Circus Show Quotes

Chandresh relishes reactions. Genuine reactions, not mere polite applause. He often values the reactions over the show itself. A show without an audience is nothing, after all. In the response of the audience, that is where the power of performance lives.

Destiny, I feel is also a relationship-a play between grace and willful self-effort. Half of it you have no control over, half of it is absolutely in your hands and your actions will show measurable consequences. Man is neither entirely a puppet of the gods, nor is he entirely the captain of his own destiny; he’s a little of both. We gallop through our lives like circus performers balancing on two speeding side-by-side horses-one foot is on the horse called “fate” the other on the horse called “free will”. And the question you have to ask everyday is, Which horse is which? Which horse do I need to stop worrying about because it’s not under my control, and which do I need to steer with concentrated effort?

You know what they say about the circus.” “What, that the show must go on?” “No,” she says. “That the show can’t begin until you jump.

Circus performers and variety shows will never captivate me in the same way as steppes or rainforests, or the sky's uncountable galaxies and all the billions of light years that separate them.

Lilies, I rule, heads, you do," he [the King] said, and threw the coin into the air. "Lilies, you rule, heads, you throw again," said Attolia. The coin dropped. Eugenides looked at it and then showed it to her. "No need," he said. The coin sat in his palm, obverse, showing the lilies of Attolia. He flipped it again and again and again. Each time it landed showing the lilies. ... (Relius) He wanted to dismiss the coin toss as slight of hand. Any circus performer could control the drop of a coin, but he'd been puzzled. The queen had been undismayed; she had seemed almost vindicated in her manner. It had been the King who was more disturbed with each toss of the coin. He'd looked almost sick, Relius thought, by the time he put the coin away. ... Walking away along the arcade that lay perpendicular to the one where Relius lurked, the king pulled the coin from his pocket. He looked at the gold stater in sudden disgust and pitched it hard between the columns of the arcade into the shrubbery.

Here I am, your one man circus freak show, having bled out for mother Russia, having desperately tried to get to you, now on top of you with this scourge marks, and you, who used to love me, who was sympathized, internalized, normalized everything, you are not allowed to turn away from me....this is what I am going to look like until the day I die. I can't get any peace from you ever unless you find away to make peace with this. Make peace with me. Or let me go for good.

A show without an audience is nothing, after all. In the response of the audience, that is where the power of performance lives.

I am further back, surrounded on all sides by wailing men, their faces shiny with tears. Uncle Al promised three dollars and a bottle of Canadian whiskey to the man who puts on the best show. You've never seen such grief-- even the dogs were howling.

The thing is, I don't really mean to disappoint you and all that, but it doesn't really matter what you do to me; I'll never tell you where he is. We're going to destroy your silly little circus. We're going to bring you down. - Hoshiko

He said that academia reminded him of a badly run circus. The faculty members were like underfed animals -- weary of their cages, which were never large enough to begin with -- and they responded sluggishly to the whip. The trapeze artists fell with monotonous regularity into poorly strung nets. The clowns looked hungry. The tent leaked. The crowd was inattentive, shouting incoherently at inappropriate moments. And when the show was over, no one cheered.

I like the circus, because they make a business out of being a clown show. But I hate The Chamber of Commerce, because they make a clown show out of business. In between those two extremes is my duck farm.

America is ceasing to be a nation, and turning into a giant television show. And this Republican race is our first and most brutal casting call.

A show without an audience is nothing, after all.

Clowns are respectable only in a circus.

Here’s the simplest, most jargon-free, definition of marketing you’re ever likely to come across: If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing.

I’ve spent years trying to block out how you look. And sound. And feel. And before this show, I’d gotten pretty good at it. But now, here you are, in front of me every day, and it blows my mind that a single touch from you still has the power to ruin me. And whenever it happens, I forget about the choices I’ve made, and the circus my life’s become, and I want you. Consequences be damned.

Circuses and carnivals used to be considered the work of the Devil in the 19th century, when shows traveled in wagons and disapproving clergymen had real power.

I like the circus, because they make a business out of being a clown show. But I hate The Chamber of Commerce, because they make a clown show out of business.

In this image-driven age, wildlife filmmakers carry a heavy responsibility. They can influence how we think and behave when we’re in nature. They can even influence how we raise our kids, how we vote and volunteer in our communities, as well as the future of our wildlands and wildlife. If the stories they create are misleading or false in some way, viewers will misunderstand the issues and react in inappropriate ways. People who consume a heavy diet of wildlife films filled with staged violence and aggression, for example, are likely to think about nature as a circus or a freak show. They certainly won’t form the same positive connections to the natural world as people who watch more thoughtful, authentic, and conservation-oriented films.

Welcome, welcome to Caraval! The grandest show on land or by sea. Inside you’ll experience more wonders than most people see in a lifetime. You can sip magic from a cup and buy dreams in a bottle. But before you fully enter into our world, you must remember it’s all a game. What happens beyond this gate may frighten or excite you, but don’t let any of it trick you. We will try to convince you it’s real, but all of it is a performance. A world built of make-believe. So while we want you to get swept away, be careful of being swept too far away. Dreams that come true can be beautiful, but they can also turn into nightmares when people won’t wake up.

We had fancied our task would be different, only to find we were to be trained for heroism as though we were circus-ponies. But we soon accustomed ourselves to it. We learned in fact that some of these things were necessary, but the rest merely show. Soldiers have a fine nose for such distinctions.

Is six a.m. too early to watch The Bachelor and mock all the giggly, desperate women?" "Go for it. Though I bet it'd work better as a drinking game," Laurel said. "One shot for the flirty arm touch. Chug if they strip and bum-rush the pool." Anne hit play. "Like they'd get their hair wet." Laurel stared at the screen, laughed at Anne's comments but felt another weird pang upset her insides. "Would you say this show makes something incredibly complex--you know, relationships--into something mind-numbingly vapid? Or does it make something actually rather simple into a big fucking circus?" "Both. That's why I love it." "I couldn't stand competing for a man like that," Laurel murmured. "I don't have the right...programming for it. Like to fight like that. Some people get an adrenaline rush and they're like foosh, give me somebody to beat down. I just, like curl up into a ball and want to hide." "I'm somewhere in the middle," Anne said. "I'm like a ninja. I'll like, come out of my shadowy hiding space and beat you down, bitches. You won't even see me.

Going Gone Over stone walls and barns, miles from the black-eyed Susans, over circus tents and moon rockets you are going, going. You who have inhabited me in the deepest and most broken place, are going, going. An old woman calls up to you from her deathbed deep in sores, asking, "What do you keep of her?" She is the crone in the fables. She is the fool at the supper and you, sir, are the traveler. Although you are in a hurry you stop to open a small basket and under layers of petticoats you show her the tiger-striped eyes that you have lately plucked, you show her specialty, the lips, those two small bundles, you show her the two hands that grip her fiercely, one being mine, one being yours. Torn right off at the wrist bone when you started in your impossible going, gone. Then you place the basket in the old woman's hollow lap and as a last act she fondles these artifacts like a child's head and murmurs, "Precious. Precious." And you are glad you have given them to this one for she too is making a trip.

No. Instead from school it’s straight off to the theatre, to a gladiatorial game, to an athletic show or the circus. Then from there you come back here, and from here, off you go again, the same people, the same pursuits – [15] you show no serious discipline, concern, or care for yourself.

