for his was in his backyard and the engines and cars were of 50th year, we salute him! Donald R. Albright
the two-foot variety. A serious collector with more than 200
units, Don would put them on display at train events/shows.
WINDJAMMERS CONTACT INFORMATION

Windjammers Unlimited, Inc. is a 501(c)3 circus music historical society in the education category. It was founded in 1971 with the goal of
preserving traditional American circus music. The organization generally holds its annual convention in January in Sarasota/Bradenton,
FL and a summer meet in July at varying locations. Windjammers Unlimited, the WJU Logo, WJU, and Windjammers Circus Band, among
others, are trademarks or service marks of Windjammers Unlimited, Inc. Other product, service, organization and company names mentioned
herein may be the trademarks or service marks of their respective owners and no rights therein are granted by WJU.
Windjammers membership is open to all of those interested in the preservation, education and/or performance of traditional American circus
music. We welcome playing and non-playing members alike. Membership Dues are for the period January 1 through December 31 and are
pro-rated quarterly for new members joining after March 31 st. Current annual dues are $20 for Student members, $50 for Individuals, and
$60 for a Family membership of two members residing at the same mailing address. Optional Tax-Deductible Donations are welcomed. Our
Membership Application and additional information can be found on our website at . Student and International Members must
opt for Circus Fanfares as PDFs. The Circus Fanfare is published bi-monthly. Please email with comments/
suggestions.
Our address is: 1169 Belle Meade Island Dr., Miami, FL 33138-5253
Our website is: . Officer and Trustee contact information is shown on Page 2.
PLEASE CONTINUE YOUR WINDJAMMERS UNLIMITED MEMBERSHIP BY

RENEWING TODAY FOR 2022

THE HENRY FILLMORE PROBLEM
By Andy Glover, WJU #423
Note: The views presented in this article are those of the author. They do not represent those of Windjammers
Unlimited, the author’s employer, or any other individual or entity.
In the September/October 2021 Circus Fanfare, Paul In the world of music, social concerns have come to the
D’Angelo offered an opinion on the legacy of composer forefront in recent years. We wonder, “Where are the
Henry Fillmore, and issues related to some of Fillmore’s women composers? Where are the black conductors?”
musical works. I hope to present considerations There are many factors which explain “why”, but the move
which hopefully might offer different and thoughtful to include more women and black and other previously
perspectives. underrepresented groups in these and other areas of
endeavor, like other social changes, is a slow and frustrating
Throughout civilized history, society has changed in process.
ways which show a clear desire to be progressive and
engender social reform. The document which declared At Barnhouse, we have been criticized for a lack of diversity
Americans independent stated that “all men are created among our composers; and I agree with those criticisms.
equal,” but while noble in principle, this statement was A growing number of customers want to diversify their
not fully truthful, as many citizens were denied the rights programs by playing music from non-white/non-male
held by others. composers, and by composers from other under-represented
groups. I know there are many such composers out there,
In a 1974 address, Rep. Barbara Jordan challenged but I am flummoxed at how to get them to come to us and
the opening words of the U. S. Constitution – “We, the submit music. Part of that problem may well be due to a
people” – as not having included her, a black woman. It black or woman composer looking at our catalog, seeing a
seems unthinkable to many Americans that segregated company run by white males, whose catalog is at least 80%
hotels, water fountains, lunch counters, schools, and music from white males, and feeling that they might not be
many other elements of daily life existed a few short welcome. This is a strong symptom of systemic racism.
decades ago. We have launched initiatives to examine how we attract
composers, and what can be done to better diversify our
The evolution in our collective conscience with regard catalog. We are seeking more ways to bring about diversity
to equity – extended also to include, in addition to race, and equity.
gender, sexual preference and identity, class/income
level, education, and other factors – has continued to Some might – and do – look at our catalog and question
better recognize and work toward repairing wrongs the appropriateness of some of our content. After reviewing
of the past. But there is so much more to do: racial our catalog, and after urging from many individuals who
discrimination persists, although it is not as ubiquitous contacted us to express their feeling that certain works
as it once was (although it can be terribly pervasive.) were not appropriate for performance or classroom use,
The same can be said for challenges faced by women in we have taken a number of items out of print. That is not
the workforce; yes, women have more opportunities than because these works have become inappropriate over
a generation or two ago, but in aggregate they are still today’s sharper sensibilities on equity and appropriateness;
paid less than men. It is good that positive change is those works always were inappropriate, and the sensibilities
happening, even if it is a frustratingly slow process. always were there – they just were not articulated and
discussed and voiced as they are now.
Of course, not everyone agrees. In recent months,
issues of social concern have been brought to the Now, to Henry Fillmore. The most contentious issue is
forefront – the murder of George Floyd, a particularly the fifteen works as part of the “Trombone Family” that
contentious and divisive national political situation, the Fillmore wrote. Some of the titles, most of the subtitles,
ongoing discourse over reproductive rights, and others. and the nature of these works clearly reflected the ugly and
Many are passionate about engendering reforms which unfortunate stereotypes of black Americans in the early 20th
stop the disproportionate killing of black Americans, century. The advertising put out by the Fillmore Bros. Co.
about trying to heal a divided nation, about allowing is particularly terrible and horrifying. Some people don’t
women safe choices for themselves – and as passionate see what the problem is; some think these works should
as those individuals are, there are others who have no longer be performed; some think Henry Fillmore’s music
opposing views. should be banned - and there are opinions of varying
degrees in-between.

