Nov_Dec_2001

The New
CallioP-e
Clowns of America International
Richeyville , PA 15358
Novembrer/December , 2001
Volume 18, Number 6
...

November/December , 2001
The New
CallioP--=-e ____
..:=._
THE NEW CALLIOPE is published bi-monthly:
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The New Calliope
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------------------------------
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Send all membership fees to Clowns of America
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ON THE COVER: John J. "Jolly Jo" Rhodes
is one of the few black male clowns in the
country. His story page 4.
2 The New Calliope

November/December, 2001
The New
CallioP-e
Published for members of Clowns of America International
NOVEMBER/DECEMBER, 2001
COAi OFFICERS
EXECUTIVE COMMITTEE
PRESIDENT: Cheri Venturi, P.O. Box 367, Destrehan,
LA 70047. Phi (985) 764-0080. cherioats@aol.com
EXEC. VICE PRESIDENT: David Barnett, 138 Rainbow Dr., PMB
3839, Livingston. TX 77399-1038. Ph. (816) 304-5696.
davidbarnett@palm.net
SECRETARY: Teresa Gretton, 341 I Lisa Circle,
Waldorf, MD20601.Ph. (301) 843-8212.
gretton@be llatlantic.net
TREASURER: Joyce Olson, 4 Ginger Cove. Rd.,
Valley, NE 68064. Ph. (402) 359-4131.
idano@compu serve .com
SERGEANT-AT-ARMS: Walter R. Lee, 1347 Ava Road, Severn, MD
21141. Ph. (410) 551-7830 .wa1 ly788 @ero ls.co m
DIRECTORS
MEMBERSHIP: Mike Fixer, 36 Simsbury Manor Dr.. Weatogue,CT
·06089, Ph. (860) 217-0195. mfixcr @wo rldnet.att.net
EDUCATION: Rex Nolen, 501 W. 84th St.. Kansas
City , MO 64114. Ph. (816) 523-4616.rno len@kc.rr.net
CONVENTIONS: Patricia Roeser, 2840 Jordan Dr.,
Woodbury, MN 55125. Ph,(651) 578-1573
coaidrconv @aol.com
ALLEY, REGION SlJPPORT: Catherine Hardebeck,
6027 Deerwood Dr., St. Louis, MO 63123 Ph. (314) 481-
6808. catheoh@aol.com
REGIONAL VICE PRESIDENTS
Northeast: Glenda Desilets, 55 Solomon's Hill Rd., Milford, CT
06460. Ph. (203) 877-3869. dappercoco @hotmail.com
North Central:James Cunningham, 2016 N. Highland
Ave., Joplin, MO 64801 Ph. (417) 624-0963
anima lclwn @aol.com
Northwest: Albert Alter, 5848 S.E. 18th Ave., Port land ,
OR 97202. Ph. (503) 231-8576. altered@europa.com
Mideast : Michael B. Cox, 7705 O'Keitb Court #1802
Richmond. VA 23228 Ph.(804) 270 -0809.
bonkerstc@aol .com
Midwest: Patricia Bothun, 27 Maple Ave. N., Box 700 ,
Maple Lake , MN 55358 . Ph. (320) 963-6277.
mooseman @lkdllink.net
Southeast: Keith Stokes, 1539 Lake Clay Dr., Lake Placid , r-L
33852. Ph. (863) 465-4438.rax (863) 465 -2731.
deelou @htn.net
South Centra l: Danny Kollaja, 4221 Winters .Corpus
Christ i, TX 784 15-5 156. Ph. (36 1) 852 -5696 .
lanky .clown@j uno .com
Sout hwest: Linda Hulet, P.O. Box 789, Anaheim, CA
928 I 5-0789. Ph. (7 I 4) 778-293 1. pjshylo @aol.com
VOLUME18,NUMBER 56
Canada: Linda Loveday, 2154 Broadway Ave., Thunder
Bay, Ont.,Can.P7C SNS.Ph. (807)939-2160.
lulu1955@yahoo.com.
Latin Countries: Pedro Santos, Box 3859, Bayamon
Garden, Bayamon, PR 00958. Ph. (787) 786-3759
jobolin@coqui.net
[nternational: Andrew Stevens, 34 High St., Easternon,
Devizes, Wiltshire, SN 104PE England. Ph.01380
-8136 58 . kook yclow n@tinyonline.co.uk
STAFF
Business Manager: Shirley Long. P.O. Box Clown,
Richeyville, PA 15358-0532 Ph, (724) 632-3214
or (888) 52-CLOWN coaibmgr@hhs .net
New Call iope Editor: Cal Olson, 2000 Outer Dr. N. #523,
Sioux City IA 51104 . Ph ./Fax (712) 239-4599 .
calolson@willinet.net
COMMITTEE CHAIRS
Co mpetition: Leo Desilets, 55 Solomons Hill Rd.,
Milford, CT 06460. Ph. (203) 877-3869.
dappercoco @hotmail.com
Clown Week: Bob Gretton, 3411 Lisa Circle, Waldorf.
MD 2060 I. Ph. (30 I) 843-82 I 2.
gretton@bellatlantic.net
COAi WEB SITE: www.coai.org
To subscribe to COAl'S electronic community,
email: COAI-Subscribe@yahoogroups.com
CONTENTS
Jolly Jo............... ..................................... 4
Thoughts about performance............... ... 5
Board faces big agenda........................... 6
COAi convo plans focus on YOU.............. 1 O
Treasurer's report .................................... 12
A tribute to Sept. 11....................... ......... 14
Calendar...... ................... ........................ 16
Forcing with cards .................. .................. 18
Cheese .......................... .................... ..... 20
Making the mix.................................. ...... 22
Subsidies available .................................. 24
COAi nominations now open .................... 28
Wanted: Convention bids for 2004 ........... 30
From the President... ............................... 32
What to do about tips.......................... ..... 34
COAi ambassadors at work ....................... 38
How about a Yule elf? .............................. 42
Storyline magic ........................................ 44
International vi-ew .......................... ........... 46
The New Calliope 3

November/December, 2001
Juvenile audience is fascinated as Jolly Jo ...... .
... demonstrates clown makeup.
Jolly Jo:
he's not just
another clown
John J. "Jolly Jo" Rhodes, Jr., of Flint, Ml, is not your
average clown. For one thing , he's won more prestigious
awards in his five years as a joey than most clowns win in a
lifetime. For another, he's one of the few black male clowns
working in the United States.
"I've been told that of the 7,000 registered clowns in
the country, I'd be lucky to find 17 black males," he says.
So far he's met three.
John's first exposure to clowning may have daunted a
less determined person . He was so impressed by clowns at
a Shrine circus that he asked about becoming one.
Reported the Flint, Ml, Journal: "He was told his chances
were slim and none. (The Shrine potentate) confirmed that
Rhodes would have found it difficult to join the group,
because African Americans operate a separate Shrine."
Undeterred, John pressed on , picking up the
essentials of clowning on a hit and miss basis until he met
Donna "Bubblegum " Roth, of Omaha, NE She became his
mentor, and John was on his way.
John became a First of May in November, 1996. Since
then, he's competed in COAi , WCA and the Midwest
Clown Association. Last month, he was inducted into the
Midwest Clown Hall of Fame in Davenport , IA. It takes some
clowns a lifetime to get that honor. John made it in six years.
And he earned it, taking a first in paradeability and in
single skits at the COAi International Convention in Fort
Worth , TX , last spring, and a second in single skits at this
year's WCA convention. He's attended more than 100
convention seminars and personal instructions from such
seasoned clowns as Jackie LeClaire, Frosty Little, Tammi
Parish, Leon McBryde and Georgia Morris, to name a few.
John performs makeup demonstrations for inner city
children and teenagers who have never seen or met
anyone associated with clowning.
"The transformation from a person of color to a cartoon
character is unbelievable to these students ," he says .
His award-winning skit. "My Childhood, " receives raves
from the Hispanic and African-American community. He
refuses to accept any cash fees from churches , schools or
nursing homes, although his contract calls for one package
of "Archway Cookies" -- "so I can maintain my slim(?)
physique," he quips .
A Flint native, John became a toolmaker and works at
Lansing Car Assembly. While working , he went to college
part time, eventually earning a master 's degree in clinical
social work ·at Michigan State University. "My degree helps
me understand why people are the way they are," he says.
4 The New Calliope

Novembe r/December , 2001
Thoughts about
nerlormance
By John "Jolly Jo" Rhodes,Jr.
2308 Radcliffe Ave.
Flint, Ml 48503
At COAi's convention in Fort Worth , TX , last spring, a
First of May wanted to know how difficult it was to create an
award-winning skit or walkaround . Here is my response :
First, every clown must seek just a little bit of creative
genius from a couple of seasoned clowns. Keep in mind , I
only know just a couple , because I am still new to this
business. Skit development begins with well-seasoned
joeys , such as Cheri Venturi, Bob and Teresa Gretton ,
Donna Roth , Connie Lyons , Brenda Marshall , Leon
McBryde , Patricia Bothun , Leo Desilets , Richard
Snowberg , James Cunningham, Joe Barney , Tere De Los
Santos , Terry Bloes, Ron Johnson , Georgia Morris, Richard
Smith, Kenny Ahern , Frosty Little , Jackie Leclaire , Annette
Darragh, and a ton more!
Each person listed has contributed suggestions,
encouraging words and was just plain helpful. These
prestigious clowns are responsible for a multitude of ideas I
have used to improve my creative style , and I thank them all.
Second, as a competitive clown , there is the belief that
the quality of clowning remains at the higher level of
perfection. That can happen if we seek to improve the
development, timing and content of each skit. Attending
Clown Camp 2002, Pricilla Mooseburger Camp, Leon
McBryde's Advance Studies, etc., are all terrific teaching
avenues for improving the art of clowning.
If your budget is limited, then become acquainted with
your local alley and find a mentor you can attach to. Find a
clown who is looking out for your best interests. I realize all
of this sounds so familiar, but it is a formula for success.
For example, Donna "Bubblegum" Roth is an expert on
character presentation. She has a special way in critiquing
your overall look, from the strings in your shoes to the
mascara around your eyes. Her straight forwardness can
bruise the most sensitive clown, but she is brutally honest.
Her track record in 'winning first places is remarkable.
Third, a well-seasoned clown has a wealth of
information, so why not pick their brains? In creating a new
skit, become innovative and push the envelope. For
example, my "rag man" character was created from a
gentleman who actually sold rags to people from my old
neighborhood. He never spoke a word, but his eyes spoke
Jolly Jo as a runaway balloon won first place In
paradeabllity at COAi's Fort Worth convention
last April.
in volumes. Therefore, I created a skit around a living
person from my childhood, who was indigent in
appearance, but still was respected as a human being.
While creating the tramp clown, "Mud-Bone," I observed
the movements of Terry "Haywire" Bloes, and noticed how
much of himself he had instilled into the character . This
brought life into the character, and made it believable.
The idea is to bring the audience into your fantasy world
and take them on an emotional rollercoaster ride. It is my
belief that the audience feels within their hearts the exact
emotions that are being presented on stage.
And finally, personal satisfaction will come from within
when the skit is completed. It is absolutely necessary to
perform your creation in front of your peers. This is the very
reason why I am an advocate of competition. There will be
other clowns observing your presentat ion and offering
suggestions toward improvements. Fine tuning your skit
can bring numerous rewards, like watching Joe Barney bust
into laughter or Leo Desilets give you a high five for a job
well done. The acceptance from well-rounded clowns is
better than any award I could ever receive.
The New Calliope 5

November/December, 2001
COAi Board sets big goals
By Cat Olson
Editor, The New Calliope
A campaign designed to maintain COAi as the world's
number one clown organization was inaugurated by the
association's Board of Directors at its annual fall meeting
Nov. 8-1 O in Saratoga Springs, NY.
In a no-holds-barred session, Board members took
action on immediate clown-oriented concerns, and set up
machinery to tackle a number of projects and programs on a
long-term basis. As a result, COAi members --and clowns
generally -- can look forward to the organization developing
and promoting a number of both new and existing projects,
such things as:
+ An aggressive marketing program designed
to counter a world-wide decline In clowning.
+ More participant-friendly rules for clown
competitions.
+ Fine-tuning COAi's newly-established
liability insurance program.
+ Tightening the details of COAi's Artist In
Residence program.
+ Upgrading COAi's video-taped "how to"
lectures to a high level of professional quality.
+ Continuing to develop COAi's highly
popular web site programs.
joeys.
+ Opening COAi opportunities for junior
Here are specifics :
MEMBERSHIP: Without except ion, membership in
every major clown organization is showing a decline. Why?
A general lack of interest _in clowning as either a profession
or a hobby. While COAi's membership numbers still are
head and shoulders above any other clown organization,
membersh ip is down -- as in every other clown organization.
COAi membership as of last Oct. 1 was 5,383 members,
compared to 5,640 a year earlier. However, the current
membership includes a total of 967 new members, and the
expectation is for the usual, solid membership increase in
advance of COAi's International Convention .
Board members agreed there is no simple approach to
the membership situation. Membership Director Mike Fixer
said his surveys show that interest in clowning just isn't
there to the extent it once was. "So ," he said , " we need to
be aware that some portion of our membership will be lost
due to attrition and to lack of interest."
What's the solution? It was agreed that such
innovations as the new insurance program will not only
attract new members , but will provide a continuing benefit
for the long-time member. The Board also agreed that
many of COAi 's current programs must be reworked , and
that new programs must be evolved .
Keith Stokes, Southeast Regional Vice President ,
summed it up : "There's not one single thing that will meet
our members ' concerns. We need a marketing program that
will answer the question : What are we doing for the
individual clown?"
Happily, a year ago COAi established a marketing
committee chaired by Paul Kleinberger, who is also co-chair
of the 2002 International Convention in Saratoga Springs.
The committee already has taken some initial steps to
develop a marketing program for COAi. Five Board
members -- President Cheri Venturi, Secretary Teresa
Gretton , Treasurer Joyce Olson , Sergeant -at-Arms W?llter
Lee, and Southeast Regional VP Keith Stokes -- will work
with the committee to come up with a specific campaign .
COMPETITION: Board members agreed that the
rules for competition on the international level need to be
revised. To that end, the Board accepted
recommendations from a committee headed by Northeast
Regional Vice President Glenda Desilets , so that
competition will not be based on the number of people
entering , but on a percentage of points contestants receive
during judging. Percentages required Will be announced
prior to competition, and will be the same in every category.
The sysem will be used at Saratoga Springs.
In the immediate past, Top Ten awards were made only
if there were 15 or more members competing in a category.
Top three awards were similarly cut back in the event of light
entries . Desilets issued a warning: "The classic whiteface
clown is in peril unless we change competition rules. It is an
endangered species, and we are killing it." The new system
will insure that no category is eliminated.
Board membe;s agreed that some changes in
competition rules are essential, so that awards can be made
even though a minimal number of clowns are compet ing in a
specific category . To that end.they decided that all
com petitions will be held at international conventions,
regardless of the number of contestants who participate .
Awards and Top-Ten designations will be given, based on a
system of percentage points awarded by judges.
Desilets will work with her husband , Competition Chair
Leo Desilets, to line out more inclusive competition rules.
These will be carried in COAi 's 2002 Membership Directory ,
which is to be in members ' hands late in January .
Since Leo Desilets earlier announced that he will retire
as competition chair after the Saratoga Springs convention,
6 The New Calliope

