Sunday Wake-Ups: Clown Face on Brit Billboard Freaks out Londoner; Circus Owner, Ordered to Remove, Offers Psychiatric Intervention ... Bob (that you-know-what critter) returns to Big Apple Circus ... AND More!

Fun out of the past ... 

You’re half way in the tent.  Leave or SIT DOWN!   The show is now on, so ... if you suffer from any of the big top-induced anxieties, take your pills, pray or leave NOW ...

 
Edgy!  In the wobbly world, across the  pond, of sawdust, spangles, and psychotherapy, latest to amaze is a report of circus owner and ringmaster John Larson being ordered by City of Leighton Buzzard (no, I did not make up that name) to remove posters  alleged to have driven a  motorist  suffering from coulrophobia (FEAR of CLOWNS)  into a "terrified" panic.  To the BBC, said Larson, reassuring a reporter,  "most people were cheered by the clown posters."  But to Mirror Online, he let go:  “I think it’s absolutely ridiculous. There’s about 28,000 people in Leighton Buzzard, and our posters get taken down because of one person ... The battered big top boss (and we thought they have it hard over here) offered free therapy to the whacked-out motorist, hoping to help her  "overcome her phobia."   I have a question, World: Is there a phobia called FEAR OF LIVING ON PLANET EARTH? ...

You don't like clowns?  Well, then, how about a rodent or a rat, neither lurking behind greasepaint?  My demented circus heart cheered by news that Big Apple Circus is bringing back Jenny Vidbel’s half-way-performing live “chubby” South American capybara, said to be related to the guinea pig (shhhh! - really means "rodent"), good old, Bob, who drew smashing  Gotham reviews a couple years back, ho ho.  Also in the act will be "one trained rat."  Jenny’s a wow of a trainer, an American original, helping Big Apple show the world you can go on without wild animals and still pack the tent now and then ...

This year's opus, Luminocity, under wide-reaching creative aegis of artistic director Guillaume Dufresnoy,  took specific direction by Michele Barette, from up there in Cirque du Soleil land, who co-crafted back in 2004,. with Paul Binder and Michael Christensen,  one stunning near-masterpiece, Picturesque.  First frame on this year's outing,  which uncorked over the weekend in NY, goes to 15-year-young juggling  wonder boy champ Ty Tojo.  Says director Barette (who, by the way, was Cirque's first ringmaster),  “he performs as the first act in the show because he gives it the whip of energy that we need.”   Ty is high on my list of Big Apple Must-Sees, along with sly audience teaser, Bob, and the nameless rat.  Photo, above, is of Duo Guerrero.

Discovered by cypberditipy (a word I thought I’d invented - until I found out that I hadn’t): A younger, newer circus-inclined Brit blogger named Katharine Kavanagh,  issuing a nicely affirmative review of my book, Inside the Changing Circus: A Critic's Guide. She, somewhat on the fence, rues most of all my lack of on-site European research, resulting, believes she, in my slighting Euro contributions to the new circus movement routinely linked to Circus du Soleil's global impact ... Am I guilty?  Truth is, while I’ve been to Russian, and lately to China (which Katharine fairly acknowledges ), yes, I haven’t hit the streets of Paris, the lots of London in many years, and there’s a real reason why, trust me here: fear of flying.  Before flying to China in 2010, it had been 31 years since I lifted off for space flight.  Last time was 1979, when the Old Soviet Circus granted me access for interviews In Moscow, St. Petersburg, Kiev and Odessa ... But I do harbor a wish to go over there and take in a few circuses.  How fun that would be, if only ... Nothing, absolutely nothing like seeing them for myself, in person, from a seat, first fanfare to final blast. Old World, are you still a Bold World?

Anyway, among the gratifying credit Katharine grants me, there is this:   “a breadth of knowledge to the world that is hard to come by elsewhere ... " Ah, thanks, Katharine ...  BTW: on E-bay, Inside sells for from $25.37 up to $60.28.  Who ever buys a book for that ridiculously high-end  price?  I don’t know how these pipe-dreaming vendors do it...

