Calliope_mar_apr_17

For Members of Clowns of America International
March / April 2017
Volume 34 • Number 2

EXECUTIVE COMMITTEE
DIRECTORS
President
Michael B. Cox
9415 Alameda Ave-
Richmond, VA 23294
804-270-1165 (H)
804-337-6143 (C)
coai.president.mike@gmail.com
Vice President
Julie Varholdt
4601 S Kachina Drive
Tempe, AZ 85282
480-838-7781
Juliecoaivp@cox.net
Secretary
Dan Langwell
54990 Ehman Lane
Mishawaka, IN 46545
574-904-9643
laughingstockpro@yahoo.com
Treasurer
Sandra Winstead
11801 Riverpark Way
Chesterfield, VA 23838
804-350-3687
strawberry.red1@yahoo.com
Alley
Region Support
Judy Quest
715 North 36th Street
Omaha, NE 68131-1906
402-551-4185
dearheart@cox.net
Conventions
Jim Caffrey
PO Box 833
Colona, IL 61241
309-314-6026
jclownus@yahoo.com
Education
Jim Dixon
5323 East Murdock
Wichita, KS 67208
316-871-6705
jdixon2482@gmail.com
Junior Joeys
Regina Wollrabe
Post Office Box 40
Gresham, OR 97030
503-807-2584
coaijrjoeys@gmail.com
Your
Membership
Teresa Gretton
3411 Lisa Circle
Waldorf, MD 20601
301-843-8212
tgretton@comcast.net
REGIONAL VICE PRESIDENTS
Northeast
Bill Le Blanc
2 Dee Jay Road
East Bridgewater, MA 02333
508-378-1545
bildabbles@aol.com
North Central
Curt Patty
9335 Berry Avenue
St- Louis, MO 63144
314-496-7824
curt-patty@yahoo.com
Northwest
Alyse Axford
116-A Sudden Valley Drive
Bellingham, WA 98229-7751
360-647-9229
sales@zigzag-ragz.com
Mideast
Jessica King
1017 6th Avenue, Suite 2
Huntington, WV 25701
304-542-6046
mideastjess@yahoo.com
Midwest
Georgia Morris
4234 Woodworth
Holt, MI 48842
517-694-7100
clownshananigans@comcast.net
South Central
To be announced
Southeast
Dianna Hale
1013 Way Thru The Woods
Decatur, AL 35603
256-309-1153
dhale5@att.net
Southwest
Lisa Ponce de Leon Terai
710 Lukepane Avenue, #101
Honolulu, HI 96816
808-271-4190
lolly4upaint@gmail.com
Officers
Canada
Dale McKenzie
867 Raynard Crescent SE
Calgary, AB T2A 1X6
403-273-9047 (H)
403-606-7750 (C)
funehappenings@shaw.ca
Latin Countries
Angel Morales
24 RR5 Jardines de
Caparra, Bayamon,
PR 00959
787-565-3205
jobolin2008@aol.com
International
Ted White
20 Maple Court
Yandina, QLD 4561
Australia
+61-7-5472-8018
twaddles2014@hotmail.com
STANDING COMMITTEES
Audio Visual: Merilyn Barrett, 407-844-2862 • klownkop@prodigy.net.
Awards Advisory Council (AAC): Teresa Gretton (Chair), 301-843-8212 •
gretton@verizon.net. Bob Gretton, Angel Ocasio, Walt Lee, Keith Stokes,
Mike Cox
Budget: Mike Cox 804-270-1165 • coai.president.mike@gmail.com
Bylaws and Rules: Julie Varholdt (Chair), 480-838-7781 • juliecoaivp@cox.net.
Cleon Babcock, Ted White, Glenn Kohlberger, Jeanne Wosaka
Clown Week: Carrie Ray, 214-577-6002 • shimmygiggles2011@yahoo.com
Competition: Cathy Mackey (Co-Chair), 518-784-2127 • ctots@aol.com.
Bill Le Blanc (Co-Chair), Walt Lee, Shirley Lee, John Kral, Paula Le Blanc,
Bob Gretton, Ann Sanders
Ethics and Grievance: Paul Kleinberger (chair), 518-489-2680 • fuddiduddy@
aol.com. Glenn Kohlberger, Jeanne Woska
Finance: Mike Cox 804-270-1165 • coai.president.mike@gmail.com
Good Cheer: Fred Schlosshauer, 973-887-2617 • oscarboj@aol.com
Historians: Walt Lee 410-551-7830 • wally788@verizon.net,
Teresa Gretton, 301-843-8212 • tgretton@comcast.net
International Ambassador Program: Bob Gretton, 301-843-8212 •
bunkytclown@comcast.net
Junior Joeys: Regina Wollrabe (Chair), 503-807-2584 • coaijrjoeys@gmail.
com. Trudi Sang, Maria Shafer, Caitrina Monaco, Bob and Teresa Gretton, Dawn
Pearson
Membership: Teresa Gretton (Chair), 301-843-8212 • gretton@verizon.net.
Glenn Kohlberger, Bob Gretton
Parliamentary Procedure Advisor: Cleon Babcock 515-266-6530 •
ccbabcock@aol.com
Public Relations: Bonnie Love, 619-282-9668 • bonbonsandiego@yahoo.com
Scholarship: Jim Dixon (Chair), 316-871-6705 • jdixon2482@gmail.com.
Lulu Mire, Judy Quest
2 The New Calliope • March/April 2017

March / April 2017
Volume 34 • Number 2
Published by
Clowns of America International
The mission of Clowns of America
International is to organize all members
desiring to pursue the honorable
profession or art of clowning and the
dedication toward its advancement and
the education of its members.
COAI Business Office
Post Office Box 122
Eustis, Florida 32727
Telephone:
1-877-816-6941(toll-free)
1-352-357-1676
Hours: Monday–Friday
9:30 a.m.—4:00 p.m. (EST)
E-mail: coaioffice@aol.com
Website: www.coai.org
Magazine Production
SPS Publications, Inc.
Copy Editors
Rose Cardenas
Sarah Haines
Rachel Strnad
Graphic Design
Jessica Friend
Bryan Conroy
Creative Consultant
Regina “Cha Cha” Wollrabe
Publication Deadlines
July/August 2017—June 1
September/October 2017—August 1
November/December 2017—October 1
January/February 2018—December 1
March/April 2018—February 1
May/June 2018—April 1
Send ads and articles to
thenewcalliope@gmail.com.
The New Calliope (ISSN 1072-1045)
is published bi-monthly (January/
February, March/April, May/June,
July/August, September/October,
November/December) by COAI, 800
South Ave., Eustis, Florida 32726.
Periodicals Postage Paid at Eustis,
Florida, and additional mailing offices.
POSTMASTER: Send address changes
to: The New Calliope, COAI Business
Office Manager • Post Office Box 122,
Eustis, Florida 32727.
The New Calliope articles are protected
by U.S. copyright and international
treaties and may not be copied without
the express permission of Clowns of
America International, which reserves
all rights. Re-use of any of The New
Calliope editorial content and graphics
online, in print, or any other medium for
any purpose is strictly prohibited.
© 2017 COAI
Clowns of America International, Inc.
Cover photo: Lori Wilson Charles with
Children’s Health, Dallas
Cover design: Régis Sudo
OUR COVER
4 Lifetime Achievement Award: Brenda “Flower” Marshall
Rachel Strnad
HOW-TO
12 Don’t Be an Imitation Bruce “Charlie” Johnson
21 You Oughtta Be in Pictures Tim “Sawdust” Laynor and
Ann “Tuttles” Sanders
23 Making Magic Fun for the Little Ones
Aurora “Bebop” Krause
24 Giraffe Patricia “Pockets” Bunnell
26 Save Face! Tricia “Pricilla Mooseburger” Manuel
INSPIRATION AND HUMOR
16 Junior Joeys Regina “Cha Cha” Wollrabe
28 Memories of My First COAI Convention Bonnie-Jean Brown
38 Clown Comics Ann “Tuttles” Sanders
OFFICIAL BUSINESS
9 From the President Mike “Bonkers” Cox
9 From the Membership Director Teresa “Blondi” Gretton
10 Vice President’s Report Julie “Lovely Buttons” Varholdt
11 Proposed Changes in Bylaws
31 COAI Perks Jessica “Gabby” King
33 Alley Happenings Judy “Dearheart” Quest
NEWS
18 COAI Annual Convention
19 Giggle Bytes COAI Alley #1000
33 News from the Director of Conventions Jim “Jay J.” Caffrey
34 Clown Calendar
35 The Last Walk-Around
MISCELLANEOUS
2 Officers, Directors, and Committees
20 Advertising in The New Calliope
27 Our Good Cheer List
29 COAI Registration and Renewal Form
30 Formulario de Applicacion y Renovacion
37 Welcome, New Members
37 Membership Gifters
24
38
Clowns of America International • www.coai.org 3
4
26
28

OUR COVER
Clowns of America International is proud to present the Lifetime Achievement Award to Brenda
“Flower” Marshall for her outstanding work in the art of clowning, and for her dedicated service to
the organization and clowning as a whole.
This past summer, Brenda celebrated her thirty-fifth anniversary as a clown. She is a lifetime member of
COAI, the Texas Clown Association, and Cowtown Clowns Alley #135. Throughout her career, she has
taught in numerous venues from the decks of a cruise liner to the slopes of a Chinese mountain village.
Her accolades include the Ceslee Conkling Award, the Ambassador of Clowning Award, and the Clown
Ministry Impact Award, as well as numerous state and international awards for makeup, paradeability, and
skits.
Brenda’s interest in performance began in junior high, when she signed up for theater class out of curiosity.
She fell in love bringing stories to life, and acted all the way through high school, even choosing a
theater major in college.
She married her husband, Patrick, in
1972, a year after she started college. He
convinced her to switch to more practical
accounting classes.
However, Brenda still kept up her
acting through her church in North
Richland Hills, Texas. Her pastor ran a
themed Vacation Bible School each summer,
with skits, crafts, and games, much
like the current programs. Brenda played
every character from a medieval lady to
a safari explorer. When her pastor asked
her to play a clown in the summer of
1981, she agreed without knowing what
she would be getting herself into. Brenda
borrowed a friend’s old Halloween costume,
found a pair of oversized shoes at
4 The New Calliope • March/April 2017
By Rachel Strnad
Goodwill, and improvised makeup. The
clown bug had definitely bitten by the
end of the week, and she enrolled in a
clown class at her local junior college.
Her name, Flower, originated from
her first choice of headwear. To complete
her VBS costume, she went looking for
a hat because “clowns should have hats.”
She found her young daughter’s Easter
Sunday hat, put a flower in it, and called
herself Flower. By the time she started
thinking of a serious clown name, it
was too late to change—the name had
stuck. She even tried performing with a
different name badge at a friend’s restaurant,
but the patrons said, “Hey, you’re
Flower!” as soon as they recognized her.
Publicity photo taken on a clown cruise.

