Mar_April_1999

The New
call io~
Clowns of A ·
M Lee' s S ummit menca , MO Int ernat ional
V arch/April, 1999 •
olume 16 , N umbe r 2 I...L ,..,

March/April, 1999
cir, r; o ~_{! ___ _
THE NEW CALLIOPE is
published bimonthly:
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November/December, by The
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POSTMASTER: Send
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64064-6468.
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The New Calliope
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Deadline for the May/June., 1999,
issue is April. 15, 1999.
Get ready for a big Clown Week!
By Bob "Bunky" Gretton
Chairman, lnt'nat'I Clown Week
International Clown Week is
observed Aug. 1-7. As the new chairman
of Clown Week, I would like to
offer some suggestions from ideas
experienced through my alley, Kapitol
Klowns (three-time winner of the
CHARLIE Award).
Clown Week is a project that
should be open to all alley members.
As with any event, Clown Week takes
months of planning. Six components
might help in putting together a great
week with your alley: Organization,
Planning, Documentation, Involvement,
Enthusiasm and FUN.
ORGANIZATION: Set up committees
and organize alley members to
direct various activities. Divide the
membership into geographical areas.
Ask each organizer to plan one group
2 The New Calliope
event in his/her area.
PLANNING: Get information to
club members about the types of
events that have been set up. Mall
shows, community nights out, a clown
workshop at the library or a local book
store, children's hospital, senior citizen
homes, etc. Write letters to the newspapers,
radio stations and local TV stations
indicating Clown Week and the
planned events. Write letters to the
governor, the mayor, even the President
of the United States.
DOCUMENTATION: If your alley
is going to compete for the CHARLIE
Award, documentation is very important.
Assemble the responses from all
government officials. Ask for thank you
letters from the different organizations.
Gather all newspaper articles. Assign
someone to take pictures or videotape
at each event. When filming video at
an event, keep each segment short. If
your alley does a magic show, don't
film the whole show: Show all clowns at
the event. Show fun, color, excitement,
not only from the entertaining
clown but from the audience reaction.
Each segment should have different
clowns in each shot. That will show it
was a team effort. If your alley is going
to compete for the CHARLIE Award,
you should compile all the material into
a binder and then edit your video.
INVOLVEMENT: The entire
alley should be encouraged to participate
in some part of the total effort.
Even if some cannot be in clown, they
add to the overall picture: photographer,
stage manager, etc. Plan a
venue of activities within an event:
face painting, stage show, storytelling,
balloono logy, strolling magical clowns,
juggling, stilt walking, etc. Realize that
Continued page 29

March/April, 1999
Published for members of Clowns of America International, Inc.
MARCH/APRIL, 1999
VOLUME 16, NUMBER 2
COAi OfflCERS
EXECUTIVE COMMITTEE
PRESIDENT: Judy Quest, 715 N. 36, Omltla, NE 68131.
Ph. (402) 551-4185. dearheart@home.com
EXEC.VICE PRESIDENT: Cheri Venturi, P.O. Box 3fil,
Destrehan, LA 70047. Ph. (504) 764-0000.
cherioats@aol.com
SECRETARY: Teresa Gretton, 3411 Lisa Circle, Waldorf, MD
20601 (301) 843-8212
TREASURER: Tony Fl. Jones, 1872 Daiquiri Lane, Lutz, FL 33549.
Ph. (813) 949-6428. jrtheclown@aol.com
SERGEANT-Af-ARMS: Walter A. Lee, 1347 Ava Road,
Severn, MD 21144. Ph. (410) 551-7830 wally788@erols.com
DIRECTORS
MEMBERSHIP: Brenda Marshall, 7128 Oldham Pli.:e, North
Richland Hills, Texas 76180. Ph (817) 281-6610
flowertc@flash.net
EDUCATION: Rex Nolen, 501 W. 84th St., Kansas City MO
64114. Ph.(816) 523-4616. molen@swbeH.net
CONVENTIONS: Danny Kollaja, 4221 Winters, Corpus Christi, TX
78415-5156. Ph. (512) 852-5696. lanky.clown@juno.com
ALLEY, REGION SUPPORT: Dan Lake, 13005 Lakeridge Dr., St
Louis, MO 63138. Ph. (314) 355-0220. danooclwn@aol.com
REGIONAL VICE PRESIDENTS
Northeast: Mike Fixer, 365 Mather St, Unit 155,Hamden, CT 06514-
3134. Ph. (203) 288-3824. mfixer@wortooet.att.net
North Central: Joyce Olson, 4 Ginger Cove Rd., Valley, NE 68064
Ph. (402) 359-4131 ida-no@compuserve.com
Northwest:Albert Alter, 5848 S.E. 18th Ave., Portland,OR 97202. Ph.
(503) 231-8576.
Mideast: Gary Zwerin, 4125 Stagwood Dr., Raleigh, NC
27613.Ph. (919) 782-4701. iclown4u@mindspring.com
Midwest: Patricia Bothun, 27 Maple Ave. N., Box 700,
Maple Lake, MN, 55358. Ph.(320) 963-6277.
mooseman@lkdllink.net
Southeast: Keith Stokes, 1539 Lake Clay Dr., Lake
Pio!, FL 33852. Ph. (941) 465-4438. Fax (941) 465-2731.
deelou@htn.net
South Central: Christie McNeill, 35 Legend Lane, Houston, TX
7702~2407. Ph.(713)461-6564.1oue:f1a9@juno.com
Southwest: Linda Hulet, P.O. Box 789,Anaheim, CA
92815-0789. Ph. (714) 778-2931. pj.shylo.clown@juno.com
Canada: Agi FBli'?E 5A4. Ph. (807) 577-3161. sissytheclown@yallOO.com
Lalin Countries: Pedro Santos, Box 3859, Bayamon Garden,
Bayamon, PR 00958. Ph. (809) 786-3759 joboUn@prtc.net
International: Andrew Stevens, 34 High St , Easternon, Devizes,
Wiltshire, SN 104PE England. Ph. 01380-813658.
STAFF
Business Manager: David Bamett,PO Box 6468, Lee's
summit, MO 64064-6468. Ph. (888)• 52CLOWN.
coaibusmgr@worldnet.att.net
New Calliope Editor: Cal Olson, 2000 Outer Dr. N. #523, Sioux City,
IA 51104. Ph./Fax (712) 239-4599. calolson@willinet .net
COMMITTEE CHAIRS
Competition: Leo Desilets, 31 Lawrence Ave., Milford CT 06460. Ph.
(203) 877-3869.
Clown Week: Bob Gretton, 3411 Lisa Cirde,Waldorf, MD 20601. Ph.
(301) 843-8212.
CONTENTS
Get ready for a big Clown Week!....................... 2
EZ! does it...... .......................................... ...... 4
Got the burnout blues?.......................... ......... 6
Perfecting a routine ........................................ 1 o
Clown Creed 2000 ...................... .................. .- 14
Elementary, my dear Watson ........................... 18
COAi Convention: Rarin' to 90 ..................... .... 20
Parade ABC's ....... .......... .......... ..................... 24
From the President.. ...................................... 28
Alleys: watch that deadline .............................. 28
Last whacks ............................ ....................... 30
Thoughts about kids' parties ........................... 32
Calendar ........................................................ 34
Last walkaround ..... , ....................................... 36
Storyline magic .................................. ............. 38
Put 'em in your pocket... ................................. 40
Getting a toot in the door ................................. 42
A thousand wordswordwordswords ................. 46
Alley update .................................. ........... ...... 48
New Web site for COAi .................................... 48
Treasurer's report ........................................... 50
ON THE COVER: Eric "EZl"Zander's clown
career has touched Just about every base.
His story, Page 4.
The New Calliope 3

March/April, 1999
EZf does it
By Linda "Shylo" Hulet
COAi Southwest Regional Vice President
It was 1996 and I had been working in Las Vegas off and
on at Ron Lee's World of Clowns. A special event was
happening, and five other clowns were booked along with
myself to entertain. There was one clown in particular
whose very presence in the room commanded attention.
He was average in height but bigger than life. His flawless
makeup and wild wisps of hair set him apart from all the rest
of us. He had an easy way with the crowd and I found myself
watching his every move thinking, "I want to be like HIM
when I grow up!" Since that day I have had few occasions to
work with Eric "EZ!" Zander, but I have learned so much.
Our paths crossed once again at the Western Regional
Clown Convention in Laughlin, NV, last year. To my joy he
taught a class on Working the Crowd. I am now on a mission:
The world needs to know about EZ! the Clown! His fresh
approach and razor sharp reactions to impromptu situations
had us in awe and sidesplitting laughter. He took old bits of
business and made them new. We were challenged and
revived. We could not help but come out of that class with a
renewal of the spirit of why we had become clowns in the
first place.
Born the middle lad of a family with five boys, combined
with being the son of a career U.S.Marine, EZ! spent most
of his growing years trying to carve his own niche in a world
of multiple siblings and frequent changes of address and
schools. What better way to accomplish this than by
clowning around? Most
of his early memories
are filled with the
echoes of laughter
riding high in the head
of a young man serving
detention.
With the real world
facing him after being
honorably discharged
from the U.S. Navy, EZ!
never felt he was
reaching his potential in
jobs ranging from
discount store
complaint handler to oil
derrick galley hand.
Always there seemed
to be a need for his
antics to be displayed in
a more featured arena.
Then he met Quentin "Smiley" Cole (COAi's 1997 Clown of
the Year, of Jacksonville, NC). Mentored by Smiley, EZ! felt
ready for the big test, so he filled out his application for
Ringling Brothers and Barnum & Bailey's Clown College.He
also called them to be granted an audition for the institute,
only to be told he was residing on the wrong coast of
America at the time. Crushed by this information,he
decided to strug.gle through as a regular Joe once again, so
he could audition the following year (his 30th year). Not two
weeks after he settled into a position as lifeguard/dinner
chef at a timeshare resort in a downtrodden highway beach
town did he receive the call.He would be accepted into
Clown College on the merit of his application alone.
Ten of the most exciting weeks of his life were followed
with a contract to clown with the Greatest Show on Earth in
their special international Gold Unit going to Japan.Once
the Gold Unit tour was finished, EZ! was transferred to the
Red Unit touring the "rodeo route," or second leg of a two
year Ringling tour. His successful second year led to
another contract and another change, to the Blue Unit for
yet another trip around the rodeo loop. EZ! has the
distinction of being one of only a handful of clowns
(including Frosty Little) to have served on all three of the
Ringling units. He also is the only known clown to have
traveled three years with the show and never played the big
cities (New York, LA, Chicago) with the opening route of the
circus tour.
Having a curiosity for what trouble a clown could get into
in the real world, EZ! bade farewell to the show he'll always
hold in his heart as home and moved to Las Vegas where
he now resides with his daughters Marki and Zoe. In his
4 The New Calliope

March/April, 1999
time there.he has walked stilts for most of the major hotels,
delivered an ocean of singing telegrams, worked as
atmospheric or featured entertainment for an innumerable
amount of special events , inaugurated two separate
Halloween adventures and thrives as one of the house
clowns at Circus Circus Hotel/Casino and Theme Park.
In his six years with Circus Circus , he has acted as
ambassador of goodwill , performed his one-clown show ,
originated the role of the Grand Slam Canyon mascot,
appeared as Santa Claus, ringmastered the Circus, hosteo
slot tournaments and is currently acting as head dinosaur
trainer.
After meeting EZ!, there is a message indelibly stamped
in my brain. We all tend to get comfortable after a while and
may find ourselves in a rut. We need to continue to
challenge ourselves in our thinking and reacting and not let
opportunities pass by. When meeting someone .do you just
stop and say, "Hi, how are ya doin'?" or do you find
something unique about that person and begin to play?
EZ!'s future holds engagements as an instructor for
other clowns and merchant of clown accessories, gags and
cheap bits . If you are one of the fortunate ones to sit in on
EZ!'s class , or even see him on the street , don't hesitate to
make yourself known. He always has time to share ideas or
shoot the breeze with a fellow clown .
In Green Bay, WI
Novemlte, 11-1
r.,
t 999
Featuring International Pertormers & Lecturers
4.lthur Vedlar
Clown Hall or fame IIIIIUClll lrlffl England
Leon "13uttons" Mcl3ride
Clown Han DI flml lnductle
Jeff McMullen
Former Rlnallna Brothers & Barnum & ballav Clown Trainer
Janet Tuck.er
Fonner World Clown Assoclallon President
13renda Manhall
Former Clowns 011mar1ca.1memauona1 Prllldant
l2ev. l2and"Y Christensen
Former FCM & WCI Clown Mlnlstrv Director
If you would Uke more information or o c.onferenc.e poc.ket,
please write or c.oll Bayside Christion Fellowship or Rondy
am
920 · 468 · ff 22: 920 · 468 · 1n6:
Bavside Chnstian f ellowshiP, Humbolm Rt Green Bav, WI
Church Office: fax: Home:
543n
920-468 · 5109
The New Calliope 5