November/December, 2001
President Cheri Venturi appointed two competition cochairs:
Bob Gretton, current Clown Week chair, and Linda
Williams, of Princeton, Minn., who has served as competition
chairman at various regional functions. Tfiey will work
with Desilets this spring and take over at the 2003 convention
in St. Louis.
Gretton's appointment creates an opening for
someone to chair COAi's Clown Week committee.
President Venturi will make that appointment at the Board
meeting in April.
ARTISTS IN RESIDENCE: Seven Artists in
Residence received appointments from the Board. These
are two-year appointments for the period beginning July 1,
2002. AIRS include:
FL.
+ David "Rainbow" Bartlett, Durham, NC.
+ Marie "Mischief" Beck, Schenectady, NY.
+ Don "Homer" Burda, Sunnyvale, CA.
+ Bruce "Charlie" Johnson, Lynnwood, WA.
+ Marcela "Mama Clown" Murad, Hollywood,
+J. T. "Bubba" Sikes, Orange Park, FL.
+ Janet "Jelly Bean" Tucker, Hammond, IN.
COAi provides partial subsidies for AIR appearances at
alley-sponsored educational events. Details of the
subsidies and full information on the artists will be carried in
the January/February, 2002, issue of The New Calliope, so
interested alleys can then make application for AIR
subsidies that the COAi Board will consider at its annual
meeting in April.
At the same time, Board members received
recommendations for changes in the AIR program, changes
recommended in a written report from COAi's Education
Director Rex Nolen
Nolen would require that dealers serve as AIR lecturers
only (no merchandise sales) , would officially limit AIR
appointments to two in a row, would not allow team Al Rs,
would limit AIR alley events to a single day and would
mandate that both Al Rs and sponsoring alleys must
promote COAi. Nolen's recommendations will be &tu.died by
Board members, who will act on AIR matters at their annual
meeting in April.
Said one Board member: "The Artist in Residence
program is great in theory, but in reality we are a booking
agent. Do we want to spend $6,000 a year to be a booking
agent? We have to decide if our money is being well spent."
In a related area, Board members considered COAi's
scholarship and educational grant programs, which
subsidize clown education for individual members and
alleys. It was agreed that scholarship funds for individual
members can be used for tuition only (not for transportation
or housing), and that applicants may not stack scholarship
funds with other similar offerings.
CLOWN OF THE YEAR: Board members approved
the recommendation of a panel of judges who selected
COAi's 2002 Clown of the Year from a list of five candidates.
Membership Chairman Fixer said each of three judges
independently voted for the same candidate, who will be
featured in the January/February, 2002, Calliope.
COAi WEB SITE: Executive VP David Barnett said
activity at COAi's web site is "going up tremendously." It's
getting 42,000 hits a month, which makes it a major site as
far as access goes. He recommended that COAi develop
more historical material for inclusion on the web site.
In a related area, Membership Director Fixer reported
that COAi's Yahoo chat group has about 150 members, and
that the site is being used for a host of activities. One chat
session has been held, with Midwest VP Tricia Bothun
answering member questions on makeup. "It's a good
program, and it's cheap," Fixer said."lt's a great way to
interact with members."
Since COAi's contract with Webmaster Steve Fowler
expires next July 1, Barnett will issue a call for bids on this
position in the January/February, 2002 issue of The New
Calliope, and on COAi's web site.
CONVENTIONS: Plans for COAi's 2002 International
Convention in Saratoga Springs were presented by Paul
Kleinberger, convention co-chair, who said that more than
100 convention registrations had been received by Oct. 1.
Co'nvention interest is high among COAi members on the
East Coast, he said. He's particularly pleased that
convention plans call for at least 45 educational seminars on
subjects that run the entire gamut of clown-oriented skills
and interests.
At the same time, early planning is under way for
COAi's 2003 convention, which will be held April 8-13,
2003, in St. Louis, MO. Board members are hopeful that
alleys interested in hosting the 2004 convention will make
presentations at their meeting in Saratoga Springs next
April. Interested alleys should contact Convention Director
Pat Roeser (address page 3).
INSURANCE: COAi's newly-developed liability
insurance program has received solid backing from the
membership.According to Executive VP David Barnett,
some 285 members are currently policy holders. He said
clarification is needed on the policy's coverage, adding that
the insurance is "the best available to clowns by far."
EDUCATION TAPES: COAi's educational tapes
came under examination by Soard members, who reviewed
all five videotapes currently being given to affiliated alleys.
Continued next page
The New Calliope 7

November/December, 2001
Board--
From preceding page
Much criticism has been received from COAi members, who
have complained that some of the tapes are outdated, and
some are not of professional quality. Board members
agreed that the educational tapes are a major concern, and
took action on a long-term plan to improve them. First step :
To pull the tapes on face painting and skits, but to continue
issuing the tapes on competition and paradeability. The
makeup tape will be issued until the current supply runs
out In the meantime, the script for a new tape on makeup
will be developed, as will Spanish voice-overs for all tapes.
2002, issue of The New Calliope.The procedure insures
that legal steps in considering bylaws changes are taken .
CALLIOPE EDITOR: Cal Olson's three year contract
as editor of The New Calliope magazine expires next July 1.
Bids for the position will be considered by the Board in
April. To that end, Northwestern VP Albert Alter and
Southwestern VP Danny Kollaja were named to a
committee that will issue a call for bids. Formal
announcement will come in the January/February , 2002 ,
issue of the magazine , after which applicants can receive
details from Alter . Replying to a Board member's query ,
Olson said he intends to reapply for the position.
JUNIOR JOEY$: Severar Board members
expressed concerns over the lack of specific programs for
junior joeys . COAi currently accepts juniors as family
members, but a clown can't become active in the
organization until his/her 16th birthday. Secretary Gretton
and Midwest VP Tricia Bothun were asked to develop a
COAi program for junior joeys.
BYLAWS CHANGES: Board members set a Jan . 1
deadline to receive proposed changes in COAi 's Bylaws, if
the changes are t_o be considered at COAi's general
membership meeting at Saratoga Springs in April.
Proposed bylaws changes must be sent to Executive Vice
President David Barnett (address page 3) , so that they can
be reviewed , then published in the January/February,
Present at this Board meeting :
President Cheri Venturi , Executive Vice President
David Barnett , Secretary Teresa Gretton , Treasurer Joyce
Olson, Sergeant-at-Arms Walter Lee;
Membership Director Mike Fixer , Convention Director
Pat Roeser, Alley/Region Director Cathy Hardebeck;
VICE PRESIDENTS: Glenda Desilets (Northeast),
James Cunningham (North Central) , Albert Alter
(Northwest), Michael B. Cox (Mideast), Patricia Bothun
(Midwest), Keith Stokes (Southeast), Danny Kollaja (South
Central), Linda Loveday (Canada), Pedro Santos (Latin
Countries), Andrew Stevens (International) ;
Competition Chair Leo Desilets, Calliope Editor Cal
Olson.
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November/December , 2001
COAi convo plans focus on YOU
By Paul "Fuddy-Duddy " Kleinberger
2002 COAi Convention Steering Committee
The Electric City Clowns are hard at work! We are
working diligently to make sure that the 2002 COAi
International Convention is the best that it can possibly be.
We are looking forward to your participation with us in
Saratoga Springs, NY, April 16-21,
2002.
We admit the events of
September 11, 2001, shifted our
focus. It was a tragic day in the
history of the American people.
Our country, although shocked by
the events of the day, rallied
together quickly. The Electric City
Clowns immediately went to work
doing what we do best: helping
people smile. Our members and
friends gave blood, we created smiles on the waiting lines
at Red Cross facilities and, yes, we have done our share of
flag painting and flag waving.
program for you to help you be more at ease with your
clown , and provide some of the skills necessary to continue
down the road to becoming a respected clown performer. If
the 2002 will be you r first COAi convention , we will offer a
special program for you.
Balloons? Classes will cover beginner, intermediate and
advanced sculpting. Then we will have an old fashioned
balloon jam.
Face painting? Classes for all levels of experience will be
offered. A facepa inting festival will be conducted , too.
Does your alley have a caring clown unit? Our troupe
will share all the secrets they have discovered while offering
this unique form of clowning to the public.
Humor therapy and hospital clowning? Yes, we will have
those classes available, too, along with other areas of
interest to include magic , puppeteering , ventriloquism ,
stage performances and much more.
As we continue with our convention plans, we have said
the 2002 COAi Convention is not about headliners. The
convention is about and for the attendees, the wonderful
people who make our performing art and our organization
so dynamic. To help you stimulate our country's healing
process. we are bring ing together some of the best in our
business and the supporting arts.
Joining us in Saratoga will be some of the COAi Artists in
Residence, the COA i Executive Board , and such notable
performers and educators as Rosemarie Ballard, Marie
Beck, Bob Gretton, Jan Potter, Chad Currin , Betty Cash ,
Gary Spear , Loretta DeAngelus , Dave Mitchell , Shobhana
Schwekbe, Peter Glenck , Bob Blizzard, Doug Chapman,
Sue Conley, Marie Persson , Eric Persson, Bill Hart, Dave
Hill, Charlene Link, Gary Cole, Julius Carallo, Mamma Clown,
Paula Biggio, Steve Bender, Geoff Turner , Paul Belanger,
Scott Payne, Alex Torres , Bill LeBlank , Silvya Markson, The
Joyfu l Joeys, Sister Anne Bryan Smollen , Clowns on
Rounds , Mike Bednarek and Frank Odem , just to drop a few
names.
These folks and many others , plus special guests , will
be with us in Saratoga Springs to provide hands-on,
practical clown education. Their mission is to help you be
the best pertormer that you can be. The convention
schedule offers more than 55 hours of clown arts
educat ion.
Are you a First of May Clown? We will have a unique
Competitions? The Red Nose Festival will be conducted
on Tuesday and Wednesday of the convention. Single and
group performances will be featured . The traditional COA i
makeup competitions will take place Friday morning. Single
skits will be presented Friday afternoon , and Friday evening
will feature the group skit competition. Paradeability and
balloon sculpting will take place on Saturday. Remember , in
order to compete in the traditional COAi competitions , you
must be a current COAi member and be in possession of a
paid full convention registration.
The COAi general meeting? We will come together as
an organization to conduct business on Thursday morning .
Thursday evening we will party hearty at our Sara"toga"
party.
Our whole convention effort will be supported by the
following dealers: Spear 's Specialty Shoes , Costumes by
Betty, Jam Magic, Pricilla Mooseburger Origina ls, the
Hospital Clown Newsletter , Filbert Productions , Clown City,
Clown Supplies , Inc., Cherri-Oats and Co., C&B House of
Clowns , Balloons & Clowns , Snazaroo USA, Inc., Humpty
Dumpty Assn ., Silly Farm Productions , Laugh It Up Clown
Stuff , lckle Pickle Products , 'Cornerstone Productions,
Gilligan 's Wheels , Fun 101, and LaRock 's Fun & Magic
Outlet. Additionally , Big Nose Productions will be on hand
to assist you with all your photographic needs. Harding Art
will also be on site to show you how to immortal ize your
clown character.
Continued page 12
1 O The New Calliope