Brenda would be the first to tell you
she never planned any of her amazing
career. “If I’d known where my red
nose would take me, I would have been
scared.” She never would have attempted
many of her accomplishments, both
at home and abroad, if someone hadn’t
asked her.
Shortly after graduating from the
clown class, Brenda joined the Cowtown
Clowns. Not long after that, she found
herself in the role of Alley secretary.
With experience as a PTA mother, she
was ideally suited for the job.
Right: Flower with her new red-nosed recruits
in Chennai, India, 2008.
Captions
Flower shows children in China how to walk in a parade, 2002.
Clowns of America International • www.coai.org 5

THOUGHTS ABOUT BRENDA “FLOWER” MARSHALL
I cannot think of another person who has been so instrumental in the development of hometown clowning, clown ministry, and
healthcare environment clowning as it exists today. Brenda has been at the forefront of building the necessary philosophical base upon
which almost all effective and efficient healthcare and ministry programs currently operate. What she established over her career is now
the standard for us all, whether they know her name or not! If current clown practitioners in healthcare and ministry don’t know her name,
they were almost certainly taught by her students.
Any program that recognizes Lifetime Achievement in the Art of Clowning needs to honor those whose work has raised the bar for all
clowns, both now and in the future. Brenda Marshall is undoubtedly one of those people.
–David F. “Mr. Rainbow” Bartlett
Ten years ago this summer, I walked in the door of the youth auditorium at First Baptist Church in Hurst Texas for a two-day clown
training event. I was way out of my comfort zone. I knew no one there and nothing about the art of clowning. The second person I shook
hands with was Brenda Marshall. Ever since that day, Brenda has been my teacher, my mentor, a source of honest and truthful feedback,
my boss on occasion, a source of job references, and a friend. Many times, I have spoken with Brenda on the phone, through email, or in
person to ask for advice and talk clowning. Without fail, she has made herself available to me and given me what I needed at that time in
my clown growth.
As I clown around the Dallas and Fort Worth area, people often approach me and ask about Flower. Sometimes, it is because they were
past Cowtown members, and sometimes it is because they have seen her perform or serve at a function. It quickly became clear to me the
impact she has had on the local community. I consider myself very fortunate and blessed to call Brenda a friend and mentor.
–Brennon Spikes
As I sit in front of my computer to write this recommendation, I am drawn to the word achievement in the title “Lifetime Achievement
Award.” Achieving something requires hard work and study, which in turn makes the achiever a more solid, well-rounded professional.
When I think of Brenda “Flower” Marshall, that is what I see!
As a clown who was nurtured by Brenda at the very start of my clowning career, I have used everything she has taught me in my own
journeys with the Circus and beyond. Partnering with her in the Funnyatrics program, I now experience the wonder of what Brenda does
first hand. I see the connections she makes and the gentle care she offers through her clowning. I am always in awe of what she does and
how effortlessly she does it.
–Kelly James Ballagh
Brenda is very deserving of this award on a number of levels. She is a tireless promoter of the art of clowning, especially concerning
COAI. I served with her on the COAI board of directors and saw her dedication first hand. She handled every challenge with kindness,
grace, and dignity toward all.
I also have the pleasure of teaching with her at Mooseburger Clown Arts Camp. We taught side by side in our Clowning 101 course.
Her compassion for new clowns runs as deep as her ability to inspire their performance excellence. I learned as much from her as the
students did.
I am inspired by her example as a missionary clown here in America and overseas. Few people would ever attempt her schedule of
service around the globe for one year, let alone decades. She is amazing.
–Tricia “Pricilla Mooseburger” Manuel
I have worked at Children’s Health for the past eighteen years, and have had the honor of both observing Brenda as a volunteer clown,
and now supervising her in the therapeutic clown role. While her influence over our Funnyatrics has been impressive, Brenda’s greatest
gift is the wonderful work she does with sick children and their families. She has the masterful ability to read a situation and respond
with great empathy, heart, and humor. Her gentle nature and excellent skills continually bring smiles and laughter, even in the midst of
heartbreaking circumstances. Many patients, unsure of the environment and fearful of staff, instantly calm down, and even smile, under
Brenda’s outstanding skills to both distract and entertain.
It has been a true joy witnessing the beautiful way Brenda shares her heart and her talent with the patients and families of Children’s
Health.
–Lisa Jones, Therapeutic Arts Superviosr, Chidlren’s Health
6 The New Calliope • March/April 2017

This little girl is named for Flower! India, 2008.
In 1990, Brenda attended a general
members meeting as part of the COAI
Convention in Albuquerque and was
surprised at how haphazard the minutes
were. “This is too big an organization to
have disorganized minutes,” she commented
to the president. He challenged
her to run for secretary. She did, and was
elected. After four years on the board,
she ran for president and won by eleven
votes. She was the first woman to serve
as COAI President. She ran again two
years later, and became the first president
to serve two terms.
While she was on the board, Brenda
began teaching clowning locally. She
was attending Ralph Dewey’s first Joey
to the World Conference in Houston,
when Ralph came to her on the morning
of the first day in a bit of a panic.“Brenda,”
he said, “We don’t have you on the
workshop schedule and people are asking
if you’re going to teach!”
Brenda laughed, “Well, Ralph, you
never asked me to teach.”
Ralph immediately remedied the situation.
“We have an open spot at one
o’clock. Can you do something?”
Brenda taught at the Joey Conference
for eight consecutive years and served on
the core planning committee for a time.
After volunteering at her local children’s
hospital, Children’s Medical
Center Dallas, for seven years as a
hospital clown, the Child Life director
approached Brenda with a new proposition.
The Child Life Department had
received $25,000 to start a clown program
like Big Apple. Would Brenda be
interested in helping set it up? Brenda
Top: “You can be a clown, too!” India, 2010. Bottom: Patty-cake with school children in southwest
China, 2001
said absolutely, and called Big Apple.
Unfortunately, Dallas wasn’t on the organization’s
list of prospective hospitals
to include in their expansion plan, and
CMCD didn’t have the funds to accommodate
them. Undaunted, Brenda suggested
they start their own. Her friends
Dana and Jane Abenschein had started
a clown program at their hospital in St.
Louis, and Brenda went down to shadow
them. In the meantime, Tiffany “Dr.
Slappy” Riley had moved to Fort Worth
and jumped onboard. Brenda, now “Dr.
Abby Normal,” and Tiffany became the
first Funnyatrics clowns of CMCD in
2005. Since then, the program has grown
to eight clowns. They work in pairs, five
hours a day, five days a week at the main
hospital, and one day a week at the satellite
hospital in Frisco.
Clowns of America International • www.coai.org 7

Flower demonstrates juggling for children in Honduras,
2009.
Flower working with children in Spain, 2012.
Another amazing opportunity dropped
in Brenda’s lap when she met Eugenio
“Chagy” Adorno, a Puerto Rican circus
clown who had come to the States to
attend seminary. He had run Christian
circuses in his home country and had
grand plans to putting something similar
together in the U.S. if he could find the
performers. Brenda became his clown
coordinator.
Circus of the King presents the gospel
in a unique way, featuring clowns, acrobats,
illusionists, and feats of daring do.
There is talk of taking the show on tour,
but Brenda is enjoying being close to her
grandchildren. “I’ll support you by training
your clowns,” she told Chagy, “but I
am not touring.”
Still, that hasn’t stopped her training
clowns all over North America. To date,
she has taught workshops at various conferences,
including COAI Conventions,
the Missouri Baptist Show Me Clowns
ministry conference, Creative Ministry
Solutions puppet festivals (formerly One
Way Street), Fellowship of Christian
Clowns seminars, Okanagan Summer
School of the Arts, and Bring Them In
Children’s Ministry conferences. She
is on staff for the Mooseburger Clown
Arts Camp, and has led classes for the
University of Wisconsin, La Crosse's
Clown Camp on the Road; Medicine
Hat College; and TNT University. She
has also served as an adjunct professor
at Arlington Baptist College. From 1995
to 2011, she periodically taught clowning
classes for the Annual International
Clown Cruise and various other cruises.
Brenda’s teaching has also taken her
around the globe. In the fall of 1991,
People to People International invited
COAI to send a group of Citizen
Ambassadors to Poland, Russia, and
Hungary. Brenda joined seventeen other
clowns to visit children’s hospitals, nursing
homes, orphanages, circus training
facilities, and four circus performances in
Warsaw, Moscow, and Budapest. In May
1995, when she was COAI President,
Brenda led another delegation for People
to People, this time to China, where
they performed in kindergartens in,
Guangzhou, and the Children’s Palace
in Shanghai. Over the years, Brenda has
been invited to minster in Ghana, West
Africa, Honduras, Singapore, and Spain.
In 2002, she made another trip to China.
She led an expanding group of clowns
to India each year from 2008 to 2015,
performing in children’s homes, schools,
and churches.
Throughout her years of teaching, she
had many students tell her, “If you start
writing this stuff down, we’ll buy it!”
In 2000, their wish was finally granted
in Brenda’s book Sharing God’s Love
Through Laughter: A Guide to Christian
Clowning. She blames Ralph Dewey
and Mark Renfro. “Ralph had always
been telling me I should write a book.
When he wrote Dewey’s Solo Clown
Ministry, he dedicated it to me and
sent me a copy with an arrow pointing
to the dedication. I said ‘Okay, I get
the picture.’” However, starting proved
a bit rocky. “Mark Renfro pretty much
chained me to my chair and told me to
get busy. I sat and cried for half an hour
because I’m not a writer.” Her book sold
out through two editions, proving that
her passion for clowning and teaching
others keeps people coming back for
more.
Brenda Marshall is truly a well-decorated
clown, with such a full career
it’s almost impossible to list all her
accomplishments. But it isn’t the success,
honors, or awards she loves, it’s
the people. “More than any one event
or moment, my favorite thing is simply
being in front of kids with a red nose on
and having fun. That’s where I’m most
comfortable, most at home.” In the end,
that’s what clowning is truly about.
Congratulate Brenda “Flower” Marshall
by e-mail at flowertc@flash.net.
8 The New Calliope • March/April 2017

OFFICIAL BUSINESS
From the President
Mike “Bonkers” Cox
My how time flies! Have you registered for the 2017 COAI convention in Kansas
City, Missouri, on April 25–30? If not, don’t wait any longer. The Northland
Clown Guild Alley #217 is offering a “Clowny Toons” experience, with great lectures,
vendors, a cartoon game show, and a cartoony birthday party and dance. It will be a
great place to meet your fellow clowns and learn more about the art of clowning. Hope
to see you there!
Congratulations to Harry Moore (right) for his appointment to the office of President of the
International Shrine Clown Association, pictured here with COAI President Mike “Bonkers” Cox at
the Association’s 2017 Mid-Winter Convention in Richmond, Virginia.
Congratulations to three very distinguished
COAI members who
have dedicated themselves to the art
of clowning for over twenty years. The
2017 Awards Advisory Council, after
reviewing all nominations, awarded the
Lifetime Achievement Award to Brenda
Marshall, Paul Kleinberger, and Glenn
Kohlberger. Each has served Clowns of
From the Membership Director
Teresa “Blondi” Gretton
America International with complete
dedication and commitment, including
serving terms as president.
Each recipient will be featured in the
cover story of the next three issues of The
New Calliope. This issue features Brenda
Marshall, who was COAI’s first female
president, serving from 1994 to 1998.
Paul Kleinberger will be featured in the
I want to congratulate Brenda
“Flower” Marshall—also known as
“Dr. Abby Normal”—for the well-deserved
recognition in receiving COAI’s
Lifetime Achievement Award. As you
will read in the cover story, Brenda gives
generously of her time and talent, and is
a true clown.
In this issue of The New Calliope, you
will find instructions for voting on three
bylaw amendments. I ask every member
to please read each of these amendments
and vote by June 1. This is your organization;
Your vote does count toward the
future of COAI.
By the time you receive this issue of
The New Calliope, it will be spring! If
you haven’t done so already, it’s time to
get your clown gear out, do some spring
cleaning, and prepare for a great 2017. I
love warm weather. Let’s all be the best
clown we can be this year, and help perpetuate
this great art of clowning.
Suggestions from the membership are
always welcome. Please do not hesitate
to contact anyone on your COAI board
of directors. Remember, this board is
here because of you, our members.
Till next time, be safe out there. And
keep making them smile! TNC
May/June issue, and Glenn Kohlberger
will be featured in the July/August issue.
I invite each of you to read about their
amazing journeys.
Please remember to check when your
membership dues need to be renewed.
Don’t wait to the last minute and let
them lapse into a new month.
Our international convention in
Kansas City, Missouri, will be here before
you know it! The theme is Clowny
Toons. It promises to be a creative, funfilled
time for all of us. See you there!
TNC
E-mail Teresa Gretton at tgretton@
comcast.net.
Clowns of America International • www.coai.org 9