End Ringers: From DC, Guy Palace sending  me news of  new Circus Conservatory of America, getting ready to open in Portland, Maine next year.   Academic arc promising  “higher education with a primary mission to provide the highest caliber artistic education available  in the United State to circus artists.”  I’d suggest trimming that sentence a bit.  They’re calling themselves “the first US-based circus college.” Now there, I liked that sentence a lot more ...  Jack Ryan, on Monte Carlo Circus Festival's failing to land TV coverage over here, “I noted the jury of the recent festival did not include a single member from the US, UK, Canada, Mexico, or Australia.  Good noting Jack.  “I’m not sure that a commercial network or PBS sees the value of running the festival.  Neither does the BBC.” Still, thinks Jack, “it would work well if well promoted.  A French network records and broadcasts it annually." 

 Big top as high art: from Circus Conservatory of America website.

CFA turns a blundering blind eye: Take a look at the Circus Fans Association website posting in tepid response to the Los Angeles city council ban on bull hooks.  The press release, as candy-cotton spun as a Feld handout, extends unequivocal  support for the Ringling elephants being perfectly trained, treated, put through their tricks.  I wonder what the CFA thinks of damming visual evidence to the contrary - not a comment about that.  But then, CFA was born to "fight anything that fights the circus."  At least, they might explain to us how the footage of Ringling elephants being whipped and cursed at backstage was somehow "edited" to foster the negative impression it clearly conveys.  No, this is what they officially state:  "These magnificent creatures are beloved and protected by the circus professionals who care for them 24/7."  Nothing, Kids, is as simple or as black and white as that, period. 

 10.28.13

A Gift for All Seasons: Take Them Inside the Changing Circus!

"Step right up for a visit to the American Circus!  There could be no finer guide than David Lewis Hammarstrom ... His passion for sawdust and spangles bubbles from every line but - a rarity among circus writers - he's as quick to point out the rubbish and rip-offs as the wonderful"
          -- THE STAGE, London

 "Fascinating! ... Something we need in these changing times more than anything else."
          -- PLANET CIRCUS, Germany
                   
 "Bold and ambitious ... Timely and provocative! ... It is difficult to disagree with most of his views."
          -- CIRCUS REPORT, USA

"Once in the audience, how can viewers evaluate what they see? ... A concise guide ... Hammarstrom's memories are vivid, and his enthusiasm is infectious"
          -- CHOICE
             AMERICAN LIBRARY ASSOCIATION

"I eagerly read this book - as a circus arts performer and instructor I found it entertaining, and as an academic educator I found it very useful ... strikes a fun balance between history and gossip, critical guide and personal insights into the diversity that is the world of the modern circus show."
          -- ELSIE SMITH
             ARTISTIC DIRECTOR,
             NEW ENGLAND CENTER FOR CIRCUS ARTS

"A thought-provoking book... how circus, particularly American circus, has changed and developed over the past 50 to 60 years, this book is packed with information and opinion."
          -- KING POLE, UK

“Penetrating ... Informative ... Takes us out of our comfort zones.”
          – THE WHITE TOPS

"Roll up, while you still can, to the greatest show on earth! 'fresh, alive, magical and compelling.'  Along with the author of this fine volume, I urge you to buy tickets for the world of sawdust and spangles before it's too late and circuses go the way of steam trains."
          -- THE DAILY MAIL, London

"Pay Attention! ... A good show!... This engaging study functions as a sort of everything-you-wanted-to-know-about-the-circus-business-today-but-were-too-mildly-nostalgic- to-ask."
          -- SPECTACLE, USA

"His appraisals of changing circus trends under American big top apply to the world circus scene absolutely."
           -- CIRCUS ARCHIVE,  Germany

$19.95 - available on most websites

Direct from the publisher:

 http://www.bearmanormedia.com/index.php?route=product/product&product_id=459

On Amazon: 

 http://www.amazon.com/dp/1593936796/?tag=googhydr-20&hvadid=13417284687&hvpos=1t1&hvexid=&hvnetw=g&hvrand=19167945012041290418&hvpone=&hvptwo=&hvqmt=e&ref=pd_sl_9tg59sknmb_e

