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WHEN THE CIRCUS WAGONS CAME TO TOWN

Before Thanksgiving or Independence Day were national holidays, there was only one event nearly every American celebrated, regardless of class, race or creed: The day the circus came to town. That two-century tradition ends on May 21 when Ringling Bros./Barnum & Bailey gives its last performance. Before the Big Top comes down for the last time, here’s a look at what it meant to small towns like Santa Rosa and Petaluma, as viewed through their newspapers.

By no means does this series represent all the circuses that came to Sonoma county – this is only a small sample. It was not uncommon to have two or three every year, and even the shows that returned often were different enough each time to be a considered new.

Because of the number of images involved I’m breaking this article into two parts. This section covers the early circuses travelling by roads and waterways; these wagon shows were dinky affairs compared to some of the monster spectaculars which came here after the railroads were available, as discussed in part two, “LET’S GO TO THE CIRCUS ON COLLEGE AVE“.

But regardless of the year or degree of magnificence, every circus day was magic and were the climax of weeks of hot anticipation. The places you had walked past thousands of times – fences with scabby whitewash, streetlight poles, the plain brick walls on the sides of businesses – those drab things were now transformed by beautiful lithograph posters showing flying trapeze women, daredevil animal trainers and other scenes you had never imagined. You know the scene in The Wizard of Oz where Dorothy opened the door to Oz into a world riot in color? It was like that, only better because YOU were about to enter such a magical place. And you would go there. Nothing on earth could stop you.

(CLICK or TAP any image to enlarge, or see the complete collection on Pinterest)

This is the oldest circus ad I’ve found in the local newspapers, dating to June, 1856. The promise that “The Police Department will be under the supervision of efficient officers” suggests the public believed a circus attracted criminals and troublemakers.

1856 Rowe Circus

 

The 1857 ad for the Lee & Bennett circus also has the “efficient officers” vow. Note they don’t say much about the acts, but boast at length of their “magnificent, new, and costly” wagons. They promise the Big Top is waterproof and ladies will get cushions for their seats. Classy!

1857 ad for the Lee & Bennett circus

 

Until the railway reached Santa Rosa in late 1870, circuses with large animals rarely visited Sonoma county in those days. This 1859 show with two elephants was the first exception. As with most circuses seen here in that era, the performance was mainly horseback stunts, acrobatics and a featured clown.

1859 Wilson circus

 

The patriotic theme of the “United States Circus” reflects the national mood in the first months of the Civil War – although it may not have gone over so well in pro-Confederacy Santa Rosa and Healdsburg. “Blondin” was the famed tightrope walker who crossed Niagara Falls.

1861 United States Circus

 

Although there was still no train service to Santa Rosa in 1869, we were on the tour route of Dan Castello’s Circus and Menagerie, the first East Coast show to come to California via the new transcontinental railroad, which had been completed less that four months earlier. “Their immense posters cover half the town, and everybody is anxiously waiting to see the greatest show of the age,” the Democrat commented. It seems the ads exaggerated the number and varieties of animals; their wagon caravan included only ten cages and a couple of elephants and camels. A correspondent to the Russian River Flag wrote, “It was agreed by us that the menagerie was a failure, but the circus part we liked very well.”

1869 Castello’s Circus and Menagerie

 

The 1872 San Francisco Circus and Roman Hippodrome was the first show in Santa Rosa to introduce exotic themes, with an “oriental pagoda” and Roman Empire-style chariot races. The show also included a political angle, with “Horace Greeley, Comic Mule.” That year Greeley was the most well-known among the eight candidates running against incumbent President Ulysses S. Grant and lost by a landslide (in Santa Rosa he came in fourth). Greeley actually had died four days before this Santa Rosa performance.

1872 San Francisco Circus and Roman Hippodrome

 

Montgomery Queen’s 1874 Circus and Traveling World’s Fair drew an audience of 2,800 that night in Santa Rosa – about the same as the official population of the town. Since before the Civil War, the price for an adult ticket was always one dollar, which would be between $30-40 in today’s currency. Even if half this 1874 audience were children, they pulled in about $60,000 (adjusted for inflation) with this one show. While circus life was hard on the performers, crew and animals, it was undeniably very profitable for the owners.

1874 Montgomery Queen’s Circus and Traveling World’s Fair

 

Queen’s Great Moral Circus was here in 1875 and I’m presuming it was not a railroad show, as their route went from Petaluma to Sonoma and there was no rail line running between the towns. Aside from the appearance of a living giraffe and a “hogapotamus,” this visit was special because of a delightful story which appeared in the Sonoma Democrat:

1875 Montgomery Queen’s Great Moral Circus

 

 

GOING TO THE CIRCUS.