OFFICIAL BUSINESS
The Vice President’s Report
Julie “Lovely Buttons” Varholdt
Hidee-ho everyone in COAI land. What a whirlwind of a winter and holiday this
has been! Now that the holidays are over, it’s time to get down to COAI business
as your Executive Vice President.
There are no elections of officers this year, but we have bylaw changes that you the
membership need to vote on. Our bylaws are very important to us. As this industry
changes, so must we. As members, you get to help us make these changes. COAI is
run for the membership, and that membership is you.
Voting is not hard, and will literally take about three minutes out of your day. Please,
please, please make the time to vote. This year, you will vote online at www.coai.org.
A voting station will also be set up at the 2017 COAI Convention in Kansas City this
April after the general membership meeting has concluded.
The following three bylaw amendments were presented to the COAI Bylaw
Committee and approved by the COAI Board for presentation to the COAI membership.
Please review each amendment below. If you have any questions, please direct
them to me either through e-mail or phone. These amendments will be presented at
the April COAI general membership meeting in Kansas City and voted on after the
convention. Voting will be done online at www.coai.org.
These bylaw amendments will not be voted on at the general membership meeting.
They will be presented to the entire COAI membership for voting. That’s you!
Since your voting will be done through
the COAI website, all ballots must be time
stamped no later than midnight EST, June
1, 2017.
Always remember, this COAI Board is
here for you, the members. If you need
anything, please don’t hesitate to ask one
of us. All of our contact information is
listed in the first few pages of every COAI
magazine. Thank you for your time! J
TNC
juliecoaivp@cox.net • 480-838-7781 (MST)
Annual General
Membership Meeting Notice
The annual COAI general membership
meeting will be held
on Wednesday April 26, 2017,
1:15–4:15 p.m. in the Shawnee
Ballroom during the COAI Annual
Convention at the Hilton Kansas
City Airport Hotel, 8801 NW 112th
Street, Kansas City, Missouri 64153.
HOW TO VOTE ONLINE
Your vote is important! This year, you will be voting online, saving yourself a stamp and keeping your magazine in perfect condition!
Simply go to your computer and follow the directions below.
1. Go to www.coai.org.
2. Sign in using your username and password. If you do not know your username and password or do not have one yet, call the
COAI Business Office at 1-352-357-1676.
3. Click “Membership” in the top menu.
4. Click “Election Ballot” in the drop-down menu.
5. Be sure to fill in your COAI number and your region at the top of the form. Your number may be found on your membership card
and on the poly bag in which this issue was mailed. If you do not know your COAI number or do not have access to it, call the
COAI Business Office at 1-352-357-1676.
6. Complete the form.
7. Double check your choices and complete the Safety Code. This is a simple math question, such as 1+1=___.
8. Click “Submit” at the bottom of the page, and you have voted!
There are three rules you must follow for your online vote to be valid:
1. You must put your COAI number and your region on the ballot.
2. Each COAI member may only vote once at www.coai.org.
3. You may not vote online on another person’s behalf. When you sign in on the website with your username and password, your
“footprint” (your registered COAI website information), is automatically embedded in your ballot. It must match the COAI
number that you put on the ballot. If it does not, your vote will not be valid. If you insert any other name or COAI number on your
ballot, all ballots with your embedded “footprint” will be voided.
Thank you for participating in the 2017 COAI election. See? That wasn’t so bad! TNC
10 The New Calliope • March/April 2017

Proposed Changes in Bylaws
#1 PROPOSED.
Amend ARTICLE V MEETINGS, Section 1. a.
OFFICIAL BUSINESS
The following items will be presented at the Annual General Membership Meeting on April 26. For meeting time and location,
see The Vice President’s Report, page 9.
There shall be one general membership meeting held each year, which shall be held at the Annual Convention. The date and site of the
Annual Convention shall be designated by the Board.
Amend by inserting after “designated by the Board”: “If a COAI Convention is not held in any year, then the annual general membership
meeting will be held on a date designated by the Board, provided that date is not on a legal holiday.”
RATIONALE. COAI is incorporated under the Minnesota Non-Profit Corporation Act, whereby at least one General Membership
Meeting MUST be held each year. Currently, the COAI Bylaws state that the Annual Membership Meeting will be held at the Annual
Convention. There is no provision made for any other scenario. In the event that COAI is ever unable to hold a convention for any reason
(hurricane, fire, tornado, or flood making cancellation of the convention necessary with no chance to reschedule the entire convention
quickly is one possible situation), this amendment would ensure that the Annual General Membership Meeting would still be held as
required by law.
#2 PROPOSED.
Amend ARTICLE VII EXECUTIVE COMMITTEE, section 1.: The members of the Executive Committee shall be the President,
Executive Vice President, Secretary, and Treasurer.
Amend to read: “The members of the Executive Committee shall be the President, Executive Vice President, Secretary, Treasurer and
two (2) other Board Officers approved by the Board.”
RATIONALE. The Executive Committee conducts the day-to-day business activities of the organization. In view of the ever-changing
technologies in the world today and the benefits they can bring to move COAI forward, it is imperative that we
identify and use specific talents from the full board to help the Executive Committee in their duties.
#3 PROPOSED.
Amend ARTICLE IV OFFICERS, Section 12. Standing Committees
The following standing committees shall be appointed and maintained by the Board: Bylaws and Rules Committee, a Clown
Week Committee, a Competition Committee, and an Ethics and Grievance Committee. The President shall not be a member or
an ex-officio of the Ethics and Grievance Committee. Administration of these committees shall be at the direction of the Board.
Amend to read: “The following standing committees shall be appointed and maintained by the Board: Bylaws and Rules
Committee, a Clown Week Committee, a Competition Committee, and an Ethics and Grievance Committee. The President shall
not be a member or an ex-officio of the Ethics and Grievance Committee. All committee findings must be approved by a majority
of the COAI Board, with the exception of the Bylaws and Rules Committee and the Ethics and Grievance Committee.”
RATIONALE. The previous wording was unclear as to which committees need the approval of the board and which do not.
#4 PROPOSED.
Amend ARTICLE VI BOARD OF DIRECTORS, Section 1. Duties
B. Additional duties of the Board shall include, but not be limited to:
2. Provide for an annual review of the books. When there is a change in the office of Treasurer there shall be a certified public
audit.
Amend to read: “2. Provide for an annual review of the books. When there is a change in the office of Treasurer there shall be an
independent review of the books.”
RATIONALE. A full or certified audit is in excess of what is needed to be sure our accounting is in order at the end of a term
by the treasurer, as is the cost of that audit. A full review will accomplish the need without the excessive cost to the organization.
Clowns of America International • www.coai.org 11

Don’t Be
An
IMITATION
By Bruce “Charlie” Johnson
PHOTO BY MERILYN BARRETT
Doing routines created by others is an important learning step because it teaches
you performance skills. Doing routines that have been successful for many other
entertainers helps you be more successful in your initial attempts so you don’t become
discouraged. I still learn some routines created by others as a method of developing
new skills. Then I make adjustments to each one to make it a better fit for my personality
and style. However, to reach your potential as an entertainer, at some point you
need to stop copying others and begin creating your own material.
Imitations are Inferior
If you make successive generations of copies on a copy machine the quality quickly
deteriorates. The sharp details become blurry and flaws become larger. That also happens
when entertainment routines are copied.
After my performance at a magic convention, one of the magicians approached
me and said, “I really like the improvements you have made to the Three Color Book
Monte routine.” When I asked him what he meant, he said, “You are the first one that
I have seen perform it without having kids holding the books.” He mentioned several
other details that he considered to be improvements. He was amazed when I told him
that what I had performed was the original version that I had created over twenty
years ago and the flaws I had improved were the result of other entertainers copying
the routine from somebody else who had previously copied it.
I created Three Color Book Monte in 1985 when I was the featured entertainer at
the Raging Waters amusement park in San Dimas, CA. (The premise of the routine
is that you have two black and white coloring books and one that is colored. While
you mix up the books, the audience tries to keep track of the colored book.) I wanted
a method to protect my props while still allowing me to set up the routine quickly
when doing atmosphere shows at the park. If there is too long a pause between atmosphere
show routines your audience will start to leave to get in line for a ride. I
developed a wooden box that would contain the three coloring books but that I could
open out into three easels in less than ten seconds. (The steps it took to develop that
box and its features are described in detail in Creativity For Entertainers Volume Three:
Creative Routines.) I believe people are intrigued by how the box opens out. I still
use my original box for the majority of my performances because I think the routine
gets the best response when I use it. I began teaching my original routine in classes
at the 1987 Laugh-Makers Conference, and sold the easel boxes on my dealer table
Photo Credit: Istockphoto/OgnjenO
during the next four years. The original
version of my routine was published in
the November/December 1989 issue of
Laugh-Makers Magazine.
Soon some people began to copy the
routine without using the easel box. I felt
that was not as strong, but I was eventually
forced to start doing that myself when
airlines began lowering luggage weight
limits. The wooden box was too heavy to
continue transporting by air. Now when
I fly to do a stage performance I just take
the three books and use three chairs on
stage as the easels.
Vince Pagliano learned to perform the
routine from me at the U-WL Clown
Camp® in 1990. We were both on the
U-WL Clown Camp® staff again the
next year and he told me that he had
started using children instead of easels
to hold the books. He is the first person
that I was aware of performing it that
way. I did not think his version was as
effective as my original version. For one
thing, you can have problems controlling
volunteers. You need to devise some way
to keep the children from opening the
books, which I think puts too much emphasis
on how the books are opened. It
also slows down the pace of the routine.
In addition there are two moves in my
original routine, the one that gets the
most laughter and the one that gets the
most applause, that are impossible to do
if children are holding the books. While
12 The New Calliope • March/April 2017