 On Amazon/UK:

http://www.amazon.co.uk/s/ref=nb_sb_noss_1/279-5507947-9322518?url=search-alias%3Daps&field-keywords=inside+the+changing+circus

From Barnes & Noble:

http://www.barnesandnoble.com/w/inside-the-changing-circus-david-lewis-hammarstrom/1110948238

Raves Around the World Continue Rolling In for Showbiz David's New Book

UNIVERSAL ACCLAIM FROM VOICES NEAR AND FAR

Big Top to Classroom -- England to New England -- Germany to Jersey --  The raves keep coming for David Lewis Hammarstrom's penetrating look into the circus as it is today -- and what it might become tomorrow!       (*new reviews, just in)

The book's World Premiere at the Silent Auction during the Monte Carlo International Circus Festival in Monaco last January

*  "Fascinating! ... Something we need in these changing times more than anything else."

          -- PLANET CIRCUS, Germany

 "Step right up for a visit to the American Circus - there could be no finer guide than David Lewis Hammarstrom ... His passion for sawdust and spangles bubbles from every line but - a rarity among circus writers - he's as quick to point out the rubbish and rip-offs as the wonderful" 

          -- THE STAGE, London

 *  "I eagerly read this book - as a circus arts performer and instructor I found it entertaining, and as an academic educator I found it very useful. This book strikes a fun balance between history and gossip, critical guide and personal insights into the diversity that is the world of the modern circus show." 

          -- ELSIE SMITH 

             ARTISTIC DIRECTOR, 

             NEW ENGLAND CENTER FOR CIRCUS ARTS

 "Bold and ambitious ... Timely and provocative ... It is difficult to disagree with most of his views." 

          -- CIRCUS REPORT, USA 

"A thought-provoking book ... how circus, particularly American circus, has changed and developed over the past 50 to 60 years, this book is packed with information and opinion."

          -- KING POLE, UK

"Roll up, while you still can, to the greatest show on earth! 'fresh, alive, magical and compelling.'  Along with the author of this fine volune, I urge you to buy tickets for the world of sawdust and spangles before it's too late and circuses go the way of steam trains."

          -- THE DAILY MAIL, London 

"Once in the audience, how can viewers evaluate what they see? ... A concise guide ... Hammarstrom's memories are vivid, and his enthusiasm is infectious" 

          -- CHOICE
             AMERICAN LIBRARY ASSOCIATION 

"A good show! ... This engaging study functions as a sort of everything-you-wanted-to-know-about-the-circus-business-today-but-were-too-mildly-nostalgic-to-ask."

          -- SPECTACLE, USA

"His appraisals of changing circus trends under American big top apply to the world circus scene absolutely."

           -- CIRCUS ARCHIVE,  Germany

Dare you deny yourself a copy of the big top's new bible? 

Dig Deeper
 Dream Smarter 
Go Inside the Changing Circus

Twirling Typos, Mirthful Misspellings Send New Circus Book Back to the Printer

For author David Lewis Hammarstrom, the experience of drawing critical approval for a new book — and at the same time being taken to task for misspelling too many words — is hardly new.

“Perhaps there should be a place for me in the Guinness Book of World Records.”

His latest effort, Inside the Changing Circus: A Critic’s Guide (BearManor Media), which is reaping rosy notices, is no exception to the rule. But, luckily, it is already headed back to the printers, thanks in part to new print-on-demand technology, which frees publishers from having to produce a backlog of books and sell them before any corrections can even be contemplated.