Yesterday morning as we were quietly strolling down town, with both hands in our pockets, thinking of nothing in particular, our meditations were disturbed by the loud demand:

“Whar are they a-goin’ to stretch the canvass?”

Looking up, there stood a tall, rawboned fellow with a grizzled beard and sun-burnt face, waiting for an answer.

“Canvas? What canvas?” we answered, all abroad like.

“Why, the circus,” you know, replied the man from the mountains.

We confessed our inability to direct him, and he pursued his way with a compassionate look on his face for our ignorance. Determined to become better posted about the circus, and to take a hand in the fun going on, we had not gone far until meeting a platform of eight small boys stretching quite across the pavement.

“Going to the circus, boys?”

“Yes, sir, answered the eight small boys together.

“Could you tell me where the tent is?”

“Yes, sir,” altogether, and eight small hands and arms pointing in the same direction.

Sure enough, there it was, nearly covering Bill Hardy’s lot with about an acre of canvass, and surrounded with empty circus wagons, loose horses and piles of baggage. The cook stove was smoking through a short pipe, and the cook, a gentleman from Africa, was taking his morning wash in a basin that looked suspiciously like a bread pan.

On the street corners pretty girls, carrying new parasols, were grouped together, looking with admiring glances into shop windows. Along the streets new arrivals of young fellows on horses, and old fellows, just as young within were soberly driving family tumouts, containing mother and the children. As a rule from three to five of the little people contrived always to get on the front seat with the driver.

The circus band struck up the inspiring strains of “Champagne Charley,” and a mingled mass of humanity began winding its way to the “horse opera.” There, from the moment of the grand entree until the close of the performance, the boys and girls seemed spellbound with the Oriental magnificence of its sights and sounds. The venerable jokes of the clown were as new and as keenly relished as, ah, me, so many years ago, when the reporter was a boy. The gaily spangled dresses of the riders, and the fearful perils of the horsemen, held the lower seats, filled with boys, in the same trance of wonder. The eight boys had managed to get seated in a row like so many chickens on a fence, their mouths slightly opened, and their honest eyes protruding enough to be scraped off with a stick. Innocent boyhood enjoying its first pleasures. Most of them had, without doubt, performed unheard of tasks for three weeks to get taken to the circus. At its close, about four o’clock, when the audience began to disperse, they broke into family groups and slowly wended their way down street to their wagons, homeward bound, with heavier hearts and lighter pockets. How many of them wished they had their dollar back? The middle-aged frontiersman of the morning was seen mounted on a cayuse, headed toward Guerneville, riding pensively along, a little sideways in the saddle, trying to urge the pony into an easy lope, doubtless for reasons best known to himself.

How much money the showman took away is a question that cannot be answered. But, judging from the number in attendance, it must have been enough to pay off the debt of either of the Santa Rosa Colleges.

 

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THE TIME MARK TWAIN CAME TO PETALUMA

Petaluma was soooo lucky. Mark Twain, that funny guy everyone was buzzing about, made only a few appearances before he left for the East Coast and Europe, probably never to return out west. Reviewers had been giddy with delight over his recent appearance in San Francisco: “From the beginning to the end, the interest was never allowed to flag,” gushed the Chronicle. “Taking it altogether, ‘Mark Twain’s lecture may be pronounced one of the greatest successes of the season.” Other SF newspapers sang with similar praise. Thus on November 26, 1866, you can bet Hinshaw’s Hall was crowded with Petalumans expecting to spend a jolly evening. Spoiler alert: They hated him.

The next edition of the Petaluma Journal and Argus offered a review of his lecture with the headline, “REPREHENSIBLE.” That fellow who called himself Mark Twain was a complete flop (“…as a lecturer he falls below mediocrity”) and the San Francisco papers should be condemned for misleading the public by giving good reviews to such bad entertainers.

Now, wait a minute; today, everyone knows Sam Clemens/Mark Twain was the most celebrated speaker of his time, if not all of American history. Surely that Petaluma critic was as much an idiot as the Hollywood producer who supposedly dissed Fred Astaire’s screen test, “can’t sing, can’t act, balding, can dance a little.”

As it turns out, the Petaluma review was truthful, albeit inartfully written (the full review is transcribed below, apparently for the first time since 1866). Evidence found in contemporary papers show Twain’s appearances in those weeks were often stinkers – and it seems he was aware of that but did not know how to improve. Following one lecture he told a friend he felt like he was a fraud who was taking people in.

