Black Hawk's Watch Tower Outing Resort Moline

(The Daily Times. June 24, 1905)

This advertisement for Black Hawk's Watch Tower amusement park in Moline, Illinois, was published in The Daily Times on June 24, 1905.

Free admission. Free movies. Free concerts. And a roller coaster to compete with the new one at Suburban Park in Davenport. I didn't see a price listed here, but from what I've seen elsewhere, rides were 25 cents and the lines were out of this world.

Roller Coaster at Suburban Island Davenport

(Davenport Democrat and Leader. April 9, 1905)

The Davenport Democrat and Leader printed this picture of the roller coaster that was to be erected at Suburban Park in April 1905. The roller coaster was purchased from the Ingersol Park Company in Pittsburg, Pennsylvania at a cost of $16,500.

The coaster was seventy feet high and ninety feet wide, and had a total length of nearly 300 feet. The paper said readers could view three cities from the top of the roller coaster. 

It was to be erected north and west of the pavillion and was expected to be in operation by June 1.

Buffalo Bill's Wild West Show Visits Muscatine 1896

 

Buffalo Bill Cody brought his Wild West show to Muscatine in October 1896. Twenty thousand people crowded the streets on the morning of October 1, watching the parade of characters; 16,000 attended the afternoon performance.

The show was big and fast, with over 500 horses and riders from different countries. Native American performers, Mexican riders, and Russian Cossacks all took part. Most people in the crowd had seen nothing like it.

The shooting act led the show.

Annie Oakley stepped out and hit target after target. Small targets. Moving targets. She worked quick and clean. The crowd stayed quiet while she shot, then broke into applause.

Johnny Baker followed. He fired from the back of a horse running at full speed. Shots came in rhythm with the horse’s stride. It was one of the show’s most talked-about acts.

Lulu Glaser As Dainty Dolly Varden At The Burtis Opera House 1903

 

Colorized image of Lulu Glaser
(from the Daily Times. October 24, 1903)

Comic opera star Lulu Glaser starred in Dainty Dolly Varden at the Burtis Opera House in Davenport on October 28, 1903. 

Contemporary reviews said Glaser’s strength wasn’t power—it was personality. She had a way of connecting with the audience through small gestures, expressive phrasing, and a gentle humor that suited the operetta style. The songs were delivered with clarity and elegance, not be show-stopping, but they lingerd pleasantly.

Coliseum Rollaway Grand Masquerade Davenport 1908

 

The Davenport Democrat and Leader. January 19, 1908.

This one surprised me. A masquerade skating party in 1908. if the advertisement is to be believed, everyone was required to wear a mask. And no intoxicating beverages were served.

Rollerskating must have been a big thing, because they offered a Masquerade Skate every evening and Sunday afternoon.

Balkan Princess At The Burtis Theater Davenport 1913

 

Colorized image, showing the cast of The Balkan Princess

The Balkan Princess was performed at the Burtis Opera House on March 30, 1913. The Daily Times descibed it as a "bubbling musical comedy." It was filled with sentiment and happiness and told the story of the romance between Princess Stephanie of Balavia and Grand Duke Sergius. 

Speed Boat Races at Campbell's Island Davenport 1921

 

This advertisement for Campbell's Island appeared in the Davenport Democrat and Leader on August 10, 1921.

Grace McDaniels The Mule Faced Lady

Grace McDaniels and her son, Elmer

They say every carnival needs a monster. Iowa built one on a farm.

Grace McDaniels was born near Villisca in 1888— a cold little dot of America where even the cows look bored. She came into the world with a red mark running down her face, the kind of thing that makes old women cross themselves and whisper about God’s unfinished business. The doctors didn’t have a clue. They called it a “port-wine stain” because it sounded classier than “weird, red mistake.”

 

Grace grew up hiding behind scarves and hand-me-down shame. She tried powder, veils, anything short of duct tape. Iowa is an awful place to look different — too flat, nowhere to hide. She probably spent half her childhood dreaming about disappearing into the corn.

 

At some point, she stopped fighting it. That’s the thing about humiliation — it either kills you or makes you bulletproof. Grace figured if the entire world was going to gawk, she might as well sell tickets.

 

So she packed up her pain and took it to Chicago in 1933. The World’s Fair — a temple of progress powered by electricity, gasoline, and cruelty. For a dime, you could see the future, or a human being in a cage. Grace joined the sideshow under a hand-painted banner: THE MULE-FACED WOMAN.

Stone City: The Art Movement That Almost Worked

Instructors at the Stone City Art Colony. (left to right) Grant Wood,
Dave McCosh, Edward B. Rowan, Arnold Pyle, Adrian Dornbush,
and Marvin Cone. Not pictured Florence Sprague Smith

The road to Stone City curved through corn and limestone, pale as bone. The air buzzed with heat. You could smell the river before you saw it.

Then — laughter. Wild, unfiltered laughter bouncing off the quarry walls. That’s how you knew you’d found it.

It was 1932. The country was broke. So were most of the people who came here. They brought brushes, bedrolls, debts. Hope too, the kind that doesn’t last long but burns bright.

Grant Wood was on the porch when they arrived. Round glasses, overalls, a grin that could mean anything. “Don’t just stand there,” he shouted. “Grab a brush or grab a beer!”

Someone did both. Someone else tripped on a paint bucket. It began like that.

The Stone City Art Colony. Fifty bucks for the summer — if you had it. If you didn’t, nobody asked.

Loose Ankles, A Charity Performance in Des Moines

On October 30, 1928, Des Moines theatergoers packed the house for Loose Ankles, a lively comedy starring William Walsh and Dora Clement of the President Players. Walsh called it a “jolly, peppy comedy,” the kind of fast-talking, flirtatious romp that kept audiences grinning through the curtain call.

The performance wasn’t just another night of stage lights and laughter—it had a mission. The show was staged to raise money for the Sally Joy Brown Milk Fund, a charitable drive organized by The Tribune-Capital. The fund helped struggling families, especially mothers with small children who couldn’t afford milk, a daily necessity many took for granted.

So, while Loose Ankles brought laughs to the crowd, it also brought hope to hungry homes across Des Moines. It was a night when the city’s actors proved that even a bit of Broadway-style comedy could make a difference in the lives of those who needed it most.