It is past time we acknowledge these works represent Henry Fillmore. But I am convinced that the Trombone
unabashed racism, and should therefore be removed from Family illustrates that Fillmore was indeed racist – as
use; but not from history. The provenance of these works were the vast majority of white Americans of his time. And
strikes at the absolute core of the very worst of racism and continuing to play the Trombone Family is an example of
social injustice in American history, and they tarnish the perpetuating racial stereotypes in music.
reputation and legacy of Henry Fillmore.
We should remove the Trombone Family from our cycle
In trying to do the right thing in this (and similar) matters, of music to perform, but I don’t believe we should ban all
the greatest flaw in logic and reasoning seems to be that Fillmore music. His contributions to band music are indeed
many who “don’t see what the problem is” are not from substantial. So let’s play “Americans We” and “His Honor”
the group that was stereotyped, marginalized, oppressed, and “The Footlifter” – but let’s leave out “Pahson Trombone”
degraded, or defamed by the musical works in question. and “Little Rastus.”
That is, white people can’t have the same take on these
works that a black person would. We are all products of Does Fillmore’s name need to come down from the rehearsal
our backgrounds, upbringing, and circumstances; and we hall in Miami? That’s entirely for the University to decide – a
all have different and varied backgrounds, upbringings, and university which is keenly aware of social responsibility and
circumstances. We must look at issues like these not only equity. They have enjoyed the bounty of his generosity,
from our own perspective, but try to be empathic with how a bounty which was generated in part by royalties from
others would view them. We must think progressively, and “Lassus Trombone” and “Shoutin’ Liza Trombone” and others
try to understand the feelings of others. – but from a man whose name now is poison to some.
The recent Circus Fanfare article pointed out that Fillmore Yes, Fillmore’s bequest to the university was a generous
left the bulk of his estate to the University of Miami music one. But perhaps the present and future harm in lauding
department. It was a sizeable estate, and a generous gift. him, while several of his signature and most popular works
As awareness of the problems surrounding the Trombone are undeniably joined at the hip with the ugliest of racism,
Family has increased, the University is seeking to remove is not appropriate. I’m sure one question the leadership of
Fillmore’s name from their rehearsal hall. This notion was the University must ask is, “When you see Henry Fillmore’s
first presented by university students who felt it was wrong name on the room, what do you think of?” This question
to have a facility named for the man responsible for the should be asked not just by administrators at the school, but
Trombone Family works. students, alums, and faculty of all backgrounds.
In D’Angelo’s article, he points out, but does not cite Finally, I want to reiterate that it is my earnest wish that all
references, that Fillmore “honored black musicians,” and Windjammers consider this and similar matters thoughtfully
was a “fan of Scott Joplin.” He opines that Fillmore was and deeply. We are not a very diverse organization, and
not racist. He asks Windjammer members to object to the there must be reasons for that. Try to have empathy for
University’s decision to rename the rehearsal facility, and to those who are not like you, while recognizing that you can
leave Henry Fillmore’s name on it. have empathy while never being able to fully understand
how those of other races, genders, etc. feel about this or
Because this is a complex and passionate issue, this matter other matters.
can be addressed by a very extreme range of opinions.
Calling someone a “racist” brings to mind, for most of us, There’s a lot of wonderful music out there that doesn’t
somebody who routinely spews racial epithets and displays include the potential of offense or inappropriateness – let’s
outward hate, and even violence, toward those of a certain focus on that music, and in being more understanding of
race or races. By all accounts I have seen, that was not others.
“100 Railway Cars” - Back Cover Comments