I felt that having children hold the books
was an inferior version that is the one
that has been the most copied.
I do not think that everyone has to
perform my routines the way that I do
them. It is possible to make improvements.
In fact, in recent years I have
created two different versions of Three
Color Book Monte that are improvements.
However, I think it is interesting
that in less than twenty years of people
copying other people who copied my
routine the original version is now considered
an improvement upon the copies.
Imitation is Limitation
When somebody creates a routine,
they capitalize upon their strengths and
compensate for their limitations. For example,
I have to conceal the alterations
made to a Joker in one of my original
card routines titled Riding Through
I was coaching a pair of clowns who
told me they loved Dead & Alive, but
they had never performed it because
neither one could carry the other person.
They were surprised when I told them
that there were other ways to conclude
the routine.
(described in detail in Creativity For
Entertainers Volume Three). The easiest
and best way to do that would be using
a sleight of hand move called a Double
Lift. I have never made the commitment
to practice that move enough to master
it so I could not use it in my routine.
However, I can expertly perform another
move called a Flushtration Count. Since
it has to be done with more than one
card I use that sleight to show that both
Jokers are apparently normal, and then
use one of them in the effect. That is a
small flaw in my routine because logically
if I am only going to use one Joker I
would not show both of them. If somebody
who can perform the Double Lift
copied my routine as I perform it with
the Flushtration Count, they would be
accepting my limitations, ignoring their
own strengths, and needlessly perpetuating
a flaw in my routine caused by my
limitations. Don’t impose the limitations
of others on yourself by copying them.
Imitation Prevents Consideration
of Alternatives
The Ringling Brothers and Barnum
& Bailey Clown College curriculum
included a routine called Meet & Greet
combined with another routine called
Dead & Alive. Meet & Greet is a short
fight scene that concludes with one
clown being knocked unconscious. Dead
& Alive is a classic physical comedy routine
where a clown tries to remove the
body of a dead or unconscious person.
Many clowns have exactly copied the
RBB&B Clown College version of the
combined routines. That version ends
with one clown carrying their partner off
on their back.
I was coaching a pair
of clowns who told
me they loved Dead
& Alive, but they had
never performed it because
neither one could
carry the other person.
They were surprised
when I told them that
there were other ways
to conclude the routine.
They assumed there were no alternatives
because that was the only way they had
seen it performed. I knew that in the
original routine, performed by Secchi
and Alfano in the 1860s, one partner
turned the other face down, put the
short axle of a wheel in his hands, and
then pushed him off like a wheelbarrow.
The clowns I was coaching decided a
variation of that would work for them,
and they have enjoyed performing the
routine.
Once you realize that the ending does
not have to be copied, you can discover
many alternatives. Studying the history
of a routine reveals possible variations.
In a variation called Pete In The Well,
performed in Medicine Shows later
HOW-TO
in the nineteenth century, the “dead”
person runs off stage and then returns
wearing a sheet to haunt their partner.
I saw Dead & Alive performed as part
of a gunfight at Knott’s Berry Farm, before
the founding of the RBB&B Clown
College, where the “dead” person was
placed on a plank and carried off by two
cowboys. Two other endings that I have
used are to place the victim on a break
away stretcher and to levitate the victim.
The combination of Meet & Greet
with Dead & Alive does not have to
be copied. You can start Dead & Alive
in other ways or combine it with other
routines. I have performed it where
a juggling ball hitting me on the head
knocked me out. In another version, I
stopped to clean a spot on the ground
and my partner accidentally knocked me
over. I have combined Dead & Alive with
a Boxing Act, a Doctor Act, a Hypnotist
Act, and a Basketball Act.
Imitation Camouflages
Your Personality
When somebody creates a routine the
choices that they make reveals something
about their character. The way
that they present it is based upon their
personality. If you copy their routine,
you are trying to copy their personality
which hides your own personality. If you
imitate several different performers by
performing their routines, your audience
can become confused because they do
not get a consistent impression of your
personality. Your personality is what the
audience is most interested in.
According to Woody Allen, “What
they (the audience) want is an intimacy
with the person. They want to like the
person and find the person funny as a
human being. The biggest trap comedians
fall into is trying to get by on the
basis of material. That’s just hiding behind
jokes.”
Randy Pryor said, “The best juggling
act is performed by somebody the audience
likes spending time with who just
happens to juggle.”
Clowns of America International • www.coai.org 13

I learned the truth of that in the early
1980s when I spent a week performing
with a small circus at a county fair. My
juggling act had progressed to the point
that it was good enough to be in the next
to closing spot in the show. Every morning
I practiced my juggling for an hour
before the fair opened. A group of 4H
kids would sit in the stands watching me
practice. The same kids would come to
the matinee show each day, but as soon
as I started my juggling act they would
get up and leave. After a couple of days,
I asked them why they would watch me
practice when I was doing the same few
tricks repeatedly but they did not watch
my act where I was performing a lot of
different tricks. They said my act was
just a bunch of tricks, but when I was
practicing I was myself and I interacted
with them. After that I concentrated less
on learning new tricks and more on expressing
my personality through my act
and interacting with the audience.
The goal of creativity is not to be different
than others. That is probably a
hopeless task because of simultaneous
creativity which is people creating the
same or similar things working independently
of each other. If being different
is your goal you let the success of others
impose artificial limitations on what you
can accomplish. The goal of creativity is
to become more true to yourself. As you
achieve that you will become truly different
because you are unique. You have
a combination of skills, experiences, passions,
and personality that nobody else
has ever had. There is something you can
do better than anybody else in the history
of variety arts. You have a unique way
of thinking and viewing the world. You
can come up with ideas that are different
from what others will create. When you
imitate others you rob the rest of us of
the unique contributions you can make
to our art.
A pair of clowns occasionally took
juggling lessons from me over a period
of several years. They never learned to
juggle because they didn’t like juggling
so they rarely practiced. However, because
every clown they personally knew
juggled they felt they had to copy that.
We went to see a clown performance
by Larry Pisoni. The first routine in
his show involved playing a flute. My
students were amazed. They had both
toured as back up musicians and had a
professional quality recording studio in
their home. But because they had concentrated
on trying to copy what other
clowns did, they had not considered
what they could do. They achieved success
when they began writing their own
song parodies to perform in song and
dance routines.
As Judy Garland said, “Always be a
first-rate version of yourself, instead of
a second-rate version of somebody else.”
Then you will succeed in coming closer
to your potential. TNC
GH
I am always interested in your questions
and comments. You can contact me
by mail at 1602 Locust Way, Lynnwood,
Washington 98036, or by e-mail at
clownjuggler@comcast.net. You can find
more articles of interest at www.
charliethejugglingclown.com.
14 The New Calliope • March/April 2017

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This insurance covers all entertainers, not just clowns, who are members of COAI.
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• Separate $1M per occurrence or $2M aggregate.
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• No charge for insurance certificates.
Pricing starts at $150 per clown per $1M/$2M limits; higher limits and coverage available at discounted pricing.
Policies run one full year from the date you sign up. For example, if you sign up October 2016 you are covered until October 2017.
Clowns of America International • www.coai.org 15

INSPIRATION AND HUMOR
By Regina “Cha Cha” Wollrabe, Junior Joeys Director
Hi, Junior Joeys!
Do you ever make balloon animals? If so, here are a few
funny things you can say while you’re twisting them into
shape. If someone asks, “What kind of dog is that?” say,
“It’s an Air-Dale.” If your balloon pops, you can say, “And
that’s what you call Pop Art!”
When making balloon animals, you can also insert some funny lines
to make your audience laugh. It’s pretty easy to find good one-liners
and jokes. Just Google “balloon jokes and one-liners.”
Back in 2013, Caitrina Monaco and I
met for the first time and found that we
both had a similar idea of what we wanted
to see happen for COAI’s Junior Joey
Program. We thought it would be so cool
if there were patches kids could earn to
show the skills they had acquired. She is
now on my committee, along with Trudi
Sang, Dawn Pearson, Marie Shaffer, and
Bob and Teresa Gretton. In looking into
the patch idea, we found the they were
quite expensive, and needed to be very
simple. So, the committee decided we
should do a pilot program with at least
five out of the twenty designs that Teen
Joeys Eileen Shaffer, Nathan King, and
Carson Magee turned in to me for consideration.
For lack of a better name, we
have been calling it the Pin Program, as
we plan to do the first trial set as button
pins. We are still open to making them
into patches, but felt the buttons were
more affordable at this time, as well as
easier to put on and take off.
Many programs use patches as incentives
to grow in skill, but how awesome
would it be if programs that taught
clowning and circus skills had that kind
of incentive program? We will have a criteria
book available through our website,
and videos to match each pin that show
what specific skills we suggest kids master
in order to earn pins.
Leaders and parents of Junior Joeys
can check their kid’s accomplishments,
sign the criteria pages, and order the
pins to award their Junior Joeys. We have
considered the idea of making an overthe-shoulder
prop bag that has a wide
strap where pins can be displayed. Pins
could also go on hats, costumes, backpacks,
a vest, or a sash. There are so many
affordable options!
The Basic Balloon Skills is the first
page we are making available for Junior
Joeys to accomplish. We feel that, if they
can accomplish these first small steps in
ballooning, they will have enough skill to
work alongside a parent or grandparent
at an event and continue to grow in skill
with each new experience in making
other kids like them happy.
Bump a Nose! TNC
COAI Convention Update! Junior Joeys Schedule
Our goal at the international convention is to come alongside Junior Joeys who have had performance experience and/or previous
training in clowning, and have the desire to expand their skills. We want to help tailor their convention experience to their family and
mentor’s by guiding them to appropriate adult workshops and offering occasional, age-appropriate trainings specifically scheduled
for Junior Joeys. Professional instructors will be invited to participate in these “mentor sessions.” Specific classes will be announced
at the convention after we know the areas of growth each Junior Joey and their family needs or wishes to explore.
Here are some specific Junior Joeys times we are scheduling to meet up.
TUE: 11:30 a.m.–1:00 p.m. Junior Joey Welcome Lunch
and Orientation.
9:30 p.m. Check in to discuss the next day.
WED: 1:45 p.m.–1:15 p.m. Check in during the Buffet.
1:00 p.m.– 4:15 p.m. Suggested swim time with a parent
supervising.
9:30 p.m. Check in for tomorrow’s schedule.
16 The New Calliope • March/April 2017
THURS: 2:30 p.m.–3:30 p.m. Junior Joey Mentor Session.
FRI: 9:30 p.m.–11:45 a.m. Junior Joey Mentor Session.
4:00 p.m.–7:00 p.m. A fun, hands-on workshop.
SAT: 12:00 p.m.–1:00 p.m. Junior Joey Show Case
All other scheduled mentor sessions will be announced at the convention. We will be following the convention schedule. Parents
will be responsible for knowing where their Junior Joeys are at all times and watching their children outside of specific, Junior-Joeydedicated
times.
Please have the parents of Junior Joeys text me with their name, their Junior Joey’s name, and their arrival time, so I can greet
them and help answer any questions they may have. My mobile number for texting is 1-503-807-2584. See you at the convention!

OFFICIAL BUSINESS
Here are the first steps Junior Joeys can learn to show
they have begun the art of ballooning. Junior Joeys who want to
grow in this skill will show their Junior Joey leader or parent
that they can make at least three balloon sculptures and are able to
demonstrate each of the steps below.
q Inflate a balloon using a hand pump or standing pump.
q Burp and tie off a balloon.
q Know what a locking twist is.
q Make a dog.
q Make a giraffe.
q Make a sword.
q Know what an ear twist is.
q Make a flying mouse.
q Be aware of age limits and safety protocols for small children.
q Be aware of the care of balloons. Keep balloons from heat and
extreme cold and know proper disposal.
q Know how to end a line and use creative crowd control ideas.
q Know a few fun games to play with balloons to help others
have fun.
Clowns of America International • www.coai.org 17

