March_April_1988

Clowns of America International, Inc.
Lake Jackson, Texas
March/April , 1988
Volume 5, Number 2
Introducing
Candidates
for COAi
Offices

March/April,1988
From the Editor
The summer of 1984, when COAi was formed and we took
on the task of producing The New Calliope, seems like
a long time ago. Looking back over those four years we
can see we made many improvements along the way. Professional
typesetting and layouts made the magazine look
like more than an office newsletter; with color covers we
were able to show off clowns to fuller advantage; contributions
from many members made the publication more wellrounded
and added depth. So, it is with some satisfaction
that we retire from this job. This March/April issue is our
last; a new staff will produce the May/June issue.
Recently we have begun to look forward to this issue more
and more eagerly. When it is finally in the mail, we'll be
free to find other new projects. I'm looking forward to continuing
my study of the Japanese language. In anticipation
of more free time, last weekend I made my rounds
of my favorite bookstores. I have a nice pile by my reading
chair now, enough to last me through many rainy spring
days. This summer I expect to find more time for camping,
and I'll spend one week on an archeology dig. After
that, maybe I'll be ready to think about a new clown skit
for next fall.
By the end of March, the new editor will have been chosen.
President Hunter Stevens received two bids in answer to
the call for bids published in the November/December
issue. The Board of Directors will select one by a majority
vote. We hope all members will support whomever is
chosen in both spirit and deed. The new editorial staff
will need members' contributions and suggestions. There
is no backlog of material; we have published almost every
suitable article we have received. Continued publication
depends on new articles from you .
On behalf of the present New Calliope staff, I would like
to say thank you to members who contributed articles in
the past. Without your help, there would have been no
magazine.
In this issue we used the new design for our masthead
on the front cover, too. The decision was based on a disappointingly
light vote: 12 in favor, 3 against. We like the
new look and thank Sandy Weber of Highland Park,
Illinois, for the design.
We only hope lack of interest in the design issue and so
few people running for COAi offices is not an indication
of a growing apathy. COAi can only be successful if all
members take an interest in their club and act: write articles,
plan conventions, run for office, ask questions of
their officers, and offer suggestions to the Board through
their regional Vice-Presidents.
Now that I'm about to become just a member again,
perhaps I'll write a letter to the editor. Until then -
Happy Reading,
Ruth Erkkila
Thca1 i=-••••
••••
•
THE NEW CALLIOPE is published by Clowns of America
International, Inc. , P.O. Box 570, Lake Jackson, Texas
77566-0570 for members of Clowns of America International,
Inc. Ente red as third class mail in St. Paul,
Minnesota.
Editorial Office: P.O. Box 75248, St. Paul, MN 55175
Editor: Ruth Erkkila
Editorial Staff: Betty Cash, Tom Oswald,
Cleo Timmis
Correspondence, regarding contributions for future issues
of The New Calliope or advertising in The New Calliope,
should be sent to the Editorial Office. We are not responsible
for unsolicited articles or pictures unless accompanied
by a self-addressed envelope and return postage.
* * * * *
Clowns of America International , Inc. Annual Membership
Fees:
U.S.: $15.00
Foreign : $18.00 (U.S. Funds)
Junior : $15.00
Family Membership: $7.50 for second and additional
members of one family.
(Foreign $9.00)
New Members: Other than family, add $5.00
initiation fee to above rate.
Late Renewals: Add $3.00 late fee.
Send all membership fees to the Clowns of America
International, Inc., P.O. Box 570, Lake Jackson, Texas
77566-0570. Make all checks payable to Clowns of
America International, Inc.
* * * * *
Advertising Rates:
Full Page ..... .. ............. ... .. $125
Half Page ....... . ... .. . .. . ....... $ 70
One Fourth Page .............. . . .. $ 40
One Eighth Page ........... . . ..... $ 25
Camera ready copy is requested. There will be
additional charges for ads not camera ready.
Send copy and payment to: Clowns of America
International , Inc., Editorial Office, P.O. Box
75248, St. Paul, MN 55175. Make checks
payable to Clowns of America International, Inc.
Only pre-paid advertising will be accepted.
Deadline for the May/June
issue is ......... ...... ... . April 1
Deadline for the July/August
issue is ... . .. . ...... .. ... . June 1
2 The New Calliope

• •••
If ·:pe
••••
•
Published for members of Clowns of America International, Inc.
March/April, 1988
March/April, 1988 Volume 5 Number 2
Board of Directors
PRESIDENT ......... Hunter Stevens, 1342 Sylvan Way, West Bend, WI 53095 ........ (414) 338-3569
EXEC. VICE-PRES .. . Dennis Phelps, 5340 So. 67th St., Lincoln, NE 68516 ............ (402) 421-2167
TREASURER . . ...... Donella Hoffman, 965 E. Geranium Ave., St. Paul, MN 55106 . . ... (612) 776-5520
SECRETARY .... . .. . Myrtle Folderauer, 3555 Elmora Ave., Baltimore, MD 21213 ....... (301) 563-0626
SGT-AT-ARMS ....... Walter R. Lee, 1347 Ava Road, Severn, MD 21144 .............. (301) 569-7830
DIRECTORS ......... Arnold S. Firine, 1315 Boulevard, New Haven, CT 06511 ......... (203) 624-0438
French B. Harvey, 7241 Connan Lane, Charlotte, NC 28226 ...... (704) 541-8227
Barbara Maher, 2530 El Rancho Drive, Brookfield , WI 53005 ... .. (414) 786-7363
Patricia Roeser, 1536 - 14th Avenue, St. Paul Park, MN 55071 .... (612) 459-4246
REG. V. PRES . ...... Betty Cash, 2181 Edgerton St., St. Paul, MN 55117 .......... ... (612) 771-8734
Robert L. Berry, 7203 Trescott Ave., Takoma Park, MD 20912 ..... (301) 270-9094
Tanya Nelson, 1037 Mitscher Drive, Key West, FL 33040 . .. .. .... (305) 296-9616
Pedro Santos, Box 3859, Bayamon Gardens Station
Bayamon, Puerto Rico 00619 ............................ (809) 786-3759
Allen Pearson, 5291 Ogden St., San Diego, CA 92015 ........... (619) 582-7795
Thomas S. Oswald, R.R. #13, Lakeshore Drive,
Thunder Bay, Ontario P7B 5E4, Canada .............. . .... (807) 983-2032
PERM. BD. MEMBER. Bill Bailey, 200 Powelton Ave., Woodlynne, NJ 08107 ............ (609) 962-8957
CALLIOPE EDITOR ... Ruth Erkkila, P.O. Box 75248, St. Paul, MN 55175 .............. (612) 293-1595
Contents
From the Editor .... . .. ........... .......... .. . 2
Letters . ... .................................. 4
From the President ....... . . ..... ... ........ ... 5
Conventions ................. ........ ... .. . .. . 6
News From Orlando . ...... ..... ... ... ...... . .. 7
British Airways Sponsors Dreamflight ..... . ..... . . 7
1988 COAi Annual Convention ................... 8
Meet Brenda Johnson ............ .... . . .... .. . 10
COAi Building Blocks for Education .............. 12
Fighting To Be Top Banana .................... 14
Ballooning for Big Bucks ...... . ............... 15
The Decision of a Clown . . ....... . ............ 19
Ringling Bros. Clown College Reunion .......... . 20
A Spontaneous Clown Skit ..................... 22
Oscar is Onward to the Big Top . . . . . . . . . . . . . . . . 24
In Praise of Folly ..... . ..................... . . 27
Meet the Editor ............................ . . 29
Candidates for Office in COAi ................. . 30
Last Walk-A-Round ............. .. . ....... .. . . 38
ON THE COVER
Brenda Johnson's family and friends in Lacrosse, Wisconsin, could hardly
believe it when she announced , "I'm running away to join the circus."
To learn more about how that happened , please see page 10.
The New Calliope 3

March/April,1988
Letters. • •
I did not receive my November/December issue of The
New Calliope. Also I would like to receive the issues before
the information on the conventions is obsolete. I received
the January/February issue February 13th. That, in my
opinion, is a bit late. Please send me my missing issue
and mail my issues a lot sooner.
Thank you,
Jack Jennings
Portland, Oregon
Dear Editor,
I am six years old and have been a clown for about four
years. I like doing skits best of all. Levitation is the one
I like best. Thank you for putting my picture in The New
Calliope. I wish it was in color because I am cuter than
my dad. Do you know when my picture will be on the
cover? I want to do whatever I have to because I really
want to have my picture on the front cover.
A little clown
Li'I Tippy Oswald
Thunder Bay, Ontario
Editor's Note: We receive several letters from members saying they
haven't received a particular issue before it is even mailed. We appreciate
the enthusiasm with which members await their New Calliope, however,
you should know that we try to mail each issue in the middle of the
period of the date on the cover. For example, the March/April issue will
probably be mailed toward the end of March. Members should receive
their issue at the end of March or the beginning of April. Sometimes,
however, there are delays at the post office. Occasionally I have waited
1½ weeks for my issue to come, and I live only three blocks from the
post office where they are mailed, while members in Milwaukee or
Washington, D.C., have already received theirs.
Members can help to insure that their magazines arrive promptly by
informing us of any errors on their mailing label. Please write immediately
to the COAi office in Lake Jackson, Texas, even if the mistake is only
one digit of your zip code. Also, renew your membership promptly to
make sure your name is not deleted. If it is de leted, it must be entered
again when you renew late. T his always means you may have missed
one or more issues and that there is a possibility of error In re-entering
your name. Most important, please inform us promptly of an anticipated
move. Although we have requested the post office to forward magazines
and inform us of the new address , this does not always happen. And
we need this information early; mailing labels are printed several days
before the mailing date. They need to be mailed to the mail house, the
labels affixed to the magazines, the magazines delivered to the post
office, and then finally they are on their way. Please send all changes
of address to the COAi Business Office, P.O. Box 570, Lake Jackson,
Texas 77566-0570.
* * * * *
I really enjoy your articles, especially in the
January/February '88 issue the one about Curly Robbins.
Who says a tramp can't make the cover? It's great to be
informed on clowning and how it has changed during the
years. It takes great dedication and determination to represent
clowning as it should be. To serve the public as he
did (as a police officer) is hard enough, besides being a
clown. Hats off to Mr. Robbins and thank you. As I read
I understood clowning is much more than make-up and
good costume. How to be a clown takes special attributes,
and those come from the heart and soul.
4 The New Calliope
Your fellow clown,
Keys
Allen Park, Michigan
* * * * *
Dear Li'I Tippy,
I am afraid you will have to wait until you are 16 years
old. To be featured on the front cover the way your dad
was on the cover of the November/December '87 issue,
you must be a member of Clowns of America International
and you must be 16 years old before you can be a member.
I apologize to you and all your friends for the black and
white picture on the back cover. We changed from color
to black and white on that issue to save a little money.
We have had more members renew their memberships
now and have gone back to the color covers, both front
and back .
Sincerely,
Ruth Erkkila, Editor
* * * * *
Interested in Back Issues?
There are still some remaining copies of back issues of
The New Calliope. To obtain an additional copy of a favorite
back issue or augment your collection with a missed issue,
enclose a check for $3.00 (U.S. funds) per copy made out
to COAi and send to the Editorial Office in care of Thomas
S. Oswald, P.O. Box 75248, St. Paul, MN 55175.
The back issues still available are:
1984
July/August
September/October
November/December
1985
March/April
May/June
July/August
September/October
November/December
1988
January/February
1986
January /February
March/April
May/June
July/August
September /October
1987
May/June
July/August
September/October
November/December

From the President:
The holidays are over and I hope everyone had a great
holiday season. I know from the correspondence I received
that it was a very busy one all over the country and also
overseas.
I'm now preparing to go to England for the Fourth Annual
Clowns International Convention in Bognor Regis
representing COAi. From what I have been told, many
American clowns are also going to enjoy the hospitality
of our English peers. I know they won't be disappointed.
Even though we have lost out in the exchange rate
recently, it is still a terrific bargain , not to mention a great
experience . They are even honoring us with an American
Spectacular showcasing all American clowns in their own
performance. So, bring your skits along. You are welcome!
I am one of the directors of the proposed Clown Hall of
Fame in Delavan, Wisconsin. I should not say proposed ,
as we have a facility that is open to the public in downtown
Delavan. It will be open seven days a week starting May
1, 1988. I would like to tell you that great strides are being
made and the actual building should be started with two
years.
This year we will be embarking on a major fundraising
drive to raise the funds needed for construction of this
facility. Now in the interim, we are working on the method
to be used to make everything run smoothly and be
acceptable to all clowns .
Shown here is the Preliminary Policy Statement for induc ­
tion into the Clown Hall of Fame. We solicit your input and
ideas. This is one of the most important aspects of the
organization. It will generate interest and excitement year
after year. Read it over; what did we miss? When will it
be? National Clown Week, the First of May? - so many
questions . We need and solicit your ideas .
Either write to me, Hunter R. Stevens, 1342 Sylvan Way,
West Bend, WI 53095; or The Clown Hall of Fame, 212
E. Walworth Avenue, Delavan, WI 53115.
See you in Denver or maybe England.
Hunter Stevens
POLICY STATEMENT
Induction into the Clown Hall of Fame
and Research Center, Inc.
As an important part of our commitment to the preservation
of the art and history of clowning, we are providing
for the induc tion into the Clown Hall of Fame of individuals
who have distinguished themselves through a lifetime of
dedication to the perfection of their craft - be they
amateur or professional - and that they have further
demonstrated an outstanding character and are so
recognized by their peers .
A. CRITER IA FOR SELECTION:
Age?
Number of years in profession?
Significan t service to mankind?
1. Cand idates put in nomination:
March/Ap ril, 1988
a. Each major clowning organization will offer ten
(10) candidates for nomination.
b. The candidates offered for nom ination will be
either amateurs or professionals.
2. Review of nominated candidates:
a. Upon reception of the names of nominees, a
subcommittee of the Board of Directo rs wi ll
review the nom inations.
b. From these nominat ions , the Board of Directors
will select five candidates for a vote.
3. Voting:
a. In order to be eligible to participate in th is process,
the major clowning organizations will be
required to pay an annual registration fee of
$1,000.00 (one thousand dollars).
b. Individual members of the registered clowning
organizations will be eligible to vote upon receipt
of an annual $25.00 (twenty-five dollars)
membership fee.
'\
.. \ THE BOOK DEVOTED
, \ ENTIRELY TO
, :~ CLOWN MAKEUP
-· • .. \
·.'\
·: \ TIP!S ANU HIN TS ON
FOR THE M ODERN CLO WN
• Prepm 111911,t: f-o.:t-
• th>•·• I.:> H