But that’s not the story he tells in his memoir and first popular book, Roughing It, or when reminiscing as he did in his remarks about stage fright made after his daughter’s musical recital. In his version, he was nervous about his debut performance in San Francisco, fearful that no tickets would sell and no one would laugh at his jokes. He papered the house to pack it with friends including three “giants in stature, cordial by nature, and stormy-voiced” who were expected to howl with glee and beat their shillelagh on the floor whenever Twain made a funny. Still, he was terrified of failure. From Roughing It:


…before I well knew what I was about, I was in the middle of the stage, staring at a sea of faces, bewildered by the fierce glare of the lights, and quaking in every limb with a terror that seemed like to take my life away. The house was full, aisles and all! The tumult in my heart and brain and legs continued a full minute before I could gain any command over myself. Then I recognized the charity and the friendliness in the faces before me, and little by little my fright melted away, and I began to talk. Within three or four minutes I was comfortable, and even content. My three chief allies, with three auxiliaries, were on hand, in the parquette, all sitting together, all armed with bludgeons, and all ready to make an onslaught upon the feeblest joke that might show its head. And whenever a joke did fall, their bludgeons came down and their faces seemed to split from ear to ear…

“All the papers were kind in the morning,” Twain finished up, referring to those reviews the Petaluma paper later called “reprehensible.” As he didn’t write about his subsequent appearances, Gentle Reader was left with the impression all went smoothly after his debut butterflies. And as far as I can tell Twain biographers all take him at his word, speeding past events of that autumn to arrive without delay at his rise to international fame.

It’s a great shame more attention hasn’t been given to this period, as this was a turning point in his life. “Without means and without employment,” as he wrote in Roughing It, he convinced himself public speaking was his “saving scheme,” despite having absolutely no experience or training at it. And although the reviews after his debut were often poor, his convictions seemingly never faltered that he would now do this for a living. If nothing else, it’s an inspiring story of determination; constructing a Mark Twain from scratch was not easy work.

The topic of Twain’s lectures were the “Sandwich Islands,” AKA the Kingdom of Hawaii, where he had just spent five months as a special correspondent for the Sacramento Daily Union. The Kingdom was a pretty exotic place to Americans in 1866 and the couple of dozen articles he wrote were well received, but travelogue lectures are not where you usually expect an evening of knee-slappin’ humor. Twain destroyed his copy of the speech years later so we don’t know exactly what he said, but from snippets and summaries we know the lecture was mainly a travel description of people, places and things along with his wry observations. Or as the Sacramento Union critic wrote, he “seasoned a large dish of genuine information with spicy anecdote.”

The advertisements he placed in the papers became celebrated in their own right. Shown here is his first from the Sept. 30 Daily Alta California (CLICK or TAP to enlarge) with its funny blurbs. “A SPLENDID ORCHESTRA Is in town but has not been engaged“, read one of them. At other lectures he came up with different items, such as “THE WONDERFUL COW WITH SIX LEGS! Is not attached to this Menagerie“. Most famous was the tag at the end: “Doors open at 7 o’clock. The Trouble to begin at 8 o’clock.” He varied this line, too; another example was, “Doors open at 7; the inspiration will begin to gush at 8.”

Once back in his old Gold Country stomping grounds, he also ran this in the Nevada Transcript and Grass Valley Union:


After the lecture is over, the lecturer will perform the following wonderful feats of SLIGHT OF HAND, if desired to do so: At a given signal. he will go out with any gentleman and take a drink. If desired, he will repeat this unique and interesting feat – repeat it until the audience are satisfied that there is no deception about it. At a moment’s warning he will depart out of town and leave his hotel bill unsettled. He has performed this ludicrous trick many hundreds of times in San Francisco and elsewhere, and it has always elicited the most enthusiastic comments.
At any hour of the night, after ten, the lecturer will go through any house in the city, no matter how dark it may be, and take an inventory of its contents, and not miss as many of the articles as the owner will in the morning. The lecturer declines to specify any more of his miraculous feats at present, for fear of getting the police too much interested in his circus.

The Mark Twain who appeared on stages in those weeks was more or less an imitation of his contemporary and friend who went by the name of Artemus Ward. One of the most popular humorists during the Civil War – Lincoln opened the cabinet meeting about the Emancipation Proclamation by reading aloud a little humor sketch – Ward’s stage persona was a backcountry hick who drawled through rambling stories, clueless there was anything remotely funny about his remarks. Audiences ate it up. It was Ward’s great success that undoubtedly inspired Twain to try his hand at it.