March/April, 1999
[}ollbe
bumoul
blues?
Margaret has been clowning
since 1984. With no one to
mentor her in the beginning, she
says she spent five years as a
First of May! Now she is a
seasoned performer who
presents more than 300 shows a
year.
By Margaret "Maggie the
Maglcal Clown"Clauder
916 Wayland Dr.
Arllngton, TX 76012
Every clown that entertains
consistently for several years or
more will eventually reach a point
of Clown Burnout. If you have
not experienced it yet, either you
do not clown enough in a week
When I speak of clown burnout I am not ashamed to say
I have experienced it. It is not something to be ashamed of.
It is something you must conquer, though, or IT WILL
CONQUER YOU! Here is what I have done (and still do) to
overcome burnout.
I have always been a person who bites off more than I
can chew. I just like to be busy and so I find myself
frequently accepting more clowning work than I should ,
never taking a break for myself, or more importantly , for my
family. There have been times I have worked for literally
weeks without a full day off. Now, that is crazy!
Many of you clown on weekends only, but hold down a
..------------------------, full-time job during the
week. This can burn
you out, too. Whatever
the case, whether you
are a full-time clown or
a weekend clown, we
all need to take time off
or eventually we will
suffer. I am now taking
off on most Sundays
and devoting the
entire day to my family.
I also take one other
day of the week off if I
can, so that I can do
something personal.
As clowns, we tend to
give and give of
ourselves to others
and don't take time out
to give back to
ourselves. We can't go
on being the giver if we
are too worn out to
function. Make a note
to take sometime off
for yourself. Send
some work to another
clown or Just Say No.
Your health and peace
of mind is priceless.
Another reason for
clown burnout is
or have not been clowning over a L._ ____________________ __. boredom. This is one
number of years.
facet of clown burnout I successfully conquered long ago. If
you are prone to burnout caused by boredom , do this:
I define clown burnout as the condition you reach when Work on your clown show. Add new magic, new balloons ,
you are tired of clowning. The joy and excitement that once new skits, whatever you enjoy. If you keep doing the same
were there have left. You do not look forward to putting on show month after month, you will get bored and it will show
the greasepaint and jumping in your car to go to a gig. You through in your performance to your audience. I have put
wish you could call in sick, but you know you can't.
together so many shows I can't count them. I enjoy coming
up with new shows. It excites me and that excitement
transfers to my performance.
Develop a new character. I now develop about one
character a year. One year I worked on Toot-Toot, my
railroad engineer clown. I have been doing her for years,
but last year she got a new costume and a new show. Then I
planned to work on Bucky my cowgirl clown character. I like
to compete in the makeup competition in one of my new
characters so that I may get a good critique on the costume
and makeup. I don't really care to win (although it would be
fun, I admit). I mainly want to force myself to improve on
something I have worked on already that will be a part of my
Continued page 8
6 The New Calliope

March/April, 1999
NEW SERIES
WILD ANIMALS - CLOWNS - PERFORMERS
WHITMARSH RECORDINGS PRESENTS:
VOLUMES 15 & 16
SOUNDS OF THE
,;.,. -
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CIRCUS
MARCHES
SOUTH SHORE CONCERT BAND RICHARD WHITMARSH
VOLUME FIFTEEN-Side One
• Out of the East (Rosey)
• Go Galop (Huff)
• Red Rhythm Valley (Hill)
• Spring, Beautiful Spring Waltz (Lincke)
• Persian March (Strauss)
• Sweetness Rag (Woods)
• Morena (Moral)
• The v-.,iip (Holzmann)
Side Two _____ _
• Downie Bros. Triumphal (Cline)
• Sounds from the Harem (Duble)
• C.F.A. March (Evans)
• Grandpa's Spells (Morton)
• Aviation Tournament (King)
• Sliding Jim (Losey)
• Con Celeri1a Galop (Richards)
• National Press Club (Fillmore)
on,
VOLUME SIXTEEN-Side
• Charlie Chaplin Walk (Wolfson/ Warrington)
• March to Mecca (Jewell)
• Slim Trombone (Fillmore)
• Rose Ballet Dance Galop (Chambers)
• Among the Roses Waltz (Barnhouse)
• Steeplechase Galop (Alexander)
• Aba Daba Honeymoon (Fields/ Donovan)
• Wizard of the West (Duble)
• Shangri-La (Malneck/ Maxwell)
• Amparito Roca (Texidor)
Side Two _____ _
• Step on it !(King)
• Himalya (Henry/ Onivas)
• Prestissimo Galop (King)
• Trombone King (King)
• Espana Waltz (Waldteufel)
• Muskat Ramble (Ory)
• Idaho (Barnhouse)
• Storming of El Caney March (Alexander)
• On the Square (Panella)
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E - Mail: circus@thecia.net
The New Calliope 7

March/April, 1999
Burnout --
From page 6
business. I currently have 10 characters that I portray. I will
be revamping several, and have plans to add new ones.
Learn a new skill. It excited me no end when I finally
learned how to juggle and to vent. I hope one day to be
really good at both, but until then I keep plugging along,
continuing to do both at almost every show. Please do not
shy away from trying to learn a new skill just because you
see someone else who does it so well. Instead, ask another
clown for help in improving or learning. Or take a workshop
at a convention or a class to learn or improve that skill. Even
learning new magic and working on new patter can break
the clown burnout blues.
Attend your local alley meetings. I see so many
professional clowns who tell me, "I never get anything out
of those meetings, so I never go." If that is you, then please
forgive me, but you are just too full of yourself. After you
have been a clown for a dozen or more years, there isn't as
much new stuff to see at the alley meetings, but every year
there is something I learn that I would not have learned had I
not attended. I still go because I enjoy networking with
other clowns, seeing my clown buddies month to month,
and helping newer clowns. I get so much in return.
The clowns who "don't need to attend alley meetings"
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frequently lack a support system to fall back on when they
experience clown burnout. They become stale in their
performance, lacking the excitement they had when they
were new at it. You get that excitement by being around the
First of Mays. To them, everything is new and exciting. It's
like watching your own young child discover the world. We
have to constantly look at our work with new eyes to let
those creative juices flow.
Finally, clown for a charity. Some of us do this
exclusively, and those who do are fortunate. Those of us
who must make a living with our clowning must pick and
choose where and when we can work for free. You should
always try to work in some charity venue, though. I made an
exception to my new time off rule and worked on a Sunday.
I face painted for the local Women's Shelter. When I came
home that day after a four-hour gig, I should have been
beat. I had worked seven days in a row, which I told myself I
wasn't going to do any more. Instead, I was revitalized. I
missed being with my family, but my husband said he was
proud to give up the time with me for those women and
children. One of the women I face painted told me I made
her dream come true. She had wanted it done for years but
had never been able to (her over controlling husband
would not allow it). That woman made my entire day
worthwhile. I went home with a smile on my face.
Every time we give to another we get back ten times
what we give. Now, that's a sure cure for clown burnout!
Meet Maggie
Dear Nebraska and Wyoming Joeys:
I will be in your fine states in August, and I'm
looking to network-jam-teach classes with
fellow joeys. If you might be interested in
getting together please email me at
funnybusiness@yahoo.com, or call me at
(817) 275-5929.
My schedule:
July 30-Aug. 1 North Platte NE county fair
Aug. 2-4: free time/travel
Aug. 5-7 Evanston, WY, county fair
Aug. 8-10: free time/travel
Aug. 11-13
Aug. 14
Chapel NE, county fair
Seward, NE, county fair
Aug. 15-17: free time/travel
Thanks. Hope to hear from you!
Margaret "Maggie the Magical Clown" Clauder
8 The New Calliope

March/April, 1999
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The New Calliope 9

March/April, 1999
Perfecting
a routine
Bruce "Charlie" Johnson is an internationally known
clown artist and writer. He is the author/publisher of The
Clown In Times, a quarterly journal devoted to clowning.
At the 1998 Pacific Coast Association of Magicians
Convention , he placed first in Children's Entertainment, first
in Comedy Stage Act, with a routine that concluded with his
version of the Mismade Flag, and second in Most Innovative
Magic, with his original Three Color Book Monte.
By Bruce "Charlle" Johnson
1602 Locust Way
Lynnwood, WA 98036-9017
It has taken me ten years to perfect my Mismade Flag
stage routine.
I can hear some of you saying, "What?
The Mismade Flag. That's easy to perform. All
you do is put silks in one side of a change
bag and take the flags out of the other side of
the bag. You show three silks , drop the blue
one, put the red and white silks into the bag
and pull out a silk flag without the blue. You
put that flag and the blue silk back into the
bag, and pull out a flag with the colors
reversed. You put that back into the bag and
pull out a correct flag. End of routine."
Notice that I didn't say it has taken me ten
years to perform. I said perfect. There is a
difference. Eugene Burger has said, "Every
thing you do either contributes to or detracts from your act.
You must look at every moment and every movement , and
decide what it contributes to your act. If it isn't a
contribution, you need to figure out how to change it or
eliminate it."
For example, it has taken me attending a lot of lectures
on silk magic and experimentation on my own to discover
how to fold and load the silks so there is no fumbling for
them and they aren't wrinkled when I produce them.
It has taken time to figure out how to hold the three
separate silks so that I don't have to make an obvious move
to drop the blue silk. When I take the red silk with the other
hand, the blue silk automatically falls. Recently the producer
of a variety show told me before my performance that he
has been in this business a long time and has seen
everything . After my performance, he said, "You fooled me
with your flag routine. I thought you had really dropped the
blue silk on accident. That's true art."
I'm not going to tell you my method. I'm not concerned
with keeping it a secret. I'm not telling you my method
because it won't work for you in the same way. It seldom
works for me if I try to use somebody else's handling for a
trick , because while it is natural to the person who
developed it, it seems awkward and contrived to me. Each
person is different. You need to find a handling that is
natural for you.
You need to get to the point where you don 't think
about the gimmick or moves. Tommy Wonder said, "If you
have to think about the gimmick , you are constantly
reminding yourself that you are cheating, which is bad. You
have to believe in the magic yourself before your audience
will believe it. Eventually you will forget about the method,
and then little subtleties will unconsciously be added ." That
doesn't mean you are careless. It means you have
smoothed out the method and done it so may times that it
becomes natural.
I've done a similar thing with my handling of the change
bag. I use a style of bag where you twist the handle to
change from one compartment to the
other. I don 't do any move to turn the
handle. When I reach over to get my
magic wand, the handle just seems to
naturally turn enough that each
compartment is open half way. I leave it
like that throughout the entire trick . The
way I put things into the bag, they
naturally go into the front of the bag.
When I take them out, it just seems
natural to sneak my hand in from the
back, which means it naturally goes into
the back compartment. I don't think
about the change bag having different
compartments. I just put things in and take them out.
I once coached somebody in doing the Mismade Flag
who was concerned about keeping the kids from seeing
the dropped blue silk until they were ready. They felt if the
kids called their attention to the dropped flag too soon , they
couldn 't use their planned patter.
Kenny Ahern says , "You have to commit to the
moment. When you perform, there is no past or future.
There is only now." I don't worry about when the kids call my
attention to the dropped blue silk, because I'm going to
respond appropriately to that moment when it comes. If
they tell me about it right away, I become curious about what
happened to my magic trick, peek into the bag, and slowly,
cautiously pull out the flag revealing it doesn't have a blue
field and stars. If they don't call my attention to the dropped
blue silk, I don't know it has fallen myself. I confidently reach
into the bag and triumphantly display the mismade flag.
Continued page 12
1 o The New Calliope

Ma!ch/April, 1999
August 12- 15, 1999 in Albany NY
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24 th Northeast Clown Convention Registration Form
Name _________________
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lity, State and ZIP ___________ Alley or club name _____ _
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The New Calliope 11

