Eddie Bohlin ran away from home in Orebro, Sweden at age fifteen, hoping to find an apprenticeship as a silversmith. He was unable to find a position and instead worked his way to America on a four-masted schooner, arriving in New York in 1910. As he had been raised with horses, he headed for Montana, where he soon found his first job as a wrangler, rounding up more than nine hundred horses to be sold in Miles City, then the horse trading capital of the world.
For several years Eddie worked as a cowboy on long cattle drives, both on horseback and as a hand on the freight trains that took cattle to the Chicago stockyards. Bohlin had an aptitude for art, this inspired him to attend the Art Institute in Minneapolis for four months. There he learned the basic concepts that later results in his artistic masterpieces
Bohlin had not given up his earlier dream of becoming a silversmith. While working on the Pitchfork Ranch on the Greybull River in Wyoming, Bohlin made a three-piece buckle set from copper, using a jeweler's blowpipe to heat the metal as in a forge.
These and other artistic achievements, along with his art training, encouraged him to open his first silver and saddle shop in Cody, Wyoming, just across the street from Buffalo Bill Cody's Irma Hotel. It was in this shop that he created his first fancy silver-mounted cowboy gear.
While in Billings, Montana, on a buying trip for his shop, an event occurred that changed his life. Billboards around town advertised a vaudeville performance with live horses on the stage, for which he purchased a ticket. Bohlin recognized one of the act's performers from one of his earlier cattle drives and was introduced by him to the show's manager. When Eddie showed the manger some of his rope tricks that he had picked up along the way, he got hired. The vaudeville act, no matter how small-time, eventually gave Bohlin an unexpected break.
In Los Angeles, while performing at the new Pantages Theatre in 1922, Eddie heard a loud voice call out from the audience, "Hey kid! What do you want for the coat?" The fellow had spotted Eddie's coat of black, white and tan calfskin that he had made for himself. "Thirty-five dollars," Eddie yelled back. When Eddie returned the following night, the coat was gone from his dressing room and in its place was a thirty-five dollar check with Tom Mix's picture and name on it.
In those days the cowboy star Tom Mix (1880-1940) was one of Hollywood's most popular actors. Mix asked his friend and business associate, Pat Christman, to invite Eddie to the studio and to bring some silver and leather goods with him. Tom Mix quickly purchased various items, including the silver decorated boots Eddie was wearing at the time, for seventy-five dollars. Mix strongly encouraged him to stay on in Hollywood to produce silver and leather items for the studio market.
With this exciting encouragement, Eddie immediately gave two weeks' notice to the vaudeville troupe's owner and started looking for a place to set up shop. He was fortunate enough to persuade the First Baptist Church in Hollywood to rent him part of their building on the corner of Cahuenga and Selma Avenues.
The rapid success of his business soon required him to move the shop to larger quarters. He occupied a series of addresses on Cahuenga and Selma Avenues, and hired many skilled leatherworkers and silversmiths to augment his own skills and vision.
Tom Mix, his first great customer and friend in Hollywood, was joined by many other film stars, who assured Eddie of a built-in clientele. This connection with the studios quickly brought him the job of supplying the Egyptian-style chariot harnesses for Cecil B. DeMille's "The Ten Commandments," in 1923, and twenty Roman-style chariot harnesses for MGM's 1925 production of "Ben Hur." Another early studio job was supplying two hundred buckskin suits for Universal's 1923 movie "The Days of Daniel Boone." This order alone came to more than four thousand dollars, a huge sum in those days.
Bohlin's relationship with Tom Mix coincided with the beginning of the era of the super fancy movie cowboy, and his skills were matched by Hollywood's demands for spectacular goods in the Western style. In addition to the early custom work he made for Tom Mix, he produced a richly mounted custom saddle, bridle and breast collar for Buck Jones, and a pair of pistols inlaid with gold and silver for William S. Hart.
Soon, every successful Western star had to have Bohlin equipment for personal appearances, parades and the movies themselves. Eddie's movie cowboy customers over the next thirty years would include Ray "Crash" Corrigan, Ken Maynard, Rex Bell, Will Rogers, Leo Carillo, Monte Montana, Monte Hale, Gene Autry, Charles Starrett, William Boyd (Hopalong Cassidy), Roy Rogers, Dale Evans, Clayton Moore (the Lone Ranger), and Ronald Reagan.