March/ April, 1988
CONVENTIONS
Clowns of America International
Annual Convention
April 26-30, 1988
Rod Yeager
2350 Kenton
Aurora, Colorado 80010
3rd Capital District Clown Workshop
May 15, 1988
YWCA Schenectady, New York
Teresa Stevens
14 East Harrison Street
Saratoga Springs, NY 12866
Clown Day in the Park
August 8, 1988
Lake Eola
Orlando, Florida
Dick Toby Gates
4722 Wetherbee Road
Orlando, Florida 32824
305-855-8862
14th NE Clown Convention
August 11-14, 1988
Holiday Inn
Somerset, NJ
Dana Endresen
13 Idol Place
Aberdeen, NJ 07747
5th Garden State Clown Convention
September 30 - October 1, 1988
Vincent A. Pagliano
240 Swimming River Road
Colts Neck, NJ 07722
7th Asbury Park Festival of Clowns
October 2, 1988
Vincent A. Pagliano
240 Swimming River Road
Colts Neck, NJ 07722
PATCHES and PINS
with the new
COAi logo are
available for sale
Patches - 4" diameter
Pins - 1" diameter -
$2.50 each
$2.50 each
Make check payable to: Clowns of America International,
and order from:
Arnold S. Firine
1315 Boulevard
New Haven, CT 06511
6 The New Calliope
I
344
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BALLOON
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1245 Ptnc11 z·x 4S' (uy t o &lo,, 14'
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260[ Pt11

News From Orlando
by J. "Zip Code" Cottier
Orlando, Florida
Leave it to Fun World Alley #118 in Orlando, Florida, to
turn a very superstitious Friday, November 13, into a joyous
and eventful clown graduation. The Alley's 1987 clown college
graduated 32 clever and very rambunctious new
Joeys, all of whom are looking forward to sharing their
new found love: clowning. Look out, Orlando!
Fun World Alley #118's clown college graduated 32 Joeys, eager to try
their new skills on the Orlando community.
British Airways
Sponsors Dreamflight
by J. "Zipcode" Cottier
Orlando, Florida
A welcoming committee of about one hundred clowns,
policemen, and various support groups from Orlando
awaited the British Airways 747 "Dreamflight" to arrive
at Orlando's International Airport on this very special
November day.
:...
•••••• ••••
Two hundred eighty-eight British children arrived on this British Airways
Dreamflight to a very special welcome to Florida.
Continued on page 28
March/Apr il, 1988
f ~·,o·::·;nre
tv yvi ~8 !
. U c,.__~ )f-
• *
! IN THE SEVENTH YEAR !
• OF COMBINING TWO SUPER • C LOWN EVENTS . . . *
• Asbur y Park's Festival of Clowns • & The Gard en State Clow n Convention *
! SEPT.30,0CT.1&2 !
! 3 Big Days of Clown FUN! :
• * Seminars & Workshops • * Competitions * Dealers • * Banquet * Clown Parade *
! * Full One Ring Circus Show !
• * * * and More! *
t Fe~uring: :
• * David Ginn * Rev. David Ebel • * T. Myer * Steve Long *
! * O.J. Meyer* Ronson Spezial !
• * Dan Mccallum and others ... *
• "The Berke ley-Carteret Ho tel was perfect .. . bigger and * lt
! be tter than ever ... so many even ts and activities into a ..._
"?" short time had to be mag ic .. . est imates pu t the (parade ) ~
• crowd at 50.000 (people) . .. a fu n tim e was had by lt
• all." Norm Barnhart *
• World Clown Publication , Oct. '87 lt
• *Elegant Accomodations • Make your room reservations before *
• September 9th for the special room rate of *
: $50. per night, plus tax, single or dou ble. :
• Call the Berkeley-Carteret Hotel at: lt
• 1-800 -524-1423 Out of State 1-800 -445-0126 In New Jersey • * Discount Registration: • Convention registration including • seminars , competitions, dealers, • hospitality , parade and circus iC at $35. per person. (Registrations iC postmarked after August 31 add $1 0.) iC Banquet and show $20. per person. *
!
N'v
Send your check made out to: :
iC N.C.A.C .. lnc. c/o: *
iC Clownfest '88 J ~ i.ou *
iC 240 Swimming River Rd. ~:~ . *
-tc Colts Neck, N.J. 07722 lt
i( Include S.A.S.E. for confirmation and full schedule. *
.Jf, Produc ed by the National Clown Arts Council, Inc. •
*********************
The New Calliope 7

March/ April, 1988
cJnvife you lo a/land I Ra fa6uf ous
COAi CONVENTION
NAME _ ____ _ ____________ __ C. O.A I ~O. ____ _ ___,
A DDRESS _______ ____ __ _ _ City ____ Stole __ Z ,p
CLO WN NAME PHO~E --- - -- -
REGISTRATI ON before Apr il I, 1989 _ __ __ $55 Do ll ars
otter Apnl 1, 1988 _____ $60 Dol lar s
Chlldern 15 8 under _____
MAKE CHECKS 8 MONEY ORDERS PAYABLE TO 8 MAIL TO :
ROCKY "10 UNTAIN CL OWNS
PO BOX 31906
AU RORA CO. 80 041
CONVENTION HIGHLIGHTS
Tuesday 26 April
For all who will arrive in Denver early ... we are
planning some very special events. The dealers
will open at noon along with registration . Tuesday
night we will have an Early Bird Special
Party and show .
Wednesday 27 April
The convention officia lly opens and features lectures
by some of the country's leading entertainers
and dealers : DON BURDA FROM CALIFOR­
NIA. a true balloon expert ; Betty Cash, a pro in
costumes: The Cunard Family of Clowns from
New Jer sey. experts in walk arounds and entertaining:
magic dealer Steve Bender from St.
Louis; T. Meyers from Austin, Texas. another
balloon expert; John Miller, magician from Dallas.
Texas and dealer ; Mike O'Shaughnessy
from Circus Clowns; Clinton Detweiler from
Maher Studios (ventriloquism); Carol Bender
and Gospel Magic ; Peachey Keene on props ,
from Penna.; Al Fast, dealer and expert in walk
arounds ; Ducko The Clown from Corpus Christi
and Z&ny The Clown from Kansas City, performing
shows with a children's audience; plus many
more. A real highlight will be the appearance of
T. J. Tatters (Steve Smith), one of the coun try's
leading clown entertain.ers and director of Ringling's
Clown College . On Wednesday night, we
will feature entertainment and a special dealers
show.
$ 35 Dollars
Thursday 28 April
The COAi Single Skit Competition in the afternoon
, and then in the evening the Group Skit
Competition . A real convention highlight. Then
.. . our late night Blue Light Dealers Party and
sale. But, you must be in some form of sleep
wear for admission to this fun event. Prizes for
best costumes .
Friday 29 April
Our morning conventi on breakfast , follow ed by
Ringling Clown College auditions. The afternoon
will feature our Make-up Compet ition for
People's Choice Awards and warm up for the
competition •)n Saturda y morning. Also a Balloon
Compet ition early Friday evening. Our Friday
night show will oe T. J. Taners-somet hing you
won't want to miss- followed by our ·sos dance
with prizes for best costumes.
Saturday 30 April
Our Saturday morning COA i Make-up Competition,
and in the afternoon the new COAi Competition
of Paradeability. The first time ever for COAi.
The wind-up of the convention will be Saturday
night with our banquet and award presentation ,
followed by a special show featuring several of
the country 's leading performers . This is a semi
formal affair (no make-up or clown costumes.
please).
PLUS many more surprises-so be ready for
LITTLE sleep and LOTS OF FUN ANO ENTER ­
TAINMENT.
8 The New Calliope

* *
MOUNTAIN TOUI( REGISTRATION
NAME
TUESDAY
WEDNESDAY
FRIDAY
NO. of SEATS ___ x $IO TOTAL
NO. of SEATS ___ x $IO TOTAL
NO. of SEATS
x $ I 5 TOTAL
TOTAL AMOUNT __ _
checks & money orders payable to ROCKY MOUNTAIN CLOWNS
March/April, 1988
---------------------------------------
Our Wednesday trip will be to Central City, one
MOUNTAIN TOURS IN COLORADO
of the early gold mining towns, and the drive up
Space Limited-
(it's way up there) is beautiful. Bring a coat as
Early Reservations Required
there may be snow on them thar mountains. The
No trip to Colorado would be complete without cost will be only $10.00 per person. Again, you
a trip to the mountains. We are pleased to an- provide your own lunch.
nounce three special mountain trips .
Our Friday all-day trip will be to one of the beau-
Our Tuesday mountain trip for early arrivals will tiful resorts of Colorado, Estes Park. This trip
be to historic Georgetown, Colorado and also a will begin following breakfast and you will return
stop by the well known Coors Brewery. Cost only late afternoon or possibly before. It's a great trip
$10.00 per person and you provide your own on excellent buses so bring a coat and a camera .
lunch.
It's well worth the time. You can enjoy this trip
for the low cost of only $15 .00 per person. You
provide your own lunch at one of Estes Park's
many restaurants.
COAi CONVENTION
ROCKY* MOUNTI/IN * CLOWNS
BEST ROOM RATES IN C. 0. A. I. HISTORY
MAKE RESERVATIONS DIRECTLY WITH HOTEL
_._. --- -- -- ----- -- - - - - -- - - -- - -- ------
The Regency Hotel: Convention Or Group
3900 Ela ti Street (1-25, Exit 213) CLOWNS of AMERICA INTER.
Denver,CO80216 APRIL 26-30 1988
(303) 458-0808 1-800-525-8748
Please reserve the indicated accommodations:
One Person Two Persons $ F_l.~e
Two Double Beds C ~ q!:)
Single:
(1 Person, 1 Bed) i:J r-;
$45 REGENCY
Double
~
(2 People, 1 Bed)
~
-· $45
Name
Address
Cit}< State Zip
Sha re Room: Yes iJ No • With
I will arrive Day Date Time
I wil l depart Day Date Time
Deposit of 1st night's room rate requ ired with reservation or guarantee with credit card.
First night's deposit enclosed Yes _ No , -:
Credit Card No. _______ ___ Exp. Date ___ _ _
The New Calliope 9