Those early lectures by Twain included a great deal of clowning. He would open by pretending he did not know there was an audience; if there was a piano available the curtain sometimes went up with him yowling and banging away at an old saloon tune, “I Had an Old Horse Whose Name Was Methusalem.” From a good profile of Twain’s years in the West, “Lighting Out for the Territory:”


As can best be reconstructed, he simply sauntered onto the stage from the wings, his hands stuffed into his pockets and a sheaf of papers clutched under his arm. He wandered vaguely around the lectern for a bit, looking for the most comfortable place to stand, and then appeared to notice the audience for the first time, the expression on his face registering an equal mixture of surprise, perplexity, and fear. For a long moment he looked silently at the audience while it looked back at him, waiting.

Once he introduced himself the comic shtick continued as he pretended to be shocked and mystified whenever there was laughter or applause. Describing his debut performance, a journalist in the audience recalled “…the apparently painful effort with which he framed his sentences, and above all, the surprise that spread over his face when the audience roared with delight or rapturously applauded…”

His Petaluma review was certainly the worst. but other reactions were decidedly mixed. Even as the Chronicle called his debut “one of the greatest successes of the season,” the back page of the same edition had a little item about running into Twain on Montgomery street and telling him “the envious and jealous” were saying it wasn’t worth the price of admission. When he appeared in San Jose the Mercury said “the lecture was entirely successful” while the Santa Clara Argus wrote “the lecture disappointed.” For his second San Francisco lecture the Chronicle called his performance unpolished and raw: “Some of ‘Mark’s'” jokes were very much strained, and others were so nearly improper–not to say coarse–that they could not be heartily laughed at by ladies.”

This was not harsh criticism, but that any were negative has to be weighed with understanding he had a “favorite son multiplier.” Samuel Clemens was a fellow newspaperman and drinking buddy of everyone in the City and in the Sierras who reviewed his appearances. They all wanted him to succeed, if for no other reason that he used his box office receipts to buy rounds of drinks after the show.

So great was his popularity that the harsh Petaluma review received its own smackdown from the Grass Valley Union:


Unfortunate Clemens! Why did you blight your lecturing prospects by attempting to pass the ordeal of the corn and spud-producers of the Russian river country? You may do in San Francisco and ‘sich like places,’ but you ought to have known better than to brave the Petaluma lions in their den…what business had you, Mark Twain, up in that part of the country? Telegraph to the St. Louis and Cincinnati Boards of Commerce that you cannot accept their invitations to lecture – that your lecturing star went down in Petaluma.

We have that sublime gob of sneer thanks to Santa Rosa’s newspaper, the Sonoma Democrat, where editor Thomas L. Thompson was still locked in battle with the Petaluma Argus over the Civil War, by then over a year and a half. (In an adjacent article, the Confederacy-mourning Thompson ranted at length about “the Radical tools and dupes of Abolition despotism.”) Thompson was clearly delighted that another editor handed him a cudgel to bash Petaluma and he did so with relish, taunting their critic as not “able to appreciate the entertainment” and comparing him to a dimwitted character in a Shakespearean play.

By the end of 1866 Mark Twain was on a ship headed to the East Coast. Over the next seven years he would deliver the Hawaii lecture some 150 times, by his count, almost always to acclaim. How did he completely turn it around?

For starters, he must have sharpened his focus once he was facing audiences of strangers and not his personal acquaintances, as was the case in California and Nevada. In the second Chronicle review they noted his weeks performing in front of his old pals in the Gold Country had changed his performance and not for the better: “…He was a little too familiar with his audiences. What will be thought very funny by the inhabitants of the desolated wastes on the other side of the Sierra Nevada mountains, won’t do at all in great metropolis like San Francisco.”

He also likely improved the writing; the Hawaii lecture he gave in 1873 probably was very much evolved from the original of 1866. His early reviews remarked at how much information he packed in about the climate, volcanoes, weird food, “board surfing” and the native people who were primitive because they did not act or dress like Victorian-era Americans. That didn’t leave much time for humor beyond making witty asides; were people filling his theater seats for a geography lesson or to have some laughs?