awNS Of AMERICA INTERNATION,t
CL COIIVEN1l0N 2002· l
SARATOGA mlNtJS, NEW YO/ll(
November/December , 2001
Sheraton
Saratoga Springs, New York
1-518-584-4000
Conference Rates: Reserve by March 15, 2002
1-2 persons $112 per night
3 persons $122 per night
4 persons $132 per night
Southwest Airlines
ThtJ omc/al COAi tJOtwentlan airlines
1-800-433-5368
8 AM - 5 PM Mon - Fri
9:30 AM - 3:30 PM Sat & Sun
At. least 5 days in advance
Discount # 85801
ELECTRIC CITY CLOWNS -ALLEY 285 _A_P_R_IL_
1 fi_-_
2 _
1 _,_ 2 0_0_
2
__
..----- - ------ - -------------1 Registration:
Full non-transferable registration includes:
All sessions, dealers rooms, misc. events, theme party, and awards
banquet. Extra banquet and theme party tickets are available. Full
adult registration required to participate in COAi traditional competitions.
Single day registrations are available which do not include
banquet or theme party at $65.00 per adult, $45.00 per youth. All
payments in US dollars by personal check or money order only.
Credit and debit cards are not accepted. There is a $30 administrative
fee for a check returned for any reason or for refunds.
No refunds after March 31, 2002.
By November 1, 2001 $115
By February 2, 2002 $125
By April 2, 2002 $135
After April 2, 2002 $1 45
Youth Registration (15 & Under) $ 90
Extra Banquet Ticket $ 50
Extra Theme Party ticket $ 35
T-shirt $ 15
For single day registration, please indicate the date you
wish on registrat ion stub.
Make checks or money orders payable to: Electric City Clowns, Inc., 1971 Western Avenue, Box 275,
Albany, NY 12203. Any questions contact: Registration Manager, Doug "Jelly Bean" 'Wilder at
hwilder@nycap.rr.com or call toll free from within the US at 1-866-489-2680. Check out our web-site at
www.webclowns.com/eccaclowns/index.htm for updated information.
-- ---- -- - - -- --------- -·------ - - ------------------- ----
Last Name :
Address:
First Name :
City:
M.I.:
Clown Name:
State:
Zip Code
I st COAi
convention?
Yes • No •
Daytime Phone :
Evening Phone:
C.O.A.I. # E-mail address :
Registration
$ __ _
Extra Banquet: Extra Theme Party T-shirt size: T-shirt: Total Enclosed: May we include you in our
S, M, L,
convention directory?
$.
___ _ $ ___ _ _ XL, 2X, 3X $_ $ ___ _ Yes • No •
The New Calliope 11

November/December , 2001
Convention --
From page 10
The Saratoga Springs Sheraton asks that you make
your reservations early by calling them direct: 1 (518) 584-
4000 . Convention room rates are good til March 16, 2002.
Southwest Airlines is the official convention airlines.
However, all airlines are offering significantly reduced rates
into upstate New York at this time. You should make your
reservations soon. Most commercial modes of
transportation have various specials, so shop around.
There will be no better time to plan your convention trip.
We would love to have you advertise in our convention
program. A full page can be had for $75. A half page ad is
$50, a quarter page is $35, and you can have your business
card displayed for only $10. Please send your camera-ready
copy and payment to 2002 COAi Convention Program, 2
Maple Lane North, Loudonville, NY 12211. Make your
checks payable to the Electric City Clowns, Inc. All ad copy
must be received by March 10, 2002.
For updated information and a tentative convention
itinerary, check out our web site. It can be found at
www.webclowns .com/eccaclowns/index.htm. There are
links from the COAi web site, www.coai.org, and Hickory's
Clown Alley, www.webclowns.com. Want that personal
touch? Call us toll free from around the United States, 1
(866) 489-2680 or 1 (518) 489-2680. I will call you back if I
don 't immediately pick up the phone!
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WITHA ~ MASTERCRAFT ~
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~A
12 The New Calliope
Clowns of America International
Income, expense and balance statement
August 31 , 2001
July/Aug . 2001
REVENUE
Membership $38,386.16
Alley charters
Magazine ads
Merchandise
Interest
Web page
Education
Scholarship
Convention
Insurance (Mbrship)
Misc.
TOTAL
REV.
EXPENSES
Bank charges
Credit card charges
New Calliope prod'tion
Editor fee
New Calliope postage
Other Calliope exp.
Business Manager
Natl Office supplies
Natl. Office postage
Natl. Office phone
Printed matter
Merchandise
Publicity/Promotion
Convention
Education
200.00
6,295 .00
1,412. 75
1,334 .99
440.00
50.00
15,660.00
400.00
$64,178.90
536 .25
4,244 .00
5,120.00
1,813.70
2,707.37
623 .61
1,383.05
674.95
5,456.89
Officers phone/postage 283.42
Board meeting-April
Fall Board meeting
Trophies
Professional services
Clown AIR
Web page
Insurance
Alley Support
Directory
Income taxes
lnn/vation/Develpment
Scholarships
State, Int. Ambassd.
64.51
565.00
4,585 .00
TOTALEXP . $27,434.14
National City Bank of PA checking acct
Money market accounts
American Natl. Scholarship Money Market
Contingency Reserve
Natl Office operating fund
TOTAL
Budget 01-02
$116 ,000 .00
700 .00
30 ,000 .00
8,000 .00
7,000.00
1,500 .00
1,500.00
2,000 .00
2,450.00
520.00
$169 ,670.00
100.00
700 .00
30 ,000 .00
31 ,920.00
9,500.00
150.00
14,000.00
623.61
5,500.00
2,500.00
8,000.00
5,000.00
100.00
9,000.00
1,000.00
1,500.00
9,000.00
8,500.00
1,200.00
3,300,00
6,000 .00
1,800 .00
2,200 .00
800.00
14,000.00
600.00
800.00
2,000 .00
500 .00
$169,670.00
$35 ,159 .76
107,691 .29
6,987.02
132,940 .63
2,000.00
$248,778.70
Respectfully Submitted, Joyce Olson, Treasurer COAi

November/December, 2001
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The New Calliope 13

November/December, 2001
A tribute
to
Sept. 11
By Bruce "Charlie" Johnson
P.O. Box 82165
Kenmore, WA 98028-0165
I was scheduled to do an hour-long performance Oct. 5 at
the Northwest Festival of Clowns. I knew that I wanted to
include a tribute to the victims of the Sept. 11 terrorist
attacks, and to inspire the clowns with their role during
these difficult times. I would like to share
with you the way in which I created that
tribute.
I decided to begin the show with my
Sorcerer's Apprentice act. In this act, the
magician hasn't shown up and Charlie, the
janitor, starts playing with his props. This
act has a gentle feeling that allows me to
build audience rapport. Eugene Burger
said, "you can't act like a jerk if you want to
touch people's hearts." The act is a
manipulative magic routine where I display
apparent skill allowing me to win the respect of the
audience. In Gospel Magic and Clowning, this is known as
"earning the right to be heard." That concept is valuable in
presenting other types of messages.
The Sorcerer's Apprentice concludes with my Mismade
Flag routine. There is some humor inherent in that. During
this particular performance, there were some audience
interactions who increased the humor. I played with those
interactions , drawing out as much laughter as possible. We
judge things by contrast.The drama of a moment is
heightened if it is in contrast to comedy.
The reverse is also true. If you want something to seem
funnier , precede it with something serious . When you
watch movies , pay attention to how comedy and drama are
used in juxtaposition. I purposely tried to get laughter just
before making the transition to being serious .
I have a string of 1 O silk flags that I can produce. I've used
these before in performances where I was saluting clowns
from other countries, for example Staff of Stage Shows at
the University of .Wisconsin Clown Camp. I also have an 18-
inch silk that is a collage of flags of many different countries.
(I often purchase pictorial silks and put them away so they
are available when I need something for a special
performance.) I knew that I wanted to use the flags and
produce them as I talked. Howeve r, the methods of
production I had used before didn't seem to fit what I
wanted to say.
I have a series of Duane Laflin videotapes on silk magic.
have created a checklist of the effects he teaches on the
tapes. I went down the list looking for inspiration. I
discovered that on Sensational Silk Magic video , he
teaches how to produce silks from a folder. In the routine,
you show the front of the folder, open it up to show the
inside, close it to show the back, open it again to show the
inside , close it to show the front, and then turn it inside out
to start making the production.
I remembered seeing a magazine at a grocery store
check stand that had full-page photos about the attacks. I
decided that if I could find appropriate photos for a folder it
would make an ideal method of production. I purchased a
special commemorative issue of Time
magazine. (I was happy to see that one dollar
from the cost went to the relief funds.)
The front cover showed a small girl waving
an American flag while perched on her
father's shoulders. The caption said, "a new
spirit in America." I decided to use that for my
first picture.
For the inside of the folder, I found a twopage
photo of kids with flags they had made
out of construction paper . For the back of the
folder , I found a photo of people at work in a flag factory.
The pictures helped bring my thoughts into focus. I wrote
out what I wanted to say so I could edit it to get the wording
just right. I knew that I needed to use the least possible
words to create the impact I wanted.
After producing the giant flag that ends my Mismade
routine, I put the flag away in my prop trunk, and pulled out
the folder. Showing the front, I said, "Patriotism has
become the latest fad in America." I opened the folder to
the picture of the kids, "It has involved all generations."
Turning to the back, I said, "Flags have become so popular
that companies that make them have been working
overtime without being able to keep up with demand."
Opening the folder again, I commented , "People have
been using any materials they can find to create thei r own
flags." Turning to the front again, I concluded, "It is my hope
and prayer that it is not just a fad, but that there really is a
new spirit in America."
Then I turned the folder inside out and slowly began
producing the flags. (Before the show, I asked a woman in
the front row to be ready to come up and hold the
14 The New Calliope

November/December, 2001
end of the string for me.) I said, "Forrest and Pat (Wheeler),
Carole and I were in England attending the Bolton.
International Clown Festival on Sept. 11. It gave us a unique
perspective on the terrorist attack. We got to see it from the
European point of view.
"Although the attack happened in America, it was an
international tragedy. We heard about people in the
London offices of brokerage firms talking to colleagues in
their firm's American branch located in the World Trade
Center when the phone_s suddenly went dead. Later they
learned they were talking when the planes hit the towers
and their friends were killed. People from more than 60
different countries were killed in the attack.
"We saw the tremendous support of the European
people for America. Three weeks ago today they held
three minutes of silence all across Europe in honor of the
victims. Every nation participated at the same time. We
participated in that while in clown makeup and costume . For
those three minutes, there really was silence . They turned
off the water to the fountains and traffic stopped in
the middle of the street. The only sound was that of birds.
"Within 24 hours of the tragedy, I was performing in a
restaurant. I discovered that people wanted to talk to me
about the tragedy, but then they wanted me to do
something for them to laugh at. That did not mean they
honored the victims any less, just that they felt the need for
laughter to prevent their feelings of shock and grief from
overwhelming them.
"The research of Dr William Fry and others has proven
that laughter counteracts the negative physiological effects
of stress. The world now truly needs the gift of laughter
from clowns. (By this point I had produced all of the flags
and was slowly gathering them up.) Clowns can do more
than that. I've had the privilege of representing the United
States-in performances at five European clown festivals ,
and I worked for 11 years at an amusement park visited by
interriafional guests.
"I've observed that while there are some cultural
differences, there are more similarities. People everywhere
tend to laugh at the same kinds of things. And latJghing
together brings them together . (I produced the last silk.)
Clowns can help to break down the barriers that exist
between people."
I put down the folder, and continued speaking , "Through
our history, clowns have broken down barriers . The
American Civil War ended slavery, but America remained a
nation of severe segregation and discrimination.In the early
1900's, a clown named Bert Williams broke through many of
the racial barriers due to his tremendous talent. He wrote
comedy songs, and became the first black singer to make a
phonograph recording .
"With George Walker, his partner, he became the first
black to produce a Broadway show. Their production was
the first Broadway show with an all black cast. Bert was the
first black entertainer to star in the Ziegfield Follies. He was
also the first black entertainer to star in a motion picture.
Famous African American scientist Brooker T. Washington
said, 'Bert Williams did more for our race than I have. He
smiled his way into people's hearts.'
"Bert Williams sometimes turned philosophical in his
performances. (I removed my hat and held it before me
as I changed character to impersonate him.) He said,
'Everytime a man's head gets swelled he outta stop an'
think about all de great men who came before him.They
died and look at how well de worl' has gotten along without
'em. Mankind ain't neither as good as he makes himself out
to be nor as bad as they claims he is. The place where I live
now.ain't so bad, except you have to go between two
cemeteries to get there. The other night on my way home I
saw a transparent looking gentleman sitting on a
headstone . When he stood up, I started to run. I ran until I
was 'bout ready to drop. I sat down on a bench, and to my
horror saw that gentleman sitting next to me. He said, that
was mighty fine running , the best running I've ever seen. I
told him, as soon as I catch my breath, you're gain' to see
some more of it."'
"Burt Williams' most famous routine was a pantomime
where he portrayed all the players in a poker game. A short
portion of this act was preserved in a film titled Natural Born
Gambler. Here is my interpretation of that segment.Maestro ,
music please ."
As quiet music played, I recreated Bert's poker routine
from the film. I had been planning to include it in the show
because I knew Angel Ocasio would be in the audience. He
had helped me locate a video with the routine on it, and I
wanted him to see my version. It seemed to fit naturally into
my tribute .
With the Bert Williams segment , I built upon the concept
of clowns breaking barriers, and made the transition to
comedy. Again , I wanted the contrast between drama and
comedy without it being too jarring a transition .
After the pantomime, I left the stage briefly, and then
returned with the props for a comedy routine I call Bandanas
That Become Tide. I placed the tribute in the middle of my
show so the audience wasn't left with unrelieved feelings of
sadness, and so they could experience for themselves the
release that laughter can provide our audiences. During
the second half of my show, my routines did inspire more
laughter than they normally do.
Clowns don't have to be funny all the time. They can turn
serious and touch the hearts of their audience . Here are
some concepts to remember :
Continued next page
The New Calliope 15