March/April,1988
Meet Brenda Johnson of the
Ringling Bros. and Barnum & Bailey Circus
By Betty Cash
Brenda Johnson, Lacrosse, Wisconsin (at least for a time),
gave up a career as an elementary school teacher to join
the circus. "I can't believe it's really happening," she said.
It had been her dream for quite some time. To be accepted
into Clown College was very exciting, but to actually be
hired as a clown in Ringling's Blue Unit was almost more
than she could believe.
Brenda first became interested in clowning when she took
a course offered in the Extension Division of the University
of Wisconsin, Lacrosse. She enjoyed the course so
much she joined Lacrosse's Coulee Clown Club. She enjoyed
clowning with the club, but also worked on her own
doing birthday parties, company picnics, schools, nursing
homes, and promotions.
Steve Smith, Director of Ringling Bros. Clown College,
Venice, Florida, held auditions during his 1986 appearance
at Clown Camp, Lacrosse, Wisconsin . Brenda was one
of those who tried out. Although she was accepted for
Clown College, she did not go at that time. She had just
finished her elementary school teacher education and had
a teaching position. However, the dream to attend Clown
College stayed with her, and when Steve returned to Clown
Camp in 1987, they talked and she decided the time was
now right. Early in August she flew to Venice, Florida, and
began the very intensive ten-week course offered by
Ringling Bros. But let Brenda tell about it in her own words:
The Clown College bus picked us up at the motel where
we were housed. Fifty very nervous students, 38 male and
12 female, tried to relax during the short ride to the arena.
Suddenly we were there . The arena loomed big, stark,
very plain and very white. What a change as we entered.
A huge balloon arch framed our view ahead and a bubble
machine spurted bubbles into the air. Quite a contrast
to our first view of the arena.
We were each given a Ringling Bros. hat to wear and a
notebook of information on the agenda for the ten weeks
ahead. We were directed to seats, and as we looked across
the arena, we smiled to see an audience of cardboard
cut-out people smiling at us.
The Clown College instructors were seated in a semi-circle
at one end of the room. Steve Smith, clad in a white tuxedo
and bib overalls, waved a greeting. He welcomed us
and introduced the staff. After a few words from each instructor,
a catered lunch was served.
During the next days we were each interviewed by Tim
Holst, had a photo taken, and had a plaster cast face mask
made. Also, the clown bus took us all to the bank to open
our Florida accounts . Our Clown College course had
begun!
For the next six weeks we studied, learned and participated.
We were never sitting down. There were classes
on make-up, mime, character gags, comic bits of business,
pies, and gag development. Every Friday Bill Ballantine
lectured on circus history, language, and life. The first five
weeks we were required to turn in walk-a-round ideas, and
Saturday afternoon was gag presentation. Some were
accepted and some were rejected.
Each student was furnished with a personally-designed
costume. The fifty clowns were divided between three
costume designers. Each designer worked with three or
four clowns at a time. They watched gag presentations
and observed us in class to determine our character. Also
there was a four-page questionnaire on what we thought
about our character and personality. What did we like
about our body? What did we not like? What were our
favorite colors? What part of clowning did we prefer? One
page was a line drawing of a blank person on which we
were to draw our idea of what our costume should be.
My designer, Richard Fick, made a preliminary sketch for
my approval. It was okay the first time, but changes could
have been made if I had wanted to.
My costume consists of several pieces that need not all
be worn together. Richard Fick called it "a new concept
- the drop-away skirt." Knee-length pantaloons of rainbow
stripes fringed with free-hanging petals of various colors
may or may not be topped with a miniskirt which is
made of panels of the same basic colors. These panels
are each topped with petals of various colorerl polka dot
fabric. The skirt is edged with aqua blue ball fringe. The
waistband is a red fabric-covered hoop, and is held up
with suspenders .
My blouse is bright lemon yellow and has orange sleeves
and a hot pink collar. The blouse front is piped in hot pink
and has three buttons, one blue, one green, and one purple.
The collar is outlined with black piping. I also have
a blue and white striped t-shirt.
I wear one yellow and blue sock and one purple and
yellow. Instead of a coat, I have a vest with tails. It is of
purple corduroy and has an orange collar and pink buttons.
It is lined with pink polka dot fabric. I feel like a cartoon
character when I wear it. I have a blue polka dot bow
tie and wear a full-sized royal blue hat. It has a band of
white daisies.
I can wear all these pieces together or in various combinations.
My shoes were made by Alan Zerobnick, who
10 The New Calliope

March/April , 1988
made all the "girl shoes" for Clown College this year. They
are white high tops and have purple toes and heels. Each
student chose the style and color of shoes they wanted.
I wear an orange curly yak wig. I had chosen a straight
orange wig, but on approval day the curly hair seemed
to fit the total look better. They had determined that I was
a bouncy person. The petals on my costume bounce when
I move, so if my hair bounced it would compliment my
total look. I feel good about myself and my clown character.
Besides the role in the fire house skit, I played an angel
in a short skit where a man deliberates over taking money
from a purse he finds. The action is back and forth
between the devil and his conscience (the angel). In this
skit I was required to do a full front flip.
I was also cast in another role in a TV skit where I was
a dancer, a cook, a weather girl, and a boxer. I changed
roles by pulling down a window shade on the TV as the
viewer changed channels. At the conclusion, as a boxer
I punched out the viewer.
I was also assigned to a walk-a-round as I had failed to
come up with one of my own. In that I was the nagging
wife of an Eskimo couple. The husband becomes angry
and flips his polar bear skin over me, hiding me from view.
I reappear with my head inside a big ice cube.
The Saturday before graduation as we were rehearsing
the dance number for the finale, Steve Smith called Reed
Martin and me aside and asked if we would like to be in
the finale. Yes, we would! The theme was to lead up to
the presentation of Master Clown Lou Jacobs . As the
orchestra played the song from "Cats," Reed and I peeked
out of the stage curtains, looking surprised at where we
were. The clowns began appearing all around the stage,
one by one and in pairs. Reed and I appeared to be chased
off stage and exit toward the back.
An orange Volkswagon clown car appeared and circled
around and then stopped at the curb. Twenty clowns
emerged from the car, each holding a card with the year
symbolizing one of the 20 years of Clown College existence.
All fifty students were now on stage, scrunched
down. Reed and I appeared puzzled, but decided to join
in. The lead song from "Cats" was playing and we started
to dance. The rest of the clowns joined in. Reed and I
were pleased. One by one they left and we were on stage
alone. A dry ice cloud appeared and Reed and I ascended
the stairs at the rear of the stage.
Brenda Johnson's clown costume, designed a,, Richard Fick of the Ringling
Bros. Clown College, features a drop-away skirt. The polka dot petals
on the skirt bounce when she moves.
The final four weeks were spent getting ready for graduation.
First, auditions were held for the major skit, 'The Fire
House." I wanted to be in it so bad I tried out for every
role in the skit! In the role of the mother I would have to
do a full flip out of the burning house. My mind raced,
"Can I do it? Can I do it? Oh! Oh! Oh! I did it! Oh, dear!
Now I'll have to do it again!"
In the skit the mother tries to save her baby while the
house burns. The firemen try to save them both. lgniters
set off flames for realism . I didn't realize just how much
realism until later when I saw a filming of the graduation
performance.
At the top of the stairs stood Lou Jacobs. He shook our
hands as we stood there above the stage. The clowns then
reappeared below us, dressed in graduation caps and
gowns. The music had highlighted the action and now it
suddenly stopped . All the clowns extended their arms and
pointed to Lou Jacobs as the audience burst into applause.
Then it was over. I had graduated from Clown College.
The ten weeks had passed so quickly . When I got back
home, I couldn't help but wonder, "Did I really do that?"
Yes, Brenda had really done that, and done it well! She
looked bright, beautiful, and bouncy on stage and now
looks just the same as she appears in the Greatest Show
on Earth. You may write to her at:
Brenda Johnson, Clown - Blue
Ringling Bros., Barnum & Bailey Circus
3201 New Mexico Ave. N.W.
Washington, D.C. 20016
The New Calliope 11

March/April,1988
rn 12100
Education
••••••••
by Irene Doll
Hi, clowns; happy spring! We're back for a second round.
We hope the last issue's article on skits was helpful.
This time we'll try to figure out the best place to spend
time, based on priority and why we would want to work
on improvement from that perspective.
We hope you will tell us what specific topics you would
like to learn more about, and we'll see what we can do
about getting them "under construction" in the Building
Blocks column. Send your suggestions, questions, or
ideas to:
COAi Education or Building Blocks
c/o Irene Doll
7321 Larsen
Shawnee Mission, KS 66203
Spring Has (boing-g-g) Sprung
Getting Ready for
Parades and
Conventions
In the spring a young man's fancy turns to thoughts of. ..
Wait one moment, please. Right season; wrong character.
Unless the young man happens to be a clown, pondering
the comedic road less traveled, we need a new starting
point. Pardon the temporary state of confusion; as a clown,
it's part of the job description. Let me now, however, put
on my writer's cap (gee, I don't feel less confused) and
free this young man and his thoughts from the world of
clowning. I'll try again. Let's see ...
In the spring the ageless clown's fancy turns to thoughts
of ...
Aah - a bit better. The right season - spring - perfect
for clown fever! The right character - the ageless clown
- no one has ever been overcome by heat from the
candles on a clown's birthday cake. But what of the right
avenue of thought? Avenues or routes of thought that
come to mind in relation to spring and clowning are parade
routes and routes of travel leading to conventions. Now,
one more try ...
In the spring the ageless clown's fancy turns to thoughts
of parades and conventions!
Yes, that's it! In the spring, clowns are thinking about
parades and conventions. Do thoughts of mild weather,
getting together with fellow Joeys and friends, crowds of
people, and travel trigger feelings of expectation and excitement?
Are you anxiously anticipating all the
possibilities? Starting to get billions of goose bumps just
thinking about all that fun? As the adrenaline starts to
pump through our veins, we shift into high gear and our
thoughts move from generalities to more specific areas,
becoming more creative enroute to the parades and conventions
we see in the mind's eye.
I can't stop thinking about all the finishing touches for the
costume I got last fall. Are you still pondering the construction
of that perfectly preposterous parade prop? Are
we dreaming up those wild and wacky skit ideas (attempting
to make a kite out of flypaper)? If these kinds of
thoughts relentlessly keep popping into our heads, causing
us to become stir crazy, let's congratulate ourselves.
We must be real clowns!
The season is just right to spring into action on these ideas
and get them ready for all the fun times that lie ahead.
Wracking our minds throughout the winter months may
have caused a creative backlog. If so, there are a lot of
things we could get to work on. Time is beginning to run
short, so we need to decide what is the most important
thing (maybe two) to make, change, or practice.
DECISIONS, DECISIONS, DECISIONS
This doesn't have to be hard. In the context of parades
and conventions, we have only a short bit of time to be
in front of our audience and usually one chance to "do
our thing." We're on, then almost as fast, we're off. So,
in these situations, what is it that people observe about
clowns?
What do they see - make-up, costume, and our physical
movement? Opinions are formed immediately based
primarily on what we visually project to the crowd. We
never have to utter a word, do a bit, or interact in any way.
12 The New Calliope

March/Ap ril, 1988
They have already made some fairly concrete judgments
about who and what we are.
''A skit for competition? Parades? Oh, no, I'm not ready for that time
of year. What am I going to do now?" The moment of panic overtook
Irene Doll for only a few minutes. Shortly, she had her composure back
as we see in the next picture.
The things we do and say will cause people to become
active participants or passive onlookers. The way in which
we choose to do and say these things will reinforce, modify,
or change their original opinions, which are based on the
way we look.
When deciding what to work on, remember a strong
positive impression is what we want to leave. We don't
have much time to make that happen, so let's work on
the things that will show the most. Good make-up,
costume, and physical movements are what people notice
right away.
Pay close attention to comments people make and watch
how they respond to you. Is it with enthusiasm and an
eagerness to get closer? Great, but what if they react with
fear and fast feet? Ask yourself what caused it. Were your
movements too abrupt? Is your make-up atrocious? We
hope everyone was attentive and clearly understood exactly
what the clown class instructors meant about makeup
design when they suggested the KISS formula. They
are not talking about a rock band; K.I.S.S. means "Keep
It Simple, Stupid."
If your clown's entity is well-established, you might want
to spend your time on the props, skits, or skills you'll
actually be using at the parade or convention. The choice
of what to do and how to do it will depend on the intent
of the performance, the individual situation, and your
clown's character.
If you're working on a prop, what can you do to make it
show better? Maybe a dazzling paint job is what will catch
the crowd's attention. This same idea should be applied
to skits and skills. So, when in doubt about what to do
to improve something, just remember these almost worldfamous
words - Put your efforts where they'll show the
most.
Work first on the things that will make you look good, then
work on the things that you will make look good. Consider
the time spent as an investment only you can make
in your clown.
Yes, spring has at last sprung, nature has once again given
the world a new look and feel, and the ageless eternal
clowns are thinking about their parades and conventions.
This spring, like nature, we can, with some serious thought
and work, give warmth, new life, and growth to the clown
inside oursleves.
"Now I've got it all figured out. I just needed a few minutes to think things
through. Now my new costume looks great; my shoes are new; this year,
I think I'll concentrate on my juggling and maybe a new balloon sculpture
or two. I hope to meet you all right here next issue with a few more thoughts
on building a successful clown."
Rootie-Toot:
Peewee:
Rootie-Toot:
* * * * *
What's gray, has four legs, and a trunk?
I don't know.
A mouse on vacation!
The New Calliope 13