Even then, Inside contains far fewer errors than Hammarstrom’s first tome, Behind the Big Top (“a wonderful circus history”-- Booklist). “Behind went out virtually unedited,” noted the entertainment journalist and critic with a rueful smile. “It hosts dozens, yes, dozens of misspelled words.” In arguably his best copyedited work, Big Top Boss: John Ringling North and the Circus, published by no less than a respected University Press (Illinois), a late friend spotted 20 misspelled words, and guessed there might be even more. Among the offenders -- “impressario,” “scrupples,” and “examplary”

Hammarstrom combs his manuscripts many times over. Contractually, he agreed to do the proofing for Inside himself. “I have worked with publishers who routinely promise proofing but do not always deliver very well on the promise.” During the page proof stages, Hammarstrom made nearly 250 corrections, many of them misspellings or typos. Only one reviewer, Herbert Ueckert writing in Circus Report, complained of the misspelled words, adamantly enough, though, for Hammarstrom to take note. And when his sister, Kathy, became enthralled with the book and mentioned having spotted some errors, the author encouraged her to write them all down. He sent the list to BearManor’s production manager, who in turn forwarded it on to the publisher himself, Ben Ohmart, for his consideration. “That Ben so nicely agreed to make the corrections is good news for the book,” says Hammarstrom.

So how many words in need for reform does the book contain? Roughly about the same number as Big Top Boss, although the latter is twice the length Even a spell checker does not always serve its intended purpose, not in Hammarstrom’s hands “It must have questioned my spelling of the phrase ‘national anthem,’ such that I hastily clicked onto a proposed alternate spelling, and out came, without my noticing, “National Anaheim.” His sister got a good laugh.

The book was recently endorsed by Choice, published under the aegis of the American the American Library Association, recommending it for general readers. The unequivocal review did not mention any errors, which is not unusual. “Some reviewers are either very forgiving — or, perhaps, I am not the only mortal guaranteed to come in dead last at any spelling be anywhere.” [Correction: Change “be” to “bee”]

Oh, To Read Myself As Others Read Me

It's always energizing, when it happens, to receive high marks from fans and writers for my work. My latest effort, Inside the Changing Circus: A Critic's Guide, is generating promising early reviews and feedback, which gives me measured hope that the book has a future. Now comes actor, director, former Ringling clown and author of the well-regarded book on Dan Rice, Dave Carlyon, e-mailing me his welcome satisfaction -- "I enjoyed your element-by-element approach, especially the rarely discussed elements of producing and criticism." David holds views that differ from my own on topics such as Dan Rice and Circus Maximus (was it really in any way a circus? No no no, insists he). Surprisingly, Carlyon seems almost relieved and/or surprised with my pro-stance on circus animal acts, as was Herbert Ueckert in the latter's boffo review of my book in Circus Report. All of which leads me to wonder if a growing number of writers and even fans are beginning to question the viability and future of performing animals ...

My one quibble with Ueckert's review, if I may, is the notion that I seem to be writing down to "the typical poor hapless circusgoer." That surely wasn't my intent, although, while penning away, I wondered if the serious and savvy buff might find much of what I have to say all too obvious. I imagined myself addressing a wider audience. Thus, to my delight, my sister Kathy, a non circus fan who is combing the text for spelling errors, expressed pleasure over the approach. For her, one of my primary goals seems to be working ... Particularly on-target, I feel, is this from Mort Gamble's notice in Spectacle: "... everything you want to know about the circus business today but are too timidly nostalgic to ask." How amusingly apt a summation of my coverage; perfect jacket copy.

... As others see us. As other reads us. Thanks to everyone who in one way or anther has affirmed the book's value to them. It means a lot, trust me.

Me and Mister Mistin, Jr.. I was intrigued to discover, in the latest issue of Circus Report, perennial SoCal columnist and one-time Ringling clown Chuck Burnes writing about the kid prodigy xylophonist, whom John Ringling North lured to America in 1953 and lavished a huge ballyhoo upon. Reading Burnes, I wondered, was he reading me? I came upon some vaguely familiar words: "he was merely a very good, very young xylophonist." Yes, directly from my book Big Top Boss: John Ringling North and the Circus.