March/April, 1999
Routine --
From page 10
Then I wait for the audience. If they tell me the flag is wrong,
I look at it, scratch my head, and wait for them to tell me
where the blue silk is. If they yell that I dropped the silk, I
look down at it, and then look at the flag to see what has
happened.
Charlie is a little bit of a slow thinker, and often
somebody will tell me to put the flag and silk back in the bag
before I think of it. My goal is to have an interaction with the
audience, so I give them a chance to suggest what I'm
planning to do anyway. When what I do is in response to
them, it is more satisfying for them. It takes a lot of courage
to learn to wait for the audience.
I felt the ending of the standard routine is anticlimactic. If
you keep replacing silks in the bag and pulling out another
one, of course the last one you produce will be correct.
There is no surprise to that. In fact, it would be surprising,
and disappointing, if you didn't finish with the correct flag.
I feel an element of surprise is important in doing magic.
That is what creates the joy and sense of wonder we hope
to produce with magic. Also, by the third time you have
used the bag to change the flags, there is no surprise or
wonder about the method you are using. By that time
everyone has concluded that the bag is built to make the
switch for you. Paul Harris has said, ''There is a moment
when people feel a sense of wonder before they start
thinking about how a trick might be done. Our job is to make
that moment last as long as possible." By using the change
bag yet again , that moment is non-existent. They have
already decided how the trick is done before you do it.
I decided that after producing the reversed color flag, I
would give up, change it back to the original three silks, and
then transform them in a more magical manner to the flag.
So I began to search for other ways to produce the final
correct flag.
For a couple of years I used a trick named Flagtastic as
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my finale. In this effect you start with three small silks tied in
a line, and suddenly they transform into a flag on a flagstaff.
(This is an excellent adaptation of the appearing cane.) It
got better audience response than just pulling the correct
flag out of the bag, but I was unhappy with how I was
handling it. I was making some awkward moves that
detracted from the routine, and couldn't seem to come up
with a better way of doing it. (This is a criticism of how I was
performing, not of the trick itself. I've seen others do it
smoothly, and it is a beautiful trick when done that way.)
Then in 1998 I learned how to do a bare handed blendo
from Duane Laflin. That was what I was looking for. Now I
change the reversed color flag back to the three separate
silks, start to wad them up absentmindedly, and suddenly
they expand into a giant American flag. The element of
surprise is tremendous. People have relaxed their
concentration because they think the trick is over, so they
don't notice any suspicious moves. Suddenly the flag is
there, and they have no way to think back over how it might
have been done. It just happened.
I punch it up with music. My act is done to rather quiet
music, but when the flag appears the music switches to a
rousing rendition of "Stars and Stripes Forever." The
Mismade Flag is now such a strong routine for me that I've
used it as the finale to my act and gotten some standing
ovations.
It takes time to perfect a routine. Sometimes you
overlook the obvious for years. The simplest solutions are
often the hardest to find.
Look at your routines. How many do you simply
perform, and how many have you perfected? Choose one
that you are going to commit to perfecting. Analyze
everything you do in the routine. Ask yourself why you
make each move. Figure out if each element is an asset or
detriment. Identify weaknesses and look for solutions.
Perform your routine in front of lots of different audiences
and pay attention to their reaction. Practice the routine so
many times that everything that can possibly go wrong has,
and you have figured out a way to compensate for that.
Learn to do the moves so well that you no longer think
about doing them. Know the routine so well that you don't
have to think about what comes next. Commit to being in
the moment when you perform. Give yourself permission to
spend years working on the routine before it reaches
perfection. Eliminate anything that is unnecessary.
Tommy Wonder said, "In creating a routine, most
people start with a diamond and cover it with mud. You
need to get rid of unnecessary moves. Perfecting an act is
like polishing a diamond, which is hard."
Perfecting an act takes dedication and hard work, but
the result will be a gem that sparkles and shines . Make the
commitment now. You will be glad that you did.
12 The New Calliope

March/April, 1999
June 17-ZO, 1999
Muskegon, Ml
Randy Christensen, Brenda Marshall, Terry & Pat Powell, Janet Tucker and
Liz VonSeggen challenge attendees 12 & up to excellence in Christian
Clowning. Learn about ministry opportunities available to clowns and
share your experiences! Come to Clown Ministry College to develop your
own clown character skillfully and deliberately for effective ministry.
Children's Ministries University
Muskegon, Ml • June 20-25, 1999
BRING YOUR FAMILY and enjoy GREAT children's ministry instruction! Workshops,
hands-on classes, devotionals, recreation, ~n_d Christia~ fellow~hip
combine to train, motivate, and equip those who minister to children with
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crammed with activities for the whole family ma camp set on Lake M1ch1gan.
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The largest & most exciting event of its kind! Come to experience the power
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of Chicago, and is especially geared for teen participants and adult leaders. Get
Call Today! 1-800-569-4S37 ext. 4 We are your source for quality
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August 5-7, 1999.
The New Calliope 13

March/April, 1999
- -{lCiobln (l[reeb 2000 - -
Clowning is a performance art. We exist to perform. Our
obligation is to prepare ourselves for effective and
entertaining performances.
The primary expectation of our audiences is that we will
bring humor into their lives. While delivering humor we can
also do many important things, such as teach lessons,
praise God, help heal troubled souls, and many other
worthwhile things. We do these things within the context of
our art form and with the understanding that our primary
purpose as clowns is to comically entertain.
Clowns are of human nature. Clowns are not
representations of fictional characters. Clowns are not
figments of the imagination. We are human, we are real and
we are alive. The clown is an essential part of our human
soul. We nurture and care for the clown in us so that it
always continues to grow.
We respect and learn from clowning, a rich past. We also
understand that clowning has always changed and grown to
adapt to the society of its day. We must not force artificial
constrictions on the development and advancement of
clowning simply in the name of tradition. Conversely, we
must not abandon tradition for the mere sake of change.
Change should come as natural extensions and
adaptations of our tradition.
Makeup and costume are merely two of the many tools
we use in our clowning. They are not what define us.
Costume and makeup styles do change and evolve over
the years and will continue to do so. This is a sign of
dynamic progress in our art form. No style of makeup or
costume is ultimately right or wrong (except in a historical
context). Its ultimate criteria today is its effectiveness in
helping the clown comically entertain.
Character development, thought patterns and styles of
action are no longer predetermined by any particular
makeup or costume design. Character development
determines makeup and costume choices that highlight
and augment character. Character development
determines thought patterns and range of action
appropriate to each situation.
Individuals, alleys or clown organizations may freely
choose to impose upon themselves restrictions concerning
costume, makeup or action. Failure to adhere to these selfimposed
restrictions, however, does not preclude anyone
from the enjoyment of participation in the art of clowning.
Alley and organizational rules are applicable only to those
who want to belong to that specific alley or organization
and do not speak for the entire clowning world.
Clowning is one of the most free and open art forms. It
can incorporate aspects of all other art forms. Clowns are
free to show expertise or feign incompetence. Clowns are
tree to explore. Clowns are free to succeed or fail in their
endeavors. Clowns are free to laugh and cry. Clowns are
free to relate to young and old.
Clowning is, and ought to be, inclusive and not
restrictive.
David "Mr. Rainbow" Bartlett
Marcela "Mama Clown" Murad
J. T. "Bubba " Sikes
Carol "CLaroL" Crooks
Steve "Peachey Keene " Long
Bruce "Charlie" Johnson
Bob "Bunky" Gretton
Teresa "Blinky " Gretton
Randy "Simon de Clown " Christensen
Behind Clown Creed:
By David "Mr. Rainbow" Bartlett
1427 Acadia St.
Durham, NC 27701
Clown Creed 2000 began as a crazy idea that a number
of esteemed clown educators should get together on a
simple declaration. It would serve as a philosophical base
that would enable us to understand who we are as clowns,
what is expected of us, and allow us to embrace our past
while moving confidently into a very different future. So
much has changed.so much has been altered, so much has
evolved over the years so as to make even our own self
definition unclear.
As I gave it more thought, I recalled listening to and
reading many of the top educators in the clowning field over
the past few years. While we were divergent in styles,
activities.affiliations and personalities both in and out of
costume.we all shared the same premise about who clowns
are and what we are here to do. In fact, in our individual ways
we have all independently discovered, accepted and
taught aspects of Clown Creed 2000. While I may have
been the person who put the words together on paper, it
reflects the spirit of all of us who signed the Creed.
Clown Creed 2000 addresses our past, our present and
our future as performing clowns. It doesn't cover everything
Continued page 16
14 The New Calliope

March/April, 1999
The Country Clown Jambo
July 6-11, 1999 Branson, Missouri
Featuring-
Bob Widdop
J.T. Sikes
Duane Laflin
Steve Long
Albert Lavender
Michael J. Decker
Nicki Zwerin
John Spears
Amy Prater
Subject to change. though not likely tol
Located at-
The Settle Inn
Green Mtn. Drive,
Branson, Missouri
1-800-677-6906
Join us in America's family
entertainment and music
capital- Branson, Missouri!
Tuesday, July 6th-
Basic Training* with master-clown
and Jamboree Producer- Albert
Lavender. This 3 hour workshop is for
the beginning clown, as well as the
more experienced performer.
Wednesday, July 7th-
Spend the day with Bubba, and
join the Ministry Celebration!* This
is a day-long workshop, and your
lunch is included.
On Wednesday evening, we have
arranged a special group-rate to
see the hilarious Jim Stafford Show!*
Incredible Rate!
$47 .50
Up to 4 Clowns per room!
Free Continental Breakfast
PerNighl
Thursday, July 8th-
The Jamboree officially kicks off
with registration open at 8:30am.
This year there are over a dozen
classes for the beginner to the
advanced clown. Don't forget,
pre-registration not only saves
you money, it saves you time with
express check-in!
Friday, July 9th-
Friday afternoon is the time for
the annual riding of the Ducks!*
This land-lake adventure is not to
be missed. Wear your costume,
and you might win the trophy for
the clown with the "duckiest"
spirit!
Saturday, July 10th-
The Jamboree concludes with our
famous Ozark Mountain Buffet and
Staff show! One Buffet/Show ticket
is included with each registration.
Extra tickets are available for your
family and friends.
-rhis is an Extra-Fee event! See the
registration form below.
Registration Fee's
_ Basic Training
_ Ministry Celebration
_ Ministry & Basic
Convention Registration
$25.00
$40.00
$60.00
Register now-
Clown $80.00
_ Spouse $75.00
_ Child (12-16) $70.00
After June 8th -
Clown $85.00
_ .Spouse $80.00
Child $75.00
At the door-
Clown $90.00
_Spouse $85.00
Child $80.00
The Extras
Jim Stafford Ticket
Ride The Ducks
Extra Buffet Ticket
$22.00
$12.00
$20.00
Name:
Street:
Total Amount Enclosed:
Please Print Clearly­
$ City, State:
Send this form, along with a
check or money order to-
Jamboree Productions
P.O. Box 32264
Raleigh, NC 27622-2264
Need more information?
Call: 919 785-2377
Zip Code:
Home Phone:
C99
Please copy this form for your friends!
The New Calliope 15

March/April, 1999
Clown Creed --
From page 14
about clowning. It shouldn't. It defines us but makes no
rules to confine us. In its potential effect, Clown Creed
2000 changes everything and changes nothing. We don't
wish to create a new organization or destroy an old
organization. We ask for no organizations to take any
specific action. We don't want to replace your rules with our
rules. We don't want followers. We want good clowning.
This is a very individual creed. Embrace it or toss it as
you see fit. Its essence is to help you follow your heart's
direction. Know why clowns exist and what is expected of
us. Take your clowning as far as you can, and do it as well as
your individual talent permits. Keep an open mind and an
open heart. While you're spreading around the fun, don't
forget to have a little you~self.
We invite you to use Clown Creed 2000 as a guide for
your own development. If you teach clowning, we invite you
to use it as one of your teaching tools. Red Skelton said he
preferred to be referred to as a clown because, "It is the top
of the profession. You can do anything, sing, dance, act,
and make people laugh or cry." Clown Creed 2000
emphasizes breaking through artificial restrictions using
anything and everything to achieve our intended goal of
lifting the spirits of our audiences.
And finally, please concentrate carefully on what we are
really saying in Clown Creed 2000. After many years of
writing columns I am used to immediate response criticism
that is unfortunately based upon misreading what I have
written. I've been told more than once that I'm no good until
the second reading. What can I say. It's my style. If the
wording is problematic for you, then talk to one of the many
signers. They go from north to south and east to west. At
least one is at practically every clowning get together
nationwide and in Canada. It is a truly illustrious crew with
first hand experience in every aspect of clowning. Each one
is an open, sharing educator. They may not always tell you
what you want to hear, but they will give you experiencetested
guidance.
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MAKE GOOD CENTS WITH THE
HUMPTY D. SAFETY SHOW!
The Humpty Dumpty AuocdatioD, a 50l(c)(3) non -profit organization,
advertised in The New Calliope in 1998 . C.O.A.I. members inquired about our
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It baa taken 1 year to work out the details . We are ready to offer
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(Viait our web afte www.humpt:ydumptg.orr,J
Dear Humpty Dumpty Association,
Please send me your "Protect A Good Egg'" video tape and manual .
Name _______________ COAI Member Yes No __ _
Address __ ___ _ _ ___ _ ___ City ____ _ State __ Zip _ _
Clown Name __ ___________ Phone(_) ________ _
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e HUMP'IY P. DUMP'IY Phd., nlE SAPE'IY PROFESSOR. IS A REGISTERED TRADEMARK OF nlE HUMP'IY OUMP'IY ASSOCIATION
16 The New Calliope

March/April, 1999
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The New Calliope 17