18 The New Calliope • March/April 2017

HOW-TO
Welcome to
COAI Alley 1000
Giggle Bytes!
By Hal “Halaloo” Grant
What Do You Mean You Have No Alley?
I know—Alleys, can be hard to find. I live in the greater Toronto Area, almost as
close to Buffalo as Toronto, and there are no Alleys closer than a one-and-a-half-hour
drive each way. In most cases, if I go to the Toronto Alley’s meeting, due to potential
traffic delays I have to leave hours early to make sure I arrive by 7:00 p.m. I don’t get
home until after midnight. The London, Ontario Alley is even farther. If I go to the
Buffalo meeting, I have the extra hassle of a border crossing. So, when I heard the
COAI had Online Alleys, I had to know more. I joined, and soon found myself overseeing
COAI Giggle-Bytes Alley #1000.
I have been to every meeting so far, and I’m not worried about missing February’s
meeting because–guess what–we record our meetings! It’s not the same as being there
in person, but watching the recording does offer you a chance to see the lectures even
if you can’t be there. This is the Alley of the future; have you ever been part of an Alley
that records their meetings so those who miss them can view them at their leisure? I
don’t know of any.
Even though we’re online, Giggle-Bytes runs things the same way as a real Alley
would. We have guest lecturers on many subjects, and there is a social time before and
after. But don’t just take my word for it. Here is what some members are saying.
“I love this Giggle-Bytes online Alley! Being connected to the clown world can be challenging
without an Alley. Through the Giggle-Bytes, I’ve learned about two valuable conventions
within easy driving distance of my home: the Northeast Clown Institute in Plymouth,
Massachusetts, and the Northeast Christian Clowns in Oneonta, New York. I have met several
new friends and can contribute to improving their work as they help me improve mine.
I’ve taught a ventriloquism class online as well, using my lessons from my local workshops. It
has opened doors to possibly teaching at other conventions. I really appreciate both the learning
and the community. It is convenient and a very good addition to my world in COAI.
– Jackie Reynolds
Things I like about the online alley:
You can talk to people from all over the
world simultaneously.
It’s like a reality show because you can look
past peoples shoulders and see a little bit into
their lives.
The quality of the guest teachers is what
you would expect at a convention, except they
aren’t getting paid, but they come anyway
and provide personalized answers to any
questions thrown at them.
–Joe Luce
I enjoy the online Alley because the closest
Alley to me is Toby’s in Lake Placid, which
is almost two hours away. I love Toby’s Alley
because of the wonderful friendships I have
made, but because of the distance, I don’t get
there as often as I would like. The online Alley
has great speakers, I really learn a lot, and I
enjoy the friendships I am making there. Hal,
you are doing a great job, and I appreciate
all the time you put in to make this Alley
successful.
–RoseMary “Miss La Di Da”
I like the online alley because it is another
resource to meet people we might otherwise
never encounter. It is a great place to learn
and exchange ideas. I have met some new
friends and already learned quite a few useful
tips. If I had not been on the online alley,
I would not have been able to share information
about the Northeast Clown Institute
with Jackie Reynolds. It is a great way to expand
our networks, even for those who may
not be able to afford the cost of conventions.
–Peg
You get the idea. We meet the third
Monday of each month at eight p.m.,
Eastern Standard Time, but we are willing
to change the time for special lecturers.
Remember, we record the meetings, so
you can always catch up if you can’t make
it. Meetings run about an hour, though
the social end goes on for some time
afterwards.
Continued on page 34.
Clowns of America International • www.coai.org 19

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20 The New Calliope • March/April 2017

YOU OUGHTTA BE IN PICTURES
How to Get Your Alley Featured in Clown Comics
By Tim “Sawdust” Laynor and Ann “Tuttles” Sanders
Kolonial Klowns of Williamsburg Alley #357
Tucked in the back of each issue of The New Calliope is a full-page spread titled
Clown Comics. The “Clown Comics” tells a humorous story in six scenes, or panels,
featuring you and your fellow alley members.
Kolonial Klowns of Williamsburg Alley #357 has prepared a number of submissions
since the feature was introduced, and we want to share some of our process with you.
Each alley provides their own photos for the “Clown Comic” strip they create. Our
alley plans these shoots months in advance so we can shoot multiple comics in one
session. The shoot is scheduled in place of our regular monthly meeting. We strive to
have enough material so each member who wants to participate can do so.
The person who creates the idea for our alley’s strip is the designated director of the
shoot, and is responsible for providing the storyboard and props. Most of us get into
makeup and costume at the meeting location.
Experience has taught us that you need to design a storyboard before you schedule
your fellow clowns for the photo shoot. The storyboard shows what characters are in
each panel and their actions. It also shows what props will be needed, if any. The dialog
should be kept to a minimum, so omit needless words when writing your script.
If you need help creating a storyboard, study how newspaper comics are constructed.
Look closely at the way the characters are drawn and their dialogue. Skits and jokes
you already use for live performances are also good resources for a comic.
Since you will be taking photographs, you do not have to apply your regular clown
makeup. Face paints and makeup powders, such as Mehron’s Cake Makeup Star Blend,
photograph well, and can be used in place of grease paint. These also save preparation
time, since you won’t need to set water based paint or powder makeup. Also, there is
no need to wear your clown shoes if you don’t have to photograph your feet.
Before taking your photographs, consider your background and lighting. Our alley
is fortunate in having a member whose hobby is photography. He provides professional
lighting and backdrops. You can do just as well with a solid-color sheet taped to a
wall and a well-lit hallway or room.
What you see in the camera’s viewfinder is usually the picture you will get, so carefully
frame your subjects. Make sure the participants have exaggerated facial and body
expressions. If you want to emphasize a character’s emotion, consider using a facial
close-up. Photograph only what is needed to tell the story, and don’t clutter the panels
with unnecessary characters. Make sure your digital camera is set to the highest resolution.
The folks at The New Calliope do all the photo editing and enhancing, so all
you’ll need to do is send them the files.
Here’s a summary of the process:
Select your basic material: joke, skit, etc.
Give your “Clown Comic” a title.
INSPIRATION AND HUMOR
Divide the material into six scenes.
Each scene will become a panel.
Decide what props and how many
clowns you will need.
Schedule your photo shoot.
Take multiple high-resolution photographs,
and select the picture that best
tells that portion of the story.
Create a detailed storyboard, being
sure to note which clowns speak in each
panel. Include the file name for each
panel’s photo.
Create a Microsoft Word document
to send with the files. This will serve as
directions for the editors.
Upload your photos and Word document
using www.wetransfer.com. It’s
easy. You don’t have to sign up for anything;
just enter thenewcalliope@gmail.
com and your e-mail address. Then click
“Add Files” and select your photos and
Word document. Select “Transfer” and
your skit will be on its way! Be sure to
include the name of the Alley whose
members are featured, as well as the contact
information for the person in charge
of that Alley’s comic in case the editor
has questions about your submission.
Most importantly, have fun!
We’ve also included an example of our
own process.
The Basic Material
The following joke is being provided
for information purposes and is not
Steve “Peachy Keene” Long (right) gives
last minute instructions to (left to right)
Fred “Freddy” Bowman, David “Dilly-Dally”
Claunch and Sandra “Strawberry” Winstead
Clowns of America International • www.coai.org 21

system, and chairs to simulate classroom
environment.
Instruction Sheet
The following information will be included
in the Microsoft Word document:
Comic: The Solar System
Photographs by Tim “Sawdust” Laynor,
Kolonial Klowns Alley #357
Script by Ann “Tuttles” Sanders, Kolonial
Klowns Alley #357
E-mail: tuttlestc@hotmail.com
Starring:
Steve “Peachy Keene” Long as Professor
Fred “Freddy” Bowman, Kolonial Klowns
Alley #357 as Student 1
David “Dilly-Dally” Claunch, Jubilee
Jesters Alley #339 as Student 2
Sandra “Strawberry” Winstead, Virginia
Alley #3 as Student #3
intended to poke fun at a specific group
of people. It has been presented in its
original form to demonstrate the transition
from joke to “Clown Comics.”
Three flight technicians working at the
NASA Space center, a blonde, a brunette,
and a redhead, were trying to figure out
where to go on their next trip into space.
The brunette said, “We should go to
Mars.”
The redhead said, “We should go to
the Moon.”
The brunette and the redhead started
arguing. Suddenly, the blonde shouted,
“Stop arguing! I know where the next
expedition should go: to the Sun!”
The brunette and the redhead looked
at each other and started laughing. The
brunette finally said, “You can’t go to the
Sun. You would melt or burn up before
you even got close.”
The blonde said, “Duh. Not if you go
at night!”
The punchline is similar to a clown’s
way of thinking. After a brainstorming
22 The New Calliope • March/April 2017
session, we decided to write the story
using a classroom setting, with the students
responding to their teacher’s question,
“What planet would you visit and
why?”
The Story Board
The following information would be
taken to the photo session:
Comic: The Solar System
Scene 1. Professor: Class, one by one
come to the front and tell us which planet
you would like to visit and why.
Scene 2. Student 1: I’d go to Mars.
There may be extraterrestrial life there.
Scene 3. Student 2: I’d go to Saturn so
I could examine its ring.
Scene 4. Student 3. I’d go to the sun.
Scene 5. Professor: Wouldn’t you melt?
Scent 6. Student 3: No, I’d go at night.
Characters needed: One Professor and
three Students
Props: Mortarboard and robe for
Professor, drawing or chart of the solar
Panel 1.
File Name: DSC_4487
Professor (center): Class, one at a time,
tell us which planet you would like to visit
and why.
Panel 2.
File Name: DSC_4489
Student 1 (right): I’d go to Mars. There
may be extraterrestrial life there.
Panel 3.
File Name: DSC_4491
Student 2 (left): I’d go to Saturn so I
could examine its rings.
Panel 4.
File Name: DSC_4492
Student 3 (left): I want to go to the Sun!
Panel 5.
File Name: DSC_4495
Professor (right): You can’t go to the Sun.
You would melt.
Panel 6.
File Name: DSC_4497
Student 3 (left): Not if I went at night!
TNC

HOW-TO
Making Magic Fun
for the
Little Ones
By Aurora “Bebop” Krause
Fortunately for Bebop, children love magic almost as much as they love to have
fun. I love to make my clients happy, so laughing and having fun with my young
audiences is easy. Adding magic to the mix sometimes proves a bit challenging. I’ve
learned that although children seven and under are smart, they’re easily confused.
When they’re confused, they lose interest.
Here’s what has worked for me to keep their attention. When doing magic for very
young children, I first grab their interest with something they understand, then add
fun and anticipation. My magic routines are more performance than magic. Facial
expressions and comedy antics are a big part of my overall presentation. I keep my
routines brief, and though I maintain a good level of energy and enthusiasm, my
movements are slow and deliberate. This is important to ensure my audience stays with
me. When preparing a magic show for young clients I make sure to include elements
they know and can relate to such as primary colors, numbers under ten, visual and
comedy wands, funny props of various sizes, and familiar music or sound effects.
Bebop creating fun for her young clients.
When I visit the vendor room at a
clown event, I like to watch magic vendors
demonstrate their tricks. I usually
watch from a distance because I visualize
my character doing the trick. Here are
some of the questions I ask myself while
I watch.
Does it have entertainment potential
beyond what is being demonstrated?
If it’s complicated, can I simplify it?
Is it a good visual presentation?
Can it be enhanced with comedy
antics?
You mustn’t be afraid to change any
magic routine or use of a clown prop.
You should be able to add your own spin
to a presentation, and your character is
the perfect place to look for inspiration.
Most importantly, know your target
audience and strive to meet their expectations.
Bebop’s chosen clients are under
the age of seven and they do love fun and
laughter. Keeping that in mind, I make
my magic and prop purchases based on
how creatively I can use those tools to
make my routine more fun and entertaining
for my young clients.
I'd love to hear your thoughts. E-mail
me at bebopclown@hotmail.com, or visit
www.bebopsworld.com. TNC
Clowns of America International • www.coai.org 23

HOW-TO
Giraffe
By Patricia “Pockets” Bunnell
I created this giraffe many years ago, but it is still my favorite! People love it.
1. 2. 3.
4. 5. 6.
1. Inflate a yellow 260 balloon, leaving about 5 inches at the tip. Form about a 1-inch bubble followed by two 1-1/2-inch
bubbles. Twist the two bubbles together.
2. Roll the knot of the smaller bubble through the two 1-1/2-inch bubbles.
3. Make a pinch twist.
4. Make two 4-inch bubbles and twist together.
STEPS:
5. Make one more 4-inch bubble and roll it through the first two.
6. With the remaining balloon make a pinch twist and then form two loops for its ears. Set aside.
24 The New Calliope • March/April 2017