Okay, I might not have said a thing, except that Chuck, in quoting me (without attribution), actually misquotes me, and thus, feeling a duty to history, I am inclined to offer a correction. Mistin was evidently quite a showman. The reviews were mixed, but a tape recording I have of his performance reveals a skilled manipulator milking a crowd and the crowd milking back. In fact, the crowd's reaction was not "only so-so," as Chuck recalls. The term "so-so" was actually used by the Billboard in its reaction to the act itself .... A photo of Mr. Mistin riding a spec float as a pistol-toting cowboy, which appears in my new new book Inside, shows a plucky little showman with plenty of attitude ... I have no evidence that his impact on the crowd was only so-so. What I hear is what I wrote: "He pulled strong sustaining applause sprinkled with cheers."

By the way, Chuck was one of those who, with his wife Bambi, graciously granted me an interview for Big Top Boss; we met for dinner over a rolling tape recorder at an old Hollywood dining room just north of Hollywood Boulevard on Cuhuenga. Our chat took place exactly 25 years ago this June 24. Great Circus Vargas days, the Paul Eagles Luncheon Club for fans and pros a weekly destination at Phillippe's restaurant -- itself, the true soul of L.A.

And that's me reading you reading me ...

Thumbs Up by Trapeze Gods For "Inside the Changing Circus"

I was elated to receive this photograph from Philip Weyland, wrapping up the final interviews and shooting for his documentary, The Last Great Flyer, about legendary Miguel Vazquez, right, and his brother Juan.

When I first glimpsed the tiny image in its attachment, I only noticed the two figures in the picture; Not until I downloaded and took a second look did I notice -- my book in their hands!

Thank you Miguel and Juan, and thank you Phil!

Phil was in Las Vegas filming the brothers in their post-trapeze jobs. They work on Cirque du Soleil shows as stage technicians. I think that's great, that the film will show us what they have done with their lives since bringing to a close their unprecedented mastery on the flying trapeze. Miguel, as most of you know, was the first flyer to execute the quadruple somersault -- a feat that continues to elude the younger generations inspired by Miguel's mastery and trying to duplicate it.

I might enlarge the photo and frame it. It was on my birthday in 1981, that Miguel caught his first quad, in a late night practice session in Long Beach.

I also witnessed Miguel achieve another first-- at the Cow Palace in San Francisco on September 4, 1982, when, after throwing a flawless quad, during his mid-air return to the fly bar he turned two perfect pirouettes.

The greatness that was ... Some of us were there. Some of us were lucky.

Monte Carlo Flash: And the Winning Bidder for "Inside the Changing Circus" ... Is! ... German Circus Fan ... Rolf Lehmann!

There's my book, standing proud (as it appears to my unbiased eyes, of course) on display in Monaco a trio of weeks ago during the Silent Auction event of the Monte Carlo Circus Festival.

The photo was made available to me, thanks to the Federation's executive director, Laura van er Meer. She's the one who invited me to send along a signed copy for participation.

So my great dream of Guy Lalibetre, Cirque du Soleil's billionaire owner, snatching the book up for a cool $1 million -- with yours truly pledging a penny for every thousand bucks he put on the table -- was not to be.

Who knows, my letter to the Cirque king may still be in mystic transit somewhere up within the creative catacombs of Montreal. When several years ago I wrote to Laliberte, three times, for an interview, they, not he, got back to me nearly one year later, offering the chance to interview not Laliberte but the Director of Creation. Then I submitted some sample questions, which evidently ruffled their collassol confidence. And they pulled out. Are people in the highest places the most afraid of answering questions? I've heard of such mortals being interviewed in the presence of their PR operatives, who could at any time advise (in essence order them) not to answer particular questions. Incredible.

But, my little book did itself respectfully proud, it did! I'm told it had a taker, winning bid going to Germany's Rolf Lehmann, one of the founders of the German Circus Friends Association, a translator and a private collector. Said Sandy at BearManor Media, "I'm glad just the right person was the winning bidder." Good point.

The price? Well, it was far far from the $1 million I was banking on from Guy. Okay, going clean, it's like this, folks: If I told you the actual price, I would risk spoiling any mutual fantasies we may share.