By Chris Berry, WJU #3959
This iconic “100 Railway Cars” (Strobridge Litho Co.) lithograph was used in 1925 to promote not only the magnitude of the
Ringling Bros. and Barnum & Bailey Combined Shows, but also the fact that on the morning of circus day there would be a
“free show” as the trains unloaded in the local railyards. This city on wheels usually traveled in four sections, with the first train,
“The Flying Squadron” often leaving before the final performance was complete and arriving before dawn. Although the train
in the 1920s often included nearly 100 railway cars, by 1947 the Ringling circus required 107 flats, stock cars and coaches
to carry the show’s equipment, musicians, performers, crew, and animals. Several posters showing the trains unloading
were produced over the years, but this is my personal favorite. The artist’s perspective with the mountains and rail cars in
the distance is outstanding. In addition, the activity seen in the railyards is nearly as exciting as what will be seen during the
performance.
windjammers unlimited, inc NONPROFIT ORG
U.S. POSTAGE
mywju.org
1169 Belle Meade Island Dr. PAID
DENTON, TX
Miami, FL 33138-5253 PERMIT NO. 438
This issue of the Circus Fanfare was printed by

Gainesville Printing Co., Gainesville, TX
“100 Railway Cars” lithograph poster (1925) from the Chris Berry Collection

2021 06 WJU Circus Fanfare NOV DEC

Uploaded by

Copyright:

Available Formats

2021 06 WJU Circus Fanfare NOV DEC

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

2021 06 WJU Circus Fanfare NOV DEC

Uploaded by

Copyright:

Available Formats

NOV/DEC 2021

VOL. 51 NO. 6 ISSN 1056-1463

1971 It’s All About the Music! 2021

Vice President & Trustee * Editor & Trustee * Trustee ** Trustee **

Secretary & Trustee * Webmaster Trustee * Trustee **

Windjammers Unlimited, Inc. * Trustee until 1/1/2023

windjammers unlimited hall of fame

2 November/December 2021 mywju.org

PLEASE RENEW YOUR MEMBERSHIP

ANNUAL DUES UPCOMING EVENTS

Windjammers Unlimited - Circus Fanfare November/December 2021 3

MISSED THE 2021 VIRTUAL SUMMER CORRECTION

AMAZON SMILE SIDE NOTE

ADDRESS CHANGE? [email protected]

4 November/December 2021 mywju.org

+ Indicates Center Ring Concert titles

Windjammers Unlimited - Circus Fanfare November/December 2021 5

Musician’s Union 1942 Music in Emergencies

The circus had the band back the following year.

Circus Street Parades

6 November/December 2021 mywju.org

The average three-hour show requires approximately 200

The circus performance is made up of many diﬀerent acts,

Windjammers Unlimited - Circus Fanfare November/December 2021 7

In 1941 a special act was planned for the elephants

John Ringling North telephoned Stravinsky and asked him to

For their entrance, the clowns use a fast galop like

8 November/December 2021 mywju.org

Wild Animal Acts

10 November/December 2021 mywju.org

Prior to his April 16, 1919 to

12 November/December 2021 mywju.org

• Bostock & Wombwell’s Menagerie Band contributed to

• In June 1885, Bostock & Wombwell’s Menagerie were at

14 November/December 2021 mywju.org

Windjammers Unlimited - Circus Fanfare November/December 2021 15

In 1934, the Cristiani Family suspended their circus

After touring with Ringling and other circuses for a number

Recently, Don Covington (WJU #119), Andy Glover (WJU

Since most of the announcements were edited out, we could

16 November/December 2021 mywju.org

Act 4 - Clowns Act 12

Act 6 Act 14 - High Jumping Horses

Act 8 - Oscar Cristiani Elephants Act 16 - Cannon

Windjammers Unlimited - Circus Fanfare November/December 2021 17

In 1991, Art Stensvad authored

18 November/December 2021 mywju.org

Clarinet player Bob Harrison, WJU #8, was a circus gig

Just like traditional circus music, however, memories of

Windjammers Unlimited - Circus Fanfare November/December 2021 19

He later transferred to the Mechanical Engineering

In 1952, Prince joined the Mechanical Engineering

Prince’s association with the railroads went well beyond

Here are his titles: Atlantic Coast Line Railroad; Central

With the launch of the new and improved Windjammers

Richard Edward Prince was born January 5, 1920, to

During his WWII service, Prince obtained his 3rd Assistant

20 November/December 2021 mywju.org

The traditional American circus traveled most of the time,

Vice President & Trustee * Editor & Trustee * Trustee Trustee