7. 8. 9.
10. 11. 12.
7. Inflate two yellow 260s, leaving about 3-1/2 inches at the tips. Form two 1-inch bubbles on each balloon at the nozzle end
and twist together.
8. Size the two balloons so they fit around the person’s head, forming a hat. Make two pinch twists.
9. Twist the two balloons together to form its neck, leaving about three inches at the tip ends and twist together.
10. Twist the head of the giraffe into the twisted balloons. Form two bubbles at the ends of the tips of the balloons.
11. Inflate a white 5-inch round balloon to about the size of a mandarin orange and tie off. Twist this balloon in half to form
two eyes. Insert in the center of the three-bubble cluster of the head. Add artwork!
12. Present the finished product to the delighted recipient!
Patricia “Pockets” Bunnell is an award-winning balloon artist from the Portland, Oregon area. You may
reach her by e-mail at oddballoon@gmail.com or visit her website at www.myfriendandiproductions.com.
Clowns of America International • www.coai.org 25

HOW-TO
Save Face!
How to Safely Remove
Your Clown Makeup
By Tricia “Pricilla Mooseburger” Manuel
Using a good makeup remover is important for healthy skin, especially if you are
putting on your clown face several days in a row. Many new clowns don’t know
that since most clown makeup is petroleum based, you need something made from a
similar product to re-liquefy the greasepaint when you remove it. Soap won’t cut it.
You’ll be scrubbing and scraping your tender skin if you try to remove greasepaint
with soap. Below is a comparison of the two most popular makeup removers, liquid
and solid, along with some general guidelines. However, you should always follow the
specific instructions on the package.
Liquid
This removes makeup much faster than solid remover. If you’re in a hurry, then a
liquid makeup remover is a great asset. Other than that, there aren’t any advantages to
using liquid over solid. If you pour it into your hands instead of using a cotton ball, it
runs down your arm and neck, which is both messy and wasteful. I’ve also had liquid
makeup removers leak in my makeup kit and luggage, and unless you have stored it in
a clear, one-ounce bottle, airlines have banned all liquids in carry-on luggage.
How to use:
Soak a cotton ball or makeup pad with the liquid.
Photo Credit: iStockphoto.com user shironosov
Wipe your face thoroughly with the cotton ball or pad. Make sure you avoid your
eyes, especially if you wear contacts.
You’ll need to rub really well into the
areas with more greasepaint. Be prepared
to use up several cotton balls or pads.
Whiteface clowns may want to do this
in sections to make the remover more
effective.
Once your greasepaint is re-liquefied,
wipe excess off with a moist washcloth.
Now you can wash your face with regular
facial cleanser or soap.
Solid
You may remember the old-fashioned
term cold cream, which is what a lot of
people still use to describe solid makeup
removers. The consistency is similar
to petroleum jelly. I personally prefer a
solid makeup remover for several reasons.
Very little is needed, so one container
lasts a long time. It doesn’t leak,
so it travels well. Finally, solid remover is
usually cheaper than liquid. Because it is
massaged into the skin with your fingers
rather than wiped across it with a pad, it
is also gentler on your skin.
How to use:
Scoop out a teaspoon-sized dollop
with your fingertips. A little goes a long
way, so start out with less than you think
you need.
Using your fingers, massage it gently
all over your face in a circular motion.
Avoid your eyes. You will feel the remover
melt as it makes contact with your
skin.
NO PAPER TOWELS!
Photo Credit:iStockphoto.com/Eliza317
26 The New Calliope • March/April 2017

O
HOW-TO
Photo Credit: iStockphoto.com/GeorgeRudy
Once your greasepaint is re-liquefied,
wipe excess off with a moist washcloth.
Now you can wash your face with regular
facial cleanser or soap.
Why a washcloth?
The way you remove melted makeup is
important to avoid irritated skin. Many
clowns rub their skin raw using paper
towels or baby wipes. These are abrasive.
Don’t use them! A damp, but not wet,
washcloth wipes off the grease easier,
and it’s soft enough not to irritate the
sensitive skin on your neck and around
your eyes. I recommend saving a few
old washcloths or hand towels specifically
for removing clown makeup. Wash
them separately to avoid transferring the
greasepaint to your laundry in the washing
machine, and keep them away from
your regular linen closet so no one else
will use them by mistake.
Before and after washing:
If you don’t already use skin moisturizer
and lip balm, you should consider it.
Yes, even you men! As we age, our skin
becomes drier and less pliant. Dry skin
sucks in the pigments of your clown
makeup, which makes it harder to remove
and thus requires more scrubbing
that will take off another layer of skin.
On the days you clown, plan on using
lip balm and moisturizer early enough in
the morning to give your skin a chance
to fully absorb it. Don’t moisturize right
before applying your clown makeup,
and remember to use moisturizer after
washing your makeup off, too. If you
already moisturize and you find your
skin is still picking up pigment, try using
Barrier
Our
Spray before putting
Good
greasepaint
Cheer List
on. This will seal your pores, create a film
between your skin and the makeup, and
reduce the possibility of an allergic reaction.
As an added bonus, it also makes it
easier to wash off the greasepaint.
What do I use?
Personally, I swear by Mehron’s Solid
Makeup Remover. This isn’t a sales pitch;
it’s an honest testimonial from more
than thirty years of using it. Mehron’s
has four simple ingredients, smells great,
leaves my skin feeling soft, and gets the
job done with no mess or skin irritation.
I hate wasting product and mounds of
cotton balls. Further, it doesn’t leak in
my airline luggage, which could prompt
a full-body search at the airport and put
me on the No-Fly List. Yikes!
GH
Have more makeup questions?
Tell me what you’d like to read in the
next issue of The New Calliope. Send me
your makeup questions and article ideas
at pricilla@mooseburger.com. I would love
to hear from you! TNC
Tricia Manuel is known as “Pricilla
Mooseburger” and “Miss Moose.” She is a
long-time member of COAI, and has been operating
Mooseburger Clown Arts Camp and
Pricilla Mooseburger Originals since 1989.
More clown educational articles can be found
at her blog: www.mooseburger.com.
Our Good Ch
Please take a moment
to spread a few words
of good cheer with a
card or note to one of
these members.
Miriam “Senorita Soto” Kleinberger
2 Maple Lane North
Loudonville, NY 12211
Paul “Daddy-O” Kleinberger
919 Slate Hill Road
Sharon Springs, NY 13459
Charlie “Charlie Chuckles”
Meranda
369 Herron Road
North Ft. Myers, FL 33903-2748
Kathy “Noodles” Gurak
18 Park Avenue
Garfield, NJ 07026
Good Cheer Chairman:
Fred Schlosshauer
8 Alanon Street
Whippany, NJ 07981
973-887-2617
oscarboj@aol.com
Clowns of America International • www.coai.org 27

INSPIRATION AND HUMOR
Memories of My
FIRST COAI CONVENTION
By Bonnie-Jean Brown
What an exciting and overwhelming week I had in Vegas last year! I’m still finding
it hard to believe how many things I learned and amazing people I met. It
was an adventure I won’t soon forget. As the recipient of a COAI scholarship, I want
to share how much this convention meant to me.
I recall how surreal it was to see so many familiar faces in the check-in line on that
first day. Clown friends from home, from Mooseburger Clown Camps, mentors, and
clown friends who’d moved away all greeted me with hugs, laughter, and jokes. It felt
like a giant family reunion.
When I walked into the Circus Circus Hotel and Casino, I felt like Dorothy entering
Oz. I think my hometown of Mount Angel could fit inside. It took me at least
ten minutes to get from my room on the fifth floor to the convention area, and at
least fifteen minutes to get anywhere else. I’m sure there were far more people in the
hotel than my town’s population, and with the crowd, noise, and flashing lights, it was
pretty overwhelming even for a clown.
So many seasoned teachers shared their expertise throughout the week of workshops.
On the first day, I learned about working with puppets and magic from the
great Gene Cordova. I must confess, I was a little star struck to have a man of his
credentials sharing with us. As a first time convention attendee, I also went to the
mentor class, which COAI provided to answer any questions we might have. Jeff
Potts also taught a great workshop on putting skits together. I actually applied some
of his skills to the skit I was planning for the competition. The rest of the week, I
attended courses on face painting, paradeability, storytelling, and comedy magic. I
gained so much knowledge and so many new skills to improve my clowning.
During the paradeability class on Thursday, our instructor announced that Earl
Chaney, “Mister Clown,” was there. I had seen his performances online and was so
excited to meet him. After class, I went up to him, still in clown, and asked if he’d let
me take a photo with him. I couldn’t believe I was standing next to a Hall of Fame
clown! Thank you, Mr. Chaney, for spending
time with us.
Bonnie-Jean Brown receives a certificate for
participation in the 2016 COAI Competition.
28 The New Calliope • March/April 2017
The most rewarding and nerve-wracking
part of the week was the competitions.
A week before I left for the convention, I
adapted “The Dirty the Hanky” routine to
the children’s story Harry the Dirty Dog.
After practicing it a few times, I decided to
try out for solo skit competition. Though I
didn’t expect to place, I grew increasingly
nervous as I prepared for the competition.
The mentors were so patient with all my
questions; Richard Smith, in particular, gave me a lot of advice. My confidence grew
as the week progressed, but I did say a prayer right before I stepped onstage, asking to
honor the skills my mentors had taught me. I didn’t make it to the top ten, and I went
over by twenty-two seconds, but it didn’t matter. I did my best and shared my story
with every bit of my clown heart. I appreciated the judge’s comments and looked
them over to know what to work on for next time.
Meeting Earl Chaney.
The next day was the costume contest,
and I was less worried about that
one. I was very proud of the costume my
seamstress, Wilma Torres, had made me,
and I wanted to honor her by showing
off her work. Every time someone asked
me about my costume or complimented
it, I gave the credit to Wilma. The night
before the contest, I spent three hours
pressing my costume and brushing my
wig. I got up extra early the next morning
so I could stay calm while putting on
my makeup. I had decided to compete as
an Auguste clown. My preparation paid
off; by the time I stood in front of the
judges, I was feeling very confident. I was
still surprised, though, when I placed in
the top ten. I hadn’t expected to place my
first time out, and I took eighth place!
“Mingling with my mentors.” Left to right: Mike
Bednarek, Patricia Manuel, Bonnie-Jean Brown,
Angel Ocasio.
That night we were treated to an amazing
circus performance by many talented
clowns. We had the opportunity to dress
up as our favorite circus performer. I
chose to be a circus monkey. My friend,
Desi Siebel, painted me a fantastic monkey
face. It was a great night!
Continued on page 34

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30 The New Calliope • March/April 2017
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Todas las membresías en COAI son anuales.