I am pleased that it was adopted by a foreigner, because I would like to believe that Inside the Changing Circus may have lasting world-wide appeal. For example, it is doing very well in Canada on Amazon. It hit the number 7 spot about a week ago among a hundred circus titles.

As for Sandy's remark, "the right person," indeed, for I appreciate a significant boyhood connection to the German circus scene. You see, among a handful of thrilling circus stars who turned me into an instant fan (yes, believe it or not, I too am a circus fan), two are German icons — juggler Francis Brunn and the Wallendas. Only in recent years, did I learn that Brunn was not French but German, which I had all along, for some lazy reason, believed!

In the book’s preface, I acknowledge how they may have turned me into a picky circus critic: “When you are exposed to such mesmerizing artistry at so young and impressionable an age, you grow up haunted with an attitude of grand entitlement.”

Thanks and Cheers, Mr. Lehmann!

First Signed Copy to Boyi -- Showbiz David's Special International Consultant

[World wide popularity, 2/5 update: The book reached the top 10 selling circus books on Amazon Canada.]


Boyi Yuan, above, helped in so many practical ways, not the least being traveling to China with me in 2010, where we attended some of the cutting edge acrobatic troupes in Shanghai and Beijing. If you go: Be sure to catch ERA Intersection of time in Shanghai, and the Flying Acrobatics Show in Beijing. Both privately funded and produced. Both advancing ancient Chinese traditions into exciting new directions and production formats.


Having pledged the first signed copy of my new the book, Inside the Changing Circus: A Critic's Guide, to Boyi, I ran it down to his job last December -- only a day after I had sent several copies to others that would not reach them for at least another day -- suddenly realizing I must get it into Boyi's hands then in order for him to actually have the promised copy. (It got me some free tea.)

A few nights ago, when Boyi came by to visit me, we looked at the most recent blog; I wanted him to see what Steve Copeland had posted. I had asked Boyi to select among a few images of Steve and his partner Ryan. I gave Boyi the final say, believing that sometimes the eye of an outsider can put things into clear perspective. I think he got it right, for the photo conveys classic clown action.

Boyi also choose between two photos of Barbette, and he made a sensible case for the image I selected of new Big Apple Circus artistic director Guillaume Dufresnoy.

Some of the pictures we took in China are in the book, not to push them at all, but because I simply could not get permission from any sources in China to reprint photos, and these images tend to illustrate key points I wished to make.

Sensing my keen desire to use an image of a "sensual silks" duo (I had a great one from a Chinese program magazine, but not the permission) at my place one evening before the computer, Boyi pulled up the image you see below in the book. From where, I wondered? To my surprise, he had produced it by watching a video he took at the Charming Acrobatics Show in Beijing and freeze framing a sequence. Thus, the moon-like image in the background against which are cast the shadows of the aerialists, and the impression, to my eyes, of a shoreline, all of this from a very bare stage in a show not privately funded or produced.

Thanks, Boyi!

Circus Book’s World Premiere at Monte Carlo 2012; “Second” Autographed Copy to be Offered in Silent Auction at Famed Festival

MONTE OAKLAND, CA. Inside the Changing Circus: A Critic’s Guide, by David Lewis Hammarstrom (aka: Showbiz David) will make its debut on the world stage in January at Monaco during the 36th Festival International du Cirque de Monte Carlo.

‘I am gratified by this totally unexpected invitation,” said the author, who received it from the Festival’s executive director, Laura van der Meer. He noted that a previous book of his, Big Top Boss: John Ringling North and the Circus, earned a warm endorsement from the late H.S.H. Prince Rainier III, who established the annual festival in 1974. (Circus impresario Ringling North and Rainer were good friends, and North judged a few of the Monte Carlo meets.)

But why the “second” autographed copy”? Answered the author with a smile, “because I promised the first to my good friend, Boyi Yuan, without whom I would never have traveled to China last year and thus would never have experienced close up the bold artistic advances transforming leading acrobatic troupes in Beijing and Shanghai.”

