MR. KITE HAS LEFT THE BUILDING
They’re Off And Running (2012) Ponies performing in the round at the Santa Monica Pier.
By MICHAEL PERKINS
PHOTOGRAPHY’S PRINCIPLE BENEFIT IS THE STEALING AND PRESERVATION OF THE FLEETING. That was the miracle that originally astonished the world, the ability to arrest time, to selectively snatch away droplets of the infinitely flowing river of moments and keep them in a jar. And as the young art flourished and began to flex, it proved capable of not only grabbing individual instants, but chronicling the passing of entire modes of life.
As the prairie was settled, as the great distances of the planet were traversed and tamed, as the horse gave way to the car, and as the country mouse became the city mouse, photography laid down mile markers, clearly labeled “this is”, “this is going away” and “this was”. As a consequence, we now have a visual record of worlds and ways of living that have already long since gone extinct. We rifle through shared and inherited images that mark the passing of empires, fashions, movements.
This is all, of course, beyond obvious, but there are times when photographers are more keenly mindful that something big is in the process of winking out. I experienced such a moment a few days ago with the news that Ringling Brothers’ circus was shuttering its operations after more than 150 years, ringing down the curtain on a mixed record of extravaganza and exploitation, depending on where you stand on the issue. Whether circuses were a wonder or an abomination or both, they represented a distinctly analog kind of entertainment, a direct tie between sensations and senses that is one of the last traces of 19th-century culture.
Along with world’s fairs, carnivals, vaudeville, even rodeo, the circus serves as a strange relic of a time when the arrival of the Wells Fargo wagon or the pitching of the Chautauqua tent could be the height of the social season in many a town. The visually rich pageant of having dozens of clowns, acrobats, and performing beasts parade right down your main street was, in the days before mass media, pretty heady stuff, and, even at its twilight, it still has a powerful, if quaint, pull on the imagination. All of this is fertile ground for the photographer/chronicler.
It’s now fifty years since John Lennon transcribed the text from an old circus poster to evoke a vanished era with the song Being For The Benefit Of Mr. Kite, overdubbing the music track with a montage of calliopes and hurdy-gurdys to paint a very visual piece of audio. To this day, I can’t hear the tune without concocting my own mental photo of prancing ponies and carnival barkers. Mr. Kite may already be retiring to his dressing room, as are so many analog forms of entertainment. But we have the pictures. Or we need to start making them.
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This entry was posted on May 22, 2017 by Michael Perkins. It was filed under Americana, Commentary, History, Nostalgia and was tagged with carnival, circus, Entertainment, popular culture.
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MR. KITE HAS LEFT THE BUILDING
They’re Off And Running (2012) Ponies performing in the round at the Santa Monica Pier.
By MICHAEL PERKINS
PHOTOGRAPHY’S PRINCIPLE BENEFIT IS THE STEALING AND PRESERVATION OF THE FLEETING. That was the miracle that originally astonished the world, the ability to arrest time, to selectively snatch away droplets of the infinitely flowing river of moments and keep them in a jar. And as the young art flourished and began to flex, it proved capable of not only grabbing individual instants, but chronicling the passing of entire modes of life.
As the prairie was settled, as the great distances of the planet were traversed and tamed, as the horse gave way to the car, and as the country mouse became the city mouse, photography laid down mile markers, clearly labeled “this is”, “this is going away” and “this was”. As a consequence, we now have a visual record of worlds and ways of living that have already long since gone extinct. We rifle through shared and inherited images that mark the passing of empires, fashions, movements.
This is all, of course, beyond obvious, but there are times when photographers are more keenly mindful that something big is in the process of winking out. I experienced such a moment a few days ago with the news that Ringling Brothers’ circus was shuttering its operations after more than 150 years, ringing down the curtain on a mixed record of extravaganza and exploitation, depending on where you stand on the issue. Whether circuses were a wonder or an abomination or both, they represented a distinctly analog kind of entertainment, a direct tie between sensations and senses that is one of the last traces of 19th-century culture.
Along with world’s fairs, carnivals, vaudeville, even rodeo, the circus serves as a strange relic of a time when the arrival of the Wells Fargo wagon or the pitching of the Chautauqua tent could be the height of the social season in many a town. The visually rich pageant of having dozens of clowns, acrobats, and performing beasts parade right down your main street was, in the days before mass media, pretty heady stuff, and, even at its twilight, it still has a powerful, if quaint, pull on the imagination. All of this is fertile ground for the photographer/chronicler.
It’s now fifty years since John Lennon transcribed the text from an old circus poster to evoke a vanished era with the song Being For The Benefit Of Mr. Kite, overdubbing the music track with a montage of calliopes and hurdy-gurdys to paint a very visual piece of audio. To this day, I can’t hear the tune without concocting my own mental photo of prancing ponies and carnival barkers. Mr. Kite may already be retiring to his dressing room, as are so many analog forms of entertainment. But we have the pictures. Or we need to start making them.
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