March/April, 1999
Elementary,
my dear
Watson
By Karen "Peppermint" Reinholt
P.O. Box 13187
Portland, OR 97213
I have received many letters and emails asking me to
write an article about birthday parties for elementary schoolaged
children (6, 7, and 8-year-olds). Many of you have
found that this can be the best age, but they can also
present their own challenges. Let's take a look at why this
happens.
By the time children are in elementary school, they
socialize with their friends on a regular basis. This is a
happy, fun age. Getting together with their friends beyond
the classroom is a regular occurrence and they love to invite
each other to their homes. Having their friends help
celebrate each other's birthdays is one of their favorite ways
to socialize.
Parents tend to drop their child off at the party and
come back later to pick them up. There are two sides to this
coin. When a parent stays at the party, a shy child may feel
more comfortable. However, if a shy child clings to their
parent, it can also hinder their getting directly involved right
from the beginning. It is easier to encourage this type of
child to participate if they don't have someone to hide
behind.
This happened as I arrived at a party recently. A mother,
who had just dropped her daughter off, approached me to
warn that the little girl "Lauren" was very afraid of clowns.
She described her to me, even what outfit she was wearing,
so I would be sure not to frighten her. When I rang the
doorbell, I was greeted by the birthday girl and several of
her friends, including Lauren, the little girl who was
supposedly afraid of me. She flashed a big smile and, along
with the other girls, welcomed me in. After walking into the
party room, I was just getting started when I noticed the
"anxious mother" had come back and had pulled her
daughter to the back of the room, trying to "reassure"
her that everything would be all right. I was concerned that
she had decided to stay to "protect" her daughter.
At this age, peer pressure works in mysterious ways.
This little girl saw everyone welcoming me with open arms
and she acted accordingly. The mother's presence was
working against that. It might have taken a little longer to get
Lauren to participate if the mother had stayed . Luckily, she
left and the party ran without a hitch. In fact, when I started
painting faces, all of the children were
ushered into another room for refreshments so
only one child at a time was in the room with me
getting their face painted. I wondered if Lauren
would hesitate to come to me by herself, but she
came through the doorway with a big smile, sat
right down and chose the face she wanted
painted on. There was never any problem at all.
This is a good example of how parents,
when trying to protect and comfort their child,
can actually instill uncertainty and even fear in
certain situations. At public events, I have seen
parents hold their child back and say things like, "Don't be
afraid, the clown won't hurt you." This has an unfortunate
way of backfiring, causing the child to actually become
fearful. Shy 6 - 8-year-olds are usually able to handle most
entertainment at birthday parties, as long as the performer
is not too aggressive. As I mentioned earlier, they will
usually go along with what the other children their age are
comfortable with.
Now, let's explore some other behavior attributes of this
age group. Sometimes it seems that this age can be the
very best audience, because they are attentive and love to
be entertained. They enjoy stories, magic that "tricks" them
and just about everything normally associated with clowns.
This is usually not the first time they've experienced live
entertainment, so they are aware of what is in store for them
and await with great anticipation for whatever you are going
to do. They know what is involved in being a good audience
and love to play. All of this makes for a great age for us to
entertain.
Elementary school age children are curious and
inquisitive. Since these children have already been in
school for several years, they are being taught to ask
questions and try to figure things out. Consequently 6 to 8-
year-olds can be very verbal throughout your show. If they
are asking a lot of questions, you might take a look at your
show to see if it is difficult for them to understand what you
are doing. Arrange to have several parties videotaped so
you can evaluate your show as the children see it. However,
they might be asking questions simply because of their
age. It is okay to acknowledge their comments and
questions to a point. Try to not let this disrupt the flow of
your show. When one or two children are persistent with
their questions or comments, take a moment and let them
know that you can answer their questions after the show.
This is a quick and easy way to acknowledge them, giving
them a little attention and quieting them down. This allows
you to move forward with your show, and besides, it is
unusual for a child to remember to ask those same
Continued page 20
18 The New Calliope

March/April, 1999
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The New Calliope 19

March/April, 1999
Elementary --
From page 18
questions at the end of the party.
Another reason for their questions and comments is
that they want recognition for knowing the answers. Again,
this stems from what they learn in school. Right in the
middle of your next magic trick.it is not usual for them to
exclaim, "I know how you did that!" This is not being a
heckler. This is their satisfaction in figuring something out.
You can get past this by giving them the kudos they
momentarily need, ask them not to spoil the surprises for
the other guests and then let them know you will be
available to listen to their ideas at the end of the party. Once
again, it is rare for the child to remember to come up to you
at the end of your time at the party to take you up on this
offer. By the time you are ready to leave, they are busy
opening presents or enjoying refreshments. However, if
they do remember, be prepared to give them a few
moments to acknowledge their comments and questions.
Children this age also like to impress each other,
especially the boys. They can become very vocal,
especially when the party is mostly girls with only two or
three boys. Those few boys can create more noise and
disruption than all of the girls put together. (It can happen
with girls, too, but more often with boys this age. Sorry. I
know this sounds sexist, but it's true.) However, if you stop
and take a look at what is happening, you will realize that the
boys are trying to impress the girls and/or each other. It is
usually not a personal vendetta against the clown. You can
either ignore them, focusing your attention on the other
party guests, or give them some acknowledgement for their
comments and move on to the next part of your show ( The
New Calliope, March/April 1997).
At a recent party, there were only two boys out of 15
eight-year-old party guests. It soon became apparent that
everything I said was being misinterpreted as an
inappropriate innuendo by the boys, who overreacted with
peals of loud laughter throughout the entire show. I found
myself choosing every word carefully, so as not to add fuel
to the fire, but to no avail. No matter what I said, they would
repeat a word or two and proceed to roll on the floor ,
giggling out of control.Not wanting to tell them to stop
laughing (duh!) or to stop reading things into what I was
saying (they wouldn't have listened anyway), I pretended
that they were simply enjoying my show that much. It
became even funnier as the show progressed and the
laughter was contagious. By the time I was finished with
making the balloon animals and ready to start painting faces,
the boys came up to me and told me how much they had
enjoyed the show. They both had settled down to a normal
reactive level.
When planning your show for this age group, remember
that they like just about everything. Your entrance can be a
little more commanding than for the 3 to 5-year-olds. You
don't have to worry about frightening them as you walk
through the door. Of course, I don't mean being
aggressively in their face, but you can catch their attention
as you arrive. It might be something as simple as saying
loudly, "Party time! Everybody, come on over. We're ready
to start the party!" Or, "Wow! Are these presents all for me?"
Some entrances are silent with the comedy being your
physical movements. This works better with the older
group than with preschoolers, because it can capture their
attention and they are intrigued by whatever you do next.
The main portion of your show can encompass a variety
of fun activities. This age group loves just about
everything: magic, puppetry, ventriloquism , songs,
playacting, musical instruments, balloon animals and
games. Remember to keep the activities moving right
along. As with any age group, try not to have any areas that
go too long or lag. You will lose their attention if you stay too
long with any one activity, so offer variety in your show.
It is also important to vary what you do from party to party
when you are entertaining the same group of children in
more than one birthday celebration. Recently, I entertained
at Shannon's party on Saturday and her best friend McCall's
party on Sunday. The guests were exactly the same. As
much fun as we had on Saturday, it would have been less
than exciting if I had just offered a rerun on Sunday. So, the
games were new, the magic tricks were all a surprise and the
puppet show was different. As I left the party that Sunday, I
overheard the parents commenting on how nice it was to
see a different show from one day to the next.
It is very important to keep on top of what is popular with
this age group. They are still enthralled with Disney movies
and toys. However, they have also become very interested
in books and music groups, and are more aware of the world
around them. At a recent party for a boy turning eight, the
mother had informed me that her son was really interested
in Animorphs. Not only did he watch the show on television,
but he had read the series of books. So, prior to his party, I
checked the TV Guide, then taped and watched the show.
Consequently, the magic tricks that I chose for his party
were all related to the most recent episode of his favorite
show. All of the guests were familiar with the characters and
the story that I created for his party. They became involved
in what was happening next, adding details to the storyline
as the show progressed. It turned into a very interactive
magic show that they could all participate in.
As with any age, give some attention to what the kids
are interested in and your show will be well received. Have
fun! I hope to see you in Portland at the NW Comedifest ,
April 23-25.
If you have any birthday party topics that you would like
me to cover, or if you would like to share any similar
experiences , feel tree to write: PO Box 13187, Portland
OR 97213 or email (NEW ADDRESS!)
PepprmntTC@aol.com
20 The New Calliope

March/April, 1999
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The New Calliope 21

March/April, 1999
COAI' s Convention: Rarin' to go
By Pat "Bashful" Roeser
Convention Chair
Minnesota Alley #19 members are working very hard to
prepare for your arrival at COAi's International Convention,
to be held April 27-May 2 in Bloomington, MN. We're doing
our best to plan a great time for you. We hope many of you
will join in the Renaissance festivities in addition to the
traditional classes and competitions.
There are just a few more days left to get in that ad for
the 1999 Souvenir Program Book. Send an individual or
group greeting to your fellow joeys at the convention, or
wish COAi a Happy 15th Anniversary.
Coming early? On Tuesday, April 27, if you are not in
the Kenny Ahern pre-convention workshop, take the bus
tour and see the highlights of St. Paul and Minneapolis.
There will even be some time to spend at the Mall of
America. The Titanic exhibit is in St. Paul through April 30. If
it is not coming to your area, this may be the perfect
opportunity to see it. The Festival of Nations will be at the
St. Paul River Center April 29-May 2; this is a celebration of
many ethnic groups in Minnesota, including food, cultural
exhibits, a grand bazaar, and an entertainment program.
Join the fun at one or all three Wednesday night jam
sessions. Bring your gimmicks and/or your balloon
techniques to share with others. Each session has a leader
S ptead the Pt'o'ld!
Bring your message to clowns at COAI's
International Convention in Bloomington,
MN. Be a part of the Convention
SOUVENIR PROGRAM BOOK
Advertising
rates:
Full page $65
Half page $35
Quarter page $20
Business card $10
($10 setup charge if not photo ready)
Due March 31, 1999
Send ad copy (with check) to:
Grace Enebo
622 Adams St. NE
Minneapolis, MN 55413
to get things started. Attendees are encouraged to
show off their abilities. Then follow the gang to the movies.
We have some great comedy classics to show. So kick
back, eat some popcorn and watch some of the best.
Another special will be Cathy Gibbons discussing faceto-face
clowning in Spanish. Clowning, as always, is fairly
well understood without words. However, to include our
Spanish speaking fellow joeys, we are offering this class
especially directed toward them. Of course, everyone is
welcome to attend. For non-Spanish speaking attendees, it
will be a cultural opportunity. It might be a time to see if you
still understand some of the Spanish you learned in school,
or it might be a chance to see how it feels to not understand
what is being said.
There have been some questions regarding
competitions. Do they mean the Joust? Yes, there will be
jousting. Do they mean those competitions sponsored by
COAi? Viewing of all COAi competitions will be open to the
public. There will be a camera gallery area available for taking
pictures or video recording. Competitions will be held on
two separate days. Thursday begins with makeup
competitions in the morning. In the afternoon there will be
group skit competition with single skits in the
evening.Hopefully,Saturday morning will be warm and
beautiful for the outdoor paradeability competitions. Should
there be adverse weather, plan B is to have it inside at the
Garden Court. Balloon sculpture competitions will be held in
the early afternoon.
Don't leave the convention too early. Penne Peterson­
Sewall will present a one hour workshop on aspects of
clown ministry, and then lead us in our morning worship.
Penne has been a renowned leader in the area of clown
ministry for over 20 years, on the national and international
level. Her work has been presented on radio, television,
video and in the co-authorship of two books, Clown Ministry
and Tag, You're It! She is the founder and director of
Gospel on Greasepaint, a Minneapolis based education and
fellowship organization, focused on ministry of the clown.
Minnesota Alley #19 members are practicing their
English for the Renaissance Theme Party. We are
expecting a great entourage of dignitaries. Just a little
reminder: This is the 1550's England and there has been
much talk about the New World on the other side of the
ocean. The spirit of inquiry and discovery is the hallmark of
this period. The upper classes follow every new trend and
display their wealth on themselves. Beware that you do not
overdress for your class. The Sheriff may put you in the
stock or fine you for violations of the Sumptuary Law.
Fare thee well, till the Convention!
22 The New Calliope