Prince Rainer’s daughter, H.S.H. Princess Stephanie, now oversees the annual event, which generally draws upon the greatest circus talents and is regarded in circusdom as the international “Academy Awards” of the big top.

“The perfect setting, absolutely, to introduce my book to the world,” said Hammarstrom. “Circus is universal, and however you write about it, you are dealing with its many incarnations throughout history — from Egypt to China, London to Paris to Baraboo and Bloomington, Moscow to Montreal.”

Indeed, this author, who says that “until I can see something for myself, it is not sufficiently real,” has traveled the world rings to get the story. In 1979, he conducted independent research in the Soviet Union. And last year, it was China. In the United States, he says he has walked miles, hopped busses and flagged taxis to take in circuses off the urban trails.

“I am thrilled that my book will be a part of the festival. And I hope it appeals to a younger audience. I have done my best to discuss and illustrate not just ‘the good old days’ but the ‘good new days’”

The INDEX is DONE, and I'm Feeling High on the Price of My New Book --

What's worse in a book than no index? An index with names but no page numbers! ... I nearly brought this off, minutes before the final version of my Inside the Changing Circus: A Critic's Guide (due out Jan.) was on its way to a print vendor (the soul, I think, who recruits the best press offer, something like that). Doing an index is torturous enough without trying to proof the damn thing. Which I forgot to do. Horror of horrors! Gerard Souls back there, but all by himself, without a page number. And a spec "Old Vienna" and four guys named Dominguez, whose first names were so confusing, I nearly went crazy trying to figure out how to list them (seems three of them hail from the famed family Quiros) ...

Only a primer, that up there, on how comatose indexing can make me feel and act -- and review, read on, though I fully respects its critical usefulness to a book. Much more so than the damned annotation numbers I've been chained to in the last too many books. Not, thank God, on Inside the Changing Circus! I HATE text littered with numbers. Here, I have listed key sources in an informal section back of the book. That I value.

Another thing I love about BearManor Media, whose young publisher, Ben Ohmart, currently hangs out in Japan (he married a Japanese lady a few years back, not indexed) , is this: My book, in paperback at nearly 300 pages, is priced at only $19.95! Good going, BearManor! I've been embarrassed in some recent publishing episodes with books of mine that were priced sky high; might that be why the editors insisted on annotating? To foster a more scholarly image, thus justifying the extreme price? ... Sure, this means I will get less royalties, but so be it. I'd rather write books that people who might want to give them a chance can afford to. ...

Blame it on the index: That review down there about Cirque du Soleil was composed -- or decomposed -- during the final stages of my indexing obligations. I think it managed to be even more a bore than the show -- Tote Tote Totem, Good Bye! -- that it purports to review. So, I've chopped it down to the humdrum essentials, something like I wish Cirque would do.

I might continue this latter. Lots of big top bits backed up in e-mail. Blame it on cyber courier Don Covington for failing to send footnotes.

Top of the Book: How "Inside the Changing Circus" Was Designed ... A Pithy Primer on True Dark Chocolate ... And It's All Free!

Special impartial consultant Boyi Yuan ponders eleventh hour question: Which photo of Big Apple Circus director Guillaume Dufresnoy should I use in my book?

Really excited about the cover design for my book Inside the Changing Circus, due out around next January. The designer, Brian Pierce, sent it to me last week for comment; my publisher gives author's the rare right to approve cover designs. A FIRST for me. I love the look of the book. And then, I discovered Brian's own blog, where he talks about his thoughts behind the sudden creation of the design.

http://aweekagotuesday.blogspot.com/

Second excitements: Inside my changing frigerator now, there are tons of fabulous turkey, American to Chinese leftovers from a big haul yesterday, first as a guest at the house of my nephew, Jeff, and his lovely wife Gannimed, from the Philippines. While I was there, gobbling down, shamelessly, chocolate chip cookies (well, once a year, right? The others times, functionally delicious 85% cocoa chocolate bars ... ) I got to "skype." Oh, please, don't laugh too hard. I've heard the word, but kept the concept out there, resisting the onslaught of new technology (I am usually 7 years behind the cutting edge). Anyway, call me a Skypester now (had I known, I would have dressed up for the occasion) ... I skyped and skipped all the way across the Big Ocean to talk to Gannimed's sister and brother, and they gave me a virtual Skype tour of their lush green neighborhood in the southern region of the Philippines. Wonderful new experience. Jeff and I discussed my hankering for a smart phone, which I call a "toy," but, heck, we all deserve one of those now and then.