An incident during the Nevada leg of his tour should have given him cause to reflect: While walking the short distance back to Virginia City after an appearance at a mining town, Twain was held up by masked robbers who took his money and expensive gold watch. It soon came out the highwaymen were really his friends playing a prank and everything was returned to him, but Twain was livid and unforgiving. Why did they do it? Some forty years later, one of would-be brigands revealed they hoped it would cause him to stick around Virginia City and give another talk. And hopefully for that lecture, the robbery – which they had made as scary as possible – would be his topic instead of rehashing those damned factoids about Sandwich Islands.

But it appears his biggest improvement was dropping the stage business – the silly gimcrackery of pretending he had no idea what he was doing in front of an audience. He became less targeted on checking off the list of Hawaii’s wonders than sitting back and telling us a story about the place. Here was the emergence of the beloved Mark Twain we all know (well, the Hal Holbrook we all know), the man in the white suit, relaxed in the comfy chair and flicking ashes off his cigar while keeping us spellbound with whatever fool thing that happened to pop to mind. Volcanoes? Jumping frogs? Steamboats and your Missouri childhood? Whatever, Mark, just keep talking. We’ll listen to anything you have to say. You never needed the theatrics.

Unknown illustration, probably from early edition of Roughing It

 

“Mark Twain’s” Consolation

Meeting “Mark” this morning on Montgomery street, the following dialogue ensued:

“Mark” — Well, what do they say about my lecture?

We–Why, the envious and jealous say it was “a bilk” and a “sell.”

“Mark” — All right. It’s a free country. Everybody has a right to his opinion, if he is an ass. Upon the whole, it’s a pretty even thing. They have the consolation of abusing me, and I have the consolation of slapping my pocket hearing their money jingle. They have their opinions, and I have their dollars. I’m satisfied.

– San Francisco Dramatic Chronicle, October 3, 1866

SECOND LECTURE BY “MARK TWAIN”-Platt’s Hall has been engaged for to-morrow by “Mark Twain,” tor the delivery of his second lecture on the Sandwich Islands, and in addition he promises “the only true and reliable history of the late revolting highway robbery, perpetrated on the lecturer at the dead of night between the cities of Gold Hill and Virginia.” The tickets for the lecture are for sale at the book stores, “The wisdom will begin to flow at 8.” “Mark” will depart on the steamer of Monday, for a visit to the Atlantic States.

– Daily Alta California, November 15, 1866

…”Mark” was not as happy in this new lecture as he was in his old one. He was not in very good condition, having of course got alkalied while in the savage wilds of Washoe, and at the same time we fear that he had become a little demoralized. He was a little too familiar with his audiences. What will be thought very funny by the inhabitants of the desolated wastes on the other side of the Sierra Nevada mountains, won’t do at all in great metropolis like San Francisco. Some of “Mark’s” jokes were very much strained, and others were so nearly improper–not to say coarse–that they could not be heartily laughed at by ladies. However, “Mark,” of course, sent the audience into fits of laughing again and again; and as a whole, his lecture was thoroughly enjoyed by those present. “Mark’s” travels to the interior, where he has so many friends, have not improved his style. The lecture which he delivered last night might have been polished considerably without wearing down any of the sharp points with which it was ornamented.

– San Francisco Dramatic Chronicle, November 17, 1866

“Mark Twain,” the Missionary. styled the “Inimitable.” by the Mercury, favored a large and appreciative audience at San Jose, on Thursday, with an amusing account of what he heard, saw, and “part of which he was,” in the Sandwich lslands. One attraction, he announced, was necessarily omitted. In illustration of Cannibalism, as practiced anciently, he proposed to devour, in presence of the audience, any young and tender cherub if its maternal parent would stand such sacrifice for public edification, but there being no spare infants at hand the illustration was not given. With this exception, the Mercury says the lecture was entirely successful. They want him to do it again.

– Daily Alta California, November 24, 1866

The Argus, concerning ” Mark Twain’s” lecture, says: We have long been an admirer of the infutitable humor of the lecturer, as shown in his numerous letters and sketches that have been so widely published but confess that the lecture disappointed us. We expected to hear the Kanakas “joked blind,” but had no idea of being treated to such an intellectual feast as he served up to his audience. We never heard or read anything half so beautiful as his descriptions when he laid aside the role of the humorist and gave rein to his fancy. To use the expressions of a wrapt listener to the lecture, “he’s lightnin’.”

– Daily Alta California, November 25, 1866

MARK TWAIN.– The Alta of Sunday last says that Mark Twain is to deliver a lecture in this city Friday evening. We hope this is not a mistake.