Other prominent customers in the Los Angeles area included the P.K. Wrigley family and the banker Marco Hellman, who was Grand Marshall of the Rose Parade in 1929.
One of Bohlin's custom saddles was owned by two popular and durable Western actors. Ray "Crash" Corrigan (1902-1976) ordered a special saddle and tack from Bohlin in 1938 which he used in about forty movies. Corrigan appeared in dozens of Westerns and starred with John Wayne in twenty-four episodes of the 1930s serial "The Three Mesquiteers."
In 1945 he sold his splendid Bohlin saddle to his friend Charles Starrett (1903-1986), best known to Western fans as the "Durango Kid." Between 1926 and 1953 Starrett starred in 130 Westerns (out of a total of 167 films), more than any other Western actor. Starrett used the Corrigan saddle in all sixty of his "Durango Kid" movies, bringing the saddle's total number of movie appearances to around 100 films.
Although the fancy saddles Bohlin designed for cowboy stars provided him with great publicity, his stock designs sold to private horsemen were probably his greatest source of day-to-day income. The most luxurious of these made the movie saddles seem understated by comparison. One of the most spectacular of his stock saddles was the "Fiesta" model. In addition to its elaborately tooled leather, the saddle was heavily mounted with chased and engraved silver openwork plates and conchas, and further adorned with eighteen three-color gold steers' heads with ruby-colored gemstone eyes and other gold ornaments.
Understandably the "Fiesta" model was very expensive. Requiring more than six weeks of work, its list price in the 1941 catalogue was $1,255. In 1941 the average cost of a new automobile was $925. (Bohlin's most expensive stock saddle in the 1941 catalogue was the "P.K. Wrigley" model. With all of its matching tack, the saddle's list price was $5,750.)
Bohlin also designed and produced nearly ninety percent of the hundreds of silver-mounted parade saddles used in the Tournament of Roses Parade in Pasadena, California. In all, between 1923 and 1980, the Bohlin Shop designed, produced and sold more than twelve thousand saddles, most of which were extensively adorned with sterling silver ornamentation.
Unquestionably the most spectacular and unique example of his artistry was his very own parade saddle, lovingly fabricated with gold and silver over a fourteen-year span and finally completed in 1945. The seventy-pound saddle has gold and silver relief carvings that depict in minute detail scenes of western life and game animals of the Pacific Slope. When completed it was considered the most expensive parade saddle in the world with a value in excess of $125,000. Gene Autry later purchased it for an undisclosed sum. It is now in the collection of the Autry Museum of Western Heritage in Los Angeles.
Eddie Bohlin skillfully combined many talents. He brought his extensive experience with horses to the trade, which led to him inventing a fiberglass saddle tree (the inner frame of a saddle) that is lighter and stronger than the wooden ones. He was a strict taskmaster of the old school of hard work and incredible quality. He was a great idea man and had the amazing ability to find and employ the best craftsmen in the entire trade.
He was a true master of design and engineering, and would start a project and direct his master craftsmen in its completion. Bohlin employed tool and die makers, leather craftsmen, engravers and saddle makers all working together in unison. On occasion his payroll included thirty-five employees.
His shop was one of the best equipped in the world. Its capabilities included the processing of sterling silver from ingots into sheets of different thicknesses and then, using dies, stamp any needed shape of ornamental silver, many of which were then further hand-engraved and finished. Bohlin manufactured his own rolling mill and drop hammer. He purchased his own punch press to stamp silver buckles and ornaments. Much of the silver was purchased from Goodwill Industries in the form of old sterling tableware and melted in his shop for tack ornaments.
After more than fifty years in the trade, the old master finally semi-retired in 1972. His longtime employee, Bud Phillips, ran the shop for him. Bohlin later suffered a stroke that left him paralyzed until his death on 28 May 1980.