Great old fashioned Thanksgiving day feast, the durables -- starring thick gravy, and Chef Jeff evoked rare insight. "This is American soul food." The absolute best I've had in years ...

I might be the last person on earth to finally give up his land phone. Really, it's about economics, not trying to be eccentric (a bent that comes naturally, I fear). I'm on the verge of hitching my rotary to a droid, because the company I get dumb phone connection from at such flexible rates is now offering to help the dumb set go smart.

Back in Oakland, my friend Boyi came by with a container of more turkey, and oh so delicious, with all the sauces and seasonings his dad, a professional cook, applies so cunningly well. Back to chocolate: I tried a different form of 85% smart dark chocolate on Boyi. It's new from Trader Joe's (it tastes remarkably NOT like the other bars) and he fell for it! When he left later to drive many miles for a midnight whatever on a dark Turkey day sale blowout, he took the complete box with him.

OK, onto my book. Boyi helped me make a critical decision between the straight ahead face shot of Guillaume Dufresony that's in the page proofs, and one that I just got from Phil Thurston at Big Apple Circus, of Mr. D. sitting out in the seats watching the show at the gala opening in Gotham. After serious meditation, lifting my room into Buddhasphere, Boyi broke loose in a bolt of common sense favoring the new image and making me feel a tad off my game. "He is looking at the show!"

And the COVER! Remember the book, The Circus: Garden of Eden to Pittsburgh? (aka: The Circus: 1870-1950, among many changing names, guises and shapes) That book's original cover featured a great Braathen shot of the Ringling-Barnum marquee and ticket wagons. Well, folks, I've also got a shot at Big Book Coffee Table Overkill, too! I've got another image of the same wagons and marquee up in Canada in '53! And, no, not cause I suggested anything; it would be improper for an author to push for photos -- unless asked. Brian had just asked for suggestions from me, but before I could lurch, he jumped off his perch in a flash of creative lightning, and out came a great design. Among its many assets, the type face is NOT the usual old fashioned circus script ...

Boyi, on the subtler side, was nearly as excited as was I. My only quibble when I first saw this draft you will see, if you go there, was that four of the six images are Asian. I suggested it might be better to diversify and sent some ideas. Brian went with one of them, and design looks even stronger. I'm not telling which. Yes, you'll just have to wait and see. By the way, is anybody still reading this?

And Boyi last night rushed off to San Jose to stand in line and play with his new iPhone 4G and maybe spend not a penny, while I am mustering up the nerve to dump my land line from Ma Bell, bury my Dumb phone, and go hi tech all the way ..

After two or three more chocolate chip cookies. True dark chocolate had to wait.



11.25.11

Sneak Peak Inside the Changing Circus: Feld Legal Takes on Circus Claiming Not "Greatest" but "Happiest" title

Can You Be Happy Without Being Great?

Back in the year 1969, when America's sights were set on a moon landing, one U.S. circus for a spell claimed an imminent tour of the entire universe. Greatness was not its mantra; Happiness was. It declared itself "The Happiest Show on Any Earth."

Soon after, from the Greatest Show on Earth (aka Ringling-Barnum) came an icy letter to the owner of the Happiest Show on Any Earth, in essence claiming trademark infringement on its world famous slogan, and demanding the immediate removal of all such references in the happier circus's advertising materials.

The recipient of the Ringling directive, himself a hothead noted for bluster, quickly retreated from his far-flung allusions to spreading joy far beyond planet Earth alone.**

The show?


** Hint: Worlds reachable by telephone.

The journey is universal, from the dawn of Circus
to a thousand years from now in a distant galaxy.
The details are local.
The details are you.