COAI PERKS!
PROGRAM
OFFICIAL BUSINESS
By Jessica “Gabby” King
Clowns of America International is proud to announce the newest list of COAI Perks!
As a member of COAI, you can receive discounts and promotions from participating COAI member-owned
businesses. Keep watching The New Calliope, COAI.org, and our official Facebook page for the newest opportunities.
If you are a COAI member-owned business and wish to participate in this growing program, please contact us at
coaiperks@yahoo.com.
MOOSEBURGER ORIGINALS COAI members get 10% off their purchase ​when they use the online coupon code
IAMCOAI, or tell us over the phone that they are a COAI member. The coupon code can be used more than once, and
is good until May 1, 2017. This offer is good for all Pricilla Mooseburger Originals orders, including custom costume
orders and in-stock clown supplies, excluding shipping and handling. This offer is not valid for Mooseburger Clown Arts
Camp registrations. To place an order, call 320-963-6277 or visit mooseburgeronline.com
BALLOONS AND CLOWNS AND THE MAGIC DOLLAR STORE COAI members receive 20% off all orders
excluding balloons. This includes magic, sound systems, and games. To receive this promotion, provide your COAI
membership number when ordering at BalloonsandClowns.com, or by phone at 919-344-1313.
SILLY FARM All COAI members receive five dollars off their purchase of thirty dollars or more. Use the coupon
code CLOWN5 when ordering. We carry the largest selection of face and body art supplies for both beginner painters
and seasoned professionals.
CLOWN SUPPLIES COAI members get a new or replacement wig at 10% off regular prices. Use the coupon code
COAIWig when ordering online at www.clownsupplies.com.
T. MYERS T. Myers Magic, Inc. thanks you for your business and would love to offer free shipping on all orders
over $125 to COAI members. This offer is valid for in-stock items only, shipped to US destinations. Provide your COAI
membership number when ordering online at www.tmyers.com, or by phone at 1-800-648-6221. Don’t forget; we stock
the freshest balloons!
KENOSHA MAGIC AND COSTUME COAI members receive twenty-five dollars off all Happie Amp orders.
Just mention your COAI membership number when ordering online at www.kenoshamagic.com, or by phone at 262-652-
0300. Happie Amp is the number one portable PA system for entertainers.
SWC MAGIC COAI members receive 10% off all orders. Just provide your membership number when ordering by
phone at 717-578-3269. Scott Correll provides clown, comedy magic, and kid’s show supplies, as well as hand-made
magical items designed by his wife, Donna.
GENE CORDOVA’S COMEDY CREATURES COAI members receive free shipping and handling on all orders
over thirty-five dollars. To place an order, call 423-562-8093 or e-mail genecordova@comcast.net.
FABRICA DE PAYASOS Y ALGO Fabrica de Payasos y Algo is offering COAI members free shipping on all
orders of fifty dollars or more. If your order is less than fifty dollars, you receive 10% off. We take custom, personalized
orders for dresses or suits. Contact Angel L. “Jobolin” Morales on Facebook, by searching “Payamago Jobolin Promotor
Morales.”
Clowns of America International • www.coai.org 31

CLOWN ALLEY
WORKSHOPS
with
OUR NEWEST EDITION!
IT’S LIKE
HOLDING A CLOWN
SCHOOL IN
YOUR HANDS!
Just $25
plus $3 postage.
FUN
ENTERTAINING AND
EDUCATIONAL!
VISIT BEBOP AT:
www.bebopsworld.com
32 The New Calliope • March/April 2017
SPECIAL OFFER
Order 5 or more (going to the same address) and get free
shipping!
CLOWN SCHOOLS
For each book you buy for $25, you will receive a new
membership for your student for just $25, which includes the
digital edition of The New Calliope.
ORDER TODAY
Call the COAI Business Office
1-352-357-1676

NEWS
News from the Director of Conventions
Jim “Jay J.” Caffrey
Am I the only one getting excited about the Convention this year? With at least
fifty different lectures and classes to choose from, how can anyone not be excited?
I hope those of you planning on competing have been practicing; you’ll need your
A-game this year. Don’t forget your credit cards. With over fifteen vendors scheduled
in our Dealer’s room, you’re bound to find something your clown persona can’t live
without. Get plenty of rest at home before you get to the convention because our
nightly jams have been known to last until the wee hours.
If this is your first convention, make sure you attend the First Timers/Mentors
meeting at nine-thirty on Wednesday morning. This will be an opportunity for you
to meet COAI members and learn lots of valuable information about conventions in
general.
If you have a Junior Joey attending who is fifteen or under, our Jr. Joey Director,
Regina “Cha Cha” Wollrabe, would like to connect with you beforehand. She and her
committee will help your Junior Joeys grow in their clown skills as they navigate this
convention. You can contact her at coaijrjoeys@gmail.com.
Last but not least, we are planning on scheduling an open suite for evening and
morning hospitality, and I encourage you all to go; it’s a great opportunity for meeting
people while you’re grabbing a snack or morning starter.
Whether you’re a young or seasoned clown, a new or professional, there is something
for each of you at this convention. I am impressed with how well the Northland
Clown Guild Alley #217 has prepared
for us. Please keep in mind the convention's
schedule printed in the January/
February issue of The New Calliope is
subject to change.
I am on the hunt for an Alley or Alleys
willing to host the 33rd Annual COAI
Convention, preferably on the eastern
side of the U.S. If anyone is interested,
I can provide a variety of software programs
that will make hosting easier. You
can also pick the brains of this year’s
hosts at their class on hosting a convention.
I mentioned Alleys, because the
various tasks of running a convention
can be split among more than one Alley
to lessen the load.
Should your Alley want to host a
COAI Convention, feel free to contact
me by mail at Jim Caffrey P.O. Box 833,
Colona, Illinois. 61241, by e-mail at
jclownus@yaoo.com, or by phone at 309-
314-6026. TNC
Clown Mama or Papa
Alley Happenings
Judy “Dearheart” Quest
As most of you know, I have been a long-term member of COAI, and I love the
opportunity to participate in Alleys. One thing I have noticed over the years, is that
good Alleys often have a mentor clown who leads it and keeps it strong over time. I’m
not talking about a bossy-pants clown who tells everyone else to do things their way, or
someone who must always be in the middle of clown drama. This mentor is more like
a clown mama or papa who is welcoming, kind, supportive, and creative. And who isn’t
afraid to dance the happy dance for their Alley whenever they can?
I would like to give you the chance to honor these people. I would like to tell their stories
in this column and post their pictures so you’ll have a face to the name. Hopefully,
it will take several columns to tell all of the stories I receive, which is where you come
in. If you have a deserving clown in your Alley who has mentored lots of clowns and
gone over and above the call of duty to make your Alley great, let me know about them.
I will take it from there. Let’s show these people how much we appreciate them.
A brief reminder to all Alleys that your Alley reports are due March first each year.
If your report isn’t in when you read this, go to the COAI website, fill out the form,
and e-mail it to me. You can also print
it out and mail it to my clown house.
According to last year’s by-law change,
not every Alley member has to be a
COAI member, so feel free to give us
your complete roster. I am making a big
effort to see who we have as Alleys, so I’d
really appreciate it if you would get those
reports in.
If you are reading this prior to the convention
in Kansas City, please introduce
yourself to me and to your regional vice
president. We’d love to meet you and get
you involved in all of the great things
going on in COAI. TNC
Contact Judy Quest by e-mail at
dearheart@cox.net.
Clowns of America International • www.coai.org 33

NEWS
CLOWN
CALENDAR
April 25–30, 2017
COAI Convention
Kansas City, Missouri
www.coai.org
May 24–28, 2017
Face & Body Art
International Convention
Orlando, Florida
www.fabaic.com
July 12–15, 2017
I.B.M.-S.A.M. Combined Convention
Louisville, Kentucky
www.ibmsam2017.org
July 17–22, 2017
National Puppetry Festival
St. Paul, Minnesota
www.puppeteers.org
July 25–30, 2017
Mooseburger Clown Arts Camp
Buffalo, Minnesota
www.mooseburger.com/moosecamp
August 1–7, 2017
International Clown Week
August 21-25, 2017
American Clown Academy
Newark, Ohio
http://.aca.linklv.com
September 6–10, 2017
South East Clown Association
Altamonte Springs, Florida
www.southeastclowns.com
October 3–7, 2017
Midwest Clown Association
Convention
Grand Rapids, Michigan
www.midwestclownassociation.org
November 3–5, 2017
Kentucky Clown Derby
Clarksville, Indiana
kentuckyclownderby.com
September 27–Oct 1 2017
TCA Convention
Montgomery, Texas
charmin@consolidated.net
GH
Send event information to
thenewcalliope@gmail.com with
Clown Calendar in the subject line.
Kansas City Convention Updates Don’t miss these super-fun features at the 2017
COAI Convention, April 25–30! • Luncheon includes a cartoon game show with prizes.
• Coloring contests throughout the week. • Friday evening party with a special improv
presentation on Disney vs. Loony Tunes. • Three special Late-night Jams to make a
kazoo, a special prop, and foam props, in addition to the usual face painting, balloon,
and general clown jams. Register now at www.coai.org!
Memories continued from page 28.
The week ended with the awards banquet.
Sitting down at the awards dinner,
I looked around my table and realized
how truly blessed I was. I was seated with
Clown of the Year, Regina Wollrabe;
Lifetime Achievement Recipient, Albert
Alter; the Portland Rose Festival Clown
Prince, Angel Ocasio; and my first teacher
and mentor, Mike Bednarek. I felt like
a peasant at the royal table. I took a moment
to say a prayer of thanks for the
many blessings God had bestowed on
me. Before dinner was over, I asked my
three chief mentors to pose for a picture
with me. That photo fills me with pride
every time I look at it.
In conclusion, I want to say thank
you to all the clowns I’ve met along
Giggle Bytes continued from page 19
If you want to join, look for us on the
COAI website under the Alley section.
If you want more info, or if you want
to lecture, email me! I’m always looking
for lecturers. We can’t pay you, but
you’re more than welcome to sell your
product or promote your business. For
those of you who might want to lecture
GH
my journey that have helped make me
the clown I am today. Thank you, Mike
Bednarek, for initially lighting the clown
spark in my soul when I was twelve
years old, and for your support and tutelage
over the years. Thank you, Patricia
Manuel, for rejuvenating my love for
clowning and helping me find the true
clown I had buried for so many years.
Thank you, Angel Ocasio, for showing
me another side of clowning and
performing, and for the opportunity to
explore and improve my paradeability.
And thank you to all the other clowns
and non-clowns I’ve met along the way
who’ve taught me, lent their advice, supported
me, and helped me get where I
am now. You all are awesome! TNC
but can’t make it on Mondays, I’ve also
thought about recording lectures and
playing them on Alley night. Contact
me if you’re interested, and look for me
in Kansas.
As always, be the best you can be!
Halaloo! TNC
Hal Grant halaloo@cogeco.ca
34 The New Calliope • March/April 2017