– Petaluma Journal and Argus, November 22, 1866

REPREHENSIBLE.– The gentleman who enjoys a wide celebrity on this Coast as a spicy writer, over the non de plume of “Mark Twain,” delivered his lecture on the Sandwich Islands, in this city, on Monday evening last. While we accord to him the merit of being a spicy writer, candor compels us to say that as a lecturer he is not a success. We say this through no desire to be captious, but simply because it is literally true. As a newspaper correspondent Mark Twain is a racy and humorous writer, but as a lecturer he falls below mediocrity. In this connection we think it not inappropriate to address ourself to the editorial fraternity on this Coast, and to our San Francisco contemporaries in particular, in relation to the reprehensible practice of disguising the truth in reference to the qualifications and ability of persons who sell their talents for a valuable consideration, and too frequently “sell” those who go to hear them, innocently expecting to be instructed or amused. To remedy these evils we must begin at the fountain head. San Francisco occupies that proud eminence, and what she has of intelligence and real worth we delight to honor. She possesses an array of talent and varied accomplishments of which she may justly be proud; but her journals have apparently yet to learn to discriminate between stars of the first and ninth magnitude. They seem to lack the power of discrimination, and bespatter with printer’s ink all aspirants for public fame, without any seeming regard to their fitness or ability to meet the requirements of the public. Through their fulsome praise the public expectation, in the interior, is worked up to the highest pitch of expectation, and as a consequence nine times out of ten is doomed to disappointment. These frequent dampers upon public expectation has rendered the people so suspicious that lecturers of real merit are frequently mortified by finding themselves facing an audience that would be a discredit to the attractions of a hand organ.

– Petaluma Journal and Argus, November 29, 1866

POKING FUN AT PETALUMA.— The ridiculous comments of the Journal and Argus upon “Mark Twain’s” lecture in Petaluma, which we noticed at the time, have called forth some pretty sharp remarks from various quarters. The Grass Valley Union lets off steam in this manner: “Unfortunate Clemens! Why did you blight your lecturing prospects by attempting to pass the ordeal of the corn and spud-producers of the Russian river country? You may do in San Francisco and “sich like places,” but you ought to have known better than to brave the Petaluma lions in their den. What Mud Springs was to the Californian who crushed a certain young lady’s musical aspirations with a few well directed word-shots, silencing the match-making parent forever, Petaluma is in a lecturing way. Have not the Petalumans had Lisle Lester and other lecturing and reading stars up their way, and what business had you, Mark Twain, up in that part of the country? Telegraph to the St. Louis and Cincinnati Boards of Commerce that you cannot accept their invitations to lecture—-that your lecturing star went down in Petaluma.” There is a mistake here, through which injustice has been done to the people of our neighboring town. They had no fault to find with “Mark Twain.” On the contrary, his humorous and instructive lecture was highly appreciated by them. The editor of the Journal and Argus is the dissatisfied individual on whom Clemens wasted his wit. Not being able to appreciate the entertainment, he at once pronounced “Mark Twain” a failure. Evidently, when doing so, in the opinion of the press of the State, he followed the example of Dogberry of old, and displayed his ears rather prominently.

– Sonoma Democrat, December 22, 1866

 

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MUTT AND THE JEFF IN OCCIDENTAL

Everyone in Santa Rosa was expecting a good time that Sunday in 1913: Mutt and Jeff were coming to town.

The Press Democrat could barely contain its excitement over the musical comedy. “The mere announcement of this sterling piece of laughter and mirth should occasion considerable pleasure,” gushed the PD, “for it is a rarity nowadays to witness a play that can really tickle one’s risibilties.” After readers paused to consult a dictionary and check if risibilties were something you would want strangers messing with, the article continued by promising the audience “infinite joy…’Mutt and Jeff’ were created to make this gloomy mundane sphere of ours happy and contented.”

Well, golly. Although this was the most expensive theatrical event in Santa Rosa for the year – with best seats going for the equivalent of forty bucks now – it was still a bargain price for the promise of infinite joy.

The show had been a broadway hit a couple of years earlier, but it wasn’t that reputation which drew the Sonoma county crowd: It was the excitement of seeing Mutt and Jeff – or at least a couple of guys who looked and acted like the pair.

For around a quarter century (roughly 1910-1935) Mutt and Jeff enjoyed an unprecedented popularity we probably can’t imagine today. Besides the daily comic strip and Sunday funnies, their animated cartoons were big hits at the movies. They were the first characters to have a line of spinoff merchandise – toys, games, dolls, figurines, playing cards, cigars, golf balls, and lord help them, Mutt brand oranges.