November/December , 2001
A tribute --
From preceding page
+ Develop several performance tools. It has been said,
"To a man who has only a hammer, every problem is a nail."
The more tools that you have the greater the potential you
have for having the right one to create the desired effect at
the right time. In creating the tribute, I used magic, audience
interaction , personal experience, historical material, verbal
comedy , appropriate background music , and pantomime .
+ Create checklists to help inspire ideas. For example,
make a list of all the methods you know for producing a silk.
Then when you need to add a production to a routine , you
can scan the list looking for the one that best meets the
requirements for that performance .
+ Establish a relationship with the audience and gain
their respect before presenting a message.
+ Increase the effectiveness of your material by
juxtaposing comedy and drama.
+ Plan what you are going to say carefully. Write it down
and edit it. Mark Twain said, "The difference between the
right word and almost the right word is the same as between
lightning and a lightning bug."
+ Remember to focus on the audience and what you
want to share with them . Larry Pisoni said, "Clowning
should never be about yourself, it is about the audience. It
is the generosity of what you have to give to others. The
more your material is about the audience , instead of you,
the more it comes back to you ."
+ Incorporate your personal experiences to create
believability. Chumleigh said , "When you incorporate your
life you increase your sincerity because you have lived it.
When you are more sincere, the audience is more willing to
suspend their disbelief ."
+ Incorporate your personal experiences to create
rapport. Things that you experismce are often things
people experience universally . By sharing that with your
audience, you allow them to identify with you . Larry Pisoni
said, "The challenge for a clown is to create emphatic
moments. What is it about you that the audience can
identify with? What is it about the audience that you can
identify with? Thc3:t creates a sense of community."
+ During serious times people need you, your clowning,
and your gift of laughter. Tennyson Guyer said, "Laughter is
like changing a baby's diaper , it doesn't permanently solve
any problem, but it makes things more acceptable for a
while . "Laughter does not change reality , but it helps equip
people to deal with it better.
can create divisiveness by laughing at somebody. You can
break down divisions by sharing laughter . Victo r Borge said,
"The shortest distance between two people is a smile."
Some people have said they thought the tragedy of
Sept . 11 made comedy, and clowning, trivial. On the
contrary , it is more valuable than ever. As a clown, you have
a special gift to share with your audiences . Be generous
with that gift. As Richard Snowbe rg said, "Share with others
the three L's -- your Laughter, you r Life, and your Love."
Copyright 2001 by Bruce "Charlie" Johnson
Calendar
Jan. 25-27, 2002: Balloonarama, Phoenix , AZ.
Info.: (602) 279-8008. email looseknit@clownsnth ings.com
Feb. 9, 2002: Clowns Like Us Alley #303 one day
workshop, North Port, FL. Info.: Paul ·or Muriel Norton (941)
764-6123 or email crackerslolo@earthlink.net.
Feb. 15-17, 2002:ShowMeClownsforJesus ,
national conference , Lake of the Ozarks, MO. Info. Ph.
(800) 346-2215. email www .showmeclownsforjesus .org
Feb . 17-21, 2002: Great Clown Aventure, Las
Vegas , NV., Info. Ph. (320) 962-6277 .
March 6-10, 2002: 18th annual International
Balloon Arts Convention , Hyatt Regency O'Hare , Chicago,
IL. Inf. : (800) 458-4222 or (614) 840-0868.
March 13-15, 2002,Chicago area: Comedy Magic
Workshop 2002. www.ComedyMagicWorkshop.com
April 16-21, 2002: COAi International Convention,
Saratoga Springs, NY. Info.: Phone toll-free 1 (866) 489-
2680. email hwilder@nycap.rr.com
April 17-19, 2002 : Columbus , OH: Comedy Magic
Workshop 2002 . www.ComedyMagicWorkshop.com
May 15-17, 2002, Dallas, TX: Comedy Magic
Workshop 2002 . www .ComedyMagicWorkshop.com
June 19-22, 2002 , Norfolk, VA: Comedy Magic
Workshop 2002. www .ComedyMagicWorkshop.com
+ Comedy is a two edged sword. Use it carefully. You
16 The New Calliope

November/December, 2001
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The New Calliope 17

November/December, 2001
Forcing
with
cards
By Ann "Tuttles" Sanders
225 Lake View Dr.
Toano, VA 23168
TuttlesTC@hotmail.com
Now that you know how to force the selection of an item
when you display six objects ("A magician's force," The New
Calliope, July/August 2001 ), here is a simple way to utilize
that new found magical knowledge in a card trick. This is a
great walkaround as it lends itself well to smaller audiences
and is compact enough to fit into your pocket.
SUPPLIES
I purchased 20 identical decks of playing cards. The
decks are standard size, approximately 2x3 inches. (I
bought mine from a store that offers items for one dollar.
There were two decks per package.) From each of the 20
decks I selected one card (in the example given it will be the
three of clubs) and created decks that have 20 matching
(identical) cards and 32 cards that are different. I also
purchased a package of smaller (travel) size decks. They are
about half the size of standard playing cards. (I have seen
them for sale in the party supply sections at chain stores, as
well as the stores that offer items for a dollar.)
SETUP
Remove the standard size decks from their packages
and put them face up in a line on a counter or tabletop.
From each deck, select and remove a card of the same suit
and same face value. Make a stack of the cards (i.e., three
of clubs) that you removed. Continue this process until you
have as many stacks containing identical cards as you have
individual decks; in other words, if you have 20 decks, you
will have 20 stacks of identical cards. When taking cards
from each deck, try to remove a mix (some from each suit
and face value). You don't want to end up with a
performance deck of cards that are all one color or are
missing an entire suit. To a sharp-eyed observer, this would
be a tip-off that the deck is stacked.
Combine one stack, containing the matching cards,
with a stack tha~ has cards that do not match. (See the
paragraph below for the specific order for the setting up the
18 The New Calliope
deck.) Not only will creating multiple "trick" decks give you
the opportunity to switch the card that you will be "forcing,"
it can provide an opportunity to share a magic trick, that is
very inexpensive to produce, with other members of your
clown group or alley.
The standard size deck is set up as follows, starting with
the first card that will be on top of the deck, with the cards
facing downward:
Q Diamonds* 9 Spades* 3 Clubs* K Hearts*
2 Diamonds* 9Clubs* Q Hearts*
Followed by the cards that are all identical**, add the
remainder of the deck.
* Can be any card except the card(s) that match the card
in the third position (see illustration).
** This card must match the identical cards in the deck.
BASIC PERFORMANCE
1. Out of view of your audience, place the travel-size
deck in your pocket.
2. Hold the deck of standard-size cards, making no
attempt to hid the face of the bottom card from the
audience's view. Basically, hold the backs of the cards
towards your palm and the bottom of the deck towards the
audience, revealing the identity of the bottom card.
3. Fan or slowly shuffle the bottom half of the
deck.showing cards' faces to the audience. (Be careful not
to show the portion of the deck that has the identical cards.)
By doing this, you have shown your audience that the deck
is "normal" and have proven to the audience that all the
cards are different.
4. Turn the deck face down. Fan only the bottom
portion, the part of the deck that has different cards, and
ask a volunteer to select a card and not show you the card
they have selected. Hold the top portion of the deck (ones
with the identical cards) in the palm of your hand, protecting
them with your fingers. At this point, you don't want to give
the volunteer an option to take one of them. Offer only the
fanned portion for selection.
5. Announce that you will turn your back so there is no
way that you can see what card has been chosen. Ask the
audience member to show the audience the card that they
have selected. When you turn your back, put the standard
size deck in your pocket and remove the smaller (travel size)
deck.
6. Ask your volunteer to alert you to the fact that they
have finished showing the card. When you turn around, fan
the small deck and present it to your volunteer with the
cards face down. Ask them to put their card face down into

November/December , 2001
the deck. Since the card selected by the volunteer is much
larger than the remainder of the deck, you will have no
problem selecting it. You can, however, use your
imagination and create a routine to select the card by
making it appear a real challenge for you to find the correct
one. Thank your volunteer and pocket the small deck.
7. Remove the standard size deck and return the
standard size plying card that was previously selected by
the volunteer to the bottom. Tell your audience that you are
now going to show them a "real card trick."
8. Hold the deck with the pattern side towards your
palm. Select another volunteer. While you are in the
process of asking someone to assist you, grasp the deck
with both hands and hold it close to your body, concealing
the deck. Push the top seven cards (the ones that you
"preset" for the trick -- see SETUP above) to the side of the
deck and protect them with your fingers. Hold the deck in
front of you, making sure it is turned deck face down. With
botn h'ands, fan only the top portion of the deck -- the
portion that has the identical cards. Remember to use the
fingers of one hand to protect the top seven cards and the
fingers of the other hand to protect the bottom portion of
the deck (the part where each card is different). In order for
the trick to work it is important that you offer only the portion
of the deck with the identical cards! You may need to
practice this to ensure that the correct section of the deck is
all that you are offering your volunteer, and to make the
counting of the top seven cards look as natural as possible.
9. Have the volunteer select a card. Turn your back as
they show it to the audience. To show that you are not
going to switch the decks again you can hold the cards in
one or both hands in view of the audience. You may wish to
emphasize this point as part of your patter. Turn and face
your volunteer and have them return the card that they
selected to the deck, reminding them not to reveal its
identity to you. It doesn't matter where they place it as long
as it is not among the top seven cards.
1 o. Count out six cards from he top of the deck and
place them face down, left to right, in a row on the surface in
front of you. Place the seventh card face up and on top of
the deck.
Q Diamonds 9 Spades 3 Clubs K Hearts
face down face down face down face down
2 Diamonds 9 Clubs
face down face down
Q Hearts
face down &
on top of deck
You can state that you are turning up the card (the
seventh one) to ensure that you won't switch cards or
attempt any other form of trickery. Place the deck beside
the last card counted. You can use the deck as a marker so
that you will always know that the card to be forced is the
third one from the left when counting in a ".normal" left to
right pattern.
11. Select an audience member to pick a number
between one and ten and ask another audience member to
roll the die (singular of dice!) equal to that amount. (i.e., if
the first volunteer says six, the second volunteer rolls the
die six times). Whatever number is face up on the last roll will
be used to count the cards. (See "A magician's force," in
the July/August, 2001 issue of The New Calliope for how to
count the cards).
12. You can simply reveal the card, or you can reveal all
of the other cards first, building the suspense. Either way,
show the faces of the other five cards to prove that they are
each different and that you truly are a magician who can do
card tricks!
The New Calliope 19

November/December, 2001
Cheese
By David "Mr. Rainbow" Bartlett
1427 Acadia St.
Durham, NC 27701
www.MrRainbowTheClown.com
In the last issue, I talked about reasons why you need not
change your act, regardless of the age of the material. If you
recall , I had you ask three questions. First, do you still enjoy
doing the same old stuff? Second, does your audience still
enjoy seeing the same old stuff? Finally,
There may be a time when the answer
will be "no" to one of the questions and
you will feel the need to change. The first
two questions are pretty easily answered
and addressed with appropriate changes.
If you don't like what you are doing, unless
you are a masochist , change it! For
example, if you don't like being shunted
to a corner pumping out balloon after
balloon after balloon and getting very little
chance to clown around, then change.
Change what you are offering in the way of services . Sell
the clowning and not the ballooning . Adjust the variety or
scope of balloons you offer so that you are doing only the
stuff you can mindlessly make while putting your
concentration and energy into performing while you twist.
Change the demands you as the artist make on people
who hire you. (Has it occurred to you yet that you have the
right to make requisite qemands beyond simple payment?)
Figure out a way to avoid unsatisfactory situations by
heading them off before you arrive.
The second case is pretty easy to understand too. If they
aren't laughing any more, they aren't enjoying it any more . If
they find it easy to walk away from you , they are not
enjoying you. Once again, unless you are a masochist , it
becomes pretty clear that you need to change the act . I'm
assuming , of course , that at one time you had a funny act.
A great friend of mine who is quite an excellent clown
expressed this problem to me a couple of wee ks ago. It
caught me by surprise because six months earlie r, at the
end of a professiona l clown development seminar I held for
a small group, she said that one of the end produc ts of the
seminar for her was the realization that she really enjoyed
what she was do ing exactly as she was doing it. That was
then , this is now .
As I said, one day you may just get that feeling. I asked
her to consider three new quest ions. I just love the number
three , don't I? I asked her to consider whether she wanted
new routines, new skills, or new audiences. What was going
to rekindle the happiness in what she was doing?
New routines are the easiest kind of change to
is your clown soul being fed? If the .-----------~ incorporate. Find stuff that uses your
answers are "yes, yes , yes", don't change
strengths and can easily fit into your existing
a thing!
successful dynamic package. It can rekindle
your flagging interest in your act to throw
something new in there. By carefully placing
the new material in the middle of two good old
tried and true bits, you can keep the aud ience
interested.
This is a pretty safe way to change things up
and is how singers and comedians usually
incorporate new things into their acts.
You can pursue totally new skills, but there
are risks. You'd better have enough selfconfidence
to take the requisite regression .
For example, you may already be a fabulous face painter
and are used to great acclaim for your skill and artistry. Are
you willing to take the risk of flopping for a while as a
puppeteer while you deve lop that new skill?
It can be a little jarring , especially when you know all you
have to do is go back to your strength to win over the
audience.Of course that would mean giving up on the new
skill just when it needs the work.The payoff can be worth
the risk with a tremendous sense of satisfaction and
increased self-confidence if you persevere and succeed in
mastering new skills .
Please note, I said "if' you succeed . The re is no
guarante e of success in change. I have tasted the sweet
and the sour of pursuing new skills . I tried my hand at face
painting and after a while realized that I would never be
better than mediocre, if even that good .
Now , as for the final question about feeding your clown
soul , that is a little fuzzier . You like what you are doing ; the
audience likes what you are doing ; yet you have a vague
feeling of personal discontent. You feel that there is more
for you out there somewhere but don't quite know what it
could be.
On the other hand , I once strapped on an odd looking
musical instrument called an Omnicho rd at the beginning of
a three day trade show with only part of one song
memorized and the determination to learn or die . I sweat, I
floundered and I learned and now musical clowning is as
20 The New Calliope