Ed Bohlin history from Pitman Saddle Museum
Monday, October 3, 2011
Edward H. Bohlin--Saddlemaker
Edward H. Bohlin--Saddlemaker
Edward H. Bohlin Saddle Makers of the Stars by James Notage, published by Gene Autry Museum
Edward H. Bohlin--Saddlemaker
I am not sure about this saddle at the Gene Autry Museum. It look's like it may be a Ted Flowers saddle. Or maybe a Bolin. Has anybody been to the museum that can confirm the maker of this saddle?
Gene Autrys Bolin on display at the Gene Autry Museum
Edward H. Bohlin--Saddlemaker
Art depicting art. Oil paining of a silver and gold Bolin parade saddle, $16,000.00
Edward H. Bohlin--Saddlemaker
This Bolin Diamond Supreme was owned by Larry Hagman star of the tv series, Dallas
Edward H. Bohlin--Saddlemaker
This Bohlin Taxin model gold and silver parade saddle sold for $63,250.00
Edward H. Bohlin--Saddlemaker
P.K. Wrigley's Bohlin with matching tack was made for $5,750.00 in 1941. The average price of a new car was $925.00
Bill Wrigley's Bohlin in the Catalina Island Museum
Edward H. Bohlin--Saddlemaker
This Bohlin Roy Rogers Diamond Special sold last year for $90,000.00 which was in my opinion, the "deal of a lifetime."
Black floral carved parade saddle mounted with engraved, silver diamonds and half-diamonds, 15 1/2" seat, Roy Rogers engraved on both the silver seat plate and on the cantle plaque. Bohlinmade football maker-mark on the front of the fully silvered, 3 1/2" cantle with rope edge, 24" long tapaderos, 2 1/2" Circle R, each tapadero, buffalo head on the silver rope horn, black & white wool corona. Matching Edward Bohlin Bridle and Breastcollar. Superb condition, c 1940s-1950s
Edward H. Bohlin--Saddlemaker
This Bohlin with matching headstall and breast collar is available for $55,000.00
This Bohlin with serapes, in perfect/pristine condition complete with matching headstall and breast collar is available for $95,000.00
Edward H. Bohlin--Saddlemaker
This Bohlin 1940's is for sale for $25,000.00
Bohlin ''The Ranchero'' sterling silver parade saddle, mounted with round floral decorated conchos, on the corners and around the perimeters, with sterling silver front binding, horn cap, swell caps and sterling silver Cheyenne binding.
Edward H. Bohlin--Saddlemaker
Bohlin parade saddle, 1925 for sale for $29,500.00
Bohlin parade saddle, 1935 for sale for $125,000.000
Edward H. Bohlin--Saddlemaker
This Bohlin classic sold last year for $30,000.00
Floral carved black Saddle, Bridle with Reins, Bit, silver mounted Corona (3rd skirt), Tapaderos and stunning Serape. According to Keith Seidel of Cody’s popular Seidel’s Saddlery, who completely renovated the entire outfit about 10 years ago, the saddle was originally made at Bohlin’s Hollywood shop in the late 1930s or early 1940s as a fully tooled roping saddle without silver. It was then returned to the Bohlin shop on several occasions to be mounted as evidenced by the Bohlinmade maker-marks on the silver added to the swell, skirts, and fenders. Again, at a later date (c. 1950) the third skirt (corona) was added as well as the serapes and the tapaderos, plus the matching bridle and breast collar.
Edward H. Bohlin--Saddlemaker
This Bohlin one of a kind sold at auction for $242,500.00
Edward H. Bohlin's "TAXIN" model black, floral carved silver and gold mounted parade saddle with three-dimensional gold rodeo scenes on the corners including bareback riders, bronc busters, bulldoggers, calf ropers and steerheads. Round figural horsehead conchos on the corners and around the perimeter. Let 'er buck cowboy on the silver horn. Long 25" tapaderos with a large central silver medallion and gold RR letters stacked just below. ROY ROGERS engraved onto the Bohlin seat plate. Stylized Cheyenne cantle with raised gold RR initials on the rear and a rope edge. Matching Bridle with square ferrule reins, massive Breast Collar and regal Hip Drops. This saddle was Roy's last and most ornate parade saddle. It was displayed on Trigger Jr. at the Branson museum.