If the names are unfamiliar, Mutt was pencil-thin with a long nose, bristly moustache and devoid of chin; Jeff was a little person, balding with ear-to-ear whiskers and usually dressed like the Monopoly game tycoon for no apparent reason. Both were always drawn wearing white gloves, even to bed. In later years the comic books and strips were churned out in cartoon artist sweatshops and became merely gags and jokes; the old stuff was zany and sometimes more bizarre than funny. There was also frequent political satire: A series of 1908 dailies had Mutt running for president for the “Bughouse” party.

Both Santa Rosa newspapers ran publicity photos for the show and ads promised a cast of fifty with enough scenery to fill two train cars. We know from reviews the production had a chorus, pretty showgirls, lots of singing and dancing numbers and a slapstick bit with collapsible stairs. There was a series of souvenir postcards (seen here) portraying various scenes and the cast in full makeup, including Mutt with an absurdly long putty nose.

The Santa Rosa performance bombed. “All who attended the performance of ‘Mutt and Jeff’ at the Columbia theater Sunday evening and paid a dollar and a half for a seat, or even a dollar, to use a slang phase, not elegant, but expressive, were ‘stung,'” The Santa Rosa Republican complained the next day. Never before in the old papers have I seen a negative review like that.

“[A]ll the members of the company evidently thought they were performing in a fifty acre field and were required to yell as loud as they could in order to be heard,” the Republican continued, and “all of them talked so fast that nobody could understand what they said.” The review also said the curtain didn’t go up until 9:45 and by then the audience’s patience was worn out. “There were some good musical numbers, and if everybody had not been tired out, they probably would have been enjoyed.” Had the theater manager been smart, he could have killed time during the long wait by calling Jacques Fehr to the stage. He must have been in the audience that evening, and it was common knowledge around Sonoma county (although possibly not as early as 1913) that the Jeff character was based on him.

Jacques, or Jacob, or “Jakie” Fehr ran a bodega in Occidental with his wife, Tillie. They sold the whatnot such stores always sold – things like soda pop, candy, tobacco, magazines and newspapers. Jakie picked up the San Francisco papers when they arrived on the train that came up the valley from the Sausalito ferry. As the often-told story goes, one morning in 1908 a passenger en route to Bohemian Grove stepped off the train to stretch his legs when the train stopped in the village. San Francisco Chronicle cartoonist Bud Fisher watched as Jakie bantered or argued with the railroad’s “candy butcher” (the person who walked the aisles selling snacks and smokes) and was amused by the contrast between the tall and lanky salesman and the four-foot-nine storekeeper. Thus sprang in his mind the inspiration for Mutt and Jeff.

(RIGHT: Tille and “Jakie” Fehr in front of their store, c. 1914. Photo courtesy Sonoma County Library)

Harry Lapham grew up in Occidental in the 1930s and memorialized Jakie in a 1991 profile for The Sonoma Historian. By trade Fehr was a Swiss-born watchmaker and still did repairs; half the front window displayed watches and clocks for sale. He was actually four-foot-eight according to Lapham, and a hunchback – apparently the kids in town had “animated conversations” worrying whether his condition might be contagious, as he always licked the ice cream scoop before putting it back in the water.

It’s not known when or how Fehr learned he was the model for the cartoon character, but Lapham quotes an Occidental old-timer as recalling Jakie say, “I think I will sue this man Fisher. He has put me in his comic strip as this man, Jeff.” When Fehr died in 1938, the Press Democrat headline was, “‘Jeff’ of Famous Comic Strip Dies In S. R. Hospital” and the obituary rehashes the origin story. “From that scene,” the PD wrote, “Fisher is quoted as having said the idea of creating the strip that brought him fame and wealth was born.”

There’s only one problem with the story: I can find no proof it’s true – but lots of evidence that it isn’t. And I’m very sorry to write that; originally this article was going to be another celebration of the little storekeep with the big claim to fame.

The first problem is that the bones of the story don’t fit. Jeff first appeared in March-April 1908 comic strips (more about that in a minute) so the encounter had to happen sometime before that. As the Bohemian Club hosts its annual camp in mid-July of each year, either Fisher was passing through Occidental for a reason other than going to Bohemian Grove in early 1908 or it all happened some time before. Regardless, this wrong timeline is only a quibbling detail.