Life is a great big beautiful three-ring circus. There are those on the floor making their lives among the heads of lions and hoops of fire, and those in the stands, complacent and wowed, their mouths stuffed with popcorn. I know less now than ever about life, but I do know its size. Life is enormous. Much grander than what we’ve taken for ourselves, so far. When the show is over and the tent is packed, the elephants, lions and dancing poodles are caged and mounted on trucks to caravan to the next town. The clown’s makeup has worn, and his bright, red smile has been washed down a sink. All that is left is another performance, another tent and set of lights. We rest in the knowledge: the show must go on. Somewhere, behind our stage curtain, a still, small voice asks why we haven’t yet taken up juggling. My seminars were like this. Only, instead of flipping shiny, black bowling balls or roaring chainsaws through the air, I juggled concepts. The world is intrinsically tied together. All things march through time at different intervals but move ahead in one fashion or another. Though we may never understand it, we are all part of something much larger than ourselves—something anchoring us to the spot we have mentally chosen. We sniff out the rules, through spiritual quests and the sciences. And with every new discovery, we grow more confused. Our inability to connect what seems illogical to unite and to defy logic in our understanding keeps us from enlightenment. The artists and insane tiptoe around such insights, but lack the compassion to hand-feed these concepts to a blind world. The interconnectedness of all things is not simply a pet phrase. It is a big “T” truth that the wise spend their lives attempting to grasp.

Emmett wasn’t one for circuses. He wasn’t one for magic shows or rodeos. He hadn’t even liked going to the football games at his high school, which were attended by nearly everyone in town. He’d simply never taken to the idea of sitting in a crowd to watch someone do something more interesting than what you were doing yourself.

A show at the circus was an organic being. It was created by real ingredients, real people. It sometimes evolved and sometimes regressed. It lived and it died. Each show, each day, was alive for a brief period of time, like a human. And then as the audience exited the big top the beating heart of that show slowed until it was no more.

It will go down someday as the greatest reality show ever conceived. The concept is ingenious. Take a combustible mix of the most depraved and filterless half-wits, scam artists and asylum Napoleons America has to offer, give them all piles of money and tell them to run for president. Add Donald Trump. And to give the whole thing a perverse gravitas, make the presidency really at stake. It’s Western civilization’s very own car wreck. Even if you don’t want to watch it, you will. It’s that awesome of a spectacle. But

As allergic as I am to the feeling circus, even I know women crave some show of possessiveness, even if I agree they should be given the choice.

A show without an audience is nothing, after all. In response of the audience, that is where the power of performance lives.

He had expected it to be a show. Something to sit in a chair and watch. He quickly realized how wrong he was. It was something to be explored.

Whatsa mattah allee time talkee talk bear business? Me no savvee bear business. You no like this Gloddam show, you go somewhere else.

You no like this Gloddman show, you go somewhere else.

Love is really the most beautiful show. It can’t rehearsed. It can’t be planned. It is the product of magic. It is what Vagabond Circus is all about.

It seemed to him the world was a carnival, and that we’ve all got a free ticket. And all shows get their curtain call. Eventually.

If poetry is a circus, then the Big Tent we're under has to have room for a lot of different freak shows.

I suddenly felt, well, terribly old as I watched a mudskipper hopping along with what now seemed to me like a wonderful sense of hopeless, boundless naïve optimism. I hoped that if its descendant was sitting here on this beach in 350 million years' time with a camera around its neck, it would feel that the journey had been worth it. I hoped that it might have a clearer understanding of itself in relation to the world it lived in. I hoped that it wouldn't be reduced to turning other creatures into horror circus shows in order to try and ensure them their survival. I hoped that if someone tried to feed the remote descendant of a goat to the remote descendant of a dragon for the sake of a little more than a shudder of entertainment, that it would feel it was wrong. I hoped it wouldn't be too chicken to say so.

Their life together, which had its distinct rhythms and drama, was generally invisible to everyone else; sometimes she thought they were like performers in a flea circus between shows, doing their microscopic tricks only for each other.

The first and most basic task of the minister of tomorrow is to clarify the immense confusion which can arise when people enter this new internal world. It is a painful fact indeed to realize how poorly prepared most Christian leaders prove to be when they are invited to be spiritual leaders in the true sense. Most of them are used to thinking in terms of large-scale organization, getting people together in churches … running the show as a circus director. They have become unfamiliar with, and even somewhat afraid of, the deep and significant movements of the Spirit. I am afraid that in a few decades the Church will be accused of having failed in its most basic task: to offer men creative ways to communicate with the source of human life.

The walls were lined with terrible paintings of lemurs in various poses. The master had showed them off proudly, telling Linus painting was her passion, and that if she hadn’t become the master of this specific orphanage, she’d be traveling with a circus as a lemur trainer or even have opened up a gallery to share her artwork with the world. Linus believed the world was better off with the paintings staying in this room, but he kept the thought to himself. He wasn’t there to engage in amateur art criticism.

The big top deflating symbolized death. The end of another round of shows. The last part of the life of this big top. The same big top would be reborn in another city. It would rise into the air, like the phoenix, but it would never be like this tent, with its backdrop and its smells and its winds.

To Dave a show was an organic being. It was created with real ingredients, by real people. It sometimes evolved and sometimes regressed. It lived and it died. Each show, each day, was alive for a brief period of time, like a human. And then as the audience exited the big top, the beating heart of that show slowed until it was no more.

This is the circus of Dr. Lao. We show you things that you don't know. We tell you of places you'll never go. We've searched the world both high and low To capture the beasts for this marvelous show From mountains where maddened winds did blow To islands where zephyrs breathed sweet and low. Oh, we've spared no pains and we've spared no dough; And we've dug at the secrets of long ago; And we've risen to Heaven and plunged Below, For we wanted to make it one hell of a show. And the things you'll see in your brains will glow Long past the time when the winter snow Has frozen the summer's furbelow. For this is the circus of Dr. Lao. And youth may come and age may go; But no more circuses like this show!

This was always a poetically sad part of every location to him. The big top deflating symbolized death to him. The end of another round of shows. The last part of the life of this big top. The same big top would be reborn in another city. It would rise into the air, like the phoenix, but it would never be like this tent, with its backdrop and its smells and its winds.

I put on a good show but I never liked performing tricks in the sex circus and preferred spending time with Jack Daniels rather than the male performers I was paid to fake it with. That’s right, none of us hot blondes enjoy making porn. In fact, we hate it. We hate spreading our legs for sexually diseased men. We hate being degraded with their foul smells and sweaty bodies..,

The Vagabond Circus was different than all the rest in many ways and the first was it had no clowns. Not a single red, round nose in the whole troupe. Maybe that was the reason that Dave had decided he’d be the silliest ringmaster in all of history. His job was to lead and move the events of the show along but he was less a Master of Ceremony and more a buffer between the jaw dropping acts.

The achievement of star status itself would seem to be based not on talent or good looks any more, but on the risks taken for the camera by a whole host of stuntmen brought in from the fairgrounds and circuses: trick riding, controlled falls, suspended accidents and suicidal exploits, leading, with the coming of 'live' transmission, to the 'confessional' TV programme, to the so-called reality show, which shades over, at the edges, into the snuff movie.

Setting aside the puppet shows, the only thing that matters is who will be ruling, who will have the keys to the cash register, and how they're going to split up other people's money among themselves. On their way to the booty they'll spruce everything up, which is badly needed. New Scoundrels will appear, new leaders, and a whole choir of jnnocents with no memory will come out into the streets, ready to believe whatever they want or need to believe. They'll follow whichever Pied Piper flatters them most and promises them some shotty paradise... This is what it is... with its highs and lows, and it's only as good as it gets, which is better than nothing. There are those who see it coming and go far away... And there are those of us who stay with our feet stuck in the mud, because anyhow we don't have anywhere better to go. But don't worry about the circus. We've now come to the clown acts, and the trapeze artists will take a while to arrive.