March/ April, 1988
Fighting To Be
The Top Banana
By Tom Oswald
Thunder Bay, Ontario
At our house, there is a constant battle to see who can
be the star of the show. The same type of one-up-manship
that occurs within most alleys and clown gatherings, rages
on a daily basis at our house. Each of the three of us who
are involved in clowning feels he is the best of the group.
I argue that being the father should count for something;
my sons Ziggy and t:il Tippy see it otherwise. Since the
decision is argued on the basis of what is more important,
brains, talent, or cuteness, we never reach an
agreeable consensus. So the discussion of who is the top
banana continues.
It is no wonder, then, that one of our favorite skits is
"Banana Bandana." (While it is one of our favorite skits,
we don't always use it because we feel that skits should
not only fit the characters involved, but should also fit into
the overall theme of the presentation. "Banana Bandana"
Continued in column 2
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Foreword by Richard Snowberg, president of the World Clown
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Topics include: comedy magic, balloon sculpturing, funny
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fits Tippy's characteristic of frustration due to lack of total
perfection and Ziggy's trait of always getting into mischief
and thinking he can do anything. So when the show/
occasion calls for it, we eagerly incorporate this particular
skit into our comedy routine.) Join me, as the show is in
progress:
Tippy: Oh, nothing has gone right today. But you know,
boys and girls, there is something I can do that nobody
in the whole world can do. It is a very special trick. I just
got the directions in the mail yesterday, and I stayed up
all night studying it, so only I can do it. It is a very special
trick, especially if you have trouble putting your handkerchief
back into your pocket after blowing your nose or drying
the dishes. Would you like to see it?
Ziggy: (Tapping Tippi on the shoulder.) I can do it.
Tippy: Ziggy, what are you doing out here? I am trying
to show the boys and girls something.
Ziggy: I know. I can do it.
Tippy: No, you can't.
Ziggy: Yes, I can.
Tippy: Ziggy, you don't even know what it is that I am going
to do. How can you say that you can do it?
Ziggy: Well, I can do it. I can do anything.
Tippy: How can you do something that you don't even
know what it is?
Ziggy: You can give me directions and I will do it.
Tippy: But you never follow directions.
Ziggy: Just give me the directions. I know I can do it.
Tippy: Boys and girls, should I give Ziggy directions and
let him do the trick, too? (Tippy shakes his head "no" and
tries to get the audience to agree with him while Ziggy
gets them all screaming "yes.") Oh, all right! Go get a
bandana out of my magic box. (The magic box - a painted
shoe box with "Magic Box" written on it - is on a table
to the right and behind Tippy. Ziggy takes out a banana.).
Have you got it?
Ziggy: Yes.
Tippy: Okay, first open it up.
Ziggy: Open it up? (Ziggy peels the banana, questions
what to do with the peel and ends up throwing the peeling
over his shoulder.)
Tippy: That's what I said. Open it up and put the bandana
in the palm of your left hand. Now take the front
right corner and fold it into the middle.
Ziggy: The corner?
Tippy: That's what I said. Now take the front left corner
and fold it into the middle.
Continued on page 23
14 The New Calliope

Ballooning for Big Bucks -
March/April, 1988
The T. Myers Method
By Kent Cummins
Austin, Texas
Would you like to increase the amount of money you make
as a clown? Could you use an extra $500 or more by making
balloon characters for kids on weekends? Are you looking
for ways to increase your bookings?
Most performing clowns learn at least a little bit about most
of the variety arts: magic, mime, juggling, puppetry, ventriloquism,
comedy, storytelling, tumbling, acrobatics,
music, dance, and so on. And most of them learn how
to twist a long, skinny balloon into a cute animal.
Balloon animals have been a staple of clowning for several
decades . Balloons are colorful, popular, inexpensive, and
fun to play with. But, are they profitable?
T. Myers & Merianne, two very close friends of mine, have
developed a method for using balloon sculpture in a very
profitable way. $300 per day is normal; $700 is not unheard
of. At these rates, most of us could make an excellent living
by working just two or three days per week. And since
weekends are the most popular and profitable times for
balloon sculptors, you don't have to give up your regular
job to try it out!
All you need is the T. Myers Method for profitable ballooning
and Tom and Merianne have agreed to let me share
this method with New Calliope readers. (This is no pipe
dream. The Myers have years of professional experience
and have inflated hundreds of thousands of balloons. It's
how they earn their living.)
The T. Myers Method
The T. Myers Method for profitable ballooning might be
called, "putt ing your money where your mouth is!" It is
a proven method of making money by making balloon
creations, developed after several years of trial and error.
It is based on the Theory of the Fully Inflated Balloon.
Simply stated, the Theory of the Fully-Inflated Balloon says,
"The more space a balloon occupies, the more valuable
it becomes.''
In practice, this means making multiple balloon figures.
For example, put that balloon poodle on a balloon leash.
Put a balloon sword in a balloon scabbard. Make a flower
balloon bouquet, in varigated colors. Create elaborate
balloon hats.
T. Myers & Merianne are sold on balloon hats as the
easiest and most effective way to make money with
balloons. In their lecture, "Making Inflation Work for You,"
they say, "We urge you to try hats. They are our most
valuable product."
T. Myers & Merianne are shown during their popular lecture, "Making
Inflation Work For You." (Photo by Richard Slagle)
Continuing from their lecture notes, " ... hats cannot be
stuck in a purse, out of sight. Twenty-five fully inflated
balloons have a much greater impact on the area and your
business than 25 balloon animals. Balloons in the air
create a festive atmosphere. Every balloon hat is a walking
billboard advertising you."
Balloon creations separate you from the typical variety
entertainer. You are selling a tangible product, not just a
memory or experience. (The memory and experience are
still there, but they are "perks" that come with the product.)
As a balloon sculptor, you can be an entertainer, an artist,
a promoter, or a vendor. You therefore have more opportunities
to work than if you are just booked as a clown.
There are basically three ways to make money with
balloons:
1. Selling the balloons.
2. Working for tips.
3. Working for a fee.
1. SELLING THE BALLOONS
If you are booked as a vendor in an arts and crafts show
or as a performing artist, you can sell your balloon creations
individually. When I was touring with the Mighty
Thomas Shows Carnival in Canada, my daughter (Kimchi
the Clown) sold balloon hats and animals for a dollar each
(although a dollar in Canadian currency was worth
Continued on page 16
The New Calliope 15

March/April,1988
T. Myers Method continued
only about 70¢ in U.S. currency). since the cost of a balloon
is only a few pennies and air is still free (as we go to press),
there is obviously a very high profit.
The well-known law of supply and demand applies here.
It's better to sell 500 balloon creations at 50¢ each than
200 for $1.00, assuming you have the time and energy
to cheerfully satisfy 500 customers! You have to judge what
the market will bear. Obviously, if you have more potential
customers lined up than you can possibly accommodate,
it will pay you to raise the price.
If you're selling your balloon figures, you can have higher
prices for more elaborate creations. For example, a oneballoon
weiner dog might go for 50¢, whereas a multipleballoon
hat could command $2 or $3.00.
T. Myers & Marianne use a large poster with pictures of
each of the balloon figures which they are prepared to
make. They laminated the poster to protect it from the
elements and to enable them to use "dry -erase" markers
for the prices, which means the prices can be changed
according to the situation. The poster gives those waiting
in line something to look at and allows each customer to
make a choice while waiting in line.
Kimchi the Clown made actual samples of each figure,
marked the price with a marker, and displayed them using
double-stick tape. Although more time -consuming than the
poster, it made a very attractive and interesting display.
* * * * *
Continued in column 2
WOULD YOU LIKE TO KNOW
MORE ABOUT THE CIRCUS?
If so, why not join the CIRCUS FANS ASSOCIATION OF
GREAT BRITAIN?
Membership includes the quarterly circus magazine, King
Pole, which is packed with photographs and features on
circus stars past and present.
For membership, send 10 POUNDS STERLING to our
Membership Secretary:
John Exton
43 Waterloo Lane
Skellingthorpe
Lincoln LN6 5SJ
Great Britain
International money orders should be made payable
to: Circus Fans Association of Great Britian.
16 The New Calliope
* * * * *
The secret to successfully selling your balloon creations
is to blend entertainment with basic business practices.
2. WORKING FOR TIPS
The whole idea of working for tips is somewhat scary to
the performer who hasn't tried it. After all, it puts you at
the mercy of your audience!
On the other hand, T. Myers & Marianne have found that
working for tips is sometimes more profitable for them than
selling the balloons for a fixed price, especially in sporadic
crowds . Sure, some people take advantage and just drop
a few small coins into the tip basket, but that's more than
compensated for by the many customers who are
generous with their tips.
T. Myers & Merianne learned about working for tips the
hard way: hundreds of shows at Scarborough Faire, a
popular Renaissance festival held each spring in Waxahachie,
Texas (near Dallas) .
Through their work at Renaissance fairs, the Myers learned
that "the way you ask for a tip will affect how much
you get." Here are some specific T. Myers' tips on tips
from their lecture notes :
1. We put our basket on a small folding stool. This gets
it off the ground where it is more easily seen. People
shouldn't have to bend over to give you money.
2. A sign in the basket says, "TIPS" and "THANKS." We
have incorporated a drawing of an oversized dollar bill on
our sign to suggest paper money.
3. We seed the basket with bills . Having bills visible is
very important. When you say, "I work for tips," people
look in your basket and decide what to give you . Keep
the change under the bills.
4. We try to come up with funny ways to suggest folding
money: "Any amount will do, just fold it up and put it in,"
or "Yes, we take change. But, for safety's sake, please
wrap it in a bill before placing it in the basket."
5. Have business cards readily available. You will be surprised
how many calls you get for parties and promotion
work.
3. WORKING FOR A FEE
Working for tips can be very profitable, but you never know
for sure how much money you're going to make. And
sometimes you get stuck in a situation where the parents
hang back and let you entertain the kids, who don't tip
you at all!
You can budget more easily if you are paid a set fee . . . and
you can devote all of your attention to performing, without
worrying about dollars in your tip basket. It's a great public
relations deal for your sponsor, as many parents will ask,
"How much?" and you tell them, "The balloons are provided
free by Wonderland Mall."

March/April, 1988
What's a reasonable fee? My daughter started at $25.00
per hour, for which she included her own transportation ,
costume, make-up, and balloons. T. Myers & Marianne,
among the most experienced balloonists in the country,
get $100 per hour and more, depending on the performing
situation.
Birthday parties are easy to get, but may not pay more
than $50 to $75. Shopping mall promotions may come
along less frequently, but are more likely to pay several
hundred dollars for a show. Large trade shows can be even
more lucrative - up to $1,000 per day, depending on your
reputation and your ability to sell yourself.
One thing is certain: whatever you are being paid to perform
as a clown, you can get more money if you offer
balloons as an additional attraction .
SHORTCUTS FOR SUCCESS
1. SPEED. "You need a pump! "
The better your pump, the faster and longer you can blow
up balloons, the more figures you can create per hour,
the more money you can make. Many performers have
gotten used to blowing up the balloons by mouth, and
they are reluctant to abandon the bits of business that
go with this method. But if you're serious about making
big money, you almost have to have a pump.
to fill the gap while twisting each balloon. Try various styles
of music. Figure out a way to get away for breaks from
time to time. (For example, say, " I have to go get some
more balloons from my car.")
Of course the best practice is experience in front of a live
audience. Work free if necessary (or for tips only) at local
festivals and gatherings until you've made a few thousand
balloon creations. Then you'll be a pro! (A word of caution:
Be careful not to mess up a paid performing opportunity
for a working professional in your enthusiasm to
gain free experience!)
4. ATTITUDE. "All you need is love!"
If you truly love the people for whom you are performing,
it will show in everything you do. You will always be clean
and neat, dressed (costumed) appropriately, polite and
friendly. You've already learned not to scare young
children , not to smoke in make-up, and to treat all ages
with respect. As a professional clown, you've already
developed a successful attitude.
Smile - not just with red greasepaint, but from your heart.
Your attitude will " win friends and influence people." and
if your goals include financial remuneration - your attitude
will make you money!
2. DESIGN. "Design means something!"
If your repertoire includes a wide variety of fascinating
figures, you will make more money than the clown who
is limited to a balloon zoo of half-a-dozen animals. And
once again, hats have proven to be particularly good
money-makers. T. Myers & Marianne like hats that occupy
a lot of space and are simple and clear in design. They
seem to be more appreciated than the free-form "lots of
balloons" - types. In other words, the customer appreciates
good design.
To quote from T. Myers' first book, Balloon Hats, "Every
hat is a very personal encounter with the customers -
each one a custom fit. Their color and motion in the air
create a festive atmosphere and make people smile."
There are several excellent books available on balloon
hats, or you can savor the fun of creating your own
designs.
3. TECHNIQUE. "Practice makes perfect!"
As with any other aspect of professional clowning, you
are more likely to succeed if you study and practice. Study
the books and magazine articles which are now readily
available. Observe other balloonists at work. Attend
workshops when available. Create your own original ideas.
And then practice, practice, practice.
Learn how to minimize mistakes - what to do when a
balloon pops unexpectedly - lines, and bits of business
ABOUT THE AUTHOR
Kent Cummins is a full-time performer, writer, lecturer, teacher, and
marketing consultant with a studio in Austin, Texas. He has performed
as "Buttons the Clown" for a Shrine Circus promotion and as " Chester
the ChildFest Clown" for a family festival in Austin. He also performs as
" Felonious the Fool," a Renaissance court jester. Kent's daughter also
performs, as " Kimchi the Clown," and specializes in making balloon hats
and animals. Kent started his performing career in the late 1940's by
organizing backyard circuses in his hometown of Del Rio, Texas. He is
a past president of the International Brotherhood of Magicians Ring 60,
the Armed Forces Magicians Association , and the Texas Association of
Magicians. He is also a member of the International Jugglers Association
and Clowns of America International.
The New Calliope 17