Edward H. Bohlin--Saddlemaker
This classic Bohlin sold last year at auction for $40,000.00
Brown, floral carved San Gabriel model Ed Bohlin, sterling silver-mounted Hollywood Parade saddle with tapaderos patterned after The Roberts. Made on a Miles City tree with three-quarter flat rigging, rose pattern carving, mounted with heavy gauge sterling conchos depicting Indians, Buffalos, Eagles, Horseheads, Longhorns, and Let ‘er buck Cowboys. The saddle has 20" long tapaderos, 15" seat, solid silver rope edge front, all completely covered with intricately engraved sterling. 4 1/2" high cantle mounted with a silver plaque bearing the initials SOL plus Ed’s trademark shield silver seat plate and raised buffalo head on the horn cap. The outfit includes a matching Bohlin bridle with a Visalia humane bit and a breastcollar that has been widened and embellished with diamond and half-diamond conchos. Brown & white Bohlin wool corona is also included. The saddle has a rich brown color and impressive overall appearance. Silver is in fine condition, however, there is evidence of leather flaking and slight loss around the edges and on the tapaderos.
King Bros. Cristiani Circus
A lot of thing's about the "good old day's" weren't so good, particularly if you were a hippo or a polar bear.
Saturday, October 1, 2011
When you are one of the best at what you do, lesser folks will try to tarnish that.
It looks like Pablo has hired most of Dr. Josip Marcan's staff. :) I have to find out what employment agency they use.
The animal rights movement is not above printing/posting false or misleading information about anybody, if it will advance their agenda. They depend on the "ignorance", no disrespect intended, of the general public they are dealing with to not see through the false claims. The animal rights movement, like all organizations that have an animal base, like the circus and zoo's, also have nitwit's operating on their own, issuing false or damaging statement's, under the guise of "knowing what they are talking about" or that they are actually somebody of importance to the prospective organizations. Their uneducated responses and video tapes are then attributed as fact to the organizations they claim to be speaking for.
The clip above was posted on January 24 by one such individual with no affiliations other then claiming to be an animal activist with this allegation, roughly translated:
Assistant rejoneador Pablo Hermoso de Mendoza Saramago kicking the horse in bullfighting during the run of January 23, 2011 at the Plaza de Toros de Santamaria. The palomino-colored horse was apparently pretty disturbed by particulate matter in the hull.
Before this recording, the assistant and some already had beaten the horse fist on the nose with the hand and stomach with the stirrup.
That day Pablo Hermoso won four ears and a tail. The newspaper El Tiempo said it was "an unforgettable evening in Santamaria," since the newspaper said this was not granted since 1956.
In the clip we see an obviously nervous stallion, worried about commotion going on behind and to the side of him. Any of you horse people ever been there done that at some moment with a stallion or new horse? A pretty normal situation if you have dealt with enough horses of different personalities. The statement said: "Assistant rejoneador Pablo Hermoso de Mendoza Saramago kicking the horse." The translation made it even more misleading. The horse's name is Saramago and Pablo Hermoso de Mendoza is not the "assistant rejoneador" in the clip. Pablo is "the" rejoneador who owns Saramago and the person accused of "kicking the horse" is the "groom" or "assistant TO Pablo Hermoso. I see a nervous horse not going away from pressure as he has been taught, which can cause serious injury to a person on the ground if they should get pinned between the horse and a solid surface or wall. I see the assistant shushing the horse over with a grooming rag to let people pass behind. A grooming rag!!!!! That's a hand towel for you folks that don't know. Watch as the horse, startled, immediately swings back almost pinning the assistant to the wall. The assistant doesn't even have room to move his/her arm to shush the hip over with the grooming rag. At that moment it was self defense and the only recourse was to get your message delivered "loud and clear," GET OVER/GET OFF ME. Then and only then did the assistant "kick" the horse in the belly. Any of you horse folks ever been there done that in the same suddenly dangerous situation? I have, on more then one occasion. Note the groom pushing on the horse's shoulder and the horse pushing back? That's called "not going away from pressure" and that is how one large hundreds of pounds animal moves another large hundreds of pounds animal. But is can cause serious injury to a much smaller man or women. At the end of the clip note the assistant shush the horse's head up so he/she can wisely get out from behind the horse by going under it's head. Understand that when this clip was taken the horse had calmed down considerably. The clip below was shot a few minutes before the clip above and was posted in response to people asking "where is the abuse, and what was done wrong."