Tell me, have you done much circus work in your life?' [asked Mulder]. Nutt drew himself up to his full height. 'And what makes you think I've ever even gone to a circus, let alone been a slave in one?' he demanded... Finally Mulder managed to say, 'I didn't mean any offense.' 'Offended? Why should I be offended?' Nutt demanded. 'It's human nature to make quick judgements of people based only on their looks. Why, I have done the same thing to you.' 'Have you?' said Mulder. 'And what have you concluded?' 'I have taken in your all-American face, your unsmiling expression, your boring necktie. I have decided you work for the government,' Nutt said. 'You are- an FBI agent.' 'Am I really?' Mulder said. 'I hope you get my point,' Nutt said. 'I want to show how stupid it would be to look at you as a type, rather than as an individual.' 'But I am an FBI agent,' Mulder said, showing Nutt his badge. There was a loud silence. Then Nutt said, 'Sign the book please.

What Is Marketing? Some people think marketing is advertising or branding or some other vague concept. While all these are associated with marketing, they are not one and the same. Here’s the simplest, most jargon-free definition of marketing you’re ever likely to come across: If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and, ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing.

It was, to those on the inside, a period of “mutual falling in love,” a bonding that went well beyond the usual backstage infatuation. It also spilled over, even those on the inside knew, into arrogance. Tom Schiller saw it as “the bringing together of Lorne Michaels’ chosen people…a traveling family circus, like an amoeba, a cell that started to grow.… We lived the show; we breathed the show; we slept with each other about the show. There was no private life. I would compare it exactly to living on a submarine.

Social networking is the most brilliant manifestation yet of the elite’s bread and circuses paradigm. Whereas Caesar had to spend a fortune putting on shows for the plebs, the modern Caesar get the plebs to entertain themselves on Facebook, and it doesn’t cost him a cent. In fact, he can become a multi-billionaire out of it. What a result! The elite must always ensure that the masses are too preoccupied to ever think about the appalling world they live in; to confront the realisation that they are degraded second-class citizens in a two-tier society.

What Is Marketing? Some people think marketing is advertising or branding or some other vague concept. While all these are associated with marketing, they are not one and the same. Here’s the simplest, most jargon-free definition of marketing you’re ever likely to come across: If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and, ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing. Yup, it’s as simple as that—marketing is the strategy you use for getting your ideal target market to know you, like you and trust you enough to become a customer. All the stuff you usually associate with marketing are tactics.

It is so rare to have a new tent appear that Celia considers canceling her performances entirely in order to spend the evening investigating it. Instead she waits, executing her standard number of shows, finishing the last a few hours before dawn. Only then does she navigate her way through nearly empty pathways to find the latest edition to the circus. The sign proclaims something called the Ice Garden. and Celia smiles at the addendum below which contains an apology for any thermal inconvenience. Despite the name, she is not prepared for what awaits her inside the tent. It is exactly what the sign described. But it is so much more than that. There are no stripes visible on the walls, everything is sparkling and white. She cannot tell how far it stretches, the size of the tent obscured by cascading willows and twisting vines. The air itself is magical. Crisp and sweet in her lungs as she breathes, sending a shiver down to her toes that is caused by more than the forewarned drop in temperature. There are no patrons in the tent as she explores, circling alone around trellises covered in pale roses and a softly bubbling, elaborately carved fountain. And everything, save for occasional lengths of whet silk ribbon strung like garlands, is made of ice. Curious, Celia picks a frosted peony from its branch, the stem breaking easily. But the layered petals shatter, falling from her fingers to the ground, disappearing in the blades of ivory grass below. When she looks back at the branch, an identical bloom has already appeared. Celia cannot imagine how much power and skill it would take not only to construct such a thing but to maintain it as well. And she longs to know how her opponent came up with the idea. Aware that each perfectly structured topiary, every detail down to the stones that line the paths like pearls, must have been planned.

PROCRASTINATION The day after tomorrow, yes, only the day after tomorrow ... Tomorrow I’ll start thinking about the day after tomorrow, Maybe I could do it then; but not today ... No, nothing today; today I can’t. The confused persistence of my objective subjectivity, The sleep of my real life, intercalated, Anticipated, infinite weariness— I’m worlds too weary to catch a trolley— That kind of soul ... Only the day after tomorrow ... Today I want to prepare, I want to prepare myself for tomorrow, when I’ll think about the next day ... That’d be decisive. I’ve already got the plans sketched out, but no, today I’m not making any plans ... Tomorrow’s the day for plans. Tomorrow I’ll sit down at my desk to conquer the world; But I’ll only conquer the world the day after tomorrow ... I feel like crying, I suddenly feel like crying a lot, inside ... That’s all you’re getting today, it’s a secret, I’m not talking. Only the day after tomorrow ... When I was a kid the Sunday circus diverted me every week. Today all that diverts me is the Sunday circus from all the weeks of my childhood ... The day after tomorrow I’ll be someone else, My life will triumph, All my real qualities—intelligent, well-read, practical— Will be gathered together in a public notice ... But the public notice will go up tomorrow ... Today I want to sleep, I’ll make a fair copy tomorrow ... For today, what show will repeat my childhood to me? Even if I buy tickets tomorrow, The show would still really be the day after tomorrow ... Not before ... The day after tomorrow I’ll have the public pose I will have practiced tomorrow. The day after tomorrow I’ll finally be what I could never be today. Only the day after tomorrow ... I’m sleepy as a stray dog's chill. I’m really sleepy. Tomorrow I’ll tell you everything, or the day after tomorrow ... Yes, maybe only the day after tomorrow ... By and by ... Yes, the old by and by ...

It is interesting to note that the lion that is the most amenable to the circus trainer’s tricks is the one with the lowest social standing in the pride, the omega animal. It has the most to gain from a close relationship with the super-alpha trainer. It is not only a matter of extra treats. A close relationship will also mean protection from the other members of the pride. It is this compliant animal, to the public no different from the others in size and apparent ferocity, that will be the star of the show, while the trainer leaves the beta and gamma lions, more cantankerous subordinates, sitting on their colourful barrels on the edge of the ring.

Douglas’s work. And the first time Mrs. Caperdeen showed us a slide from his series Aspects of Negro Life, I knew the kind of art I wanted to start making. And so I did. The only difference was that I framed mine in a circle, like The Family Circus. And that’s why I needed Ma to make sure she brought me my sketch pad and pencils. I woke up early, and before doing anything else, before getting up and having a morning pee, or brushing my teeth, or spirometering, I turned the TV on, muted it, then grabbed my stuff and starting sketching on a fresh page. I wasn’t sure what I was drawing. That’s not true. I knew exactly what I was drawing. The only thing I could. I was

Academia is an odd place. Stately buildings and ivy, wrought iron fences, and libraries fragrant with the smell of old books. Young people scurry to and from class, fresh, energetic, and naive. But in the long halls and narrow offices, those who work there fester in the dark like overeducated viral agents. Wet-eyed professors with obscure, irrelevant specialties and inferiority complexes browbeat students. Administrators, buffeted by faculty contempt and general inefficiency, sink into venal scheming. Any college campus is a circus, complete with color, entertainment, and the occasional glimpse of something really amazing. At Dorian University, the circus had a large number of clowns and a truly impressive freak show.

In the elaborate con that is American electoral politics, the Republican voter has long been the easiest mark in the game, the biggest dope in the room. Everyone inside the Beltway knows this. The Republican voters themselves are the only ones who never saw it. Elections are about a lot of things, but at the highest level, they’re about money. The people who sponsor election campaigns, who pay the hundreds of millions of dollars to fund the candidates’ charter jets and TV ads and 25-piece marching bands, those people have concrete needs. They want tax breaks, federal contracts, regulatory relief, cheap financing, free security for shipping lanes, antitrust waivers and dozens of other things. They mostly don’t care about abortion or gay marriage or school vouchers or any of the social issues the rest of us spend our time arguing about. It’s about money for them, and as far as that goes, the CEO class has had a brilliantly winning electoral strategy for a generation. They donate heavily to both parties, essentially hiring two different sets of politicians to market their needs to the population. The Republicans give them everything that they want, while the Democrats only give them mostly everything. They get everything from the Republicans because you don’t have to make a single concession to a Republican voter. All you have to do to secure a Republican vote is show lots of pictures of gay people kissing or black kids with their pants pulled down or Mexican babies at an emergency room. Then you push forward some dingbat like Michele Bachmann or Sarah Palin to reassure everyone that the Republican Party knows who the real Americans are. Call it the “Rove 1-2.” That’s literally all it’s taken to secure decades of Republican votes, a few patriotic words and a little over-the-pants rubbing. Policywise, a typical Republican voter never even asks a politician to go to second base. While we always got free trade agreements and wars and bailouts and mass deregulation of industry and lots of other stuff the donors definitely wanted, we didn’t get Roe v. Wade overturned or prayer in schools or balanced budgets or censorship of movies and video games or any of a dozen other things Republican voters said they wanted.