March/April,1988
iaater
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In my mind, your convention shou ld serve as a
model of how clown conventions should be
hosted."
Jim "BANANAS" Yan izyn
Walpole , New Hampshire
11th NE Clown Convention -1985
" ... I salute the MERRI-MAKERS . It was well
organized. The whole weekend was a wonder ­
ful learning experience for me."
Jean "J INGLES" Gilbert
Brattleboro, Vermont
11th NE Clown Convent ion - 1985
" ... Thanks for a super weekend"" . . . all the
MERRI-MAKERS d id a great job."
Roco
Newton , New Hampshire
11th NE Clown Convention - 1985
Make your room reservations before
July 25th for specia l rates of $50
per night plus tax single or double.
Ca ll or write: HOLIDAY INN
195 Davidson Avenue
Somerset, N.J . 08873
@
Phone 201-356-1700
l?l:(;l§Tl?A TIOl'IIII
DISCOUNT PACKAGE PRICE -$50 per adult- $40
per child (under 16). Package price includes Banquet &
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postmarked after July 11th) .
18 The New Calliope
f'l:ATUl?l!'IIII(; Ttil: OUT§TAl'lllll)l!'IIII(; •••
* MARK STOLZENBERG
• Ringling Bros. Barnum & Bailey Circus and
other European Circuses
• Author of: Clown for Circus and Stage and
Exploring Mime
• CLOWN, MIME, ACTOR, AUTHOR
Street Performer
* RON LONDON
• World renowned MAGICIAN and LECTURER
• Magic consultant to the stars
• Appearances at Hollywood's Magic
Castle
* AL GETTLER
• VENTRILOQUIST
·Nightclub performer
• Teacher, Lecturer
• Appeals to all ages
f'f"iday ,-.1te ipecial
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Name __ ________ _ _ Clown Name _____ _
Address _______ __ ____________ _
City _____ _ _____ State ____ Zip _ ___ _
Phone No. ( ________ T-Shirt Size
Register before July 11, 1988 ..................... . ...... . ... $50 each
After July 11 or at door ... . ................................ $60 each
Total fee enclosed . ..... . .... . .. . ................... $ ____ _
Make your payment to: Merri-Makers
For more info . also: c/ o Dana Endresen
13 Ido l Place,
Aberdeen, N.J. 07747
FOR CONFIRMATION AND FULL SCHEDULE PLEASE INCLUDE A #10 S.A.S.E.
WITH YOUR REGISTRATION.

The Decision
of a Clown
March/Apri l, 1988
matinee you will come backstage and ask for me. Perhaps
by then I can better explain why a grown man with a family
has to act the fool for a roaring crowd. Perhaps not.
By Tim Torkildson
Minneapolis, Minnesota
When I attended the Ringling Clown College Reunion this
past October, I was a retired clown. Retired, by choice,
at the age of 33. I had other more pressing labors to perform
in my hometown of Minneapolis that left little time
for clowning. I had four children and a pregnant wife, and
I did not think it wise to leave for long periods so I could
tour with the circus.
But I came back from the Reunion determined to clown
again. No profession on earth, to me, is as noble as that
of a clown. A good belly laugh may cure a wound or hurt
that the combined skill of doctors, counselors, lawyers,
and clergy cannot heal. The Reunion convinced me that
I cannot turn my back on my slapstick heritage, that there
can never be enough clowns on the earth, that those few
who are touched with the divine zaniness must wear the
greasepaint and take the pratfalls, whatever the consequences
may be.
So, dear friends, I have joined a circus. I am teamed up
this spring with a young fellow by the name of Don Bursell,
who is also from Minneapolis. We two will be touring the
Midwest and Canada with the George Carden International
Circus.
Now, most of you readers are probably married. You are
familiar with the rising cost of everything when it comes
to having a family. Most of you know, or can surmise , that
the last thing a pregnant woman wants to hear from her
husband is "Honey, I'm leaving you for several months
to be a circus clown."
My wife, God bless her, didn't even allow me to finish telling
her my reasons for wanting to desert her at such a
crucial time. Instead, she smiled calmly, as only a woman
who is carrying another's life can, and told me not to explain
it to her. She knew that I had a mission to bring
laughter to people, and that she would have to sacrifice
me to that mission for a good part of our married life.
I do not choose this course of action blindly or unaware
of the disadvantages. Clowns do not become rich, and
they often are crippled, even killed, while performing with
the circus. There is the lonely ache that every clown experiences
when he passes a warmly-lit home in the evening
on his way to another town where he will be a stranger
again.
I am not giving a very coherent explanation of why I must
clown again. But then, a clown wouldn't be a clown if he,
or she, were totally lucid and logical. I only hope that the
many readers of The New Calliope will look for me when
our show plays your town this summer. Perhaps after the
Don Bursell, left, and Tim Torkildson will appear with the George Carden
International Circus in their 1988 season.
The New Calliope 19

March/ April, 1988
Ringling Bros. Clown College Reunion
The Ringling Bros. backyard was made party-like with
huge tents: one to serve food, one to be used for dining,
and several smaller ones that were used for performances
put on by alumni wishing to entertain. Several circus carts
were also displayed in the area, adding color and
atmosphere.
By Betty Cash
For twenty years, Ringling Bros. and Barnum & Bailey
Clown College graduations have been celebrated in
Venice, Florida, following their intensive ten-week course
in the clown arts. While hundreds of aspiring clowns apply
to the Clown College each year, only fifty to sixty are
chosen to attend. The graduation ceremony is actually
a two-hour performance put on by the graduating class.
This year a twentieth anniversary reunion of Ringling Bros.
and Barnum & Bailey Clown College was held immediately
following the graduation. Any person ever attending Clown
College was invited to attend. Lodging and reduced air
fare were offered, and a meal tent was set up. Approximately
five hundred clowns attended. The clowns now
employed with the circus were flown in, so they, too, could
attend.
Venice overflowed with clowns and the residents
welcomed them. Store marquees read "Welcome
Clowns,'' and store windows were decorated with clown
mannequins, costumes, posters, and circus paraphernalia.
Coupons were presented offering reduced prices on a
number of items.
M. E. PERSSON
6 17-468-3214
20 The New Calliope
* * * * *
CATALOG $1.00
C-162 Greg ory Island Road
So. Ham;lton, MA 01982
* * * * *
The barns sported a fresh coat of white wash and were
set up with tables and racks to display clown wares. Clown
shoes, costumes, wigs, make-up, noses, and props filled
the huge room. Mark Anthony also displayed his carvings,
Jim Howle his paintings, and Linda McBryde her clown
eggs. Richard Fick, costume designer for Ringling Bros.,
displayed renderings of some of the clown costumes he
has designed. This area was open during the daytime
hours and was open only to those attending the reunion.
Betty Cash with some of her clown costumes that were displayed in an
area set up for this purpose in the barns.
The Saturday night graduation gala performance was
repeated on Monday night for the reunion group. Tuesday
night featured a gala variety show put on by the
alumni. The talent which was outstanding featured clowns
such as Lou Jacobs and Frosty Little, who are still with
Ringling Bros.; Jim Howle, Leon McBryde, and Earl
Chaney, still clowning, but not with Ringling Bros.; and
a number of nightclub and television stars who are no
longer clowning but are very well known in the entertainment
world. Even Steve Smith, Director of Clown College,
took a turn.
Many, many attractions were offered to those attending
the reunion. Besides the tent performances during the day,
there were jugglers and stilt-walkers and caricature artists
drawing portraits. Several attendees entered a hot dog
eating contest. Champion Terry Davolt ate fourteen! There
was a souvenir shop offering many items of Ringling
memorabilia.
There were interviews to hold and people to meet. Kenneth
Feld, Ron Severini, and the reunion committee should
feel very proud of the extravaganza that ended only too
quickly.

March/April, 1988
The New Calliope 21

March/ April, 1988
A Spontaneous
Clown Skit
By Willard "Curly" Robbins
Tucson, Arizona
I ask myself frequently why the best designed props and
routines fail miserably the first time out. Then just when
we're completely satisfied that we've lost all our originality,
we stumble big, dumb, and happy into a one-of-a-kind
hilarious situation.
Although I've been clowning for over 30 years, I don't think
I'll ever be completely certain that a gag or routine will
be funny until I've tried it out myself under regular working
conditions such as birthday parties, parades, or stage
shows. What works for others doesn't necessarily work
for me. I must take into consideration my own individual
personality, appearance, and skill or lack of it. To prove
my point, I've got a basement full of stuff that I don't use.
Involved routines and props don't work for me as a sad,
silent, and mostly bewildered tramp clown. I prefer to react
to the situations that happen around me and counterpunch
with what I hope will be a proper and funny action.
An experience in Cleveland many years ago seems to
stand out. It was a big (Shrine) convention and back in
those days we paraded twice - Friday night and the next
Saturday afternoon. My group was quartered in a large
hotel that bordered the square in the center of the city.
This square, as I remember it, was not unlike countless
squares in many big and small cities - one-way traffic
around the square with a courthouse in the middle.
Cleveland's was much larger then many with a park of
sorts in the center.
We were to report in front of the hotel in make-up at a
certain time Friday evening to board buses that would take
us to our stepping off point. I managed to make it about
a half hour early. None of my gang was ready yet, and
as I stood by myself in front of the hotel, I heard some
kind of commotion a short distance down the sidewalk
from the hotel.
I became aware of a tall, slender man with some kind of
a book in his hand shouting to the people as they hurried
by. Since I had time to spare and this puzzled me and
aroused my curiousity, I decided to amble on down there
and check it out. As I got closer, I became aware that he
was a real, live, self-appointed sidewalk evangelist,
preaching to whomever would listen to him, and right now
he was not scoring at all. People were passing him from
both directions without so much as a glance. Coming from
a small town, I had never listened to one of these fellows.
I decided to walk over and listen to what he was very
earnestly and, at least up to now, fruitlessly attempting
to share with the passers-by.
I hasten to explain at this point that I'm completely at ease
with my tramp character. When I've finished with my makeup
and throw on my ragged suit, I leave my real personna
behind and really get into my character completely - so
completely that sometimes I simply forget just who I am
or what I look like. I have always had a great deal of respect
for all men of the cloth and would never, never do anything
disrespectful in or out of costume to men of religion. It
never occurred to me what I was setting up when I approached
this man looking as I did. He gave me no sign
at all as to what he must be thinking as I stood directly
in front of him. I became, as it were, a most sincere
audience of one.
Nevertheless, he didn't miss a stroke. He merely shifted
his eyes, directed his full attention to me, and began a
vociferous and passionate attempt to save my soul. I
immediately found him fascinating and, because my soul
does indeed need attention from time to time, I listened
to him intently. I must confess he made many valid points
from time to time, which I would acknowledge with a nod.
I was sincerely following his every word as he recounted
his previous experiences with the devil and how far he
had fallen before being saved. His voice was getting even
louder and more piercing as he shared this vivid account
with only me.
I still don't know these many years later how my appearance
must have affected him, but I kept his rapt attention
and he mine for perhaps fifteen minutes. During
this time, we both were completely unaware of what was
taking place around us.
I got my first indication when I became aware of all the
automobile horns honking. As I looked around, I suddenly
noticed that the entire square was blocked with unmoving
vehicles. People had actually left their cars and had
fallen down on the pavement roaring and weeping with
laughter as they reacted to this scene. As I looked up, I
noticed that people in my hotel, perhaps as high as the
6th floor, had opened their windows and were watching
and laughing.
Many thoughts hit me simultaneously. The first was embarrassment
for me and absolute empathy for my mentor.
I was also hoping then and still do that nobody present
so many years ago ever thought that I had set this
thing up with the express purpose of getting a laugh. I
was at the same time telling myself to get the heck out
ot there as quick as possible before I got myself arrested
for creating a traffic jam. Since I was a policeman at the
time, I fully knew that all police tend to get somewhat quicktempered
before and during any kind of parade.
It finally dawned on me what a sight this must have been
- this preacher attempting to use the full powers of
heaven and earth in a bold attempt to save this pitiful tramp
in full clown make-up.
As I quickly turned to leave, my saviour shoved some
literature in my shirt pocket and gave me his blessings.
22 The New Calliope