November/December, 2001
Cheese --
much a part of my clowning reputation as balloons are. No
guts, no glory!
·Finally you may feel that you want the challenge of pursuing
new audiences. You've got to admit, after the first hundred
thousand birthday parties the novelty tends to wear off. You
see adults laughing at your parties and you start to wonder if
you could entertain a whole group of adults with no kids
around.
Do you think you may want to do hospitals? Ever thought
about doing schools? How about teens? There are an
incredible number of new venues for you out there.
Pick one. It may require new routines and/or new skills. It
may require reformatting of your existing material. It may
require a good amount of capital investment in props,
sound, lights, or specialty effects. Are you prepared for
that?
Pursuing new audiences takes guts too , but once again
the payoff can make the risk worthwhile . I have sweet and
sour anecdotes about pursuing new audiences . (I have
anecdotes about everything , you should know that by
now!)
I once arranged a gig at a small, sort of dingy, beer bar
doing my comedy songs. Yes, in full makeup! I love going
after the seemingly non-clown crowd. I'm crazy but I'm not
stupid. I split the gig with a comedy folk singer who had
worked the venue before so I wouldn't be alone and his skill
would cover my potential ineptitude.
I leaked buckets of nervous sweat . I didn't exactly bomb,
but let's just say I found out a lot of very valuable things
about the weaknesses of my material in this type of venue . I
put that information to great use and saved my reputation at
some subsequent very difficult gigs . I could have pulled out
some balloons and switched to a balloon act to save myself
that night, but what would I have learned? I already knew I
could wow them with balloons .
On the other hand, I once accepted a gig doing Kid's
Night at a restaurant in a university town. I did it, not
because I wanted to do restaurant work , which I had done
before, but bec;ause I wanted access to the college crowd
that also frequented the place in order to sharpen my skills
in entertaining that level of audience. It succeeded greatly
and now I really enjoy the high school/college crowd, and
they enjoy me.
Change , its inevitable so when it comes accept it and use
it. I'm not urging you to dive head first into the deep end of
the change pool like I have a tendency to do . That's crazy
and yes, I frighten myself sometimes.
Just try to be more aware of the occasions and choices
for change . Try to control your fear of change and embrace
the positive potential of change poth personally and for
clowning as a whole. Resistance to change and rigid
structure that does not allow for change holds you back and
holds clowning back.
Try to effectively direct your changes in such a way as to
be educational and beneficial. I'm reminded of the old
conversational joke, "How did you get so successful?"
"Through knowledge and experience ." "How do you get
knowledge and experience?" "Through failure."
If you have a spare hour or two , read the book Who
Moved My Cheese?The cheese in the allegory can
represent many different things . Read it with the idea that
the cheese is your joy in clowning . There is a tremendous
turnover rate in clowning . I think a lot of people quit
clowning because their cheese moved and they didn 't
know how to look for it elsewhere . It really is a clever ,
instructive book. I wish I had written it.I could use the cash to
pay off my daughter's wedding . But that's another story for
another article, you can bet your sweet bippy on that one .
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The New Calliope 21

November/December, 2001
the mix
By Steve Conley
905 W. Ridgecrest Dr.
Kingston, TN 37763
smak@bellsouth.net
Water and oil, do they mix?
Webster's dictionary defines a clown as a fool, jester, or
comedian in an entertainment (as a play). A grotesquely
dressed comedy performer in a circus.One who habitually
plays the buffoon.
I think Mr. Webster hit the nail on the head, wouldn't
you agree? To sum it all up, a clown is considered a fool,
jester, comedian, comedy performer and, last but not least,
a buffoon. !·once heard J.T. "Bubba" Sikes say,
"Remember, you're a clown, not a preacher." I think it's
good if we were to twist that around a bit and apply that
same philosophy to our secular clowning by saying, "I'm not
here to remind you of life, I'm here to help you forget."
A few years ago my wife and I made the decision not to be
serious. By that I mean, if we are going to be dressed as a
clown then we are going to try our best to act like a clown , a
buffoon, and be funny in everything we do . After all, when
you think of a funny faced, funny dressed clown what is one
of the first things that comes to mind? Laughter .
While attending a recent Dramatic Arts Festival my wife
and I looked at ourselves and reinforced the decision that
we had made and realized that it was a good one. This
festival had some very good clowns, mimes, interpretive
movement, puppet and drama teams that performed, but to
be totally honest when the clowns did a serious act it
seemed way out of place and sometimes even boring.
How could I look at these funny faced, funny dressed
people and think serious? Why would anyone seeing a
clown even want to think serious . It was almost like
someone trying to mix water and oil together and in my way
of thinking , no matter how hard you try to combine the two ,
they will never become as one.
Not long after I became a clown I formed a clown troupe at
our church. I must be totally honest and admit that I really
had no idea what I was doing. Before I started writing my
own material I would struggle to find good skits and funny
ideas. I would search the Internet and skit books, trying to
find something that I could use just to fill a time slot in our
program . I would always end up settling for something
serious.
My big mistakes were moving too fast, searching in drama
books, not using my eyes and not doing my research about
what a clown really is and is supposed to be.
I finally came to the realization that what I was doing was a
huge mistake and a disservice to the clown community. The
skits were good and we performed them well but when I
think back, I can't help but wonder how much more effective
I could have been doing these skits as a character and not
as a clown. When I advertised myself as a clown, that's what
people expected to see. They came expecting to laugh,
feel good and have an enjoyable time, so in order for them
to have that feeling, it should have been funny, all of it.
When my wife and I made the decision to keep our clown
characters away from the serious side of life we had to make
a major change. That change was to build from the ground
up a new character separate from our clown character. The
characters that we come up with require little or no make-up
and no brightly colored clothing, but yet they are characters
nonetheless and in some minds are even considered
clowns. Picture Charlie Chaplin; not only could he be very
funny he could also get away with being serious. His outfit
allowed him to do both. Others that come to mind are Red
Skelton, Bill Irwin, Tim Conway, Lucille Ball, and Carol
Burnett. Remember some of the characters they did .
Coming up with a no makeup or very little makeup
character has expanded our audience base. Not only can
we reach the children with our message but we can also
build a closer relationship with the adults as well. We were
able to build a show that has a funny side and a serious side
to it, allowing the two to be able to mix well together.
We are also able to market ourselves into other areas that
normally a clown could not venture into. Let's face it, some
people and places still think clowns are strictly for kids and
we don't belong or have any business in certain venues .
Yet they will allow a character to perform . Being a full-time
funny looking clown is still 80 percent of what we do but it's
nice to know we can now fall back and have something for
the other 20 percent that we never had before . We can
reach a different crowd, we can be funny or serious, make
our audience laugh or cry, and still be classified as clowns.
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22 The New Calliope

November/December, 2001
CLOWNS OF AMERICA INTERNATIONAL, INC.
GROUP LIABILITY INSURANCE APPLICATION
Dear COAI member:
We would like to introduce our new group liability insurance:
As of July 1, 2001, COAI has obtained for members a $2 million group liability insurance
coverage for a $90.00 annual premium. The policy will run July 1 thru June 30 each year and
is provided by an A+ rated company. For guestions regarding this insurance, please call the
business office or see the attached Frequently Asked Questions Sheet. Send Payment to:
COAi (Clowns of America Intl., Inc.) P.O. Box C Richeyville, PA 15358-0532
Questions?
Contact Shirley Long, COAI Business Manager:
Phone/Fax: (724) 632-3214 Toll Free: 1-888-52CLOWN
email: coaibmgr@hhs.net Web site: www.coai.org
*Payment can be made by check or money order payable to COAi or by credit canl. *
Detach and return the bottom portion with your payment
PLEASE COMPLETE THE FOLLOWING INFORMATION:
Clown Name ___________ Clown Business Name ___________ _
Approximate number of shows performed annually __________
_
DYES I want COAi Group Liability Insurance ($90.00):
Total Enclosed
__ Visa Mastercard __ Check
Name: ____________ Credit Card# ____________ Exp. Date: __ _
Signature*: ____________
* Required if paying by credit card
N:AME -- ----------- ----------- COAI NUMBER
----
ADDRESS ---------------------------------
CITY ________________ ST _____ ZIP ______ _
PHONE _________ FAX _____ EMAIL _______ _
The New Calliope 23

November/December , 2001
Subsidies available
for COAi members
and affiliate alleys
Educational Grants
COAi educational grants are to help fund clown arts
education on the international and regional convention
levels . The monies are designed to assist COAi alleys fund
high quality education they might not otherwise be able to
afford.
To use this grant money wisely, we suggest the grant
be used as only a portion of your education budget . Ideally,
an alley will match these funds. Be sure to shop around to
get the best instructor(s) for your particular needs. There
are good suggestions in the convention cookbook on
determining the educational needs of your convention We
recommend you follow the planning guide closely.
Grants available (U.S . funds): Affiliated regional
conventions and/or regional conventions hosted by
COAi alley: $500. International COAi convention: $1 ,000.
COAi is offering two programs designed
to subsidize quality clown education. One
provides scholarship funds to individual
clowns who wish to attend recognized
educational events. The second is intended
to help host alleys provide top
quality instructors at regional and international
conventions . The grants are
described here; application forms are
on the following two pages.
COAi Scholarships
For Individual COAi Members
1. All applications must be submitted on the COAi
Scholarship application form supplied by the Education
Director, COAi Board members or The New Calliope (see
following pages) . Send to Judy Quest, 715 N. 36th,
Omaha, NE 68131
2. Applications must be postmarked by Feb. 1 to be
considered for the upcoming year's award(s).
3. Selections will be made by the COAi Board at its
annual (Spring) meeting each year .
4. Scholarships will be awarded for family entertainment
educational programs which run a minimum of 10 hours of
educational activities for short programs (1-3 days), and 30
hours for long programs (4-6 days). Participant may not
participate in competition results.
Instructions:
1. Request biographical class information and fee
requirements from prospective instructors 11 months prior
to your event.
2. Create an education plan by filling out the form found
on the following page. This process will help you develop a
successful overall program.
3. Submit the grant application and education plan to
the COAi Education Director and lhe grant committee within
four to six weeks. Applicants will be notified of grant
approval within eight to nine months of your event.
5. About eight months prior to your event .use the
COAi regional contract and vendor agreement (if applicable)
in the convention cookbook to secure your instructors.
6. Alleys will be reimbursed within 30 days of
submission of copies of the instructor 's contracts , travel and
hotel receipts and vendor's agreement (if applicable) to the
Education Director .
5. The number of scholarship awards will be
determined by the availability of funds in the Education
Endowment.
6. Scholarships will be awarded to COAi members in
good standing.
7. Scholarship awards will be in the amount of $65 for ·
short programs and $300 for long programs (U.S. funds).
8. Scholarship checks will be made payable to the
program of the winner's choice in accordance with #4.
9. Applications will be reviewed by an anonymous
panel to be selected by the Education Director . They will
review applications privately and submit their
recommendations. They are to keep their identities secret ,
even from other panel members .
10. Applications need to be filed out in ink or typed.
11. Additional photos and documents will not be
distributed to committee members .
12. Scholarship recipients will be notified by the
Education Director .
13. Supply six (6) packets for panel membe rs (include
copies of application with attached photo on each) .
14. Supply one copy of an article on your clown
experience for consideration by The New Calliope.
24 The New calliope

COAi Educational
Grant......., ........
November/December, 2001
Please fill out this application to be considered for an educational grant for regional or international
conventions or festivals. This information will be processed through the Education Director and Grant
Committee. Send this form to the Educational Director (see address page 3) at least 10 months prior to
your event. You will receive a response within six weeks.
ALLEY SPECIFICS:
Alley Name _________________ COAI Number ________ _
Address _________________________________ _
City, State, Zip ________________ Region ___________ _
Event _________________ Dates ______________ _
Alley Contact. _______________________________ _
Address __________________________________ _
City, State, Zip ____________________________ _
Phone (home) _______ Phone (work) ______ email __________ _
Regional organizations affiliated with COAi are eligible for up to $500 in educational grants each year.
These grants are designed to assist regional conventions in supplying high quality education for its members.
Please list your Instructors and associated fees (use additional pages If necessary).
Instructor
---------------------------------
Address _________________________________ _
City, State, Zip ___________________________ _
Phone (home) _________ Phone (work) _____ email ________ _
Fee per class Hotel (no. of nights) _____ Travel expense _______ _
Please detail vendor trade-outs ________________________ _
Classes and Descriptions you have requested:
Class __________________________________ _
Description ________________________________ _
Class __________________________________ _
Description ________________________________ _
Class __________________________________ _
Description ________________________________ _
The New Calliope 25

