Origins of Balloon Modelling
The origins of balloon modelling are unknown. The 1975 book by "Jolly the Clown" Petri credits "Herman Bonnert from Pennsylvania at a magician's convention in 1939" as being the first balloontwister. Val Andrews, in Manual of Balloon Modeling, Vol. 1, An Encyclopedic Series, credits H.J. Bonnert of Scranton, Pennsylvania as being the "daddy of them all." Jim Church III states, "Frank Zacone from Youngstown, Ohio was doing a balloon act during the 1940s and had been doing the act for some time." Another candidate for first balloon twister is Henry Maar.
Read more about this topic: Balloon Modelling
Famous quotes containing the words origins of, origins, balloon and/or modelling:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“The settlement of America had its origins in the unsettlement of Europe. America came into existence when the European was already so distant from the ancient ideas and ways of his birthplace that the whole span of the Atlantic did not widen the gulf.”
—Lewis Mumford (1895–1990)
“When I am on a stage, I am the focus of thousands of eyes and it gives me strength. I feel that something, some energy, is flowing from the audience into me. I actually feel stronger because of these waves. Now when the play’s done, the eyes taken away, I feel just as if a circuit’s been broken. The power is switched off. I feel all gone and empty inside of me—like a balloon that’s been pricked and the air’s let out.”
—Lynn Fontanne (1887–1983)
“The windy springs and the blazing summers, one after another, had enriched and mellowed that flat tableland; all the human effort that had gone into it was coming back in long, sweeping lines of fertility. The changes seemed beautiful and harmonious to me; it was like watching the growth of a great man or of a great idea. I recognized every tree and sandbank and rugged draw. I found that I remembered the conformation of the land as one remembers the modelling of human faces.”
—Willa Cather (1873–1947)