Cooger & Dark’s Pandemonium Shadow Show— Fantoccini, Marionette Circus, and Your Plain Meadow Carnival. Arriving Immediately! Here on Display, one of our many attractions: THE MOST BEAUTIFUL WOMAN IN THE WORLD! Halloway’s eyes leaped to the poster on the inside of the window. THE MOST BEAUTIFUL WOMAN IN THE WORLD! And back to the cold long block of ice. It was such a block of ice as he remembered from traveling magician’s shows when he was a boy, when the local ice company contributed a chunk of winter in which, for 12 hours on end, frost maidens lay embedded, on display while people watched and comedies toppled down the raw white screen and coming attractions came and went and at last the pale ladies slid forth all rimed, chipped free by perspiring sorcerers to be led off smiling into the dark behind the curtains

The same thing happened with large civic clients. He and Calvert Vaux had built and refined Central Park from 1858 through 1876, but forever afterward Olmsted found himself defending the park against attempts to tinker with its grounds in ways he considered tantamount to vandalism. It wasn’t just Central Park, however. Every park seemed subject to such abuse. “Suppose,” he wrote to architect Henry Van Brunt, “that you had been commissioned to build a really grand opera house; that after the construction work had been nearly completed and your scheme of decoration fully designed you should be instructed that the building was to be used on Sundays as a Baptist Tabernacle, and that suitable place must be made for a huge organ, a pulpit and a dipping pool. Then at intervals afterwards, you should be advised that it must be so refitted and furnished that parts of it could be used for a court room, a jail, a concert hall, hotel, skating rink, for surgical cliniques, for a circus, dog show, drill room, ball room, railway station and shot tower?” That, he wrote, “is what is nearly always going on with public parks. Pardon me if I overwhelm you; it is a matter of chronic anger with me.

were good friends. They’d maintained their friendship after Ted was out of the game. Both of them were avid fishermen, but they both had different ideas about it. They would hassle on technique, and neither would give in to the other.” Wallace Lawrimore vividly remembered the April 6, 1939, game in Florence between the Red Sox and the Reds. “Daddy carried two carloads of family to the game. We all went up to the dugout to tell Cronin we wanted some passes to get in. I got a program from that day, with all the players’ autographs.” The one ball field Florence had was deemed unsuitable for a major-league game because the fences were too short, so it was decided to build a field from scratch at the local fairgrounds. They laid down a coating of dirt for the infield and put up some circus-style bleachers for the 2,285 spectators who showed up, but when it came time for the game, gale-force winds blowing out toward left field drove the dirt everywhere, and conditions made the game virtually unplayable. It was called in the ninth inning, with the score tied 18–18, because they ran out of baseballs. Ted went 1–2 before leaving the game in the third inning after complaining of chills and a fever. Several days later, Gerry Moore of the Globe summed up spring training

Early on as news of the sextuple execution in Fort Smith spread, rooted itself in the umber soil of the western Indian Nations, and grew inthe the solid stalk of legend, the men whom Marshal Fagan appointed to swell the judge's standing army abanddonded the practice of introducing themselves as deputy U.S. marshals. Instead, when they entered the quarters of local law enforcement officers and tribal policemen to show their warrants, they said: "We ride for Parker." Sometimes, in deference to rugged country or to cover ground, they broke up and rode in pairs or singles, but as the majority of the casualties they would suffer occurred on these occasions, they formed ragged escorts around stout little wagons built of elm, with canvas sheets to protect the passengers from rain and sun for trial and execution. With these they entered the settlements well behind their reputations. The deputies used Winchesters to pry a path between rubbernecks pressing in to see what new animals the circus had brought. Inside, accused felons, rounded up like stray dogs, rode in manacles on the sideboards and decks. At any given time-so went the rumor-one fourth of the worst element in the Nations was at large, one fourth was in the Fort Smith jail, and one fourth was on its way there in the 'tumbleweed wagons.' "That's three-fourths," said tenderheels "What about the rest?' "That fourth rides for Parker.

In the nineteen-forties in Nazi-occupied Paris, an artist named Marcel Carné made a movie. He filmed it on location on the Street of Thieves, the old Parisian theater street where at one time there was everything from Shakespearean companies to flea circuses, from grand opera to girlie shows. Carné's film was a period piece and required hundreds of extras in nineteenth-century costume. It required horses and carriages and jugglers and acrobats. The movie turned out to be over three hours long. And Carné made it right under the Nazi's noses. The film is a three hour affirmation of life and an examination of the strange and sometimes devastating magnetism of love. Romantic? Oh, babe, it's romantic enough to make a travel poster sigh and a sonnet blush. But completely uncompromising. It's a celebration of the human spirit in all of its goofy, gentle, and grotesque guises. And he made it in the very midst of Nazi occupation, filmed this beauty inside the belly of the beast. He called it Les Enfants du Paradis–Children of Paradise–and forty years later it's still moving audiences around the world. Now, I don't want to take anything away from the French resistance. Its brave raids and acts of sabotage undermined the Germans and helped bring about their downfall. But in many ways Marcel Carné's movie, his Children of Paradise, was more important than the armed resistance. The resisters might have saved the skin of Paris, Carné kept alive its soul.

Lydia the Tattooed Lady" Oh Lydia, oh Lydia, say have you met Lydia? Lydia, the Tattooed Lady She has eyes that folks adore so And a torso even more so Lydia, oh Lydia, that encyclopydia Oh Lydia the Queen of Tattoo On her back is the Battle of Waterloo Beside it the wreck of the Hesperus, too And proudly above waves the red, white, and blue You can learn a lot from Lydia La, La, La La, La, La When her robe is unfurled, she will show you the world If you step up and tell her where For a dime you can see Kankakee or Paris Or Washington crossing the Delaware La, La, La La, La, La Oh Lydia oh Lydia, say have you met Lydia? Oh Lydia the Tattooed Lady When her muscles start relaxin' Up the hill comes Andrew Jackson Lydia oh Lydia, that encyclopydia Oh Lydia the queen of them all For two bits she will do a mazurka in jazz With a view of Niagara that nobody has And on a clear day you can see Alcatraz You can learn a lot from Lydia La, La, La La, La, La Come along and see Buff'lo Bill with his lasso Just a little classic by Mendel Picasso Here is Captain Spaulding exploring the Amazon Here's Godiva but with her pajamas on La, La, La La, La, La Here is Grover Whalen unveilin' the Trilon Over on the West Coast we have Treasure Island Here's Najinsky a-doin' the rhumba Here's her social security numba Oh Lydia, oh Lydia that encyclopydia Oh Lydia the champ of them all She once swept an Admiral clear off his feet The ships on her hips made his heart skip a beat And now the old boy's in command of the fleet For he went and married Lydia I said Lydia (He said Lydia) They said said Lydia (We said Lydia) Groucho Marx, At the Circus (1939) Written by Yip Harburg and Harold Arlen