More significant is that Bud Fisher repeatedly insisted both Jeff and Mutt were invented out of whole cloth. Interviewed by a Duluth paper in 1912 and asked if they were based on two characters he knew in San Francisco, he replied: “Nothing to that. Mutt and Jeff are no one in particular except themselves. They were merely created for amusement purposes and in time came to be fixtures. They ‘growed’ in other words.” Asked a similar question in 1915 by the Washington DC Star he said of Jeff: “It is always a small ‘nut’ who believes he can whip any one in the world. The little filbert is constantly getting into musses [sic] and receiving the worst of it. To make him look more foolish I put whiskers on him.”

But that’s not quite true either – although he deserves full credit for developing two of the most memorable characters in comic history, he sure as hell didn’t invent them.

Before Jeff appeared, Fisher had a very popular strip in the San Francisco Chronicle called “A. Mutt” which appeared on the sports page. The comic had a gimmick: Every strip ended showing Mutt placing a bet on a real horse running that same day at a Bay Area racetrack. The concept wasn’t original; even back then people noticed this was exactly the same gimmick from an earlier comic strip, “A. Piker Clerk,” which had appeared in a paper in Chicago, Fisher’s hometown. The Clerk character could have been Mutt’s older brother – he likewise had a long nose, bushy moustache, no chin, and was string bean skinny.

A. Mutt was an instant hit and three weeks later Hearst hired him away to continue the comic for the San Francisco Examiner. Here the comic began turning political and moved away from being just a rip-off of the older cartoon. A story arc in early 1908 has Mutt sent to an asylum (“bughouse,” in slang) where he meets delusional patients who believe they are Napoleon, Shakespeare (etc.) and one says he is boxer Jim Jeffries. This was soon shortened to just “Jeff” and once Mutt is released, Jeff joined the strip’s cast of characters.

(LEFT: The “Jeffries” character drawn by Bud Fisher in March, 1908. RIGHT: Mr. Proones drawn by George Herriman in December, 1907. Other views of Mr. Proones can be seen here and here)

The original gag was that the guy who thought he was heavyweight champ Jeffries wore glasses and was probably an academic. In no way did he resemble the later Jeff character – he was slightly built but not extremely short. He did not have the top hat or formal suitcoat and shirt collar. All those elements, however, exactly match a character that appeared in Hearst’s Los Angeles paper at the exact same time Fisher began working for Hearst. The cartoon was “Mr. Proones the Plunger” drawn by George Herriman, who later created the acclaimed “Krazy Kat” comic stip. Like Mutt, Proones was also a racetrack gambler (“plunger” was slang for someone who lost on big wagers).

Today this would be called plagiarism – the equivalent of drawing Superman but replacing the “S” on his chest with a “Z” and writing he came from the planet “Clypton.” But in the day, comic artists did not own their own work, with the notable exception of Bud Fisher. Publisher Hearst owned A. Piker Clerk and Mr. Proones and was not about to sue his star cartoonist over a little matter of intellectual property theft. Still, Herriman and others knew what Fisher had done, as reported in a 1919 item in the Los Angeles Graphic, reprinted elsewhere as “The Inside on Mutt and Jeff:”


Discussion is renewed as to who was the creator of these supposedly humorous characters. Newspaper men from Chicago have told local newspaper artists that A. Mutt was a direct adaptation from A. Piker, one of the creations of Claire Briggs, once of Chicago, but now with the New York Tribune. Briggs is said to have run A. Piker for several months, twelve or thirteen years ago. In the same circles the original of Little Jeff is credited to George Herriman of Los Angeles, now on the Hearst Syndicate payroll as the parent of the entire Dingbat family. Herriman, I am told, ran a Little Jeff series which he later abandoned and Fisher adopted the character as a companion to Mutt. Herriman has never taken credit for Jeff, telling his friends ‘Bud got away with Jeff and I didn’t, so he deserves all the credit he can get out of it.’ I understand Herriman declined the drawing of a substitute Mutt and Jeff series for Hearst.

We’ve now probably wandered farther into the weeds of golden age comics than interests most Sonoma county history fans, but it’s all to make a point. Yes, Jakie Fehr looked just like comic strip Jeff. Most likely everyone passing through the village in those years commented on that. And the notion that Bud Fisher was only inspired by the confrontation between the shopkeeper and the trainman is a good GREAT story, which is why it’s repeated endlessly in writings about Occidental’s past as well as a multitude of comic history resources on the internet. But it’s going to take damn compelling evidence to show that all this “growed” out of a scene on a train platform in Occidental.

Promotional photo for “Mutt and Jeff.” February 15, 1913 Santa Rosa Republican

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