March/April, 1999
3Jou,sf for {fiaf f.s
MN 99 COAi Convention
April 2 7- May 2, 1999
Bloomington, MN
..
en .....
Hear Ye! Hear Ye! Turn back your calendars to the 16th century and join your fellow clowns for the
Renaissance "as it should have been" (we've eliminated all the bubonic plague, scurvy and other nasties!).
Be prepared to be knighted, squired and/or courted by the fine citizens of Knot-A-Ham in truly a
spectacular style. Don't miss the fun ... register NOW!!
Registration - $90.00 Per Person ($100 from 1/1 to 4/1, $110 to 4/26 and $120 at door)
Pre-Convention 8 Hour Workshop with Kenny Ahem (Tuesday, April 27)
25 Maximum@ $45/person (in addition to regular convention fee)
Make checks or money orders payable to
"MN 99 COAi Convention"
and mail with registration form to:
Darlyne Erickson
Questions?
9216 Minnetonka Blvd Call 612/945-0228
St. Louis Park, MN 55426 or DERICK1067@aol.com
Hotel Information:
Radisson Hotel South & Plaza - 7800 Nonnandale Boulevard
Bloomington, MN • Call for Reservations 612/83 5-7800
Cost: $85 Single/Double, $95 Triple, $105 Quad & Cabana
Smoking and Non-Smoking Rooms Available Upon Request
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Joust for Laffs - MN 99 COAi Convention
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NAME: ___________________ COAI# ______ _
Address: ___________________________
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Phone#'s: Day ___________ Evening ___________ _
Clown Name: :----------
C
Sign me up for the 4/27 /99 Kenny Ahern Pre-Convention Workshop
(Enclose $45 in addition to normal registration fee)
Full Amount Enclosed:
---
The New Calliope 23

March/April, 1999
Parade
ABC , s
Parade clowns , experienced or new at the game,
should benefit from the following article written by the late
Bob "Ragsn Stanek. Many still regard him as an expert in this
field. During Rags' four decades as a Minneapolis Aqua
Jester, he hoofed hundreds of parades in as well as out of
his home state of Minnesota. His gags are too numerous to
mention here, but his favorite was a huge red firecracker
equipped with a real fuse that sparked menacingly only to
end in a sign that popped up with the word "Bang!" This
beloved joey, one of the founders of Minnesota Alley#19 ,
was the author of several articles in this magazine.
By Bob "Rags" Stanek
ORIGINALITY : First try to come up with something
original. This is very hard to do, especially after attending
clown conventions and seeing other good props and
parade acts. Also, you may see good ideas on your TV. If
you use something that already has been done, be sure
that nobody in your club or your area has anything similar.
Then it's at least original in your area. It you plan to resurrect
an old parade act that someone has done in the past, it is
just courtesy to ask the originator if it's OK and get
permission.
Stay away from "blue" acts (bedpans, curb service,
etc.). Our primary job in a parade is to entertain the children
and secondly the adults. Blue acts are not entertaining to
the children, and in most cases the kids don't even
understand them. So, keep it clean and stay away from blue
acts; remember, you're out there for the kids. Believe in
your act! Play the role of your parade act. We have a clown
here in the Minneapolis Aqua Jesters.when he puts on his
makeup and costume, he becomes that character he is
portraying, and not till he takes his makeup and costume off
after the parade does he revert back to his original self.
PARADE PROPS IN GENERAL: Construct air
parade props for severe wear and tear. Construct them to
withstand abuse and rough handling. Build them like a
battleship. But. there is a trade-off: The prop should be
lightweight, too. So, this becomes an engineering feat to
have a strong prop and also lightweight to carry, push or pull
in a long parade. If you use wheels or casters, be sure to
use some that will carry the weight of the prop for two or
three miles. These wheels must be of good quality, heavy
duty and strong, not just junk box wheels. Remember, i1
your prop breaks down, there is little or no time to repair it,
and you're out of a parade act.
Even though there is little or no time to make repairs to a
parade prop, I usually carry a small tool kit, screwdriver,
pliers, and filament (duct or gaffer) tape. You can do
wonders with filament tape for a quick repair, but
remember, you have to have something to cut the filament
tape.Parade props should be fairly waterproof or water
resistant. Clowns are expected to do the parade, rain or
shine. Fancy floats or bands may be pulled from parades in
case of heavy rainfall.but for the clowns, the show must go
on.
Now the hardest part of a parade prop: They have to
repeat, or reload, or reset very easily and quickly. We'll get
into timing later. I think this is the hardest part of designing a
parade prop. The circus clown doesn't have this problem,
as he goes out on the track or in the ring and does his act
once and it's over. Not so with the parade clown. He must
be able to do his same act maybe 70 to 100 time& during
the parade. Plan to do your parade act at least two times a
block or more if possible. If your parade prop is to be
pushed, pulled, or carried, it must be as lightweight as
possible, and easy moving, strong and sturdy as stated
before.
If you have a large prop, you have to consider the
logistics of getting it to the start of the parade, and getting it
back home again after the end of the parade. Sometimes,
large props can be made in parts and assembled at the
beginning of the parade and disassembled at the end of
the parade. But, remember the traffic and restrictions at the
24 The New Calliope

March/April, 1999
start of a parade, and take that into consideration. Also,
some parades require special permits to get to the start of a
parade.
If you use a storage battery for a sound system, lights
or motivation, be sure the battery is of sufficient size and
capacity to furnish power for the entire parade. Also, the
battery must be in good condition, preferably new, and
most of all FULLY CHARGED before each parade.
I usually carry a small secondary act, or pocket gimmick,
just in case (heaven forbid) my prop breaks down. Then you
can stash your prop and still be a good effective clown in
the rest of the parade.
VERY IMPORTANT: ·1f your prop has a sign or
lettering to help explain the prop to the crowd, the signs
have to be short and to the point and in very large legible
letters. Possibly use a professional sign painter to make the
signs. The parade crowds have very little time to read long
signs or poorly lettered signs that explain what the prop is
supposed to be. Long explanations will go unread and
therefore your parade prop may fail to be understood by the
parade crowd.
Sometimes it is advisable to carry an umbrella or a
lightweight raincoat stashed in your prop or a nearby parade
vehicle just in case. Check the weather report before the
parade.
Try your prop out BEFORE the big parade. Check it out
in a smaller parade or try it out around the back streets
around home.If it is a motorized prop, check to see if the
motor is in good shape and reliable. If it's a gasoline engine,
be sure it's easy-starting.
TIMING: If (as in most cases) you are required to stay in
one group in a parade, as we do here in the Minneapolis
Aquatennial parade, you must design a parade act that will
not take much more than 1 O seconds to do from ballyhoo to
blow-off, and still stay up with your group. This depends on
how fast the parade moves. I have been in parades where
you have a fast-stepping band behind you, pushing you all
the way, and it becomes impossible to do a parade act.
Then I have been in very slow parades in which you can do
your act ten times a block.
Sometimes (not too often) you are allowed to "float" in a
parade and not be required to stay in a group.An example
of that is the Milwaukee Great Circus Parade, as you are fed
into the parade one at a time. But you're still expected to
keep up with the pace of the parade.
PHYSICAL SHAPE: Do a parade that will fit your
physical shape. Remember, a clown usually walks two or
three times the actual parade route length. Here in
Minneapolis, the Aquatennial parade is about 2 1 /2 to 3
miles in actual length.One year I put a pedometer under my
costume, and the total distance I walked was six miles. A
clown does not just walk down the middle of the street; oh
no, he works both sides of the street, zigzagging back and
forth.
Don't expect to push, pull or carry a prop in a long
parade unless you're in good physical shape, especially on
hot days. On very hot days, some clowns take salt tablets
before the parade to replace the salt the body loses in
perspiration. Be sure those tablets don't make you sick,
though. If you become woozy, light-headed or exhausted,
take it easy, hitch a ride on a parade vehicle, or just stop and
sit on the curb and rest a bit till you feel better.
Dress according to the season. In summer parades the
costume should be lightweight and cool; just the opposite
for winter parades like the St. Paul Winter Carnival parade,
which needs warm clothing and underwear. You must
protect your extremities (feet, hands and ears) with boots,
gloves or mittens and sometimes earmuffs. Wear
comfortable shoes and costumes. Big clown shoes are
great for effect, but they are troublesome in parades. I have
a pair of size 16 gym shoes that are painted, and use them
for clown shoes in parades. This gives the feet a break in
long parades and also gives me better footing.
ST AGING: When you do your act, try to stay away from
other clowns who are performing their acts and doing their
things. Sometimes it is impossible to get away from other
clowns' acts, so if you find yourself in that situation, try to
complement them by working with their act for a few
seconds. DO NOT draw the parade crowd's attention away
from another clown!
TYPES OF PARADE ACTS: Just being a clown
walking down the middle of the street, waving to the crowd,
is a waste of a clown. It's not effective, and could be greatly
improved by just adding a small gimmick, a parade prop, or
doing a simple clown act.
Clowns should neverNEVERnever throw giveaways
or candy! Our club, The Aqua Jesters, forbids giving out
candy or giveaways. Also, many parades forbid this also. It
tends to get the kids out in the street, and out of control.
Then again, I have been in parades where everybody
thought the thing to do was to throw out candy. Even the
politicians do it. Once we had a rich guy throw out silver
dollars; did that create a mayhem!. I think seeing a clown just
walking down the street throwing out stuff is not funny at all
and is not clowning.
Walking clowns can always pick up an old tried and true
act like giving out balloon sticks or flower gags (giving out
straw stems). But caution must be taken even on this type
of "sucker" act as I have seen little kids actually cry when
they did not get the balloon or flower. So, use judgment in
Continued next page
The New Calliope 25

March/April, 1999
Parades --
From preceding page
doing this type of act. You know the kids get a big kick of
seeing their parents being the butt of the sucker act.
If you are in a group parade act, be sure all the clowns in
the act have something to do, not just standing around
watching. You never see a clown in a circus act just standing
around, they all have a part and all are involved in the act. A
good solid parade act should have a beginning, a ballyhoo,
a short act, and then a blowoff or surprise ending.
Parade acts can be done singly or as a group, with many
clowns. Be sure to ballyhoo, selling your act with a
preliminary buildup before the blowoff. Be very cautious in
using any type of smoke bombs, blanks, firecrackers or
fuses. If you are using a sound system to augment your act,
consider the ambient crowd noise. This is very deceiving,
how high a level the crowd noise is in a parade. You have to
have a very good sound sy~tem to override the crowd
noise. I have seen a clown try to use a small portable
cassette tape player going full blast and not even being
heard by the parade crowd. And so his act failed.
SUITCASE GAGS: Examples -- Big Kiss, Pair of
Bloomers, Political Promises and Man-Eating Plant.
A problem with suitcase gags is that you cannot work
the Happy Sounds of the Tangley Calliope!
tfrli CLOWN AND MID~AY {fli
~ALLBOPE
• usn~\
very small groups of the parade crowd. You MUST intensely
ballyhoo your suitcase gag before opening the lid and
showing the blowoff. Signs on the outside of the suitcase
make this gag work. The signs MUST be short and to the
point, MUST be in large lettering, usually professionally
painted.
SATIRE : Use caution with satire in clown skits. When
using satire in your clown act, be very very careful not to
offend anyone or any group. NO ethnic satire. Watch it,
there is a very fine line between satire and insults, so be
careful. Try to make your satire funny. Use current events,
local items, politics, TV or newspaper ads.
SIGHT GAGS: There are clown parade gags that are
called "sight'' gags. It can be in the costume or the parade
prop, or both -- just looking at it is funny. The clown doesn't
have to stop and do an act. Examples: Cartoon characters,
animal costumes, political impersonations.
MOTORIZED ACTS: This is one of my bones of
contention. Aiding acts are easy on the clown and in most
cases not too funny to the parade crowd. Just riding up and
down the street on a scooter or similar vehicle in a clown
costume is not very funny and not real clowning. If you use
a motorized vehicle for a clown act, incorporate it into a
clown act or make your vehicle into a sight gag. Stay away
from battery operated vehicles, unless you know for sure
the battery will have enough capacity for the entire parade.
Remember, starting and stopping uses much more energy
than straight street running. Keep club vehicles, such as
buses or trucks used for transportation to and from the
parades, out of the parade proper.
Above all, most important if you use a motorized act:
Drive it in a safe manner, watch out for kids darting out from
the curb in the street. And be sure your vehicle is in good
shape with good brakes and steering.
Vol. 2 • more Marches and
lively tunes. CD# 1028
Cassette # 1022
Brass Whistles
on Parade • CD #1038
All selections on these three
recordings are in the public
domain, so you can play
them anywhere.
Get them from your favorite
supplier, or order direct from
Marion Roehl Recordings
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Fhne (319) 837-8100. Fax (319) 837..ffH)
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ootsk:le lSA) cr$.5 ir UFS. (IAresi:lenls crll. &lo sais taxi
Wdte.imcrpbonefi:rcu-free catalog
Web site: www.mrrecordings.com
PARADES IN GENERAL: Always find the position
assigned to your group in plenty of time before the start of
the parade. Arrive at the staging area of the parade in plenty
of time to relax for a moment and to check your props out.
Read any specific rules regarding the parade. An example is
the Milwaukee Great Circus Parade; there is a three-page,
typed (front and back) set of rules just for the clowns in the
parade. The assigned position in the parade makes a
difference. If your position assignment is in the beginning
of the parade, expect to be in a fast-moving parade. If your
position is toward the end of the parade, expect a slow
parade with many stops. I usually take a couple small pocket
props to work the crowd before the parade. This makes
waiting for the start of the parade go faster and it is fun. Do
not interfere with bands and other participants in the
parade. Do not march with bands and mimic the band
leaders, etc. Do not get up on parade floats.
Good luck and good parading.
26 The New Calliope