The way circus elephants are trained demonstrates this dynamic well: When young, they are attached by heavy chains to large stakes driven deep into the ground. They pull and yank and strain and struggle, but the chain is too strong, the stake too rooted. One day they give up, having learned that they cannot pull free, and from that day forward they can be “chained” with a slender rope. When this enormous animal feels any resistance, though it has the strength to pull the whole circus tent over, it stops trying. Because it believes it cannot, it cannot. “You’ll never amount to anything;” “You can’t sing;” “You’re not smart enough;” “Without money, you’re nothing;” “Who’d want you?;” “You’re just a loser;” “You should have more realistic goals;” “You’re the reason our marriage broke up;” “Without you kids I’d have had a chance;” “You’re worthless”—this opera is being sung in homes all over America right now, the stakes driven into the ground, the heavy chains attached, the children reaching the point they believe they cannot pull free. And at that point, they cannot. Unless and until something changes their view, unless they grasp the striking fact that they are tied with a thread, that the chain is an illusion, that they were fooled, and ultimately, that whoever so fooled them was wrong about them and that they were wrong about themselves—unless all this happens, these children are not likely to show society their positive attributes as adults. There’s more involved, of course, than just parenting. Some of the factors are so small they cannot be seen and yet so important they cannot be ignored: They are human genes. The one known as D4DR may influence the thrill-seeking behavior displayed by many violent criminals. Along with the influences of environment and upbringing, an elongated D4DR gene will likely be present in someone who grows up to be an assassin or a bank robber (or a daredevil). Behavioral geneticist Irving Gottesman: “Under a different scenario and in a different environment, that same person could become a hero in Bosnia.” In the future, genetics will play a much greater role in behavioral predictions. We’ll probably be able to genetically map personality traits as precisely as physical characteristics like height and weight. Though it will generate much controversy, parents may someday be able to use prenatal testing to identify children with unwanted personality genes, including those that make violence more likely. Until then, however, we’ll have to settle for a simpler, low-tech strategy for reducing violence: treating children lovingly and humanely.

He juggles so much so well, he could join Aerial Ethereal’s circus shows in Vegas.

The list goes on, and the only thing I’ve said NO to was having a live tiger at an open house—that’s just going too far. But it was that first big deal with Mr. X that showed me the true power of YES when it comes to making volume sales. I sell more because I say YES when other people would say no, and I can keep moving a client forward until that deal is done. Saying yes to every opportunity was my way of believing in myself and showing everyone I was the best—even when I wasn’t. I’ve also learned that quickly flipping negatives into positives will help you close deals faster and more frequently. Sometimes this is as simple as asking yourself, “Is this negative really even a negative?” For example, if I’m selling an apartment with no light I’ll push this as a positive to a client who is almost never home, or only home at night. Why pay for a view you won’t even see? Take the time to think about the usual objections you have in your area of sales; it’s likely you’ll hear the same objections over and over. How can you show clients that this isn’t really a negative? How can you turn this around? Anticipating objections and immediately turning them into positives will result in you selling more. Get ready to juggle more balls and cash bigger checks! AN UNEXPECTED SALES WEAPON: IMPROV If you visited my office on a random Monday morning during our team meeting, you might think you had mistakenly walked into a circus or a lunatic asylum.

I had assumed Herr Neuhoff had taken me in only to help the show, and perhaps as a favor to an old family friend. His kind of courage was boundless, though, and he would not have turned away a person in need, whether a star performer or a simple laborer or a child such as Theo with no skills at all. It was not about the circus or family connections, but human decency.

I remember the first movie I ever saw at a theater. It was The Greatest Show on Earth. I saw it with my mother at the Paramount Theater in Denver in 1952. It was about the circus. I wet my pants.

A person dies... Disappears into thin air... But people keep on doing things casually as though nothing has happened. TV, radio, newspaper, internet -- everywhere the only discussion should be on who we are and where we have come from? Instead people are busy doing circus. It should make you wonder whether people around you are real or just shadows that are putting on a show to stop you from knowing truth.

As we’ll see throughout this book, one of the main challenges in making a show comes from repeatedly having to answer the fundamental question: How are decisions made in your group? and Who is responsible for different tasks?

Dreaming is easy, hammering out concrete details is hard.

Limits can be great for inspiring creative solutions.

If you believe that the show you’re making will improve the world, there’s nothing saying that your goals and self-interests and someone else’s goals and interests have to be mutually exclusive. They can align.

The Morning Herald worried that the Birthplace would be turned into snuffboxes by the French, pipes by the Dutch, or card cases by the Chinese. The real threat, of course, was the Americans. The Times reported that “one or two enthusiastic Jonathans have already arrived from America, determined to see what dollars can do in taking it away. The timber, it is said, are all sound, and it would be no very difficult matter to set it on wheels and make an exhibition of it.” The American showman P. T. Barnum (of Barnum & Bailey Circus) was circling the property, reportedly intent on shipping it back to the States and making it part of a traveling show.

Until that point, most Americans associated the concept of “the gym” with bodybuilding, an almost entirely male subculture that was considered deviant, the progeny of circus acts and freak shows. Bodybuilders were perceived as somehow both too feminine—often suspected to be homosexuals because they spent so much time around other men and cared about the way they looked—and too masculine, grotesquely muscled and projecting conspicuous strength.

dlaurent The Ballad of Johnny Jihad (Down Desert Storm Way). © c. 2001 During the Gulf War (1990-1991), American Pro-Taliban Jihadist John Philip Walker Lindh was captured while serving with the enemy forces. Here is his tale in song and legend. My nowex at the time did not want me to run to the radio station with this, thought I’d look singularly ridiculii. The following, 'The Ballad of Johnny Jihad' is sung to the tune of 'The Ballad of Jed Clampett' (1962), commonly known as 'The Beverly Hillbillies' song, the theme tune for the TV show series starring Buddy Ebsen. (Lyrics, Paul Henning, vocals Jerry Scoggins, Lester Flatt; master musicians of the art of the ballad and bluegrass ways, Lester Flatt and Earl Scruggs). The Ballad of Johnny Jihad (Sung) Come and listen to the story of Johnny Jihad, Who left home and country to study his Islam, And then one day he was shooting at our troops, So down through the camp did the government swoop. (Voice Over): ‘Al Que-da that is, Af-ghani Tali-ban, Terror-ist . . .’ (Sung) Well, the first thing you know ol’ John from ’Frisco roamed, The lawman said ‘he’s a lad misunderstood very far from home.’ Said, ‘Californee is the place he oughta be,’ So they request his trial be moved to Berkeley . . . (Voice Over): ‘Liberals that is, group-ies, peace-activists . . .’ Announcer: The Johnny Jihad Show! (Intense bluegrass banjo pickin’ music) . . . (Sung) Now its time to say goodbye to John and all his kin, Hope ya don’t think of him as a fightin’ Taliban, You’re all invited back again to this insanity, To get yourself a heapin’ helpin’ of this travesty . . . Johnny Jihad, that’s what they call ’im now Nice guy; don’t get fooled now, y’hear? (Voice Over): ‘Lawyerin’ that is, O.J.ism, media-circus . . .’ (Music) . . . end

Here’s the simplest, most jargon-free definition of marketing you’re ever likely to come across: If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and, ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing.