November/December , 2001
COAi Scholarship Application
Name __________________ COAI Number _________ _
Address. __ ~-~----------------------------
(Street)
(City) (State) (Zip)
Phone (home}______ Phone (work)_______ email __________ _
Applicant's signature. ________________ Date __________ _
1. In 50 words or less, tell us why you would like to receive this scholarship:
2. What does the art of clowning mean to you?
3. How will this scholarship fit into your overall education plan?
4. What things have you done to further your education?
5. If you qo not receive this scholarship, how will you continue your clown education?
6. What program do you plan on attending and why?(lnclude a completed registration form).
7. Have you received any other scholarship or grants to clown education before and, if so.which one(s)?
8. What type of clown education programs have you attended?
Please attach a picture of yourself in makeup to this form (will not be returned) . DEADLINE: FEB. 1.
Send completed application to: Judy Quest, 715 N. 36th, Omaha, NE 68131.
26 The New Calliope

November/December, 2001
BEHIND THE BIG
RED NOSE
A serious look at how to develop
your talents_ and discover your
direction in today's clowning
by David Bartlett a.k.a. Mr. Rainbow
Collection of columns, some material previously
published in the Pot of Gold series.
Send check for $35 (plus $3.95 for priority mail) to
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. .. . lVhat you talk about is the
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The New Calliope 27

November/December, 2001
COAi nominations now open
Notice is hereby given that election of COAi officers will
be held in June 2002. Every office in the organization is
open. Each term is for two years, beginning July 1, 2002.
There are no holdover officers , and every incumbent
wishing to continue in office must run .
Offices to be filled: President, Executive Vice
President, Secretary, Treasurer, Sergeant-at-Arms, three
Directors (fourth is the immediate past president), and 11
Regional Vice Presidents .
of the Board's appointed committees . The presidency can
be sought only by a current member of the Board, so that
presidential candidates will have a working knowledge of
COAi's operations.
EXECUTIVE VICE PRESIDENT: In the absence
or incapacity of the President, the Executive Vice President
shall perform the functions of the President. The Executive
Vice President heads the COAi Policy and Procedures
Committee.
Some qualifications apply for several of the offices:
+ Candidates for COAi President must be
current Board members. All other offices may be
sought by any member of COAi.
+ Directors will run for specific posts:
Convention, Education, Regional and Alley
Support. (The immediate Past President is
named Membership Director.)
+ Only members of a region will vote for that
specific Regional Vice President.
Nominations for office must be postmarked by Jan.
15, 2002. (No exceptions.) Nominations should include
a biographical sketch, plus a campaign statement , not to
exceed a total of 250 words. (This wordage limit will
be strictly enforced.) Nominations also must include
two black and white or color photos (head and shoulders) ,
one in makeup, one without.
Send material to the alley in charge of the election :
Mark and Hazel Ovanin, co-chairs
BG's Sappy Slapsticks Alley #338
POB 181
Union, Ml 48387
Ph. 1 (248) 684-4748
email: www. theclownsh ip. net
www .theclownshop@earthllnk.net
Here are descriptions of the offices to be filled and the
requirements of each office :
PRESIDENT: To serve as the club leader and
ambassador. The President is responsible for setting the
club's agenda, and promotes the morale and enthusiasm of
the Board adn the general membership. The President
must see that all orders and resolutions of the Board are
carried out, to preside over all Board and general
membership meetings and to be an ex officio member of all
With other members of the Executive Committee, the
Executive Vice President shall be empowered to execute
the business of the corporation, assist in auditing the
budget , and in supervising investments. This officer will be
involved in long range planning , update officers' job
descriptions . monitor The New Calliope, deal with insurance
issues, institute credentials and contracts, and help
generate policy .
SECRETARY: Shall attend all sessions of the club as
clerk, recording all notes, votes and minutes. The Secretary
takes minutes, compiles a yearly summary of motions
passed, enters minutes in a bound ledger, gives notice of
all meetings, and answers or direct correspondence.
TREASURER: Shall conduct the financial affairs of the
club. The Treasurer is responsible for the accounting of all
funds, payment of all bills, writing a bimonthly report for The
New Calliope, organizing tax returns and working with the
business manager, certified public accountant and the Internal
Renenue Service. The Treasurer must know the accrual
accounting system and have some computer knowledge.
SERGEANT-AT-ARMS: Helps maintain order and
Jecorum at all Board and general membership meetings ,
and is in charge of all audio equipment for those meetings.
It is helpful to have a knowledge of parliamentary
procedure .
DIRECTORS: Each Director will have a specific
portfolio. For the three elected Directors, the portfolios are:
Conventions, Education , Region and Alley Support. The
fourth Director is the immediate Past President, who holds
the Membership portfolio, and who administers the Clown
of the Year program .
DIRECTOR OF CONVENTIONS: Assists
convention host alleys and alleys wanting to host a
convention. This director is responsible for updating the
convention criteria and heads such subcommittees as
competition and dealers .
Continued page 30
28 The New Calliope

November/December, 2001
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The New Calliope 29

November/December, 2001
Elections --
From page 28
DIRECTOR OF EDUCATION:
Promotes clowning education. This
director creates and maintains special
programs (Artists in Residence,
scholarship and grants, guest
speakers)! provides alley with manual
books or training tapes at least once a
year, submits articles to The New
Calliope, communicates with Regional
Vice Presidents regarding educational
activities, and develops an awareness
of members' specialities.
DIRECTOR OF REGIONAL
AND ALLEY SUPPORT: Must be
available to help regions and individual
alleys. This Director communicates
with Regional Vice Presidents and
heads up such committees as regional
realignment and alley coordinators.
REGIONAL VICE
PRESIDENTS: Represents COAi in
their individual regions. They are to
assist alleys or individual clowns within
their region to strengthen lines of
communication, encourage the alleys
to exchange newsletters and to
transmit educational tapes and
materials.
The Regional Vice President is
also encouraged to write reports on
activities in their regions and, if
possible, should conduct or assist in
regional conventions or workshops.
Complete information on
candidates will be carried in the
March/April, 2 002, issue of The New
Calliope.
Bob "Bunky" Gratton, of Waldorf,
P"-"l'1J'--'t.... "-:,,.li,,,------,
MD, chairs a committee charged with
assuring that there are candidates for
every office in COAi.
To that end, he asks that persons
who decide to run for any office let him
know, so that the committee can
determine if any office has no
candidates. Reach Gratton at PO Box
787, Waldorf, MD, 20604, or email
gretton@bellatlantic.net
Wanted;
Convention
Bids for 2004
By Pat Roeser
Director of Conventions
At the annual COAi International
Convention in Saratoga Springs, NY,
this April ,the COAi Board will be
selecting the host alley for the 2004
convention. (St. Louis, MO, is the site
of the 2003 convention.). Has your
alley considered bringing a COAi
convention to your area? This may
seem like a long way off but takes time
to make committee selections,
organize, and promote this event.
Who can submit a bid for the
convention? COAi alleys that have
been active for at least three years are
eligible. All bids will be considered.
There are many benefits in hosting
the annual convention. Most
important: the ability to bring quality
education and competitions to clowns
in your region.
Specializing in:
• Wigs & Accessories
• Stickers
• Puppets
• Face painting
supplies
CHERRI-OATS AND COMPANY
Cheri V,11trri
P.O. Box 367 • Dutreh11, la. 70047
- IO
COAi requires $10 per registrant
out of the registration fee, but all
profits belong to the host alley. Many
alleys have chosen to donate to their
favorite charities, and most try to
provide the best convention at a
break-even point. The choice belongs
to the host alley .
For details and a Convention
Criteria booklet, contact me (address
page 3). It is important to get started
now; bid summaries are due to each
Board member one month before the
spring meeting.
30 The New Calliope

November/December , 2001
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The New Calliope 31

November/December, 2001
From the
President
By Cheri "Cherri-Oats" Venturi
COAi President
With the holidays approaching , I have been reflecting on
important dates in my life. All of the following events altered
the path that I was on. There were the happy events: my
marriage and the births of my children . There were the sad
events: the assassination of a president, the death of my
parents , and World Trade Center.The most recent was an
event that crossed all of our lives .
Where was I at the time? I was driving with Claudia Keener
to Clownfest. We were about two hours outside of DC, on
our way to Seaside Heights , NJ. I had stopped to get a cup
of coffee in the hotel lobby and saw what I thought was a
nuclear plant accident. As the horror unveiled , we sat with
strangers and stared at the television in disbelief.
As the cha in of events continued we got in the car like
robots and proceeded on our journey. Not knowing what to
do, we pulled over to collect ourselves. Our cell phones
were jammed , the public phones were jammed, nothing
was coming in or going out. We sat in our car and listened to
the radio as did everyone else at the rest area.
Should we continue? Should we turn around? We
continued. Finally we were able to get through to Vincent
Pagliano , the man who was in charge of Clownfest . What
was he going to do? After waiting about an hour , he called
and said we were going to continue as planned.
We arrived with heavy hearts and very troub led minds.
Where could laughter be hiding? Was this the right choice -­
to continue with the convention? Time was go ing to give us
our answer.
The week was carefully discussed among the staff and
the focus was changed. No silly pranks. Maintain a reverent
atmosphere . The education would proceed as planned.
Candlelight vigils and silent moments to reflect and pray for
New York and the world, were added to the schedule .
The participants started arriving. The classes went as
scheduled. There was a closeness that I have never
exper ienced in my life. We needed each other.
Clownfest ends on Sunday with a wonderful parade
down the boardwalk. This was their 20th year anniversary .
How could Vince conti nue with the parade? Wou ld it be
putting people at risk? How would the clowns react? Would
people find this an irreverent act? Would the public
understand that this is what clowns are trained to do? Would
we be able to help start a healing process? We were only a
group of a couple of hundred. Could we ease the pain?
The parade was to continue . We were instructed to be
warm, caring and respectful. There would be no outlandish
or out-of-place behavior .
The day was beautiful. The boardwalk was filling up with
people . The security forces were all over. The atmosphere
was electric and anxious. I had very mixed feelings about
participating. I didn't want anyone to think we were doing
this for ourselves or to minimize the situation that was not
more than an hour from us.
As the parade started down the boardwalk, I prayed to
God to keep us all safe and help us get through the next
hour. The band started to play "It's a Grand Ole Flag" and
th_e parade was off. The people along the way greeted us
with hugs , flags waving, and many tears.
Veterans of past wars were present, sitting or standing in
groups. Children too young to understand what had
happened were accompanied by loved ones. Families
hugged each other and stood close .
I will never forget the feeling of that day or the emotions
that greeted us when the parade ended. People came up
and thanked us for getting through the day. They all said
they needed to do something outside of themselves .
It was at this moment that I was reassured of the clown's
path in life. It was truly a confirmation for all clowning.
Clowns have many roles and many faces. The ones we put
on to help ease the pain is the hardest. We must put aside
all our own baggage and unselfishly give to others.
We were respectful of the situation and yet our mere
presence made a smile come to many faces. I was proud
that day for what every single clown offered of themselves.
We did make a difference and we will continue to make a
difference. We were able to start the healing process with
many people.
In the days that are ahead I would like you to remember
this _quote from the book , The Jester Has Lost His Jingle , by
David Saltzman:
"So when you're feellng lonely,
or sad or bad or blue,
Remember where laughter's hiding.
It's hiding inside of You!"
May you all have holidays filled with love, family and friends .
May your New Year be safe and healthy.
32 The New Calliope

November/December , 2001
Show Me Clowns For Jesus
National Conf ere nee
Openinf:y tfze, Vaar tlJ, 'Ministry,
DJl.aMian& 4: 3
February 15-17, 2002
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email : showmeclowns@juno.com
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The New Calliope 33

November/December', 2001
What to do
about tips
By Karen "Peppermint" Reinholt
P.O. Box 13187
Portland, OR 9721 3
email: Pepprmnttc@aol.com
Webster's Dictionary defines the word Tip as: "A
gift or a sum of money tendered for a service
a variety of cute buttons you can wear, small signs to
put on your tip jar, etc., to let people know that tips
are being accepted. It definitely helps to put a little
money in ahead of time (paper is better than coins) to
act as a reminder. (T. Myers offers a nice selection of
tip buttons.)
Sometimes restaurants will hire entertainment to
go from table to table during their peak family dining
hours. If th is is an ongoing booking (weekly ,
monthly , etc.), their budget is usually lower than the
going rate . The restaurant manager usually has no
problem with you wearing a button or sticker to let
people know you are accepting tips . Again, it is
imperative to okay this with the one who hires you.
performed or anticipated; a gratuity ; something given When in this type of dining atmosphere, remember
voluntarily or beyond obligation usually in .----------, to be careful not to disrupt anyone's meal.
return for or in anticipation of a service." And be mindful of the restaurant staff to
Whether our clowning is done as a
volunteered service or for payment, there
is always something special about receiving
a tip. It's a way for the client to show us
how much they enjoyed what we did or
appreciated how professional we were or
simply to say thank you for touch ing their
heart.
allow for the general flow of the waiters
and waitresses to continue around you.
If you go to an event expecting tips, you
might be setting yourself up for
disappointment. You might begin focusing
on whether you got a tip or not instead of
focusing on your job. Remember to always
thank someone who has just tipped you.
There are many professions that we
regularly tip . Waiters and waitresses, hairdressers ,
manicurists, doormen , valet parking, airport baggage
handlers, hotel bellhops -- the list goes on and on.
One of the reasons for tipping generously is to say
thank you for the level of service received. Another
reason is to make sure your baggage gets onto the
correct flight (the one going to the same destination as
you are!). And still another reason is that some of
these people are dependent on tips to bring their
wages to a decent level.
But should a tip be expected whenever we clown? If a
tip is offered, should we accept it? If asked how much
they should tip us, what should we answer? When is
it acceptable to set out a tip jar?
Let's take these one at a time. Some events ask the
entertainers to work for tips. This is usually done
when the event is on a tight budget and there isn't
enough money to properly pay the entertainers.
Sometimes they offer a small amount, other times the
tips are the only form of payment. When this is
agreed upon ahead of time with the event coordinator,
then it is perfectly okay to set out a tip jar. There are
However, when you are being paid by the event for
the time you are working, your services should be
offered free to the public you are entertaining. Once
your fee has been established and agreed upon, then
typically it is unacceptable to put out any kind of a tip
jar. In the event that someone offers you money (for
a balloon, face painting, etc.), it is important to let
them know that there is no fee for what you just
did ... that you have been hired by the event to be there.
If, at that point they let you know it's a tip, then it is
okay to graciously accept.
I perform at the Portland Trailblazers' and
Portland FIRE home games for their 2-hour pregame
festivities. When people offer me money, I let
them know that the Trailblazers have me there as a
way to say 'thank you' to all their loyal fans. At that
point, they'll usually ask if I accept tips. I always say
that it's not necessary, but yes I do. And then I thank
them!
I think it is important to never expect a tip. It is a
sure-fire way to be disappointed if the tip isn't
Continued page 3 6
34 The New Calliope