March/Apr il, 1988
It was then I became completely satisfied that both he
and I had played this dissertation entirely straight, right
down to the end , but who would ever believe either one
of us?
As I hurried back up the sidewalk to the safety of the hotel,
the people, some still weeping with laughter, started clapping
and the applause grew in volume until it sounded
like the end of an outdoor concert . Thus, I made my exit
on perhaps one of my funniest skits. It was totally
unrehearsed, not at all planned, and a truly one-of-a-kind
experience.
* * * * *
Top Banana
Continued from page 14
Ziggy: Fold it?
Tippy: Ziggy, just listen to the directions and do what I
say. Now fold the back right corner into the middle.
Ziggy: Are you serious?
Tippy: Ziggy, do you want to do this or not? Now fold the
left back corner into the middle.
Ziggy: You have got to be kidding!
Tippy: Now, fold it in half.
Ziggy: In half?
Tippy: That is what I said. And fold it in half again.
Ziggy: Again?
Tippy: Yes, Ziggy, again. Now fold it in half once more.
Ziggy: Again?
Tippy: What are you, a tape recorder? Just follow the
directions . Now sort of skrunch it up neatly into the palm
of your hand.
Ziggy: Are you kidding?
Tippy: Ziggy, just do as I say. It is very important to follow
the directions very carefully. Now put the bandana into
your left pants' pocket. (Tippy enthusiastically puts the
bandana into his pocket and gloats at his success. After
giving Ziggy some time, he turns toward him and sees
him dancing due to the gooey banana in his pocket.) Ziggy,
this isn't a dancing class. Come over here and follow the
directions. That was just the getting ready part. Now
comes the hard part - making the bandana disappear.
You go like this and say the magic words, ouuchy one,
ouuchy two, ouuchy three, Bango! Now let's see you do
it. (When saying bango, hit your left pocket with your right
hand in a big arching slap.)
Ziggy: Ouuchy one, ouuchy two, ouuchy three, (very timidly)
bango.
Tippy: No, not like that! Like this: Ouuchy One, Ouuchy
Two, Ouuchy Three, BANGO!
Ziggy: With a big bango?
Tippy: With a BIG BANGO, with a capital "B ."
Ziggy: Ouuchy one, ouuchy two, ouuchy three, (again
timidly) bango.
Tippy: No, no, no. I said with a BIG BANGO! Boys and
girls, maybe you can help me. Ziggy, come here and we
will do it together. (Standing side by side) Ouuchy one,
ouuchy two, ouuchy three, BANGO! (Tippy slaps Ziggy's
pocket, squashing the banana). That was much better.
Now look, my pocket is empty. Let's see yours. (Ziggy pulls
the squashed banana out of his pocket.) What is that?
Ziggy: It's my bandamnana.
Tippy: That isn't a bandana.
Ziggy: Yes, it is. It's my bandamana.
Tippy: That's a banana. Where did you get a banana?
Did you take my banana out of my lunch box? Ziggy, you
are always getting into mischief. (Tippy chases him off.)
And once again the question arises, who is the top
banana? Was it Tippy's talent that made the skit entertaining,
or was it Ziggy's mischief that caused the success?
We argue a little, but we both go home delighting
in the fact that the audience had fun and that the audience
really knows which of us is the best.
It is only appropriate that we give credit where credit is
due. This isn't an original skit. We owe our learning of
it to David "Precious" Heim and Dawn Greene
(March/April '86 cover). Ziggy first used it to win First Place
in a school talent show and then Tippy added it to his
repertoire. Our physical actions and facial expressions are
what makes it appropriate and unique to us. We hope that
you, too, can adapt it to your character and needs.
* * * * *
/\, 1,~ 111 lh - th \ rU ••I j•Ut-1,c.thllll tJiCh 4 1- 4 8 p.lO:l' ,..,ut •
,., filh-J \\1lh t,1i,,,•11llon h'I.Un~, J

March/April,1988
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If you're looking for help in finding an
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write us or give us a call. .. we've got
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OFFER GOOD TIL JUNE 1 ST, 1988.
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Creators of quality Costumes
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telephone: (612) 822-4243
Oscar is Onward
to the Big Top
By Vance "Oscar" Riffel
Kingsburg, California
Will Oscar the Clown make it under the Big Top someday?
I, Oscar the Clown, have a goal of making it to the
top, that is making it to Ringling Bros. and Barnum & Bailey
Circus' "The Greatest Show on Earth." I have been a
clown now for about five years, and I am slowly accomplishing
this goal. I have confidence that I will make it under
the Big Top .
One day I was reading in a magazine dated September,
1982 an article about Ringling Bros. Clown College in
Venice, Florida. The article was so interesting that I tried
clowning myself. I had just planned to be a clown for
Halloween, but clowning became so enjoyable that I
decided to become better at it.
I taught myself all the necessary skills of clowning. These
skills included make-up application, costuming, juggling,
physical comedy, balloon sculpture, magic, and unicycling.
It took me ages to learn the necessary skills, because I
was not taught by a professional .
After I learned the skills of clowning, my make-up and
costume were not quite professional, but I was a good
actor. I had not yet advertised myself, so Oscar the Clown
didn't get very much business. I was just a clown for the
two annual parades we have in Kingsburg, California.
I had finally grown out of my old costume, and it looked
shabby. I began creating a brand new costume and
ordered a red, half bald, yak wig and a pair of nice looking
clown shoes. This new costume cost me around $400.
I had not yet completed my new costume when a close
friend, Curly the Clown, found me a job at Fresno Pacific
College, about 25 miles from where I live. This performance
was to be in front of 700 people; it was the biggest
crowd I had ever performed for. I deeply regretted that
I didn't have my new costume ready, so I had to use my
old one.
That day, two hours before I had to perform at Fresno
Pacific College, I began to apply Stein's clown white to
my face. Next I applied the 7½ B Light Auguste, red, and
then black make-up. I then powdered my whole face and
brushed off the excess. I slipped into my old striped
costume, added a big, red clown nose and a colorful, curly
wig.
After I was all dressed, I traveled 25 miles to the college.
Then I only had a half hour before performance time. I
walked on stage and began my routine, which included
three juggling balls and a little wooden chair. I concluded
by juggling the three balls while standing on the chair.
24 The New Calliope

March/April, 1988
I took my bow, but heard no applause because I was just
practicing before the actual performance.
Time flew by. The next thing I heard was the audience
of 700 people clapping for the college's Juggling Club.
That was my cue to head toward the stage. I walked up
the short flight of stairs onto the small center stage. I was
slightly nervous.
As I began my routine, the audience grew very quiet. I
could even hear myself think of what I was to do next.
When I finished my routine, I heard the biggest and loudest
applause I had ever heard. Thank goodness it was over.
That night helped me further my goal towards Ringling
Bros. and Barnum & Bailey Circus.
I finally finished my new costume. I also had come up
with a face that is original and that fits my character of
an auguste clown. I will keep my face as my trademark .
Now that my costume is complete and professional, I am
advertising Oscar. I have been hired to do a few big jobs,
but mostly children's birthday parties.
partners without actually hitting them. We next played a
couple of difficult, but funny, games. Finally, it was time
for free performing.
Anyone could present something relevant that we brought.
I had brought my three juggling balls and my little chair.
I performed the same routine that I had presented at
Fresno Pacific College. I was very nervous performing
before real professional clowns.
The Ringling clowns gave us each a personal talk. They
said that I was pretty good, but I looked nervous. I felt
inside that I hadn't performed my best, and I really didn't.
I was relieved after the tryouts were all over. Now I know
what to expect.
I am now sixteen years old and in my second year at
Kingsburg High School. When I graduate I really hope
to be good enough to make it to Clown College. There
are around 5,000 people who try out each year, of which
only fifty to sixty will make it. Once in Clown College, only
about twenty will be offered contracts to travel with 'The
Greatest Show on Earth," and I hope to be one of them.
This is my dream and a goal which I really hope to accomplish.
I will try my best.
I would like to hear from you. Write to me at 1921 Stroud,
Kingsburg, CA 93631.
Oscar the Clown in his new face and wig.
To fulfill my dream of circus clowning, I decided to go to
the Clown College tryouts, even though I was only fifteen
years old. You have to be at least seventeen years old
to go to Ringling Bros. and Barnum & Bailey Clown College,
but I still went to the tryouts to see what they were like.
The day of the tryouts I was pretty relaxed until I got there.
The Ringling clowns were friendly and fun to talk to. When
the tryouts started, I grew very nervous. We started with
Kelly Van Cleave in charge. We learned how to slap our
Vance Riffel's goal is to attend the
Ringling Clown College in Venice,
Florida, and then join "The
Greatest Show on Earth."
At right Oscar the Clown proudly
displays his new clown wardrobe.
The New Calliope 25

March/April,1988
Clown'n Around
For All Your Photographic Needs
At The CO.A.I. Denver Convention
Chosen For Official Conuentian Photographers
Video • Formal & Unique Casual Portraits • Candids • Groups
•Photos & Packages Will Be Deliuered At The Conuention
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26 The New Calliope

IN PRAISE OF FOLLY
by Thomas Niccolls
Hiram College
Hiram OH 44234
Courage and creativity come immediately to mind when
I think of Evelyn Herman of Kent, Ohio. As a clown, as
an artist, as an elder in her church, as a grandmother,
and as one of my good friends who knows the secret of
laughter, she is a smash hit.
One of my memorable days last summer was sharing in
a service with Evelyn in her home church. Of course, we
weren't straight, but appeared as "Nibs" and " Bubbles ."
We used the clown prayer I'd found and adapted (does
anyone know who wrote it originally?) to help the congregation
participate.
Dear Lord, help me to create more laughter than tears,
disperse more happiness than gloom, spread more cheer
than despair. Never let me grow so dull that I fail to see
the wonder in a child's eyes or the twinkle in the face of
the aged. Help me to laugh at my own foolishness and
to reach out to others, sharing with them the power of faith,
the strength of hope, and the joy of love, so that pain, sin,
and death may be transformed. In the name of Jesus, who
was never boring. Amen.
Evelyn even wrote an original song for everyone to sing
- one of her typical surprises when I said, "Got any ideas
how we can make this service really original?" Lo and
behold, here she came with something for us all to sing:
Oh, where are the clowns hiding out in the rain,
Inside of God's word and throughout His domain?
Oh, call in the clowns to bring peace and good will,
To take away gloom, God's will to fulfill.
When I'm feeling low, life seems upside down.
I call out to God to bring in the clowns.
Oh, there are clowns inside of our hearts
To help us find ways God's will to impart.
Of course, it wasn't all words in the service. We depended
on some carefully rehearsed mime, as well. For example,
we did a skit on the parable of the sower as told in Mark
4:1-9. As the liturgist read of the sower going out to sow,
we pulled yellow balloons out of our bags. "Some seeds
fell on the path and the birds ate them up." Nibs blew
up a yellow balloon, but it was too full of air and blew back
into his cheeks. "Some seeds fell on rocky ground and
they soon sprouted." Bubbles blew a balloon and admired
it. "But the sun burned the young plants with no roots."
Nibs put on a large sun mask (complete with sunglasses)
and startled Bubbles, who let her balloon whiz over the
heads of the congregation .
While Nibs was chortling over his practical joke and blowing
up one of his balloons, the liturgist read, "Some seeds
fell among thrones." Then Bubbles pulled out a large hat
March/April , 1988
pin to pop Nibs' balloon. There was a chase and final
reconciliation. And the skit ended with the words, " But
some seeds fell on good soil and grew and bore grain
- thirty, sixty, or a hundred fold." With this, Nibs and Bubbles
distributed inflated balloons on sticks to the whole
congregation, and we all entered into an enthusiastic singing
of the Gloria . The sight of all those balloons waving
in time with the music was something to behold.
Remembering this little skit with Evelyn, I reflect on how
the seeds of faith have grown in her life. She has that kind
of daring joy in life, no matter what, that is surely the mark
of a true clown - a spirit that goes far beyond just putting
on greasepaint. She goes snowtubing with grandchildren
in the winter and dares to use a big tractor mower
in the summer, in spite of her daughter's warning about
falling off and getting ground up like the proverbial hot
dog circus act. But Evelyn had the last laugh: "I did it,
I did it." It was the big satisfaction of a naughty kid doing
something that turned out well in spite of dire predictions.
Her clown is definitely an artistic type. Bubbles can dance
with a large life-size doll, can play instruments, and can
create wonderful magical moments like a string of hearts
that suddenly stretch all across the church when she does
the children's story. Of course, that comes from Evelyn's
delight in painting, and she leans toward free-wheeling
experimental art - what she calls "unreal designism ,
blobbism, and interpretative expressionism."
For some months she's been getting chemotherapy for
a malignant tumor at the base of her tongue, an unsettling
experience to say the least. But because of her solid
rooting in a community of faith, l:>ecause of the love of
many friends and family, and because of the skill of her
doctor and nurses, things are going well. And so this
creative, courageous clown has something to teach us
all: use your talents to the fullest and keep in touch with
the ultimate source of joy even when the tears come.
Here's her poem that she wrote last June when she found
she had cancer. I think it's a wonderful tribute to the power
of faith and the meaning of being a clown , no matter what.
CLOWN SHOES
\, \ I~)
D1s1mctive Origmal Designs lo, men and women
Handmade w ,th 1he skill and attention to de1a1I of a
Master Cra ft sman ftom the f1nes1 leather available
Correctly designed soles allow you to Walk and Run
with a Norma l Str ide'
A Custom Made Inner Shoe to fit your foot. lu ll y
lined wit h Top Grain Pigskin Removea blelwash able
cush ioned insoles to reduce the stress of s1anding
and walkmg on hard surfaces. lo r Maiumum Com tort 1
An investment you won· t regrel Just ask anyone
wh o owns a pau•
Continued on page 38
Send $2 00 !o r~ ~
catalog and color photo .,......
ALAN ZEROBNICK
design~rlcraf1sman
264 Atterberry Road
Sequim, Wash ington 98382
(206) 683-2649
The New Calliope 'Zl