March/April, 1999
CLOWNS & THINGS TEACHING VIDEOS
I. The Art of Entertaining Pre-Schoolers (How to Entertain Pre-Schoolers!) by Bev Dowling
2. How to Teach a Clown Class for Kids! (For Profit) by Bev Dowling (For pre-schools & day cares)
3. Effective Hospital Clowning (How to start a Successful Hospital Clown Ministry!) by Bev Dowling
4. How to Make More Money Pricing & Booking Birthday Parties! by Bev Dowling
5. Master the Art of Clown Make-Up! by Carol Fields, Jeff Bodle, and Toni Hein man
6. How to Make Fuuy Animals Look Really Alive! by Bev Dowling (Covers spring animals, mouse, & hand puppet)
7. How to Do Basic Balloons! by Carol Fields
8. How to Do Advanced Balloons! by Carol Fields
9. How to Tum Balloons into Bucks! by Bev Dowling and Carol Fields
I 0. The Famous Fool You Bunny Routines! by Bev Dowling (Includes comedy prediction & magic, etc.)
11. How to Master the Art of Spinning Plates Like a Pro! by Bev Dowling (Basics of spinning plates)
12. Easy Money with the Polaroid! by Bev Dowling (How to book & sell Easter Bunny & Santa visits year after year)
13. Face Painting Made Easy! by Carol Fields
14. How to Make Money Face Painting! by Bev Dowling and Carol Fields
• * * 2 NEW VIDEOS! * * *
15. Funny Routines & Gags Any Clown Can Do! By Bev Dowling (Filled with easy to do antics & routines)
I 6. The Three Little Pigs & the Big Bad Wolf! By Bev Dowling (Comes
I
with the video story, pig bag & nose)
Regularly $49.95 each but for a limited time on sale for $35 00 each plus $5 00 SIH.
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or visit our Web site : http://www.adpark.com/bev
1
COAi
Membership Application
(please type or print)
NAME ............................................................................................................................................
Last First Middle Initial
ADDRESS ............................. ........................................ ............................ .........................................
Street City State Zip Code
DATE OF BIRTH. ................................ AGE. ................... Sex: M ........... F .............
CLOWN NAMES USED .........................................................................................................
SIGNATURE ...................................................................................
Annual membership fees: New members U.S.: $25 New members foreign: $30
Renewals US: $20 Renewals Foreign: $25
Lifetime: $300 (U.S. Funds)
Family membership: U.S., Foreign: $10 for second and additional members of one family.
Send application with remittance to:
Clowns of America, Int.
Box 6468
Lee's Summi t, MO 64064-6468
The New Calliope 27

March/April, 1999
much to be learned not only during the educational
sessions, but out in the hall where clowns are constantly
sharing, and by watching the competitions. And you only
come to a convention once as a stranger; after that you
have friends you see over and over. So join us if you can.
By Judy "Dear Heart" Quest
COAi President
Hurrah -- it's Spring and it's Convention time! I always
look forward to the COAi Convention, and it is so well
placed: Just when it is time to get "Dear Heart'' ready for the
summer season, get those old cobwebby routines out,
wash that wig really well and learn something new and fun.
If you've never been to a convention, you are really
missing something. Whether it be an International
Convention like will be held the last week in April in
Minnesota, or a regional convention, there is so much to
learn and so much fun to be had.
I like the classes the best -- I get so little sleep during the
week that it is pitiful, but I can sleep at home. There is so
I want to add that at this upcoming convention there will
be the usual general membership meeting.This year we will
be voting on the COAi By-laws as printed in the January­
February 1999 issue of The New Calliope. On behalf of the
COAi Board, I urge you to attend the meeting and to vote.
We have worked very hard on this revision and want to
know what you think. Also, if you have issues you would like
raised at the Spring Board meeting, please get in touch with
me, or your Regional Vice President, or the Director whose
portfolio is in the area of your concern.
If you aren't able to join us in Minnesota, that doesn't
mean you can't join in the energy of the Spring season in
clowning. In addition to the polishing off of the old red nose
and clown shoes, get together with some fellow joeys,
share skills, have fun. Or maybe you would like to get
together and develop a seminar. Let us know how we can
help. And most of all, have fun having fun and making fun
for others.
Keep a smile in your clown heart!
Rlleys: watch that deadline
By Rex Nolen, COAi Education Director
501 W. 84th St.
Kansas City, MO 64114
Attention, COAi alleys interested in participating in our
Clown Artists in Residence program: You're under the gun!
Applications for CAIR grants should be sent to me by
April 15, which is almost upon us. The grants will be made
by the COAi Board at its annual meeting in Bloomington,
MN, April 25-26. These are grants for the fiscal year that
begins July 1, 1999.
and then prepare the application. The events can be
scheduled between July 1, '1999, and June 30, 2000.
Payment for the Artist can be up to $200 a day for three
days, with COAi paying half, or up to $300. (Sponsoring
alley pays the other half.) The Artist may charge more, but
the difference will be picked up by the sponsoring alley.
Days necessary for travel would be considered days to
reimburse if some educational activity takes place (for
instance, traveling on a Friday with an event starting that
evening).
Just a reminder as to how CAIR grants work: Alleys have
the responsibility of contacting one of COAi's Clown Artists
in Residence (check the January/February, 1998 issue of
The New Calliope) to talk over possible events and dates,
RHOADE✓ CAR
COAi will also pay half of the Artist's travel and per diem,
up to $500, with the sponsoring alley paying the other half.
COAi will pay the amount of the grant after a contract has
been returned. The alleys may charge admission for the
event to help cover some of the costs.
Speed is really of the essence. Check the Artists who
are available, fill out the CAIR application and make a copy of
your contract with the artist (detailing the specific events,
dates, schedule of lectures/classes), and get it to me RIGHT
AWAY! Alleys will be notified immediately after the Board
Spring meeting.
If you need a CAIR application, get in touch with me.
28 The New Calliope

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We have been looking for you I
The calliope is tuned. The big top has
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• Membership Benefit is Coverage Under the
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Ph: (612) 738-0280
The New Calliope 29

March/April, 1999
Last
whacks
By Mike "Buster" Bednarek
P.O.Box 364
Salem, OR 97308
In my last article I introduced three more concepts on
creativity from the book, A Whack on the Side of the
Head (New York: Warner Books, 1990), by Roger von
Oech. In his book, von Oech describes ten "mental locks"
that inhibit our creativity, and what we can do to overcome
them.
The eight ideas I've encapsulated in previous articles
are:
+Look for more than one right answer.
+ Use both phases of the creative process:
Imaginative an d practical.
+ Challenge all rules.
+ Cultivate your Imagination.
+ Laugh and be playful.
+ Actively seek out new Ideas.
+Let randomness and ambiguity stimulate
your Imagination.
+Put on your fool's cap.
Who'd have thought that one book on creativity could
provide fodder for so many articles and thought-provokng
ideas. Yet, here I am, back with another round of "stuckbusters"
from that same stimulating book!
Here you are then -- the last two of 10 ways to whack the
creative side of your mind into action:
MAKE MISTAKES: "The same energy that
generates good creative ideas also produces errors."
(Whack, page 152.) Afraid to make mistakes in public? If
so, you deprive yourself of many learning experiences
except those occurring in private.
Here's what a master comedian has to say about taking
risks in your public performances:
"If you're not failing every now and again, it's a sign
you 're not trying anything very innovative."
--Woody Allen
There are two benefits to failing:
first, you learn something doesn't
work.and second, you can go on
and try a new approach. Look at
your errors as the whacks that
lead you to think or do something
different.
Although I could write volumes
about all the things I've tried that
didn't work and required
reworking, a couple of recent
experiences come immediately
to mind as examples that we
should "fear not (and learn from)
a mistake." One occurred in a
workshop setting, the other during a library performance.
Not long ago, before heading off to Clown Camp as a
first-time instructor, I did a dress rehearsal of my character
development workshop with the Rose City Clown Alley.
Boy, am I glad I did! I discovered that my planned workshop
used too many video clips, didn't focus participants on
some real character traits, and wasn't flexible enough to vary
the instructional material and exercises and adapt them to
participants' needs while the workshop itself was under
way. I made the necessary changes to my plans and the
workshop was a hit in Lacrosse, WI, at Clown Camp.
During a July performance of my "Fool's Tools" show at
the Corvallis-Benton County Public Library, I got a little
careless in the selection of a young volunteer to handle a
percussion instrument playing part. We worked our way
through it during that show, but you can be certain that I
made a mental note to choose an older child for that role in
the future!
Work on flexing your "risk muscle" regularly; this will
build up your ability to try new ideas, fail with grace, and
improvise on the spot. In fact, why not try something new
once a week -- a recipe clipped from the newspaper, a wild
tie, an unfamiliar comic strip, telling a new joke,or a different
route to get to work .
BELIEVE THAT YOU ARE CREATIVE:
Absolutely DO NOT believe that you're not creative! What
you think has a way of coming true.
You can do some of the same things I do to buifd up my
personal "belief' system, things such as 1) engage in selfrenewal
and professional development by attending
workshops as often as possible; 2) stretch your personal
comfort zone by putting yourself on the spot and doing
something that's a little "out there" on the job, with your
family, at your church, or in some other public setting, or 3)
agree to do a clown performance or appearance that's
Continued page 32
30 The New Calliope

March/April, 1999
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The New Calliope 31