We were watching videos at night on her Samsung tablet or my company iPad. She showed me the Silvano Agosti 1983 Italian interview with a little Italian boy called “D'Amore si vive, We Live of Love.” The boy was so cute, and his thoughts seemed similar to mine and Martina's. I was so deeply in love with her. The boy on the interview was just like what our own child would be, and we agreed and laughed. “We Live of Love.” What a coincidence! Living. By: Love. I knew the interview from before and she was surprised at how I knew about it. I showed her on my Instagram a picture of the boy I had recently taken a screenshot of and posted. With the subtitle at the right moment under his face: “Descubrir a la vida.” To discover life. Together. With his one and only girlfriend, as the boy explains. I told her multiple times that I was still unsure if she was real, or if it was all a dream; if I had only dreamed of her one night in the dark; if Pinto and I had invented her in my mind. She was a big fan of space, but I thought she liked the mystery behind the endless space with all its questions and secrets for us humans. I thought she liked the sky and space because she recently flew from Argentina to land in my arms. Martina and I were obsessed with Chris Rock and Eddie Murphy; we both knew all their stand-up comedies by heart. We kept replaying the best moments or faces that Chris or Eddie made. We had so much fun watching the same videos over and over that I couldn't believe it. Nobody else ever found the same moments or the same stand-ups as funny as Martina and I did. Nobody before or after found it so amusing. If I showed it to someone, they didn't understand why I was so excited about it or why racist jokes were so funny for an hour from one black comedian to the next. We were obsessed the way Eddie spoke about the „Zebra-Bitch of her dreams, her dream-wife who doesn’t know the concept of money”, saying “she should have an afro, like Angela Davis goes 'God damn it.'“ We were laughing so much. Sometimes I tickled her flat belly or her ribs and she was laughing so sweetly and so much that she couldn't stop. She was begging me to stop tickling her when I barely touched her. She said “No, no, no, no” so many times so quickly and cutely that I had to stop and kiss her; I couldn't resist her lips or her person, I had to kiss and hug her. We laughed so much at particular parts of Chris Rock's stand-up comedies that we could barely stop, almost as if we were tickling each other. We were laughing when Chris Rock was mocking Bone-Thugs-n-Harmony for singing ‘Welfare chariots’ such as „The First of the Month” or when he explained that the government hates rappers, but „only the good rappers get gunned down. They could find Saddam Hussein in a cave in Iraq but couldn't arrest anyone related to Tupac Shakur’s assassination, which didn't happen in a cave in Iraq but in Las Vegas, on the Strip, not one of those side streets, but in front of Circus Circus, after a Mike Tyson fight. Now how many witnesses do you need, to arrest somebody?” We were fascinated with Eddie Murphy, Charlie Murphy, and Chris Rock, but when I showed her Richard Prior, Doug Stanhope, Aries Spears, or George Carlin, she was no longer so impressed for some reason. Her favorite part perhaps was when Chris Rock talked about love and relationships. He said that „you never really been in love unless you have contemplated murder; unless you have practiced your alibi in front of the mirror, staring at a can of rat poison for 45 minutes straight, you haven't been in love. And the only thing preventing you from killing your significant other was an episode of CSI.” He said that relationships are hard and that in order for them to work, both people need to have the same focus, which is all about: her.

We were watching videos at night on her Samsung tablet or my company iPad. She showed me the Silvano Agosti 1983 Italian interview with a little Italian boy called “D'Amore si vive, We Live of Love.” The boy was so cute, and his thoughts seemed similar to mine and Martina's. I was so deeply in love with her. The boy on the interview was just like what our own child would be, and we agreed and laughed. “We Live of Love.” What a coincidence! Living. By: Love. I knew the interview from before and she was surprised at how I knew about it. I showed her on my Instagram a picture of the boy I had recently taken a screenshot of and posted. With the subtitle at the right moment under his face: “Descubrir a la vida.” To discover life. Together. With his one and only girlfriend, as the boy explains. I told her multiple times that I was still unsure if she was real, or if it was all a dream; if I had only dreamed of her one night in the dark; if Pinto and I had invented her in my mind. She was a big fan of space, but I thought she liked the mystery behind the endless space with all its questions and secrets for us humans. I thought she liked the sky and space because she recently flew from Argentina to land in my arms. Martina and I were obsessed with Chris Rock and Eddie Murphy; we both knew all their stand-up comedies by heart. We kept replaying the best moments or faces that Chris or Eddie made. We had so much fun watching the same videos over and over that I couldn't believe it. Nobody else ever found the same moments or the same stand-ups as funny as Martina and I did. Nobody before or after found it so amusing. If I showed it to someone, they didn't understand why I was so excited about it or why racist jokes were so funny for an hour from one black comedian to the next. We were obsessed the way Eddie spoke about the „Zebra-Bitch of his dreams, his dream-wife who doesn’t know the concept of money”, saying “she should have an afro, like Angela Davis goes 'God damn it.'“ We were laughing so much. Sometimes I tickled her flat belly or her ribs and she was laughing so sweetly and so much that she couldn't stop. She was begging me to stop tickling her when I barely touched her. She said “No, no, no, no” so many times so quickly and cutely that I had to stop and kiss her; I couldn't resist her lips or her person, I had to kiss and hug her. We laughed so much at particular parts of Chris Rock's stand-up comedies that we could barely stop, almost as if we were tickling each other. We were laughing when Chris Rock was mocking Bone-Thugs-n-Harmony for singing ‘Welfare chariots’ such as „The First of the Month” or when he explained that the government hates rappers, but „only the good rappers get gunned down. They could find Saddam Hussein in a cave in Iraq but couldn't arrest anyone related to Tupac Shakur’s assassination, which didn't happen in a cave in Iraq but in Las Vegas, on the Strip, not one of those side streets, but in front of Circus Circus, after a Mike Tyson fight. Now how many witnesses do you need, to arrest somebody?” We were fascinated with Eddie Murphy, Charlie Murphy, and Chris Rock, but when I showed her Richard Prior, Doug Stanhope, Aries Spears, or George Carlin, she was no longer so impressed for some reason. Her favorite part perhaps was when Chris Rock talked about love and relationships. He said that „you never really been in love unless you have contemplated murder; unless you have practiced your alibi in front of the mirror, staring at a can of rat poison for 45 minutes straight, you haven't been in love. And the only thing preventing you from killing your significant other was an episode of CSI.” He said that relationships are hard and that in order for them to work, both people need to have the same focus, which is all about: her.

Monkey business usually starts way before the circus tents show up.

Love really is the most beautiful show. It can’t be rehearsed. It can’t be planned. It is the product of magic. It is what Vagabond Circus is all about.

lifeisposi 03/20/2024 PublicSpeaking the ultimate battle between your brain and your vocal cords. It's like your mind turns into a circus ringmaster, juggling sweaty palms, a pounding heart, and a brain that's suddenly gone AWOL. But hey, don’t let those jitters steal the spotlight! With a pinch of humor and a sprinkle of confidence, you can turn that stage fright into a standing ovation. So, take the mic, crack a joke (or two), and show that audience who’s boss.

Public speaking is the ultimate battle between your brain and your vocal cords. It's like your mind turns into a circus ringmaster, juggling sweaty palms, a pounding heart, and a brain that's suddenly gone AWOL. But hey, don’t let those jitters steal the spotlight! With a pinch of humor and a sprinkle of confidence, you can turn that stage fright into a standing ovation. So, take the mic, crack a joke (or two), and show that audience who’s boss.

John had recently appeared in the Stones’ Rock and Roll Circus in a supergroup that was an unlikely combination of him, Keith Richards, Eric Clapton, and Mitch Mitchell. It was unrehearsed, and the performance was just a bit of fun really. I was in my booth, way up in the gods, recording the sound for the show, and the area on the set where they were playing was obscured from my view. All was going well until I heard this extraordinary noise that sounded like someone stepping on the cat. I panicked, thinking that a piece of equipment might be malfunctioning, while peering at the screen trying to see if it was adversely affecting the guys onstage. All of a sudden a picture appeared of a small figure with a black bag over its head with a mic cable disappearing into it. It turned out to be Yoko, who had decided to contribute to the proceedings. How anyone could have considered her intrusion to be in any way musical is a complete mystery to me.