March/April,1988
British Airways Dreamflight
Continued from page 7
Included in this group were clowns from the COAi Fun
World Alley #118, Orlando, Florida, World Clown Association
clowns from Jacksonville, Florida, and Telephone
Pioneer Clowns from around the state.
The clowns worked very hard to make this welcome to
Florida very special by cheering , shaking hands, twisting
and giving balloon animals, juggling and just clowning
around. In all, it took about an hour for the group to move
from the plane to their buses and be on their way to a
three day visit to central Florida, which included
Disneyworld and Sea World. Thanks to all the clowns who
participated.
THE CLOWN FACTORY
The Telephone Pioneer Clowns were on hand at Orlando's International
Airport to meet British Airways Dreamflight.
The Dreamflight, which originated in E;ngland, was sponsored
by British Airways with help from the Wish Foundation.
The plane was carrying 288 terminally ill or handicapped
children and their chaperones, about 400 guests
in all.
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( ) CLOWN MINISTRY HANDBOOK - The best
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you're a real c lown. Stick this yellow/black sign on
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( ) HAPPY BIRTHDAY BUSINESS - Written by a
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need to know. #505 $7.50
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To order these products , please send a check, moneyorder,
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28 The New Calliope

Let's Meet the Editor
By Mary th/a
Blaine, Minnesota
"Can you have the proofs ready by Friday?" she asked.
"I'm leaving for Peru."
I knew then that this was no ordinary person I was dealing
with. Ordinary people enjoy cruises in the Caribbean.
They do not float down the Amazon and sleep under mosquito
netting in the jungle.
And I was right; Ruth Erkkila is not ordinary. You may know
this silver-haired lady with the wide smile as the editor
of The New Calliope or as "Rootie-Toot," the bluechapeaued
clown. Let me introduce you to Ruth the
scholar, the traveler, the explorer, and the adventurer.
March/April, 1988
"We started out with a 5,000-name membership list (which
wasn't current), $1,000 in the bank, and a large debt," said
Ruth. In 1984, they joined COAi and started working on
The New Calliope.
Ruth was introduced to the world of clowning in the spring
of 1970. At the time she was putting on a puppet show
once a week in the pediatrics ward at St. John's Hospital
in St. Paul, Minnesota.
"One day one of the other puppeteers, Kay Fransmeier,
started talking about the Powder Puff Clown Club. She
gave me Betty's phone number and I called her." said
Ruth. She joined Powder Puffs and Clowns of America
that same year, and Rootie-Toot was born.
When I first started doing the typesetting for The New
Calliope, I assumed that the very competent editor was
a professional writer. Her articles were superb, and it was
evident that her editing skills were top-notch.
Actually, she is a chemist for 3M and has no journalistic
background. When she took on the editorship of the official
publication of Clowns of America in 1983, she, Donella
Hoffman, and Betty Cash did all the typing, proofing,
editing, and keylining in Ruth's apartment.
We Carry A
Complete
Line Of:
* Make Up (Steins
Bob Kelly & Kryolan)
Clown Wigs
Clown Shoes
Woochie & Other Clown Noses
Clown Novelty Items
Sequin Fabrics & Trim
* Fringes & Feathers
* Rhinestones
Please send $3 .00 for our New Catalog
WE SHIP U.P.S. DAILY!
For Further Information, Call:
LYNCH'S
939 Howard (313) 565-3425
Dearborn, Ml '18124
Dept. CP
But clowning is far from being Ruth's only diversion. Her
home is full of books - and not a bunch of paperback
romances. One entire wall, floor to ceiling, is lined with
books on history, ancient civilizations, Japanese culture,
as well as cookbooks, classics, and novels. And she reads
them.
Sometimes she travels to the places she reads about. The
fat volumes on the Mayans, Aztecs, and Incas led her to
Continued on page 39
The New Calliope 29

March/April,1988
ELECTION OF OFFICERS
We are pleased to bring you the resumes of the candidates
for election of officers in Clowns of America International,
Inc. These candidates will be introduced to the membership
at the Annual Convention in Denver, April 26-30.
Please take a few minutes to read these resumes so that
you can direct any questions you have to the appropriate
candidate at this convention. If you will be unable to attend
the convention, we urge you to either write to the candidate
or send your questions or comments along with
a friend who will be at the convention.
Select your candidates. Your ballot will arrive shortly by
first class mail. All members in good standing as of June,
1988 will receive ballots. We urge you to check your mailing
label now. If your expiration date is prior to 6/88, you
will not receive a ballot unless your membership is
renewed promptly. We urge all members to exercise their
right to vote.
The election will be conducted by the Oop Alley #15 of
Cicero, Illinois. They will mail out the ballots, including the
directions for voting, and tally the votes. New officers will
take office in July; the election results will be reported in
the July/August, 1988, issue of The New Calliope.
RESUMES OF CANDIDATES FOR OFFICE
CANDIDATE FOR PRESIDENT -
DENNIS PHELPS, Lincoln, Nebraska
I am currently the elected Executive Vice-President of Clowns of America International.
In the past, I have been a Director of COAi, President of Alley 19, an officer
of the Osman Shrine Clowns of St. Paul, MN, assisted in putting together several
clown conventions, and chaired the writing of the original competition rules for
COAi. At present, I have been trying to put together an educational program which
seems to be coming together with the help of some other COAi members.
If elected president, I would like to expand the educational program so that it
reaches more of our members. This can be accomplished through an active Board
working together and some feedback from the membership as to their wants and
needs. As I travel, I try to make contact with members and visit Alley meetings
to help promote COAi everywhere I go.
Please vote for a good slate of working officers and let your choice be yours for
a better club. "Keep Smiling."
Dennis Phelps
5340 So. 67th St.
Lincoln, Nebraska 68516
CANDIDATE FOR TREASURER -
NONE
30 The New Calliope

March/April, 1988
CANDIDATE FOR EXECUTIVE VICE-PRESIDENT
BETTY CASH, St. Paul, Minnesota
I began clowning in 1966. I am a charter member of the Powder Puff Clown Club
of St. Paul and an active member of Minnesota Alley 19. I joined Clowns of America
in 1975.
I was President of the Powder Puff Clown Club for five years and Secretary for
three. I then became Education and Membership Chair and held that office for
five years.
Betty Cash
2181 Edgerton St.
St. Paul, MN 55117
I was Co-chair of the Annual COA Convention in Minneapolis in 1974. I was Chair
of Alley Entertainment for the Annual Convention held in St. Paul in 1983. I was
appointed Regional Vice-President of Clowns of America in 1980.
Since 1984, I have been active in promoting Clowns of America International and
will continue to do so if I am elected this term. Because of my costume company,
Costumes by Betty, I travel to clown conventions all over the country . I meet many
clowns and am aware of their concerns for the club and will speak for them on
the Board.
The Board has considered promoting and directing educational Clown Days across
the country. The Regional Vice-Presidents of each area would be in charge. As
Executive Vice-President, I would oversee the Regional Vice-Presidents and this
activity. I feel strongly about this project and will work hard to see it succeed.
I believe the purpose of COAi is to educate clowns everywhere, whatever the level.
With strong leadership and an active Board, we can do that.
CANDIDATE FOR SECRETARY -
IRENE DOLL, Shawnee Mission, Kansas
The office of Secretary oversees communication within and about an organization
- recording, reporting, drafting correspondence, and in general keeping the Board
and membership informed and in touch when the need arises.
I feel I would bring to the position a strong sense of organization and order, creative
ideas plus the energy to act on them and a desire to learn from as well as help
fellow clowns when asked.
Past Board positions from which I've gained experience to draw from are: President
of COAi Alley #92 in Kansas City with members from Missouri and Kansas;
Public Relations Director of LJC, a real-estate based association located in Johnson
County, Kansas. The duties of this office involved designing educational brochures
and dealing with the media.
Holding an office on the COAi Board provides an opportunity to bring about sources
of support and education for all clowns, and in so doing promote clowns and help
advance the art of clowning . These are my goals and reasons for seeking the
office of Secretary.
Irene Doll
7321 Larsen
Shawnee Mission, Kansas 66203
The New Calliope 31

March/April,1988
CANDIDATE FOR SERGEANT-AT-ARMS
WALTER R. LEE, Severn, Maryland
Walter R. Lee
1347 Ava Road
Severn, Maryland 21213
I am currently serving my third term as Sergeant-at-Arms for Clowns of America
International, Inc. My clowning experience began in December, 1959. During this
time I performed at the annual Christmas program for work. In November, 1969,
I joined COA and was give #788. I became the first President of Free State Alley
#30 in 1972 and am currently serving as treasurer of that club.
Other clown activities include working on two of the four conventions held in
Baltimore, judge for the Tall Cedars of Lebanon conventions, the 8th New England
convention (1982), the Mid-Atlantic Shrine Clownarama (1983), and the COAi Convention
in 1985. I have performed at the Big Three convention and have been
part of the make-up demonstration. My clown name is "Wally," but I am probably
better known as one of the bartenders for Alley #19 and Big Three hospitality rooms.
Besides being a member of Alley #30, I am also privileged to be a member of
Alley #19.
I am a career Federal Government employee, beginning my 28th year of service.
I have also coached Little League football and umpired Little League baseball
with the local athletic association . I have been married to my wife, Joanne, for
24 years and have two sons in and out of college - thank goodness. Thanking
you all in advance for your kind support.
CANDIDATE FOR DIRECTOR -
DONALD BERKOSKI, Indianapolis, Indiana
In 1981 I attended a Smiles Unlimited Training Session and became "Ski the
Clown." I was a Moderator and Instructor for Smiles Unlimited in Valparaiso and
surrounding areas from 1981 to 1985. When I moved to Indianapolis in 1985, I
set up a chapter of Smiles Unlimited Clown Troupe, in which I serve as Activity
Coordinator and Instructor. Since it's founding, the Indianapolis chapter has grown
to approximately 150 active members.
Since 1984 I have given more than 100 talks on clowning and clown ministry to
such groups as the Knights of Columbus, Kiwanis Club, Boy Scouts, the Hospice
Association, and various church and school groups.
I joined Clowns of America International in 1986 and became President of Alley
#178 which was formed in 1987.
Donald Berkoski
4149 Golden Eagle Drive
Indianapolis, Indiana 46234
32 The New Calliope

March/April, 1988
CANDIDATE FOR DIRECTOR -
BARBARA A. MAHER, Brookfield, Wisconsin
Well, here we go again -
Election Time.
My name is Barbara A. Maher, AKA "Ba-Ba the Clown." I have been with COAi
since it was formed in 1984. My membership number is 4352 .
I've been on the Board of Directors for these last couple of years and truly enjoy
helping COAi and my fellow Joey's . I am running for the position of Director. I
have had the pleasure of judging in several national and mini-conventions and
make-up competitions as well as having the honor of winning a few trophies in
make-up and balloon competitions. I have also won first place in the WOBO award
several years ago.
If elected, I will continue to do my best to serve COAi and my fellow Joeys. Whoever
you choose, please vote! Thank you very much - happiness and love.
Barbara A. Maher
2530 El Rancho Drive
Brookfield, Wisconsin 53005
CANDIDATE FOR DIRECTOR -
PATRICIA ROESER, St. Paul Park, Minnesota
I have been clowning and a member of the Powder Puff Clown Club for 19 years
and a member of Minnesota Clown Alley #19 for ten years. In 1978, I joined Clowns
of America.
I have held the offices of Membership Chairman, Vice President and President,
and have assisted in clown education for eight years in the Powder Puffs. I served
as Secretary for two years, Treasurer for six years, and currently am Second Vice­
President of Alley #19.
I have instructed workshops in make-up, advanced make-up, and skit preparation
at past Minnesota Clown Days, an annual all-day education seminar put on by
Alley #19. I have won in make-up and prop competitions at Midwest Round-Ups
and in several group skit and make-up competitions at the national level.
My responsibilities on the Board of Directors have been: to send (upon request)
brochures, applications, and some New Calliopes to groups for the purpose of
promoting COAi; to participate in and help produce the beginne rs make-up video
tape; to standardize trophies and order them for each convention.
Patricia Roeser
1536-14th Avenue
St. Paul Park, Minnesota 55071
I look forward to serving you in the future with my experience and love for clowning.
The New Calliope 33

March/ April , 1988
CANDIDATE FOR REGIONAL VICE-PRESIDENT, NORTHEAST U.S.A.
ROBERT L. BERRY, Takoma Park, Maryland
I am Bob Berry, your Regional Vice-President, Northeast. I would like to continue
in that capacity for another two years.
For the past three years I have served on the Board of Clowns of America International.
We have made many positive strides over the past several years. I believe
Clowns of America International is the premiere clowning organization in the nation.
I want to continue to help guide its success in the future.
In addition to my Regional Vice-President duties, I serve as Alley Coordinator.
This past year has seen six new Alleys joining our ranks. I also have written articles
for The New Calliope to help new and existing clown groups.
I have made many new friends in 1987. I look forward to serving as Regional Vice­
President for the next two years. Please remember to vote, and thank you all in
advance for your support.
Robert L. Berry
7203 Trescott Ave.
Takoma Park, Maryland 20912
CANDIDATE FOR REGIONAL VICE-PRESIDENT, SOUTHEAST U.S.A.
JACK ANDERSON, Jacksonville, Florida
I have been a member of COAi for 15 years and have been clowning for over
20 years. My clown name is "Freckles."
I am a national lecturer, judge, and teacher in the art of clowning . My goals are
to develop a strong educational program and better communication among
members and Alleys.
Jack E. Anderson
4560 Sussex Avenue
Jacksonville, Florida 32210
34 The New Calliope