November/December, 2001
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November/December , 2001
Tips --
From page 34
offered . A tip is exactly what Webster's Dictionary
defines it as· "something given voluntarily or beyond
obligation." It should be a surprise, a delight, the
frosting on the cake, so to speak.
Now, let's talk about tips.at birthday parties. The
parent calls, finds out what you do and what you
charge and everything is set up. Sometimes the
parent will ask, "do I tip you?" or "how does this
work as far as tipping is concerned?" or "how much
do I tip you?" Tough questions. (Again, please
understand that even if you receive a tip at one
birthday party, it does not mean you'll get one at the
next.) I'm sure there are a variety of ways that we
all answer those questions. But let's take a look at
what's happening here. The parent is unsure as to the
protocol for tipping or not tipping or how much to tip
a private entertainer . They are looking to us for the
correct answer. I have found there are several ways
to handle this.
First of all, I have set my prices for birthday
parties at a level that I feel is appropriate for the
entertainment I offer. We've already discussed
pricing your parties to include travel expense (if
necessary), extra fees for larger groups of children,
etc. (The New Calliope, May/ June 1999), so the
price you quote the parent should be an amount you
are happy with . If it is, then chances are you aren't
expecting a tip to justify whatever entertainment you
are offering .
When a parent includes a tip in with my payment,
of course it is a like receiving a present . I love tips!
But I don't expect or anticipate them. When a parent
asks me if they should tip me or how much they should
tip me, I say that tipping isn't necessary; that it is
entirely up to the parent. There really is no set
amount, nor anticipated amount. In fact, my favorite
thing to tell parents is "The best tip you can give me
is to have me back and give my name to your friends."
And I mean that. That is the sincerest way of letting
me know they enjoyed what I did -- to book me again
and again and again, and to recommend me to their
friends.
Birthday parties generally are not thought of as
big tipping situations. I usually receive my fee as I
am leaving with their heartfelt thanks. If they've put
the money in ahead of time (which is what I suggest
they do) so that it is ready and waiting for me, then
the envelope is usually sealed up prior to my
arriving. Sometimes they'll open it up and add extra
cash as a tip. Sometimes they've already written the
check to include a tip. Other times, they'll just hand
me something extra as I'm leaving. But the majority
of the time (at least as far as my birthday parties are
concerned), I receive my fee with no tip. But that's
okay, because these are the families who have me back
over and over again. That is their way of telling me
I've done a good job.
When an entertainer expects tips, it can start to
cause problems. Several years ago, I had a parent call
to book me for a party. She had already secured
another entertainer. However, when she received the
booking confirmation in the mail requesting the
deposit, it also said that tips could be added at the time
the final payment was made (on the date of the party).
This parent understood this to mean that a tip was
expected. She was unhappy, because she didn't like to
feel that she had to give a tip. Consequently, she called
and canceled the other entertainer and was now on the
phone trying to find someone else.
Because this other performer is a friend of mine, I
called and talked to him about what had happened. He
explained that the sentence about tipping was in his
booking confirmation because so many people asked
him about it that he felt it was easier to simply write
it in a place they were sure to read it. This might
have been an isolated reaction by that particular
mom, but it is something to think about in how we
respond to questions about tipping.
Sometimes a parent will add $5, $10, $20 or
more to your fee. Sometimes they add it onto the
check they're writing. Other times they'll slip the
extra cash into the envelope for you. A tip might be
calculated for 1 5 or 20 percent, or it might just be a
little extra added on.
There are families who can barely manage
financially to pay your fee. Then there are families
who could have paid you two or three times your fee
and never blinked. Whatever their financial situation
is, what we are there for is to provide the best
entertainment we can for their child's birthday party.
The tip should never be expected, anticipated, counted
on or demanded. It is a show of appreciation beyond
obligation.
As always, have fun with your clowning!
36 The New Calliope

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The New Calliope 37

November/December , 2001
Traveling in a country outside the United
States introd uces you to exciting new sights and
sounds. But traveling as a COAi International
Ambassador enables you to make new and
fascinating friends who are themselves clowns .
Becoming a COAi International Ambassador is
simple. Just write to:
Forrest Wheeler
PO Box 283
Vernonia, OR 97064
He will act as your mentor in becoming an
Internatio nal Ambassador. You will receive by
return mail all the informatio n you will need. You will
receive an indentification badge with your name
and the name of the foreign country. This will
become your "passport " and your introduction to
meeting clowns . An International Marketing
Director will contact the foreign country 's
ambassador to arrange your visit to that country, to
meet clowns . You will be provided a contact list of
clown names in that country.
Among COAi members who recently became
International Ambassadors are Brenda "Buttons"
Pollard of Pocatello , ID, and Shirley "Polka Dot "
Bludeau, of Houston , TX. Buttons and three other
members of the Idaho Spuds Clown Alley went to
Spain, while Polka Dot went to Japan when her
husband took a job in Tokyo.
COAi ambassadors at work
From Japan:
By Shirl ey "P olka Dot" Bludau
Meguro Suns hi ne Hills # 103
Megu ro-ku Tokyo 153-00 62
Japan
Up until last yea r I practiced dental hygiene in Houston,
TX, for 24 years . As a member of Cheerful Clown Alley 166,
I participated at parties for ill and disabled children and at
fund raisers for non-profit organizati ons, as well as hospital
visits and church bazaars . Working and other activities
prevented me from clowning as much as I would have
wished. A little more than a year ago this all changed. I
resigned my job to move to Toky o with my husband. This is
the biggest adventure and challenge I have ever faced .
After settling into my new home, I was in an enviable
position. I did not have to work. I was faced with a new
dilemma --what do I do now? Fortunately , through my
friends with the Cheerful Clowns , I learned of the COAi
Foreign Ambassador program . I applied for an
ambassadorship. When I got the appointment, I was ready
to'"work ." I just knew everyone would want a volunteer
clown.
But I quickly realized that clowning is much like the other
challenges I face in Japan. Through Brook Spencer at the
Tokyo American Center, one of the conta cts suggested by
COAi, I learned clowning is not a part of the Japanese
culture, so there are no Japanese clown organizations. Mr.
Spencer did provide me with a list of other organizations to
contact, but I continued to reach many dead ends.
38 The New Calliope
The liaison from the U.S. Embassy in Tokyo, Jennifer
Watson, gave me my most valuable contact, Fred "Mr. Hapi"
Collins, with the Kanta Klowns. This is a volunteer
organization made up of only 12 memb ers. The y are all
military employees who work on the various American bases
located in the Kanta Plain, which covers some 800 square
miles. Most of the members are American, but there are
some Japanese clowns. Thei r activities include clowning at
non-profit affairs and visiting hospitals and orphanages. Mr.
Hapi is the boss clown, with almost 50 years of clowning
experience.
My first opportunit y to clown in Japan was a gig with the
Kanto Klowns. Taking a Tokyo subway in clown is
impossible without being mobbed . It is necessary to pack
one 's entire makeup , costume and supplies and travel to
the event and dress close to the fun ction.
This first gig gave me the opportunity to get acqua inted
with Mr. Hapi , and with Norika "Peko Peko" Ohgi and Doug
"D.H." Harriman . Peko Peko and D.H. have four years of
clowning experience and truly possess the heart for
clowning . They were first introduced to clowning through
the Kanta Klown training at the military bases . The training is
given for military employees to provide community support
to fore ign cou ntries in which they are stationed .
We entertained at a party hosted by the U.S. Embassy
for newly transferred employees and their families. Our
activities mostly involved walkaround and balloon art. The
American children were pleased to see familiar clowns . The
Embassy said we were the highlight of the event.

During the Christmas season I had
my first experience clowning with
Japanese children . I participated in an
orphan 's Christmas party given by the
Franciscan Chapel Center 's women 's
group. The children were 5 to 16 years
of age from the Seibi Home, an
orphanage an hour and a half from
Tokyo by bus. Although live clowns
are not common in Japan , the children
immediately recognized the "pierrot. "
Eighty excited, laughing children
surrounded me. For many, this was the
first time to see a clown in person . I was
almost bowled over by their
enthusiastic welcome .
I did face painting and joined in the
children's games. One little girl wanted
to give me one of her bingo prizes ,
since she had won twice . How
generous, when she has so little.
Their smiles and sparkling eyes were a
joy to see. Although my Japanese
language skills are very limited, I found
smiles and laughter are a universal
language. I have never before been so
well received at a gig. This party was
the most rewarding clowning
experience I have ever had.
Last spring, I was invited to assist
Mr. Hapi with a Kanto Klown training at
Yokosuka Naval Base. There were
12 new joeys in the class . The clown
training is scheduled around troop
deployment , so there is not a very rigid
schedule. I gave a makeup application
demonstration and later assisted with
the first makeup application session. It
is always exciting to see a new clown in
the making. Even with the new joeys
receiving training, the Kanto Klowns
still stays a small group because of
military transfers.
My clown activities in Japan have
Polka Dot and Japanese friends
been limited, but I have eagerly
anticipated all of them. I do appreciate
the opportunities I have had to clown
in Japan with Western and Japanese
children. With my new contacts, I plan
to have more clown gigs in the future.
With all the challenges and changes I
have had this past year, it was nice
having clowning to provide me with a
constant. It gave me the comfort of a
very familiar activity when most of the
things around me were so strange and
different.
From S]Xlin.·
By Brenda "Buttons" Pollard
11 s Taft
Pocatello, ID 83201
Spain is the land of enjoyment.
Forget the early morning rush -- even
McDonalds refuses to open until
11 :30 a.m. We relaxed and enjoyed it.
The main focus as COAi ambassadors
to SP,ain was to visit the famed Club
Payasos , the group of more than 300
clowns with headquarters in Madrid.
We found the club 's address on
our map, and walked until we found
the address -- an apartment complex.
We were attempting to get in when a
fellow came out of the door. We
caught the door behind him and snuck
in, and found apartment 3B with
welcoming white faces painted above
Idahoans and Spanish joeys: Which are which?
the door.
Once inside, we had a
communication problem. Their broken
English and our can't-be-fixed Spanish
left us communicating in one or two
Continued next page
The New Calliope 39

November/December, 2001
Spain --
From preceding page
phrases. But hey! We've all done a little mime work, right?
When we pulled out our postcard photo, the energy level
in the room changed. We spent the next hour and a half
with the most delightful group of clowns I have ever been
with. We toured the clubhouse and visited their library. One
of the club's members is a painter, and most of the clowns
we met had their character painted and framed on the walls .
We gathered some of the ideas for our alley headquarters .
Of course, it wasn't long before they were pulling out
the treats. They served us sodas and hot potato chips -- the
way we would serve hot popcorn. We presented them with
the traditional souvenir issue of The New Calliope and took
pictures in various funny poses. In costume or out, there is
something classically fun about a clown.
We didn't stop with just one club. though.Our touring
included Richard Shurman's School of Clowning for
Juveniles at Casa de Campo. He has a marvelous setup in a
giant circus tent complete with classic circus billboards,
funny mirrors and performing equipment.
There were several street performers who were eager
to speak to fellow clowns as well. We exchanged business
cards, twisted tips and other vital career information. One
~ Big Nose Productions ~
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The picture of "Uncle Willy" with the
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We are taking appointments
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Don't forget your smiles
of the street performers has a regular performing career but
does street performing to earn extra money for passage to
America , where she hopes to further her entertai ning
career.
We checked yellow page ads and got some great ideas
of activities we could add to our routines . We even hosted
two magic shows, one in Toledo for a family we met during
the trip , and we had booked one in T enerife before we left.
It was great to be in Spain. What's the life-changing
secret I learned there? Clowning is an international
language of its own.
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40 The New Calliope