She knelt and began gathering up the dirty cups, plates, and silverware she’d dropped with the tray. The movements of her hands were quick and jerky, but she went still when she saw a pair of scuffed black boots come to a stop directly in front of her, and her temper swelled anew. These rascals had been harassing her with their exuberant mischief all morning, and she was through turning the other cheek. She rose slowly to her feet and sighed as she felt the pins in her once-tidy hair give way, sending the silver-gold tresses tumbling down over her shoulders. Crows of amusement rose all around her as she set her hands on her hips and raised her chin. The eyes that gazed down at her were just the color of maple sugar and shadowed by the brim of a dusty blue field hat banded in gold braid. A gloved hand reached up to remove the hat, revealing a thatch of golden-brown hair. “On behalf of the United States Army, ma’am,” a deep voice said with barely contained amusement, “I’d like to apologize for these men.” Lily reminded herself that the soldiers from nearby Fort Deveraux kept the hotel dining room in business, and that without them she wouldn’t have a job. Nevertheless, she was near the end of her patience. “They would seem to be boys,” she answered pointedly, “rather than men.” The barb brought a chorus of howls, whistles, and cries of mock despair. The man looking down at Lily—a major, judging by his insignia—grinned rather insolently, showing teeth as white as the keys on a new piano. “They’ve been on patrol for two weeks, ma’am,” he explained with elaborate cordiality, apparently choosing to ignore her comment on their collective bad manners. Something about the curve of his lips made Lily feel as though the room had done a half spin. She reached out to steady herself by gripping the back of a chair. “I fail to see how that gives them the right to behave like circus gorillas.” The major’s grin intensified, half blinding Lily. “Of course, you’re right,” he said. Every word that came out of his mouth was congenial. So why did she feel that he was making fun of her? Lily found herself looking at the button-down panel on the front of his shirt and wondering about the chest beneath it. Was it as broad and muscled as it appeared, covered in a downy mass of maple hair? With a toss of her head she shook off the unwelcome thought and knelt to finish gathering the crockery.

There was no getting around the fact that whoever this man was, he was a big guy, with a neck like a hydrant. He wore a gray sweatshirt and jeans, and something about his build reminded me of one of those performers in the circus who bend metal bars around their necks as a show of their strength. He wasn’t muscular like a weight-lifter or a professional athlete, just tremendously solid. He was a giant to my gargoyle, blacksmith to my scarecrow. I didn’t have to think hard to figure out what kind

The irony, of course, is that when America finally wrested control of the political process from the backroom oligarchs, the very first place where we spent our newfound freedom and power was on the campaign of the world’s most unapologetic asshole. It may not seem funny now, because it’s happening to us, but centuries from this moment, people will laugh in wonder. America is ceasing to be a nation, and turning into a giant television show. And this Republican race is our first and most brutal casting call.

In life you will face a lot of Circuses. You will pay for your failures. But, if you persevere, if you let those failures teach you and strengthen you, then you will be prepared to handle life’s toughest moments. July 1983 was one of those tough moments. As I stood before the commanding officer, I thought my career as a Navy SEAL was over. I had just been relieved of my SEAL squadron, fired for trying to change the way my squadron was organized, trained, and conducted missions. There were some magnificent officers and enlisted men in the organization, some of the most professional warriors I had ever been around. However, much of the culture was still rooted in the Vietnam era, and I thought it was time for a change. As I was to find out, change is never easy, particularly for the person in charge. Fortunately, even though I was fired, my commanding officer allowed me to transfer to another SEAL Team, but my reputation as a SEAL officer was severely damaged. Everywhere I went, other officers and enlisted men knew I had failed, and every day there were whispers and subtle reminders that maybe I wasn’t up to the task of being a SEAL. At that point in my career I had two options: quit and move on to civilian life, which seemed like the logical choice in light of my recent Officer Fitness Report, or weather the storm and prove to others and myself that I was a good SEAL officer. I chose the latter. Soon after being fired, I was given a second chance, an opportunity to deploy overseas as the Officer in Charge of a SEAL platoon. Most of the time on that overseas deployment we were in remote locations, isolated and on our own. I took advantage of the opportunity to show that I could still lead. When you live in close quarters with twelve SEALs there isn’t anywhere to hide. They know if you are giving 100 percent on the morning workout. They see when you are first in line to jump out of the airplane and last in line to get the chow. They watch you clean your weapon, check your radio, read the intelligence, and prepare your mission briefs. They know when you have worked all night preparing for tomorrow’s training. As month after month of the overseas deployment wore on, I used my previous failure as motivation to outwork, outhustle, and outperform everyone in the platoon. I sometimes fell short of being the best, but I never fell short of giving it my best. In time, I regained the respect of my men. Several years later I was selected to command a SEAL Team of my own. Eventually I would go on to command all the SEALs on the West Coast.

If the circus is coming to town and you paint a sign saying “Circus Coming to the Showground Saturday,” that’s advertising. If you put the sign on the back of an elephant and walk it into town, that’s promotion. If the elephant walks through the mayor’s flower bed and the local newspaper writes a story about it, that’s publicity. And if you get the mayor to laugh about it, that’s public relations. If the town’s citizens go to the circus, you show them the many entertainment booths, explain how much fun they’ll have spending money at the booths, answer their questions and ultimately, they spend a lot at the circus, that’s sales. And if you planned the whole thing, that’s marketing.

We squeezed into the back of the van; it had been a tight fit even before we were lugging a couple of duffel bags of ammo and explosives.  But, like a clown car belonging to a particularly violent circus, we packed in.  The door slammed and Yusuf was flooring the pedal, dragging the van away from the curb and trundling down the street, before more ISIS fighters could show up. I’d call it a good night’s work

Waxman devised something far more attention-grabbing and dramatic. The following Sunday, Burton was booked for an encore appearance on Meet the Press. The show’s host, Tim Russert, was quietly made aware of the discrepancy between the two sets of Hubbell transcripts.* On Sunday, when the cameras began rolling, Burton became an unwitting captive as Russert, the dean of Washington journalism and a maestro of the prosecutorial interview, confronted the chairman on air with evidence of the doctored transcripts. The uproar was immediate and intense. Gingrich, humiliated, condemned Burton’s committee as “the circus.” Republicans fumed at the embarrassment Burton had brought on them and demanded he atone for it. The Washington Post splashed the story across its front page: “Burton Apologizes to GOP.” The

The circus is the perfect business right now because parents want their kids to be kids and not Charley Bucket drinking cabbage soup all day.

Destiny, I feel, is also a relationship—a play between divine grace and willful self-effort. Half of it you have no control over; half of it is absolutely in your hands, and your actions will show measurable consequence. Man is neither entirely a puppet of the gods, nor is he entirely the captain of his own destiny; he’s a little of both. We gallop through our lives like circus performers balancing on two speeding side-by-side horses—one foot is on the horse called “fate,” the other on the horse called “free will.

Belial said, “Let us stop wasting time, Nazarene. I know who you are. I saw the entire circus show in the desert. The dreadfully smelly and theatrical Baptizer, the Holy Spirit descending like a vulture, Yahweh blathering from heaven, blah, blah, blah.” Jesus drifted off in his memory to a mere month ago, where he had been baptized in the Jordan River not too far from this hellish wasteland. John the Baptizer had left the communal sect of Qumran by the Dead Sea to become a lone voice crying in the wilderness to prepare the way for Messiah’s advent. He was baptizing people in preparation for that arrival. But when he saw Jesus, he protested that he was not worthy to tie the thong of Jesus’s sandal, and that it should be Jesus who baptized John instead.