The second clip actually show's Pablo on the scene, and I appreciate the ignorance of the person who posted it, as it sure show's what truly happened. I for one would have responded, reacted, and done exactly what Mr. Hermosa did in the exact same dangerous, explosive situation. Pay close attention at :45. For you folks that have never "been there done that" you will see a horse attempt to kill someone.
The clip opens one horse pushing the other horse, described above, over and into a barrier. Had the barrier been knocked over, all hell would have probably broken loose. Don't forget these gorgeous animals called a horse are the same creatures who will, if turned loose from a burning barn, run around the back and reenter the burning barn to their death, in their panic not realizing what they have just done.
Pablo walks up, pushes the hip over, and shushes the head/shoulder over with his hand. The horse reacts as he should, with no contact other then the push, because Pablo is the Captain and that is as it should be.
At :15 there was apparently some problem with the Palomino, as he is being clipped to a tie rope and Pablo is walking over to the horse. Most conveniently that segment of the clip has been edited out or not filmed and we are not allowed to see what occurred. Imagine that moment is gone, and the "activist" did not want us to see it. LOL All we are allowed to see is Pablo walking over and slapping the horse in the shoulder. Which gives us a clue. Most likely the Palomino was leaning/pushing on the assistant, who was cleaning it's hooves, attempting to knock/push him/her down. Now, with Pablo there, the foot is picked up again. Then the clip is edited again as we aren't allowed to see what happened just before Pablo made the decision to turn the horse around and face it against the wall. Did the horse lunge into the assistants face in an attempt to free it's foot. We'll never know, but that would be the most logical explanation why they horse was turned around and faced into the wall. No place to go, the thug can't knock concrete in the mouth and drive it off it's feet.
At :35 we see Pablo bump/bang the Palomino in the rib's(not "beat the stomach" as stated) in an effort to get it over, to get it to "go away from pressure", to get it to quit leaning/pushing on he and the assistants. I have done the same thing hundreds of times to get a pushy colt to move over, that is leaning into me. It is a practiced endorsed by the best from John Lyons on down. Madame Col., if you are listening, every slapped a belligerent stallion over with a stirrup? Next we see the Palomino all of a sudden throw his shoulder into 4 people who together may weight what one horse does, and Pablo hit's it in the jaw(not the nose, as stated. That's further down on the horse's face.) which is bone, as in that instant the shoulder obviously wasn't going to respond, and the jaw can be enticed to move the shoulder. A common rule of thumb in dealing with horses is never hit them in the head, as they will become "head shy" and throw their head up every time you reach for them with your hand. That's basic 101. But a wise old horsemen, who had dealt with hundred's of stallions in his life, one time told me "there should be a footnote to that statement that say's, unless the horse has become unglued and has you pinned and is trying to kill you. In that instant, in addition to hitting him in the head, you should also try real hard to gouge his eyeballs out."
Next the horse is turned back around, as obviously he was more panicked facing the wall. Sometimes it works, sometimes it doesn't. Now we see the moment at :45 I suggested above that you note. I suspect the part that was edited out of the tape earlier was actually the horse's first attempt at killing the assistant which is when Pablo entered the scene. What we are actually seeing at :45 is the Palomino's "second attempt" at killing the assistant. The first clip posted was after this situation had occurred, and the horse had obviously calmed down, yet was still skittish and wired, which is why he was shushed over with the grooming rag then booted in the ribs. Pablo was by this time, probably assisting the assistant to the ambulance, or at least seeing that he/she made it to the infirmary.
I appreciate this "self appointed animal activist" posting these clips. They set the "cause" back a step, that's for sure. I don't appreciate some "self appointed circus animal expert" doing the same thing for my industry with their stupid statements and phony kool-aid video clips.