Last walkaround
Leone "Sparkles"Stearns
By Mary O'Brien
Idaho Gem Jesters #313
Leone "Sparkles" Stearns made her last walkaround July
12th, 2001, in Eagle, Idaho. A member of the Idaho Gem
Jesters , Sparkles was a charter member of what is now
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Sparkle's secret weapon was hidden beneath her quiet,
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hilarious when she said or did something outrageously silly.
The sneak attack slayed many of her fans.
In or out of costume, she was kind, thoughtfu l and loyal
to the alley, even when fighting cancer. Her friends and
fans will remember her with an annual Sparkle Award,
funded through an auction, given to the alley membe r most
representing her spirit of giving and kindness.
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The New Calliope 41

November/December , 2001
How about
A Yule elf?
By Margaret "Maggie the Magical Clown" Clauder
918 Wayland Dr.
Arlington, TX 76012
funnybuslness@yahoo .com
About 1 o years ago I decided to put together an elf
character for my Christmas parties . I had been just doing a
Christmas Clown character, so this was an easy transition for
me, and can be for you as well.
First you will want to make an elf costume. This need not
be an expensive costume . A red and white striped or solid
red long sleeved shirt is the first thing you need . I use a shirt
with a turtleneck collar . On top of the shirt I wear a green
vest. I like a green velour or velvet lined in red satin with a
green satin lapel.
For the pants I wear pantaloons -- short pants cut off right
below the l

November/December, 2001
"Here Comes Santa Claus," or say the
magic words "Merry Christmas," or
something of that sort to make Santa
appear. Then Santa has the
introduction and the respect, which he
so rightly deserves.
I think balloon sculpting or face
painting may be appropriate for you to
do for children AFTER they have sat
on Santa's lap and had their picture
made. Remember if you face paint
children BEFORE they see Santa they
run the risk of rubbing paint off on
Santa's pretty white gloves or fur. Also
children frequently smear their face
paint, which would not look good for
photos with Santa. Your client will
appreciate your thoughtfulness when
you point these little things out to
them.
storytelling to your show. My favorite
story that I tell is "Too Many Toys" by
Betty Clark. This is a story about a boy
who had nowhere to sleep or play
because he had so many toys. He
ends up donating them all to Santa
Claus one year when Santa had a
computer error and was short quite a
few toys. This is a rhyming story that
you must memorize for it to sound
right. I love telling this one, especially
in the overly affluent North Dallas
neighborhood parties. Yes, I am a
devilish elf too!
Another cute story is "Olive the
Other Reindeer " by Seibold/Walsh.
This is a story about a little dog named
Olive that thought she must really be a
reindeer when she kept hearing the
song sung "All of (Olive) the other
reindeer." She went to the North Pole
and had an adventure with Santa.
I hope you have a wonderful
Christmas and remember the most
important thing of all-- to be with those
we love.
SPEAR'S SPECIALTY SHOE CO.
12 Orlando S~reet • Springfield, MA 01108-2412
WEB PAGE: www.spearshoes.com
E-MAIL: spearshoes@compuserve.com
As an elf, if you wish to perform
there are manyholiday type magic
tricks you can purchase to put
together a Christmas show.
If you own a change bag you can
always do silk magic with red, white and
green silks. Put them all into your bag
and produce a candy cane out the
other side, for example.
We maintain "ready-to-ship" in-stock
inventory of assorted styles and sizes
There are Santa hat tears available
from magic dealers. I use these as
walkarounds for my elf character but
also use them in my elf magic show as
well.
There are nesting candy cane magic
wands that you can use, a foam
Christmas tree or snowman for your
dove pan (Peachey Keene props), red
or green light up thumb tips (Dflitefs)
that can be magic Christmas lights.
It you like puppets have one of your
friends sing a Christmas song for the
children. The old "All I Want for
Christmas is my Two Front Teeth " is
always a cute one. There is also a cute
song titled ''I'm Getting Nothing for
Christmas" that my little boy puppet
sings. Go to your local music store and
look for these titles on older Christmas
albums.
Finally, you may wish to add
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The New Calliope 43

November/December, 2001
Storyline magic
By Steven Bender
Alias Mr. Pickle of lckle Pickle Products
There's a new effect on the market from Practical Magic
of England called Christmas Lights. What you receive are
four silks: one white , one white with the outline of a tree ,
one blue with a green Christmas tree , and finally one blue
with a green Christmas tree with red stars all about it. You
also receive a light-up thumb tip.
All you need to add to the silks is a change bag or a tote
bag and you're ready for Storyline Magic. Begin by having
the white silk on one side of the bag and the other three
silks on the other side. Tell the children you 've drawn them
a special Christmas picture and ask if they 'd like to see it.
Pull out the solid white silk. "Does anybody know what
this is a picture of?" If nobody guesses , then you tell your
audience it's a Christmas tree in a snowstorm . "What do you
mean, you can 't see the tree? Of course you can't. There 's
a snowstorm going on ."
"Okay, who wants to see the tree?" Hands up. "I'll place
my picture in this empty bag.:" Show bag empty. "Hands up
if you can draw a Christmas tree." Select someone to be
your artist. "Now draw the tree in the air so everyone can
see it properly. That's good . Now let's try to transfer your
picture into the bag."
Take your wand and act as though you 're grabbing the
painted picture and tossing it into the bag. I use a black
wand for this. Pull the picture of the black and white tree
from the bag.
"Hey, look.at that, it's good. Excellent job. All that's
lacking is some color. Who would like to see the tree in
color? For this we will have to use a green magic wand (or a
green magic silk.)" Toss the black and white tree into the
bag on the same side as the solid white silk and then have
your helper wave your· green wand over the bag or toss
your green magic silk into the bag. Now also add a blue silk
to the bag. Then pull out the blue silk with the green tree.
"Well, look at that. You did it! Pity it isn't decorated.
Hands up who thinks we should decorate the tree. What, all
of you! I know, let's decorate it with magic lights. We'll put
the picture back in the bag. Now, where are the magic
lights? Ah, here 's one . And another. And another!"
As you "catch" each light, drop it into the bag Take your
time with this because the effect is quite magical .
"There are lots of lights in here, so let's shake them up."
Remove the final silk with the green tree covered with red
stars. "Look at what we've managed to do. I hope your tree
at home turns out to be as beautiful as the one we made
here today ."
If you prefer , you could put the Blinkin' Clown nose on
yourself and stick your nose into the bag and then pull out
the tree covered with red stars. I see this as an item that
lends itself perfectly to Storyline Magic.
U.S. Postal Service
Statement of Ownership,
Management and Circulation
(Required by 39 U.S. C. 3685)
1. Publication Trtle: 'The New Calliope
2. Publication Number: 010-498
3. Filing Date: Oct.1, 2001
4. Issue frequency: Bimonthly
5. Number of issues published annually: 6
6. Annual subscription price: $15
7. Complete mailing address of Headquarters or General Business office of
Publisher: P.O. Box C Richeyville, PA 15358-0532.
Contact Person: Shirley Long
Telephone: 724-632-3214
8. Complete Mailing Address of Headquarters or General Business Office of
Publisher: Clowns of America International , P.O. Box C, Richeyville, PA
15358-0532
9. Full names and Complete Mailing Address of Publisher, Editor and
Managing Editor:
Publisher: Clowns of America lntemationalP.O. Box C, Richeyville, PA
15358-0532.
Editor: Cal Olson, 2000 Outer Dr. N., #523, Sioux City, IA 51104.
Managing Editor: Cal Olson,2000 Outer Dr. N., #523, Sioux City, IA 51104.
10. Owner: Clowns of America International, P.O. Box C, Richeyville, PA
15358-0532.
11. Known Bondholders, llllortgagees, and Other Security Holders Owning or
Holding 1 Percent or Wore of Total Amount of Bonds, M:>rtgages, or Other
Securities: None
12. Tax Status (For completion by nonprofit organizations authorized to mail at
special rates). The purpose, function, and nonprofit status of this organization
and the exempt status for federal income tax purposes: Has Not Changed
During Preceding 12 M:>nths.
13. Publication Trtle: The New Calliope .
14. Issue Date for Circulation Data Below: Septernber,October 2001.
15. Extent and Nature of Circulation Average No. Coples Actual No. Copies
Each Issue During of Single Issue
a. Total No. copies (net press run) 5,427
b. Paid and/or requested Circulation
(1) Paidhequested outside-county mail
subscriptions stated on Form 3541
(include adverttiser's proof and
exchange copies)
5,080
(2) Paid in-county subscriptions (Include
advertiser's proof and exchange
copies
0
(3) Sales through dealers and carriers,
Street vendors, counter sales O
(4) Other classes mailed through USPS 121
c. Total paid and/or requested circulation 5,201
d.. Free distribution by mail
Preceding 12 mos. Published nearest
to filing date·
4,900
4,692
0
0
90
4,782
1. Outside county 167 98
2. In-county O O
3. Other classes mailed hrough USPS O 0
e. Free distribution outside the mail
f. Total free distribution
O
167
O
98
g. Total distribution 5,368 4,880
h. Copies not distributed 59 20
i. Total sum of 15g, 15h (1), and 15h (2) 5,427 4,900
Percent paid and/or requested circulation 96.89 97.99
16. Publication of Statement of Ownership Publication required. Will be
printed In the November/December 2001 issue of this publication.
17. Signature and title of editor,publisher , business manager or owner
Shirley Long, Business Manager. Date 10-1-01
44 The New Calliope

November/December , 2001
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Effective July 2001
The New Calliope 45

November/December, 2001
International
view
•
By Andrew "Kooky" Stevens
COAi International Vice President
kooky-clown@tlnyonline.com
If you remember the last article I wrote (The New
Calliope , September/October , 2001) , I set the question :
What would you do in a certain situation? I am not going to
go into details again now; the story continues . As I said last
time, I always run the whole party.
I had been forewarned that the guests were all boys
arriving together straight from school. Luckily for me, some
of the boys had seen me before and knew what was in store
for them. This may sound strange , but it was good for me,
as these were my allies.
I always write out sticky name tags so that I know who is
who, and this I set about doing and setting the party
atmosphere , which did not take long as these boys were
just so OTT. I decided to rearrange the whole planned
routine; instead of my opening bag routine followed by
some party games, I went straight into the games in an effort
to burn off some of this excess energy and excitement.
The games were faster than usual with rewards for
those who were calming down. I was going all out to wear
them down as fast as possible. I had better explain here
that all the party games that I play are non-competitive ; in
other words, everyone wins each time , and receives a small
candy or sweet. You may not agree with the handing out of
sweets , but they work for me .
After about 20 minutes of these fast and furious games
on a hot day, the boys were ready to drop and wanted a
rest. They were not complete ly exhausted, but were
certainly ready to sit down and get their breath back. I now
did my opening routine and it went well, as it was quieter . I
had won them over . To be honest, when they first arrived I
was in a panic as I never thought they would ever settle
down .
After abouf 45" minutes r stopped for the children to
have some tea or food. Then I carried on during and after
tne food for another 45 minutes. After tea or food I was still
prepared to step.in with some more games if required had
the boys started to get over-e xcited again.
Now every childre n's entertainer wants any adults who
are attending to see just how good they are and just how
much the children are enjoying themselves . This often
means getting the children very, very excited . As I said
before , most good children's entertainers can get the
children they are entertaining excited. The real sign of a
good entertainer is if they know how to calm the children
down without the children going OTT . I find that offering
sweets or candy plus the fact that some of them may be
able to help me later in the party works .
This is only one of the reasons why I like to run the
whole party usually two hours. It gives me the opportunity
to see who is over-excited or unsure . It also allows me to
show any adults watching how a good entertainer
entertains with getting the children excited but calming
them down as and when required .
Occasionally I do come across the one child who is
hyperactive, who just can't or won 't settle down , no matter
what anyone says. These children are a problem and each
one has to be dealt with individually . There is no formula on
how to handle them . -- unless you have an answer . If you
do, let me know .
There is one thing , however, that you should be aware
of, and that is YOU are in charge of how excited these
children get. I know it looks good if they are all screaming
and shout ing and laughing so loud, but are you in control
enough to calm them down when you need to? Or are you
hoping to leave this to someone else?
Which clown would you book: 1. The clown who got the
children so excited they were almost uncontrollable and
then left; or 2. The clown who got the children exited but
then calmed them down before leaving . I am sure if you
were a booker you would go for number two.
This is the kind of thing that the mothers like to see
when they come to pick up their child: a child who is
bubbling with excitement about what a great time they have
had, not a child who is boiling over with excitement and is
almost uncontrollable. Remember, personal
recommendation is the best way to get more work . It costs
nothing and it works .
Finally, respect your audience -- it's a party and parties
are meant to be fun. The children should get excited and
want to be excited. It is up to you to control just how excited
they should get to ensure that everyone talks about what a
great party it was, what a great job was done by the clown.
Not what a disaster it was as the clown got the children so
exited and then couldn 't control them .
Good luck with your parties. I know you will have fun .
46 The New Calliope

November/December , 2001
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· The New Calliope 47

November/December . 2001
Photographer Robert
Marshall made th is photo
at the South East Clown
Assn. 2001 Convention
two weeks after the terror
ist attacks in New
York and Washington.
Subject is Will iam "Uncle
Willy" Medeiros, a Native
Ameri can.
Photographer Marshall
and Uncle Willy decided
to offer prints of this
powerful picture for
sale, with the money
going to the Red Cross
to aid attack victims in
New York. Prices:
5x7" -- $15 .
8x10-- $20
11x14--$50
16x20--$100
Send tax deductible
check to:
Big Nose Productions
7839 Battlecreek
Houston, TX 77040
Periodical Postage
Paid at Bluffton, Ohio
Clowns of America International
Richeyville , PA 15358
November/December , 2001
Volume 18, Number 6
48 The New Calliope