Seeing is of course very much a matter of verbalization. Unless I call my attention to what passes before my eyes, I simply won’t see it. It is, as Ruskin says, “not merely unnoticed, but in the full clear sense of the word, unseen.” If Tinker Mountain erupted, I’d be likely to notice. But if I want to notice the lesser cataclysms of valley life, I have to maintain in my head a running description of the present…when I see this way I analyze and pry. I hurl over logs and roll away stones; I study the bank a square foot at a time, probing and tilting my head. Some days when the mist covers the mountains, when the muskrats won’t show and the microscope’s mirror shatters, I want to climb up the blank blue dome as a man would storm the inside of a circus tent, wildly, dangling, and with a steel knife, claw a rent in the top, peep, and if I must, fall. But there is another kind of seeing that involves a letting go. When I see this way I sway transfixed and emptied. The difference between the two ways of seeing is the difference between walking with and without a camera. When I walk without a camera, my own shutter opens, and the moment’s light prints on my own silver gut. It was sunny one evening last summer at Tinker Creek; the sun was low in the sky, upstream. I was sitting on the sycamore log bridge with the sunset at my back, watching the shiners the size of minnows who were feeding over the muddy bottom…again and again, one fish, then another, turned for a split second and flash! the sun shot out from its silver side. I couldn’t watch for it. It was always just happening somewhere else…so I blurred my eyes and gazed towards the brim of my hat and saw a new world. I saw the pale white circles roll up, roll up like the world’s turning, mute and perfect, and I saw the linear flashes, gleaming silver, like stars being born at random down a rolling scroll of time. Something broke and something opened. I filled up like a new wineskin. I breathed an air like light; I saw a light like water. I was the lip of a fountain the creek filled forever; I was ether, the leaf in the zephyr; I was flesh-flake, feather, bone. When I see this way, I see truly.

Your wife?” “Right.” “What does she do?” Tracy asked. “She works for a janitorial company; they clean the buildings downtown.” “She works nights?” Kins said. “Yeah.” “Do you have kids?” Tracy asked. “A daughter.” “Who watches your daughter when you and your wife are working nights?” “My mother-in-law.” “Does she stay at your house?” Tracy said. “No, my wife drops her off on her way to work.” “So nobody was at home when you got there Sunday night?” Bankston shook his head. “No.” He sat up again. “Can I ask a question?” “Sure.” “Why are you asking me these questions?” “That’s fair,” Kins said, looking to Tracy before answering. “One of our labs found your DNA on a piece of rope left at a crime scene.” “My DNA?” “It came up in the computer database because of your military service. The computer generated it, so we have to follow up and try to get to the bottom of it.” “Any thoughts on that?” Tracy said. Bankston squinted. “I guess I could have touched it when I wasn’t wearing my gloves.” Tracy looked to Kins, and they both nodded as if to say, “That’s plausible,” which was for Bankston’s benefit. Her instincts were telling her otherwise. She said, “We were hoping there’s a way we could determine where that rope was delivered, to which Home Depot.” “I wouldn’t know that,” Bankston said. “Do they keep records of where things are shipped? I mean, is there a way we could match a piece of rope to a particular shipment from this warehouse?” “I don’t know. I wouldn’t know how to do that. That’s computer stuff, and I’m strictly the labor, you know?” “What did you do in the Army?” Kins asked. “Advance detail.” “What does advance detail do?” “We set up the bases.” “What did that entail?” “Pouring concrete and putting up the tilt-up buildings and tents.” “So no combat?” Kins asked. “No.” “Are those tents like those big circus tents?” Tracy asked. “Sort of like that.” “They still hold them up with stakes and rope?” “Still do.” “That part of your job?” “Yeah, sure.” “Okay, listen, David,” Tracy said. “I know you were in the police academy.” “You do?” “It came up on our computer system. So I’m guessing you know that our job is to eliminate suspects just as much as it is to find them.” “Sure.” “And we got your DNA on a piece of rope found at a crime scene.” “Right.” “So I have to ask if you would you be willing to come in and help us clear you.” “Now?” “No. When you get off work; when it’s convenient.” Bankston gave it some thought. “I suppose I could come in after work. I get off around four. I’d have to call my wife.” “Four o’clock works,” Tracy said. She was still trying to figure Bankston out. He seemed nervous, which wasn’t unexpected when two homicide detectives came to your place of work to ask you questions, but he also seemed to almost be enjoying the interaction, an indication that he might still be a cop wannabe, someone who listened to police and fire scanners and got off on cop shows. But it was more than his demeanor giving her pause. There was the fact that Bankston had handled the rope, that his time card showed he’d had the opportunity to have killed at least Schreiber and Watson, and that he had no alibi for those nights, not with his wife working and his daughter with his mother-in-law. Tracy would have Faz and Del take Bankston’s photo to the Dancing Bare and the Pink Palace, to see if anyone recognized him. She’d also run his name through the Department of Licensing to determine what type of car he drove. “What would I have to do . . . to clear me?” “We’d like you to take a lie detector test. They’d ask you questions like the ones we just asked you—where you work, details about your job, those sorts of things.” “Would you be the one administering the test?” “No,” Tracy said. “We’d have someone trained to do that give you the test, but both Detective Rowe and I would be there to help get you set up.” “Okay,” Bankston said. “But like I said, I have

We didn’t know what to do. It was as though we were being hunted. Steve went off to the back block of the zoo to try to get his head around everything that had been happening. He built a fire and gazed into it. I didn’t have to think about it. I knew beyond certainty that the most important part of Steve’s life was his family. His children meant everything to him. All of a sudden, my wonderful, sharing, protective husband was being condemned. His crime was sharing wildlife experiences with Robert, exactly as he had done for the last five and a half years with Bindi. The media circus escalated. Helicopters hovered over the zoo, trying to snag any glimpse of the crazy Irwin family. Steve erected shade cloth around our yard for privacy. We soon realized we couldn’t go anywhere. There would be no visits to the zoo, no answering the phone, no doing croc shows. The criticism and the spin continued. I stood by Steve’s side and watched his heart break. I couldn’t believe the mean-spirited, petty, awful people in the world. Editors manipulated film footage, trying to make the croc look bigger or closer to Robert than it actually was. What possible end could that serve? I have seen Tasmanian devils battle over a carcass. I have seen lionesses crowding a kill, dingoes on the trail of a feral piglet, an adult croc thrashing its prey to pieces. But never, in all the animal world, have I witnessed anything to match the casual cruelty of the human being. It was about to get worse. We stepped off a very dark cliff indeed.

The first one was wearing a kind of ancient Tyrolean (?) hat whose ragged edges were maybe an inch wide; the second had a straw hat that looked like an open snuffbox with a broken cover. The Agitated on the right had an evil laugh that bared his stumps of tarnished nuggets; the Agitated on the left foamed with rage. The laugher started dancing, doing somersaults and dancing again, like a circus ballerina; then he jumped up and down, tirelessly, saying “Opa! Opa!” and guffawing. He smiled less and looked satisfied, almost happy. He obviously thought he was funny and was playing nice, but all of a sudden, he started yelling, rolling on the ground and jumping back up. He kept yelling and jumping and then finally fell down on the floor of his cage and wiggled around in a kind of epileptic fit. After maybe 20 seconds, he got up and started dancing; and the whole time he was scratching himself and smiling absent-mindedly. The furious one climbed the bars of the window, tried to spit on us, shook the bars, moaned and groaned and his eyes looked like they were going to pop out of his head. He tore at his rags, scratched his face until it bled, howled and cried in frustration—at not being able to bite us, to wring our necks and tear off our skin. He aimed his claws at us; he choked; his face turned purple, almost black! “OK, Leonard! Now I’ve had enough of looking at these monsters! They’re hurting me. Not to mention that us being here is not good for them. These crises must wear them out. When they’re alone. they can hide in the corner, curl up and go to sleep, or whatever, but they’ll calm down. I’m getting out of here!” “Good! Good! Let’s go,” my guardian said very seriously. “They’re very gentle, almost proper. It’s the others I don’t wanna show you, no matter what Bid’homme says. The others, ah! They’re nightmares! If there’s any like them outside of here, they’re only found in jars—and drowned in alcohol—again!” Just then two young, buxom nurses passed by us. The two sad anthropoids whinnied—literally—like horses and threw themselves against the bars—then tore off some of their clothes, seized by an exhibitionist rage, and slobbered and roared. The nurses ran away and Leonard finally agreed to get away from the awful scene—so sad that it was almost not disgusting.