Pablo Hermoso and the other half of the "Centaur"
Amazing. Watch at 2:18 as this magnificent mahogany bay horse fakes the bull right into the dirt!!!!! Pablo Hermoso sure produce's incredible athlete's.
I don't know if this is the same horse or not, but watch at :45 when he steps to the right, plants his feet, then instantly throw's his shoulder 6 feet to the left to avoid the bull!!!!!!
Here is the same move at :57 with an extra effort to avoid the bull. Note the scampering side passes just prior. It takes something special for a horse not to tangle his feet at that speed.
This is a great aerial shot of Pablo giving the "peoples elbow" and also the final moments of a bull fight executed brilliantly.
Look at those 10 groomed, tacked and ready to rumble stallions standing quietly tied to the trailer. That will sure make you drool.
Cuadra de caballos de Pablo Hermoso de Mendoza
Friday, September 30, 2011
It is hard to believe that a few folks in this "intelligent world" are actually buying into this "ban the bull hook" insanity.
IDA once again needs your help to protect elephants at a proposed Florida holding/breeding facility to be constructed by a consortium of Association of Zoos and Aquariums (AZA) zoos.
The National Elephant Center received a permit in 2010 to build the facility in St. Lucie County, Florida, however, conditions addressing animal protection were attached to the construction permit. They included a prohibition on use of the bullhook, a steel-tipped metal rod resembling a fireplace poker that is used to control elephants through painful physical punishment and the threat of it.
Rather than comply with this important protection, the AZA backers looked for a new site. To ensure that animal protectors did not interfere with their plans this time, they applied for permits for the new Fellsmere, Florida, site using a fictitious name. The word “elephant” never appears in their application and related materials.
So far, the center has received permits from the city of Fellsmere and from the St. John’s Water Management District, both of which rushed through the center’s requests. Neither held a public hearing in which elephants were discussed, thus avoiding any attempts to force the center to provide humane treatment for elephants.
The center’s management plans do not differ much from that of zoos, and include breeding and a “revolving door” approach in which most elephants will be transferred into and out of the facility, preventing the establishment of healthy social groups and potentially separating bonded elephants or even mothers from their calves.
"Bovine calves grow up to become rib eye's and not "potentially" but "most assuredly" are separated from their mother's. Where are the nitwit's addressing that? That "bond" that is all the feel good rage at the moment, is a lot, lot shorter then most folks would honestly, intelligently, and factually care to admit."
IDA is seriously concerned for the welfare of any elephants who may be placed at the center, especially as the facility would not be subject to state open records law so no information could be obtained about their health and welfare. And we are extremely troubled by the close ties between at least two of the zoos on the center’s board of directors and the Ringling Bros. and Barnum & Bailey Circus.
"Why not establish close ties with one of the most successful elephant breeding programs in the world? Makes a lot of sense to me?
Has anyone ever seen a horse galled by some amateur riding them in an ill fitting saddle? Let's ban saddles. Ever seen a horse with bruised bar's because of some heavy handed nit wit? Let's ban bit's. Ever seen a horse with bloody flank's because some psychopath didn't know how to use a spur properly? Let's ban spurs. While we are at it, let's ban ice picks because some lunatic used one to kill someone else, instead of breaking off chunks of ice. Then let's ban scalpels, screw the doctor's, because some sick twist used one to maim someone else. Get real folks. Time to address the problem, not the cause. Then we won't have to ban chains, because some moron put it on his dog too tight, left him tied to a tree unattended where he strangled himself to death. Then we won't be walking around with our pant's down around our knee's because we banned belt's, because someone deserving of death, beat a child with one."
Russian Circus--Hippo's and Baboons
A common theme you will note, in these elaborately staged Russian animal act's is a lot of "Government funded" equipment, costuming, and people in the ring. The act's are seen for a year or two, then disappear. Has anyone ever asked, "where do they go?"
Thursday, September 29, 2011
Leave it to the Russians to Come Up With Something New and Bizarre!!!!