CANDIDATE FOR REGIONAL VICE-PRESIDENT, SOUTHEAST U.S.A.
FRENCH B. HARVEY, Charlotte, North Carolina
March/April, 1988
Originally from Jacksonville, Florida, I have been performing as a clown since
1959 when I first dressed as a clown at age 17 to sell coloring books at a movie
theatre. During college where I was majoring in dramatics, I performed as a clown
for children's parties and at a local movie theatre's kiddie matinees.
I began to perfect my art and hobby when I became a Shrine clown in Hawaii
in 1980. During this period I performed at more children's parties, worked store
promotions, and participated in the nationally known "Aloha Parade" for three
years. I also performed as a guest clown with Circus Continental in 1982 during
a brief run in Honolulu.
•
French B. Harvey
7241 Connan Lane
Charlotte, North Carolina 28226
After moving to Minneapolis, Minnesota, in 1982, I was very active in the local
Shrine Clown Troupe performing in the Tarzen Zerbini Circus and the Royal
Hannaford Circus. I became active with Clowns of America International, Inc. where
I currently serve as a member of the Board of Directors. I am now a member of
the Oasis Temple Clowns and the Carolina Clowns .
In competition I have placed in the top three nationally and regionally in whiteface,
auguste, and individual skit competition. I have taught the art of clowning in community
education programs. I do balloon sculptures, pocket magic, individual and
group skits, and can put on a 30-45 minute children's clown magic show.
In July 1986, I retired from 22 years active service with the U.S. Navy. I now reside
in Charlotte, N.C., where I teach Naval Science in a local high school ROTC program.
During the past year I have written articles on competition and make-up
for The New Calliope.
CANDIDATE FOR REGIONAL VICE-PRESIDENT, NORTHWEST U.S.A.
FREEMAN SMITH, Chicago, Illinois
I would like to nominate myself for Regional Vice President. I feel my past experience
and strong leadership ability will make me an asset to this position.
I have won numerous make-up and skit competitions on the regional and national
level, including first place in tramp make-up and third place for single skit at the
Clowns of America International Convention in St. Paul, Minnesota, in 1985;
first place for tramp make-up at the Midwest Clowns Roundup in Detroit, Michigan
in 1982; and first place for tramp make-up at the Rocky Mountain Clowns Roundup
in Denver, Colorado, in 1978.
Freeman Smith
5747 N. Oriole Avenue
Chicago, Illinois 60631
The New Calliope 35

March/April,1988
CANDIDATE FOR REGIONAL VICE-PRESIDENT, SOUTHWEST U.S.A.
ALLEN S. PEARSON, San Diego, California
Hello, I am Bumba the Clown, AKA Allen S. Pearson, from San Diego, California.
I am #4062 in Clowns of America International. I have been a clown since 1974,
when I completed a class at San Diego State University. Since that time, I have
been a very active advocate of clowning, attending nine COA and COAi conventions.
I have taught clowning skills to a variety of populations, including adult night
school students, teenagers at my church, and most recently, three full classes
to persons affiliated with Hospice, who have desired to include clowning as a
hospice method of outreach.
I have kept my skills sharp by taking clown and magic classes on a continuing
basis. I am always in the process of learning in order to better myself as a performer
and as a teacher.
My major activity as Bumba is visitng U.C.S.D. Medical Center every Wednesday.
Some of the children have been a part of my life for the ten years I have been
a volunteer there. I would greatly appreciate your support as I run for Southwest
Regional Vice-President. Thank you.
Allen S. Pearson
5291 Ogden Street
San Diego, California 92105
CANDIDATE FOR REGIONAL VICE-PRESIDENT, FOREIGN
VICTOR LUGO, Toa Baja, Puerto Rico
No Picture Submitted
I, Victor Lugo, COAi 8063, wish to run for the office of Regional Vice-President,
Clowns of America International.
I have been a clown for fifteen years and I am a member of Puerto Rico Clown
Alley 84.
I'm actively clowning and know the needs of the members in my area. Also I'm
fully bilingual. I am employed by the Air National Guard as a Life Support Technician.
I belong to the Air National Guard Social Action Group which was formed
to bring happiness to others. We visit nursing homes, hospitals, orphanages, and
homes for the retarded. I have been active in this group for the last ten years.
I'm well known here in Puerto Rico, also in Panama, Colombia, Honduras, San
Salvador, and Santo Domingo. I also have many freinds in Mexico. My desire is
to form an association of clowns in these areas. I regularly attend the COAi conventions
and can represent my area.
Victor Lugo
P.O. Box 637
Toa Baja, Puerto Rico 00759
36 The New Calliope

March/April, 1988
CANDIDATE FOR REGIONAL VICE-PRESIDENT, FOREIGN
PEDROS SANTOS, Bayamon Gardens, Puerto Rico
Hello my friends at Clowns of America International. My name is Pedro Santos
(Piruli the Clown). I was the first clown of Puerto Rico and have belonged to Clowns
of America since 1972. I am member #1132 of COAi. I began clowning in 1955.
I am the founding President of the Puerto Rico Clowns Association Alley #84.
I have participated in all COA-COAI conventions since 1972. In Puerto Rico, I am
the clown that has won the most prizes in make-up and skit competition. At the
present time I have a contract with the Municipality of Catano Puerto Rico at the
La Esperanza Recreation Park as activities coordinator for 1988. I have 36 years
in clowning. I have worked in Puerto Rico with most of the circuses and fairs that
have come from the United States and Europe.
I was Chairman of the 15th Annual Clowns of America Convention in 1984 and
the Commonwealth Tourism Company paid the convention expenses. This was
the first convention held out of the United States.
Pedro Santos
Box 3859
Bayamon Gardens Station
Bayamon, Puerto Rico 00619
I work very hard in my region . My goal is to make Clowns of America International
an even better organization. I am always available for suggestions and will always
do my best to serve my region and COAi. Thanks for your support .
CANDIDATE FOR REGIONAL VICE-PRESIDENT, CANADA -
TOM OSWALD, Thunder Bay, Ontario, Canada
Tom Oswald
R.R. #14, Lakeshore Drive
Thunder Bay, Ontario P7B 5E4
Canada
An active member of COAi and COA since 1980, a Life Member of WCA, founder
of the Forest Lake Teen Clown Club, four-time participant at Clown Camp, and
an active member of the Thunder Bay Clown Club, I have assisted The New Calliope
staff in answering correspondence and complaints regarding the magazine and
have solicited advertising since 1984.
As a regular contriutor to The New Calliope, I have demonstrated my interests in
the psychological basis and therapeutic elements of clowning, the emergence of
youth involvement in clowning, and the contribution of Canadian clowns to the
art form.
When not working as the Residential Services Director for Family and Children's
Services of the District of Thunder Bay, my sons and I keep busy with clowning
pursuits . Some of my favorites are appearing at the Canadian Lakehead Exhibition
each year and teaching clown classes at Confederation College.
I would be honored to be elected to another term as the Canadian Regional
Vice-President.
The New Calliope '37

March/April,1988
Last Walk-A-Round
~,
You have been Ce Ce the Clown all your life; every smile,
every joke, all the parties you've had, every good time
that you're responsible for was your clown act. I've been
in the audience since I was a little girl; you've always made
me smile. You're the best clown I know. Anyone can put
on a costume, but you are a true clown without it. I love
you.
On October 27th, members of Alley 54 (Cheezo, Baby
Cwown, Melba, Joko, and myself) went to visit Ce Ce at
Salem Hospital. We put her wig, hat, and nose on her
and made her a clown.
The Best Clown I Know
by Barbara '' Four Star'' Leone
Lynn, Massachusetts
For as long as I can remember, Auntie Ce always made
everyone smile. She was always the life of the party, always
dancing, always laughing. All the children loved her; she
was our very own clown at every party.
All her life she wanted to be a clown. She told me this
a few months after I had become a clown. She felt she
was too old to start clowning. I told her a person was never
too old to be a clown, and in July, 1987, she joined the
Greater Boston Clown Alley #54.
She came to Clown Day and took every workshop and
stayed to the end of the day even though she was having
a lot of pain. I think she knew then she was going to die
soon.
In the early part of September we started working on her
character. We paid a visit to R.E. Persson's Clown Supplies
in Hamilton, MA, and with Rie's help, Auntie Ce picked
out a beautiful red and white material and designed
one of the nicest trench clown costumes I have seen. This
is when she decided to become Ce Ce the clown. Shortly
after this Auntie Ce became very ill.
I called her to see how she was, and she told me she
was going to die. She said, "Make me a clown before I
die." Didn't she know? She already was the best clown
I knew. And so I wrote to her the words I couldn't speak,
but wanted her to hear:
There are some things that I want to tell you as a fellow
clown. My definition of a clown: A clown is something inside
of us. It's a certain spirit and strength, always looking
on the bright side. A clown is a caring, fun-loving person
who wants to make people happy.
On November 12th, Cecelia "Ce Ce" Morency passed
away quietly in her sleep. She is s@ the best clown I have
known.
* * * * *
In Praise of Folly continued from page 27
KEEP ME LAUGHING
Evelyn Herman
Just keep me laughing God,
Even though the storm clouds look really threatening.
The wild wind may tear the sound of my voice away.
But if I can hear the spill of laughter in my mind,
The sounds of torture cease to exist.
Just keep me laughing God,
You, who are the source of all humor,
Who helps me understand the common denominator
Of both great and small, of life's twists and turns,
That sometimes seem like a game of chance.
Let me put my black ace on the joker's face,
And let me keep on laughing God.
I'm taking my chances with You.
38 The New Calliope

Let's Meet the Editor
Continued from page 29
Mexico and South America. The trip down the Amazon
River in Peru was a tourist trip, but it was sponsored by
the American Museum of Natural History and most of her
fellow travelers were scientists and professors.
Ruth Erkkila with a friend in the jungles of Peru. The tribesman is carrying
a panpipe around his neck. This musical instrument is a series of
pipes held together. They also come in huge sizes as large as five-feet
high. Another Peruvian instrument is made of sheep's toenails, which
are fastened by cords to a handle. A very unusual sound is made when
the instrument is shook.
"We went out in the desert and watched Haley's comet."
Ruth related. " I can't believe it - I was on vacation and
I got up at three o'clock in the morning two days in a row!"
Last summer Ruth joined an archeological dig in
Lacrosse, Wisconsin , where a group excavated a site in
the city park. They were looking for evidence of an early
settler.
"We had to dig down eight feet before we got to the soil
level of 1850. It had been a riverboat landing, and we found
a layer where you could see the ruts from the wagons
that brought goods to the boats."
Ruth plans to join the group again next summer to excavate
an indian village north of Lacrosse.
March/Apr il, 1988
On her plate were several flat, dark green wafers. Ruth
explained that they were dried seaweed with seasonings.
I tried one, and they tasted exactly like a fishtank smells.
The Japanese tea was very tasty, however.
Ruth has been taking Japanese lessons since 1985. She
not only speaks the language, but is also able to read and
write in Japanese. She keeps a diary written entirely in
Japanese characters.
" When I finished the fourth book on grammar," Ruth said,
"I asked my teacher if there were any more different forms.
She said, 'No, just more words."'
Ruth has also visited the Virgin Islands, Puerto Rico, and
has traveled all over the United States. And, of course,
she went to Bognor Regis in England for the International
Clowns Convention last year.
Cooking is another of Ruth's passions. She is taking a
Thai cooking class.
"They use a lot of coconut milk, ginger, garlic, hot peppers,
and fish sauce, which is salty," Ruth explained .
"Combined in one dish will be salty, sweet, hot, and sour
tastes." It sounds very confusing to the taste buds.
Not one to sit still for long, Ruth cross country skis and
bikes. She once pedaled for over 35 miles and had to sleep
on the floor with her feet up to ease the back strain the
effort had caused. She used to downhill ski, but gave it
up when she lost both big toenails due to ill-fitting boots.
"You can't sleep on your stomach with no big toenails,
and it takes a year for them to grow back." she said .
This issue of The New Calliope is Ruth's last one as Editor.
The magazine has improved considerably since its beginning
and has developed into a first-class publication we
members of COAi can be very proud of. I consider myself
fortunate to have met this warm, friendly, interesting, and
funny person who just happens to be a fuzzy-haired clown
named Rootie-Toot.
.. .
Japan is another country Ruth has visited in her travels.
She has been there four times in connection with her work
at 3M. She seems to have developed some oriental tastes.
When I visited her home, she was finishing her dinner.
The New Calliope 39

March/April ,1988
Backstage, Brenda Johnson, a 1987 graduate of Clown College, prepares for another day with Ringling Bros. and Barnum
& Bailey's Blue Unit performance of "The Greatest Show on Earth."
Clowns of America International, Inc.
P.O. Box 570
Lake Jackson, Texas 77566-0570
Forwarding and
Address Correction Requested
Bulk Rate
U.S. Postage
PAID
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PERMIT NO. 1058
40 The New Calliope