This is the story of the survival of American circuses throughout one of the most perilous periods in our nation's history: 1860-1865. This was a period of transition for traveling exhibitions. The size of equipment and personnel had leveled off, performances were fixed, and the number of proprietors had reached a peak that would not be exceeded until the early 1870s. But still the show had to go on! Complete with notes, index, bibliography, and contemporaneous illustrations.
For many people, the circus, with its clowns, exotic beasts, and other colorful iconography, is lighthearted entertainment. Yet for Greg Renoff and other scholars, the circus and its social context also provide a richly suggestive repository of changing attitudes about race, class, religion, and consumerism. In the South during the nineteenth and early twentieth centuries, traveling circuses fostered social spaces where people of all classes and colors could grapple with the region’s upheavals. The Big Tent relates the circus experience from the perspectives of its diverse audiences, telling what locals might have seen and done while the show was in town. Renoff digs deeper, too. He points out, for instance, that the performances of these itinerant outfits in Jim Crow-era Georgia allowed boisterous, unrestrained interaction between blacks and whites on show lots and on city streets on Circus Day. Renoff also looks at encounters between southerners and the largely northern population of circus owners, promoters, and performers, who were frequently accused of inciting public disorder and purveying lowbrow prurience, in part due to residual anger over the Civil War. By recasting itself as a showcase of athleticism, equestrian skill, and God’s wondrous animal creations, the circus appeased community leaders, many of whose businesses prospered during circus visits. Ranging across a changing social, cultural, and economic landscape, The Big Tent tells a new history of what happened when the circus came to town, from the time it traveled by wagon and river barge through its heyday during the railroad era and into its initial decline in the age of the automobile and mass consumerism.
Ben Gamer and Cobra Master trapped in Fear Live. Leaving the world vulnerable. Detecive Clue, Tony, Dr.Monster and Peter getting their revange. Dylan fighting for a way to get them out. Dylan time travels to study his father's work. Before his death. Learning the true purpose for Nightmare Gamers creation. Dr.Monster acquires the Horrskull the true weapon for Nightmare Gamers. That draws on fear throughout time and realty. Becoming the most powerful Nightmare Gamer to live. Waging World War Nightmare. Dylan forming an allanice to destroy the Nightmare Gamer empire for once and for all. Leaving Dylan, Captian Miles and Rass to work with former Nightmare Gamer leader Conner.
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When clowns go on vacation, the whole world is a circus. When the circus is over, After the standing ovation, What do clowns do When they go on vacation? They make us laugh until our sides ache, but these hardworking clowns just need a break. Now that the Big Top is folded and their bags are all packed, the Clownmans are taking a rest from their act. Whether they're climbing a mountain or digging for treasure, they always seem to have a nose for adventure. Wherever they go, whatever they do, they are always clowns through and through. Nina Laden skillfully and seamlessly combines photomontage with vibrant gouache paintings to create a picture book chock-full of verbal and visual humor that will delight audiences of all ages.