March/April, 1999
ADYAftCED STUDIES
1999
Setting the Standard for Excellence
~ 1'An1110 C.•ft'l'fffU Cnltr,
Hendersonville, NC. • in the bc-autifu.l Blue Ridge Mountains of North Carolina.
Advanced Studies - 1999
SEIT/NG THE STANDARD FOR EXCELLENCE
has always been the goal of Advanced Studies.
The strength of Advanced Studies over the years can be contributed to Iha high caliber of our
instructors and the enthusiasm of our par1icipants. I have always tried to encourage those attending
Advanced Studies to achieve their pen;onal best.
The one question l'm asked most is "How do I find my character?". Realizing that this is a universal
problem. I have decided to focus this year's Advanced Studies on Character Oevelopment. If
you don't feel comfortable with your character, It's difficult to perform, so all of our classes this year
w,11 worl< on helping you develop your character o, improve the one you have.
Advanced Studies '99 will offer five days of full-time training and two days of orientation and
closing ceremonies, gMng you over 40 hours of training, 19 hours of eating,? hours of sleep, and 7
days of 100% education and fun. On Thursday evening, we will present our big show• The Best of
the Best • this is a public show in which you are encouraged to perfonn and show what you have
learned. This has always been one of Iha highlights of Advanced Studies. Our staff will include 18
instructors • Leon "Buttons• McBryde, Michael "Coco" Polakovs, Oavid "Mr. Rainbow" Bartlett, Mary
"Sugar Plum· Lostak, Oscar "Timmy Bond" Flores, Marcela "Mama Clown· Murad. J.T. "Bubba"
Sikes, Theresa "Pinky" Garrett, Tony "Junior" Jones, Suzy "Pink Fairy" Hammer, Janis "Mayor
Clancey" Roberts, Jackie "Lolli·Bells' Garner, Bill Stupe, Pete Burris, Starr Hamson, Linda McBryde,
and more· more than any other clown training program, with over two hundred years of combined
expenence in perfonning and teaching.
Advanced SUJdies is ngf an annual event . I produce Advanced Studies only When I have time
and a facility. Take advantage of the training. You never know ff n·s the last one.
Those who know me have heard me say 'When you're green. you grow; and when you're ripe,
you rot", • a quote of Mr. Ray Crock of McOonaid's. Advanced Studies will stay green this year by
adding a new track - face painting • under the direction of Marcela Murad. This new track w,11 cover
every1hing fro,n tattoos 10 full face· from brush to aiit>rush • and every1hing in between. ti you like
face painting. this is your opportunity to have 15 hours of classroom instruction by some of the best
Staying green will continue wnh another first for Advanced Studies '99, as I w,11 be teaching one
of the morning classes for 5 consecutive days in Character Oevelopment and Perfo,mance. t'm
excited about this year's instructors and curriculum. I hope you will make plans now to attend and
help Advanced Studies to continue to sst the standard tor &xcBlfeac@ m cJowomq
Training Onlv (no room or food indudtd}
S375.00 S100 deposit with 6 additional payments ofS46.00
Leon "Buttons· McBryde.
Director
Dorm Room Training and Meals !dorm room style accommodations with shared baths)
S-475.00 S100 deposit with 6 additional payments ofS63.00
Cottage Training and Meals (2 ptr room with shared bath)
S575.00 per person StOO deposit with 6 additional payments ofS80.00
Priv;ue Room Training and Meals
S675.00 S100 deposit with 6 additional payments ofS96.00
SI 00 deposit will reserve your registration with balance due on August t. I 999
--------~~--------,
(optional 6 month payment plan available)
w1w;
Namo: ---------- --- - --- -
ClownN&me ! __ _____ _ _______ _
Linda or Leon
McBryde
800-990-42 t 4 ....... , -------- - --------
Fax: 540-473-t 230
Cily: ___________ State: _ _ ~:
ProlCNOWSl@aoLcom Phone: _ __ _____ _ Fu: ______ _
Advanced Studies
E-mait. ___ ___ __ _ _ _ _ _ ____ _
P.O. Box 12
Buchanan, VA 24066
Peymem Option: Deposa $100 + • Check enclosed
Regts1tab0n dePOSII Is Circie package : A 8 C 0 D Credi!: Card D Visa O Masterc1rd
refundab!e unbl August 1.
1999. Part1e1p an1s must be
0 Paymen t Plan 6 pymts ot _ _
18 years of a;e Ol o,der
Students are resoons b:e
CreddCa rdNu mber _____ _ _ _____ __ _
32 The New Calliope
Whacks --
From page 30
"outside the box" of the things you know how to do and/or
are comfortable doing.
Believe in your ideas, and be dogged about building on
them .. Whack away at those ten mental locks, generate
ideas, then put 'em into action.
Now that you've recovered from your self-inflicted
whacks and can create new ideas on command, here are
your next steps: 1) map out a plan, 2) take a whack at it and
start NOW! 3) accept no excuses, 4) put yourself on the
spot, 5) get support, 6) be courageous, 7) set and keep a
deadline, 8) be a warrior (Yoda, the Jedi Warrior, said it best:
"Try? There is no try. There is only do or not do."), 9)
persist, and 10) reward yourself.
I'm pulling for you -- write me at P.O. Box 364 Salem, OR
97308 or email me at bednarek@worldnet.att.net to let me
know how you're doing.
Thoughts about Kids' parties
By Mark Renfro
4755 Wlnesanker Way
Fort Worth. TX 781~~
Be on stage from the moment you arrive. Make a
strong entrance with a high energy level.
Keep your routines simple enough for children to
understand and short enough for them not to lose interest.
Use lots of audience participation. Give kids plenty of
opportunities to yell and laugh and clap.
Don't use liquid or fire in someone else's home.
Remember Murphy's Law?
Kids love magic but they hate to be "fooled." Stay
away from sucker tricks unless the joke is on you.
Never do anything that looks dangerous. Kids might
try to imitate it.
Choose props and routines that are lightweight and
don't require much setting up. Your job is to entertain the
kids; that's hard to do if you have to carry a ton of stuff up
the stairs.
Don't leave a mess. It doesn't matter how good the
show was if all Mom can remember is the confetti that was
stuck in her carpet for a month.
Never talk down to, insult or patronize children. Kids
may lack the sophistication of adults but they are just as
quick to discern disrespect.
Make it clear that you enjoy what you do. Being invited
to someone's party is a treat. Be happy to be there.
Send a thank you note.

March/April, 1999
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Calendat
Aprll 23-24: 8th Annual Arkee Malarkee #229 of
Rogers, AR, "Clown Workshop." Info: (501) 636-0089.
email mamimumm@nwa.quik.com
Aprll 23-25: Northwest Comedifest '99, Maryhurst
College, Portland, OR. Info.: Angel Ocasio Ph. (360) 260-
8557. email Ocomedy@aol.com
Aprll 23-25: Southern Ontario Spring 99 Clown
Conference, Best Western/Brant Park Inn, Brantford,Ont..
Info: Wendy Warwick (519) 752-7299. email
clown.central@bigfoot.com
Aprll 27-May 2: COAi's international convention,
Bloomington, MN.
May 12-15: Comedy College, Las Vegas, NV. Info.:
Steve Kissell (757) 423-3867.
May 14-16: Clown Town '99, Newark, OH. Info: (740)
345-3880. email clowntown.org
May 20-23: Carousel of Clowns, Ocean City, NJ. Info:
Dana "Dazzle" Endresen (732) 591-2600.
May 21-23: Moose CampCaravan, Kansas City, Mo.
Info: (320) 963-6277 or (888) 523-2640. email
mooseburger.com or rnolen@swbell.net
May 28-30: Clown Fun '99, Calgary, Alberta, Canada.
Info: Margaret Beaulieu (403) 281-5907 email
beaulieu@spots.ab.ca or Ron Daley (403) 274-4188 or
.clownz@cadvision.com
June 10-12: Gospel Clown School, Crest Bible
Church, Kansas City, KS. Info: email ldowling@swbe ll.net
JUNE 12-13: "The Greatest Two-Qay Clow!} Seminar
on Earth" at Girl's Inc., Pinellas Park, FL. Info: "Luv'' a Clown
(727) 546-7325. email Vulwena@aol.com
June 16-19: Comedy College, Norfolk, VA. Info.:
Steve Kissell (757) 423-3867.
June 25-26: Weeked of creative ministry training,
Felician College, Rutherford, NJ. Info.: Ph. (800) 893-5402
or (201) 385-9115.
July 6-11: Country Clown Jamboree, Branson, MO.
Info: (919) 785-2377.
July 22-24: 18th annual Funhouse Big "3"
Convention, Holiday Inn, Gaithersburg, MD.
July 22-25: Clowns Canada's 20th annual Caravale,
Niagara Falls area. Info: Chris Van Kriekan, email
chrisvk@interlog .com
Aug. 7-12: '99 Mooseburger Camp, Koinonia Retreat
Center, South Haven, MN. Info.: (800) 973-6277
www.mooseburger.com
For an application form and full registration info: Aug. 12-15: Northeast Clown Convention, Albany,
National Clown Arts Project. Inc.
NY. Info: email webclowns.com/eccoclowns/
Aug 21-27: Advanced Studies, Hendersonville, NC.
2 40 Swimming River Road Contact Linda O! Leon McBryde. Ph (540) 473-2271
Colts Neck. New Jersey 07722-1528 Sept. 23-26: 11th Northwest Festival of Clowns,
Produced by the Nation.al Clown Arts Project, Inc. Spokane, WA.Info: Andi or Julie Rothweiler (509) 467-
http://members.aol.com/clownfest/1999.html
6216. email juliesquirt@mail.sisna.com
Clownfest@aol.com FAX 732-747-3841 Nov. 11-14: National Gospel Clown Conference,
===================== Green Bay, WI. Info: (920) 468-1122.
34 Toe New Calliope

March/April, 1999
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The New Calliope 35

March/April, 1999
La~t walkatound
Richard "Bonzo" Stockstill
Richard "Bonzo" Stockstill.of Chicago, IL, made his last
walkaround Nov. 27, 1998.
IIQ.ii:liill::.J..::e!:J
Bonzo began clowning in 1973 with
the Moose Lodge's Roly Poly Clown Club
in Cicero, IL, He was a member of COAi, a
life member of World Clown Assn., and for
years was walkaround coordinator for the
Clown Guild of Metropolitan Chicago. He
received that organization's Old Shoe
Award and its Humanitarian Award.
Bonzo started a clown ministry group with his wife and
clown partner, Judith "Bon Bon." He was in the automotive
field for more than 50 years and assisted many federal
agencies in various law enforcement programs.especially
involving drugs.
Bonzo is survived by his wife, two daughters , two sons,
six grandchildren and three great-grandchildren. He will be
missed by family and friends.
June "Juneau Joey" Dawson
June "Juneau Joey" Dawson , 74, made her last
walkaround in Juneau, AK, Jan. 14, 1999. Born May 15,
1925, in Pueblo, CO , she married John Dawson in 1950.
They moved to Juneau in 1951. A retired public health
nurse she was later associated with her husband in the
automotive business, while founding or serving as a
volunteer with numerous community groups.COAi 's
Juneau Joeys Alley #31 O was named for her.
As the original "Juneau Joey," she first put on
greasepaint in 1974 and participated in every Julv 4
parade thereafter. Shortly before her death she wrote,
"With my passing there is another opening in the pool of
volunteers needed to help all people, all creatures and their
environment. Please volunteer ... Choose your cause and
give the most of whatever you do best and reap loads of
satisfact ion."
She is survived by her husband, two sons, their wives
and two grandchi ldren. She will be missed by relatives and a
-host of friends.
John "Kapo" Kapral
John "Kapo" Kapral, 78, of Williamstown, NJ, made his
last walkaround late last year. He began clowning 35 years
ago, and held COAi Number 3826. He was a
longtime director of the Middle Atlantic Clown Assn., a
member of Delaware Valley Clown Alley and the Kapo Gang
Alley , named in his honor.
An expert in balloon sculpture, he also taught other
clown arts, including skits and makeup. He marched in the
annual Philadelphia Mummers Parade for more than three
decades. He performed as many as two clown shows a
week until becoming too ill (with cancer) to continue.
He is survived by his wife of 52 years , Mary Patzuk
Kapral, two sons, two daughters, 10 grandchildren and two
great-grandchildren. Family and friends mourn his passing.
++++
COAi has been informed that these joeys have made
their last walkarounds:
Russell
Brown, of Brooklyn, NY;
Mlchael Andr leu, Chatillon, France.
Clown Week --
From page 2
the more magical the arena , the greater the audience.
ENTHUSIASM: This is the key! Be enthusiastic about
Clown Week. When genuinely given, enthusiasm is
contagious. Encourage and promote each event. Even if
your alley chooses not to compete tor the CHARLIE
Award,Clown Week is still very important , because it
educates the public about the art and love of clowning.
FUN: Above all, make the week's events and the
planning fun . The earlier you start working on this big event,
the more excitement your alley will generate. To kick off that
excitement, have a contest within the alley to come up with
the best theme idea for the week or the best booked event.
If you need more information about Clown Week,
please let me know.You can email me at
gretton@bellatlantic .net or write to me: Bob, PO Box 787,
Waldorf, MD 20604.
COAi
SiMPLY
THE BEST
36 The New Calliope

March/April, 1999
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9926 Beach Blvd, # 114
Jacksonville, Florida 32246
Send us a picture of your character and we will put
on a High Quality Cotton T-Shirt. Have a great idea
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Any size avalible. Only $18.95 postage included.
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18 1h Annual FUNHOUSE BIG "3" Convention
July 22, 23, & 24, 1999
Holiday Inn - #2 Montgomery Village Ave. - Gaithersburg, MD 20879
Registration - $75.00 (After June 1, 1999 - $85 .00)
(Check, Money Order, Visa or MasterCard accepted)
3 Fun-Filled Days with ... 3 All-Star Shows ... 8 Workshops ... Close-Up Magic Show
Dealers Show . . . Fantasy Nite Costume Party w/Refreshments & D.J. on Thursday (Adults Only)
Palm Reading ... Banquet . . . Hospitality Room (Adults Only) on Friday & Saturday
Talent Booked to date - The Dreamakers, Denny Graham & Co., Todd Charles , Mike Rosman ,
Capitol Clowns, Donna Branham, Martini, Helene, Ray Lucas, Mike Schirmer, Paul Trattner,
Ron Covington, John Swomley , Michael T. Myers, Not So Fat Boys, plus more to come!
(Dealers - Funhouse, Bob Little, Martini, Helene , Betty Cash Costumes , Spear's Shoes, Mingus , Al Cohen , Al Westrick )
Holiday Inn - Gaithersburg ... $79.00 / room {Single or Double) plus tax
Make your reservations directly with the Hotel - 301 / 948-8900
Be sure to mention you are with the Funhouse Big 3 Convention to get the special rate.
Make checks payable to: FUNHOUSE BIG "3" CONVENTION and mail to:
Funhouse Magic Shop - 6816 Eastern Ave. - Baltimore, MD 21224-410 / 633-6420
LOU WALSTON and JOHN DODGE , Co-Chairmen
The New Calliope 37