Bears, dogs, ostrich, ducks, geese, chickens, storks. Incredible
Unknown Act
Geez, how would you like to have to keep those lines from tangling up? Done well, I could see where this would be a very nice, different type of act combining liberty with Le Poste. Not done well, I could also see where it could turn into a real cluster f.
Geraldine Knie, 1993 Monte Carlo
Elena Pavlovich--Moscow Circus
This is sure a pretty, classy act. A few years ago when Sacha Houcke did a similar act on Ringling, with the music stopping when the horse's stopped, and starting when the horses started, many people including "supposed" expert's assumed the horse's were listening to the music and stopping when it stopped and starting when it started. The music follows the horse's, not the other way around.
"While an unfamiliar yet haunting melody reminiscent of Celtic rock music played in the background, four gray Arabians circled. As soon as the music stopped they all in unison hopped into the nearest hoop." Allen Pogue--Imagine a horse
Unknown Liberty Act
Does anyone have any idea who's liberty act this is? It appears to be "European" or the trainer has "European" roots as they waltz on the reverse, which is a standard "European" practice. Interesting split reverse as the reverse horse's reverse one at a time, and then change back one at a time instead of the standard group split. Also interesting was how they revered into the wheel. This is an unusual ring as it seems to have 3 openings and the animals exit out the front. You will note the great advantage to working on "dirt/prepared ring surface" when the animal are able to race at breakneck speed and still keep their footing. Virtually impossible on an artificial/rubber/ring mat surface of a building show. A nice act, but I much prefer the precision and tempo of a harnessed, checked up liberty act, as opposed to the "Born Free, Run Bambi Run" trend. You will note the horse's getting out of position a few time's and on the waltz the last horse only waltz's once out of 4 tries. That is because his nose is thrown to the outside and his inside shoulder is dropped as he shoves the other horse's. Just my opinion, but again I prefer a controlled precision as opposed to acting the damn fool. This act is for sale, by the way from
goldenstudioanimalsinc@yahoo.com
Question for John Milton Herriott: Why do you suppose there is a tendency for European act's to do a lot of their behavior's on the reverse, such as the waltz, while here in the Colonies it is normally done in the counter clock wise direction. Is it somehow "easier" on the reverse? Do you agree that a horse prefers moving in the counter clock wise(left) direction and many will really fight to get back in that direction, after being reversed clock wise(right?) Is it possibly easier to get a waltz out of them, if they think they are being reversed back into their preferred direction? I don't think I have ever seen a head to tail waltz done on the reverse, but it is standard practice in Europe to do a single waltz on the reverse.
Circus Carl Hagenbeck 1933-34 Southeast Asia Tour
Courtesy of Marco Kirsten
Marco Kristens Circus Williams
By looking for pictures of Circus Williams I came across
a Japanese website and found the attached pictures.
Thought you might get a kick out of it. The pictures
show the German Circus Carl Hagenbeck during its 1933/34
tour through Southeast Asia. One of the stops was
Japan (where the pictures were taken). Hagenbeck
arrived in Yokohama Harbor on March 22, 1933. The
circus then played Tokyo, Nagoya, Koshien, Fukuoka,
Minato and Osaka on 28 September and sailed
from Kobe to Shanghai on September 30.
Circus Carl Hagenbeck 1933-34 Southeast Asia Tour
Courtesy of Marco Kirsten
This is sure an interesting set of photographs. I wonder why the wheels were removed on this wagon before being placed on the rail car? Was it a necessity for transport or was the wagon disabled and in need of repair. In the photo's above it appears the other wagons are loaded with wheels intact. If the wheels of some of the wagon's had to be removed for transport, what a major pain that must have been in 1933.
Wednesday, September 28, 2011
For Toby Styles--Japanese Deer Park
Japanese Akita puppies
stuff from the park: Japanese Deer Park Buena Park 1968
Photos of Japanese Village and Deer Park | Orange County Memories
Anyone remember this place? (Japanese Deer Park)
The California Alligator Farm was relocated from it's original location, to Buena Park adjacent to Knott's Berry Farm on La Palma Ave. (See map above)
Hokkiado Bears(a species coveted by the late, great Albert Rix)
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