z LAST
WALK-AROUND
l
NEWS
Gerry “Scooter” Day
Gerry “Scooter” Day, 74, died December
30, 2016 in his hometown of Maple Valley,
Washington. He was a performing Joey and
Scribbling Jester (secretary) for the Boeing
Klown Klub (twenty years of membership),
as well as a member of COAI. As Scooter,
he often performed as a solo, one-on-one
entertainer. His act included pocket props,
such a talking tennis ball and mystifying
magic coloring books. Gerry was dedicated to his role, constantly adding new tricks
and props to his extensive repertoire. His favorite venues were the Seattle Children’s
Hospital, the Ronald McDonald House, the Special Olympics, community parades,
and company events. He also regularly performed for city and church events, and was
well known as the local Santa for thirty-three years. Gerry is survived by his wife,
Helen; his children, Kristin Granlund, John Day, and Robert Day; numerous grandchildren;
and too many friends and relations to list.
Celeste “Rainbow” Gagliardi
Celeste “Rainbow” Gagliardi, 68, died unexpectedly
January 28, 2017, in Mahtomedi, Minnesota.
She was born and raised in St. Paul, Minnesota, and
began her thirty-four-year clown career in 1983.
“She was definitely an entertainer,” said her sister,
Gabrielle. “She was very enthusiastic about whatever
she did. She never said no.” With her company,
Rainbow Productions, Gagliardi performed at birthday parties, elderly care facilities,
and corporate events. She had a diverse character repertoire, many of which were
inspired by her Italian heritage. In 1987, Gagliardi was entered into the Midwest
Clown Association’s Hall of Fame. In 1990, she received the privilege of performing
for the Easter Egg Roll at the White House. She also won the title of Klondike
Kate at the St. Paul Winter Carnival. “She tried so many times, at least six,” her
sister remembered. “She just loved the Winter Carnival.”
She was also a lady-in-waiting with the Winter Carnival’s
Senior Royalty in 2010. She is survived by her partner, Jim
Peterson; her brother, Dana (Linda); sisters, Cozette Peterson,
Gabrielle (Al) Louismet, Debra (Michael) Gennow, and
Michelle (David) Louismet; brother-in-law, John (Michelle);
and many nieces and nephews. “Celeste was the oldest sibling
and like a second mother who always set the highest example
for us all,” said Gabrielle. “She will be so lovingly missed.”
Maritza “Burbuja
(Bubbles)” Laboy
Maritza “Burbuja (Bubbles)” Laboy
passed away January 8, 2017, in her
home country of Puerto Rico. Maritza
was a COAI member until she lost both
her legs to illness. She competed in every
convention she attended, especially in
the Whiteface competitions, and participated
in Alleys #84, #126, and #204.
Even after her amputation, Maritza
continued her second
career as a quilling
artist. Puerto Rico
has lost a great asset
to its clowning arts.
She will be missed.
Submitted by Angel
L. Morales Jobolin,
COAI Latin Region
Vice President
Charles “Choctaw the
Clown” Millard
Charles Edwin Millard, 68, of Edgetts
Landing, New Brunswick, Canada, died
July 25, 2016. He was born in Kingston,
Ontario, and worked in the service industry
with Xerox for over thirty years.
Following retirement, he continued to
work both as a church custodian and for
a printing firm. He loved entertaining
people as “Choctaw the Clown,” and
was involved in clowning for almost
four decades. In addition to clowning
and magic, he loved the outdoors and
nature, including all water sports, roller
skating, cross-country skiing, and bird
watching. Some of these lent themselves
Clowns of America International • www.coai.org 35

NEWS
to his second hobby, photography. He is
survived by his wife, Paula; sons Robert
(Cathy) and Andrew (Amanda); grandchildren,
Julia, Katie, Savanah, Liam,
and Ella; step-children, Tanya Minter
and Steven Lawson; step-grandchildren,
Marina, Ryan, Danny, and Samantha;
step-great-granddaughter, Brookelynn;
and brother, David.
David Sieja
David P. Sieja, 86, of Perrysburg,
Ohio, died February 1, 2017. He was
born in Toledo, Ohio, served in the
U.S. Navy, and worked for thirty-two
years at Ameritech. He is survived by
his wife, Marion; daughter, Dorothy
Mills; son, David; grandchildren, Justina
(Matt), Kenneth, Adam (Christine), and
Kaytlyn; and great-grandchildren, Riley
and Nicholas.
Oliver “Bo Didley” Tribble
Oliver “Bo Didley” Tribble, 86,
died July 21, 2016, in his home in
Murfreesboro, Tennessee. Oliver was
an AL Menah Shrine Clown (fifty-one
years of membership). He was also a
member of COAI, and performed with
St. Clair Happy Clowns Alley #402.
Oliver enjoyed clowning to support
the Shriners Hospital for Children,
and building and inventing new acts. If
Oliver made someone smile or laugh,
that made his day. With his Alley, he
performed at retirement centers, rehab
and assisted living facilities, Head Start
for Children, and the Good Shepherds
Home for Children. Oliver truly had a
life well lived, and touched many, many
lives. He is survived by his wife, Jo Ann,
of sixty years; one son, Oliver Wayne;
and two grandchildren, Oliver Logan,
and Hannah Tribble.
PHOTO BY REGINA
WOLLRABE
Harold
Ernest
“Smilin’ Eli”
Whitney
Harold Ernest
Whitney, 91, died
September 1, 2016
in his hometown
of Troutdale, Oregon. As the grandson
of a clown, one could say he inherited
his smile. He taught culinary classes at
the Portland Community College, and
thought clowning would help him make
his classes more fun. After graduating
from a local 4H clown class in 1977,
Harold took on the name “Smilin’ Eli”
and began his part time clowning career,
performing at birthday parties and
events around the Portland area. He
was a member of the original Clowns
of America organization and joined
COAI in 1984. He was a beloved member
of Rose City Clowns in Portland,
Oregon. He is best known for his duties
as cake baker and bearer for the Metro
Washington Zoo’s elephant, Packy, the
first elephant to be born in the U.S. in
forty years at the time. Harold had just
finished his clown training when the Zoo
asked him to create the recipe, and asked,
“You wouldn’t happen to need a clown
to give the cake to the elephant, would
you?” He baked Packy’s forty-pound
cake for eight years and presented it to
the elephant for over two decades. The
elephant died at fifty-five on February 9,
2017. Harold continued clowning at the
retirement center where he lived up until
a month before his last walk-around.
36 The New Calliope • March/April 2017

Welcome,
NEW MEMBERS!
Kevin “Spanky” Archer FL
Bonnie “Miss Muffin” Bailey FL
Crisna “Cristal” Bermudez Alvarez DR
Lorice “Auntie Swizzle” Bolde NY
Joan “Chicka-dee” Burrell MA
Jim “Willy Nilly” Cully NJ
Terry “Socks” Dailey AL
James “Donuts” Donoughe NY
Martha “Markay” Draper OK
Jerry “Fix-It” Ducharme MA
Cyrus “Boombop Appletop” Elion AZ
Georgia “Joya” Eshelman FL
Dolores Hall “Hula-Lula” Evans FL
Dale “Popsey” Farlee FL
Ivy Fasulo NY
John “Checkers” Fite TX
Jafet Cabrera “Payaso Mangu”
Germoso DR
Glen “GONZO” Gonzales FL
Ralph Gray Canada
Jan “Pickles” Gregory FL
Stephanie “ThePaintLife” Gwaltney VA
Jose “Mathew” Hernandez AZ
Paul “Hambone” Hinman FL
Veronica “Houchigouchi”
Hobbs-Campbell MD
Garry “Banjoe Belly” Irvingwhite CA
Bill “SnoBird” Jewett FL
Phyllis “Flutterby” Koenig TX
Susanne “Sunne” Krueger FL
Barbara “Jingles” LaCorata NC
Howard “Notes” Leist FL
Kandi Lundeen MO
Anthony Malchar NY
Bonnie “Sunshine” Marmor FL
Taylor Martin CO
Dilia I. “Payasa Besitos Tridily”
Martinez Soria PR
RoseMary “LADIDA” Mazor FL
Louis “Louis the Magician” Meyer VA
Jennifer “CheeryOkie” Pickering OK
Rosemary “Flutter-Bye” Pinto FL
David Poznanter CA
Miguel “Tereke y sus Bartilos”
Rosario Velasquez PR
Timothy Sallee MO
Laura “Flower Pot” Schell ON
Therese “Fidget” Schorn NY
Misael “Topy” Sepulveda Marizan DR
Louise “Spec” Speck MA
Christina “Zippy” Steele MI
Lynne “Skooter” Turner TX
Theodore “Teddy” White MD
Richard “Sonkist” Wisnasky IL
Larry “Havin’ a Party” Youngstein NY
Ashby “Happy Face” Edgemon FL
Haylee “Silly Sally” Neilson FL
Joan “Flutter-Bye” Powers FL
Teddy “Dusty” Quinton FL
Trudy “Hanna Banana” Ricketts FL
Janice “Lollipop” Semans FL
Fredrick “Slim” Storer GA
Angelo “Rock-A-Billie” Verderame FL
Kentlynn “Misty Twisty” Zastrow FL
A big thank you to Jeffrey Buckley,
Carol Milne, Georgia Morris, Richard
Smith, and Julie Varholdt who recently
gifted memberships to COAI. And a
HUGE shout-out to Richard Smith for
gifting thirty-one memberships!
MENTOR PROGRAM
Calling All Convention Newcomers!
Each year, COAI welcomes convention newcomers
at a mentor meeting. The meeting will be held
on Wednesday, from 9:30 to 10:30 a.m., in Osage
C. This meeting is essential for new conventioneers
and new clowns; it offers a quick overview of the
convention and introduces all the principle players,
who act as “mentors” throughout the event. These
mentors are veteran conventioneers, and are available
to answer any questions to help make your experience
more informative and enjoyable. We hope
you make this meeting a priority. COAI mentors
will also be greeting you at registration check-in to
remind you about the meeting. We look forward to
seeing you there!
Clowns of America International • www.coai.org 37

INSPIRATION AND HUMOR
“I HEARD THAT”
By Ann “Tuttles” Sanders
Starring: Bob “Bunky” Gretton and Teresa “Blondi”
Gretton of Waldolf, Maryland.
Photos by Tim “Sawdust” Laynor
Can you help me,
Doc?
What seems to be
the problem?
I keep hearing
voices in my
head!
Hmmmm…
Hearing voices in your
head makes perfect
sense to me.
That is where
your ears are!
38 The New Calliope • March/April 2017

Sammy Smith is one of the great leaders in the field of kid
show magic. He understands children’s magic, and he’s a
great innovator. His dry wit always makes me laugh!”
—Silly Billy, author of Super Sized Silly
“I have used so much great material from this book, I almost
feel like I should pay Sammy again for it!”
—Mark Daniel, cofounder of KIDabra International
“Sammy Smith is a master of total audience involvement.
These routines are pure gold for me...even after 25 years of
doing shows. A marvelous book.”
—Dave Mayer, professional children’s entertainer, Chicago, Illinois
“The kids like Sammy—in fact, love Sammy—and he does
have a delightful manner when working with them. This
book brought back memories of seeing his live show, and if
you take these routines and add your own showmanship and
personality to them, you’ll create your own
winning performances.”
—David Ginn, author of
Professional Magic for Children
We are excited to offer this new
updated edition of our single
most requested book, Big Laughs
for Little People.
Big Laughs is back, and better
than ever! You will find 15
routines of magic and comedy,
guaranteed to get great
audience reactions.
You’ll read Sammy Smith’s
complete patter, word-for-word,
for each effect. Of course, you’ll
want to adapt these routines to fit
your own personality, but learning
from the author’s 20 years of
experience in entertaining will
save you valuable time and give
you crucial information on how to
get big laughs for little people.
New, updated edition!
Sammy also shares his best
tips and advice for entertaining
children, learned from literally
thousands of performances. This
is a textbook on entertaining
children with comedy and magic,
which every kid-show performer
should own and use.
The comments, which the late
Fetaque Sanders made about
the first edition, are even more
valid with this newly revised and
updated edition:
“Big Laughs for Little People
gives readers an opportunity to
go backstage with a real pro and
watch the show from behind the
scenes. In a word, the book
is tremendous.”
Big Laughs for Little People
Newly Updated and Expanded
Routines include
• Headband Blendo
(new version)
• Super Frog
• Vanishing Candle
• Snake Cake Bake
• Magic Knot Tube (updated)
• The Extra-Celestial
(hilarious puppet routine)
• Tricky Bottles (updated)
• Invisible Flying Silk Scarf
• Polar Thermometers
• Ball Brothers’ Traveling
Circus (Strat-O-Sphere)
• Maxwell the Monster
(Soft Soap)
• Multiplying Billard Balls
• Cash Surprises (coins)
Quality soft cover
100 illustrations
252 pages
PO Box 787 • Eustis, FL 32727 • 24-hour Order Line 1-352-357-2665
VISA • Mastercard • Discover
Please add $7 shipping per order
Clowns of America International • www.coai.org 39

40 The New Calliope • March/April 2017