March/April, 1999
~totyline magic
By Steven Bender
Allas Mr.Pickle of lckle Pickle Products
whatever for the vanish, a change bag, a Devil's Hank a
thumbtip.
I now lift the Shatter Box and carry it towards my
audience. "I want you to make sure that you watch
everything carefully. The silk is going to reappear inside of
--------------------- this box. But I will not be touching it when this happens." I
Several months ago, John Guthrie, Krako the Clown,
sent me a Fallapart Table that he had purchased some time
back. I liked the concept of the table, but thought that it
wasn't practical as far as its size. It sat against a back wall in
my office for months. Finally I decided I might as well return it
to John because I was never going to do anything with it.
As 1 ·set it on the UPS table to be boxed and returned, I
suddenly realized that if I reduced the size of the table so
that it was easy to transport, it would be perfect to use in
conjunction with a single prop.
I told Roger, who builds some of my wood props, to
make me a sample table 12" high with a 1 O" top. John's
table was about 24" tall with an 18" top. Within days Roger
brought over a prototype:we discussed how it should be
painted (John's table was all blue) and decided on red legs
with a black top, trimmed in silver. Why red and black?
Because these are the colors of my Shatter Box, and I could
now use this small Fallapart Table to initially hold the Shatter
Box. Whenever I feel I've successfully merged two props
into a routine that will generate laughs, I get excited. This
got me excited.
What better than to call up a spectator and then explain
to him that the Shatter Box has been in my family for years.
"I only use it on very special occasions for fear of damage.
It's an amazing box, but when I hand it to you I want you to
be certain to hold it by the handle -- carefully. Please, do not
even think about dropping the box. Probably I shouldn't
have even said the word drop. In fact, what I'm going to do is
place the box on this table." I now set the Shatter Box on
the Fallapart Table. But, keep in mind, I've handled both the
Table and the Box and nothing has happened. I have a
yellow silk loaded on one side of the Shatter Box. I show
the inside of the box, but the audience sees an empty box.
I take a duplicate yellow silk and vanish it. I can use
(ii)
11.c'AJR~
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38 The New Calliope
now look back at my spectator and tell him to bring the
Fallapart Table forward. As he goes to pick it up, the legs fall
out. Setting it to fall apart is what makes this such a great
item. The set takes all of about three seconds. I give him a
look and tell him to come hold the box and I will tend to the
table. I instruct him to hold it by the handle and to pull on the
front knob so the audience can clearly see that there is still
nothing in the box.
When he pulls on the front knob, the box falls to pieces,
but hanging from the lid is the yellow silk. I give him a look
and then say, "I don't know how you did it, but there it is and
there it is (as I point to the pieces of box on the floor) and
there it is (as I point to the table legs)." What can I say once
I've said it plays for laughs. It catches the spectator by
surprise twice and at the same time it catches the audience
by surprise. The reaction of the spectator and how you play
off his reaction sets the tone and tempo.
What I've given you in this Storyline column is the
beginning of a routine. I've used the Shatter Box for years,
but the little Fallapart Table is new and I've only had the
opportunity to use it on a few people who have stopped by
to purchase some magic. The more I use it, the more I'll
refine the routine. But when I first saw my new prototype of
the table, I knew what I wanted to do with it. Are there other
ways in which the table can be used? I'd have to answer,
why, of course.
One thing that's important to remember when you're·
developing a Storyline or routine is that you should be
excited by the props you're going to incorporate into that
story. As soon as I saw the Little Table, I knew it was the
perfect size for holding a single prop. If I'm to emcee, I can
use it for a quick laugh by setting up a situation, such as
telling my audience that what they are next going to see
they simply won't believe. I instruct them to watch as
carefully as they can. I call up my spectator and t~I him that
there is only a few minutes between acts, so if he ~ill bring
over my Little Table we can get right to my little bit. fie lifts
the Little Table top and the legs fall out and I allow the
audience's reaction to fill the gap until I introduce the next
act. "The next time I want to work with a comedy partner, I'll
give you a call. Don't concern yourself with what I was going
to do. My time is up and now as you exit to a round of
stunned applause, I shall introduce the next act."
If you're giving a speech, you can set whatever you
might wish on the table. If you wish for a little comic relief,
just wait for the moment and put the table into play. Enough
said.

March/April, 1999
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The New Calliope 39

March/April, 1999
Put 'e111
-an your
pocket
By Lee "Juggles" Mulally
1817 S.W. 76th Terrace
Galnesvllle, FL 32607
If you have an opportunity to entertain at hospitals,
picnics or other walkaorund situations, you might want t?
consider using pocket gags. A pocket gag usually consists
of a verbal statement followed by a visual that illustrates an
unsuspected ending. With a little imagination, you can
create funny pocket gags
Be on the lookout for walkaround ideas that you can
use as pocket gags. I will provide you with a few ideas and
hopefully your creativity will take over and carry you well
beyond these ideas.
I was given a walkaround pocket gag that was a scaled
down version of a parade prop I had previously seen. The
pocket gag consists of a small wooden box with a lid that
rotates on a loose-fitting screw to reveal the contents of the
box. The phrase "Two piece chicken dinner" is written on
the top of the lid. As the lid is rotated, the audience can see
the two kernels of corn inside. The parade prop I had seen
prior to receiving this gag involved a clown carrying a
covered platter with a sign reading, "Two piece chicken
dinner." The clown removed the cover to reveal two ears of
corn resting on the platter.
You might be able to get ideas from watching parades
and the walkarounds that are being used. Remember that
you need to scale it down for a pocket gag!·
I recently received a key chain from someone who knew
I was interested in juggling. The key chain contained a 1
1 /2" x 2" spiral bound juggling book and thre~ small b~an
bags wrapped in a mesh bag. Each bean bag 1s a half mch
square -- "little" bean bags. I now have a pocket gag for my
walkarounds. I plan to use it by asking my audience if they
would like to see a LITTLE juggling. If they say yes, I will pull
out that small book and the three small juggling bean bags,
quickly page through the book and begin to ju~gle ~he
small.colorful bean bags.Now, that's a LITTLE Juggling. The
book and the juggling bean bags can easily be removed
from the key chain and carried in a small wardrobe pocket.
If you are doing
walkaround clowning,
you do not want to be
carrying heavy props
around in a sack or
case. You can get
reactions, either
laughs or groans, with
small items. Remember
that you will be very
close to your audience
and that you will be
moving about, so your
audience will be
constantly changing.
There is no need to
carry a case full of
props. Try to work on
gags where you can
use very small props that fit _into your pockets. If the pr~ps
are small and light weight, you can carry several, and will not
need to limit yourself to a single prop.
Convention goodie bags can contain very useful items.
Some of you may search out the mints or the pens and
pencils. But when I get a goodie bag, I immediat~ly go
through it in search of walkaround gag and prop ideas. I
once received a goodie bag at a convention that contained
a Princess telephone key chain. The receiver and
transmitter part of the phone are connected to the di~I .
portion of the phone with a key chain. As I am entertammg
people I quickly pause and tell them I almost forgot to do
something. At that time I tell them I need to perform a small
task and reach into my pocket and pull out my small
telephone. This needs to be presented very cas~ally
because the telephone is very tiny and your audience
needs to see the telephone and its size for this gag to get a
laugh, or more likely, a groan.
Check stores where kitchen products are sold, and you
can find small refrigerator magnets representing a variety of
objects. Using the same logic as with the ti~y telepho_ne,
you can tell your audience that you really enJoy watching a
LITTLE television. Pull out the refrigerator magnet of the
television and stare into the small screen.
You can locate many small pocket props that are really
refrigerator magnets. I have seen a small refrigerator magnet
telephone that actually rings.
If you go to garage sales, be on the lookout for the small
magnetic letters that children use to learn the letters of the
alphabet. You might have to spray-paint the letters to
complete the props. Then you can show your audience
your favorite or least favorite vegetables, "green peas," by
displaying at least two green letter "P's." Or you could carry
an "I" that is painted black, or a "V" that's painted gray, or a
"C" that is painted red. You could paint another "C'" black
40 The New Calliope

and have a geography lesson. These make wonderful
pocket gags. And carry certain letters in specific pockets, so
they can be efficiently and effectively presented. You want
to b able to set up the gag and then retrieve the prop to
complete the sight gag without fumbling around.
If you use magnetic letters, you might consider
arranging them on a small piece of sheet metal that can
easily be carried in a pocket. Be sure to round the corners
and sand the edges so you don't snag your wardrobe -- or
stretch a rubber gasket around the edge of the sheet.
Remember that the gags you use need to fit your
character. What might work for me might not worK for
you.How you present these pocket gags is also very
important. Get your creative juices flowing and think about
using pocket gags. Then have fun performing walkarounds
with them.
Remember to enjoy life -- it's not a dress. rehearsal.
Need to talk to someone about
COAi? The business office will
take your calls from 9 a.m. to 5
p.m. (CST) Tuesdays, Thursdays.
(888) 52-CLOWN
March/April, 1999
Who ls It?
By Bruce "Charlle" Johnson
How many of these clues do you need to guess the
identity of this inductee to the International Clown Hall of
Fame?
1. He got his start in entertainment by working as an
actor in theaters.
2. The first time he clowned was in 1970 when a
producer asked him to play the character during
intermission of a play for children.
3. He is the author of a book on balloon sculpture.
4. He had the privilege of clowning at some of Red
Skelton's birthday parties.
5. His wife is also his performing partner.
6. He appeared on the CBN national TV show "Doris
Day's Best Friends."
7. He has taught at Clown Encounters with another
ICHOF Inductee.
8. He has taught at the University of Wisconsin Clown
Camp every year since 1986.
9. He is a tramp clown.
1 o. He is Don "Homer" Burda.
The Bucks Start Here .. . So Travel at the Speed of Laughter To . ..
Comedy College
The Professional Family Entertainers' Conference
June 16-19, 1999 - Norfolk, Virginia
--------------------------------------.
You're a Guaranteed Winner!
LAS VEGAS CONFERENCE May 12-15
call for class & instructor details
Special Pre-Convention Workshop:
"Professional Entertainment Skills" with Duane Laflin
May 11 Las Vegas June 15 Norfolk
Norfolk Scheduled Classes
• Magical Comedy Concepts • Sizzlin' Ideas for B.D.P.'s • Substance Abuse, Speak Out!
• Creative Corporate Comedy • New Kids Show Comedy • Teaching a Magic Class for Kids
• Amazing Laughs & Comedy Magic • Principles of School Shows • Creative Comedy Techniques
• Solid & Amazing Gospel Magic • Story Telling Techniques • Marketing for Today's Performer
• Favorite Restaurant Balloons • Comedy Balloon Pitching • and more educational sessions!
Comedy College, 1227 Manchester Ave., Norfolk, VA 23508-1122
757-423-3867 / fax: 757-489-1587 or e-mail: 102705.174l@compuserve.com
Register Now! Limited to 60 Participants!
The investment for this professional seminar is only $325!
The New Calliope 41

March/April, 1999
For First of Mays -
Getting a foot
in the door
By Kathy "Plckles" Dhlngra
178 Carey Clrcle
Stoughton, MA 02072-1669
You've slapped on your greasepaint, poofed up your
wig, tweaked your nose, buckled your shoes, straightened
your socks, played your character 77 times in
the mirror and loaded your pockets with
squeakers and horns. All dressed up with no
place to go? When you walk out your door,
where do your big clown feet take you? How do
you get there? Does anyone even know you
exist? How do you let them know?
Remember this one word: ADVERTISE.
Yes, you read it right and let me say it again:
ADVERTISE. No one will know you are now
a clown unless you tell them. How do you tell
them? No, you don't have to hire a big
advertising firm to get the message blasted on
billboards as well as national TV. Start out volunteering at a
few alley events. That is the best start to getting noticed
and honing your skills. Then get on the phone. Call all your
friends and family. Practice your performance at your child's
(or niece's or nephew's or grandchild's or neighbor's)
birthday party. Call and volunteer to perform at your local
elementary school or church fund raiser, read a story at your
local library, march in your town's annual "Squash Harvest
Parade."Let people know that you exist and how good you
are.
Define exactly what it is you want to do. Do you want to
perform at children's birthday parties? Does the idea of
working only corporate events and the big ring appeal to
you? Do you want to work in a hospital or nursing home?
Perhaps the preschool or elementary school audience is
more to your liking? Maybe you know in your heart that you
can make middle schoolers listen and laugh. Can you do a
magic or juggling show? Have you got a fantastic balloon
show that will amaze the young and old? Perhaps your face
painting is out of this world. Maybe you've discovered a way
to convey the word of the Lord by using foam props and
silk scarves. Maybe you have a way with special needs
children or adults. Decide where your strengths and
weaknesses are. Define your market and find ways to get
the word to them that you are in business.
Do you need special training to break into your chosen
field? For example, I would not waltz into a nursing home or
hospital without a little research first. Certain infection
control procedures must be followed to protect you and the
patient. Also, you have to be very sensitive to the patient's
physical and psychological condition. Finally, you have to
be sure you can deal with seeing pain and sadness that may
be far greater than anything you've ever seen. Nor would I
even dare to perform in front of a group of middle schoolers
without 100 hours of practice and a thorough psychological
evaluation. Middle schoolers will chew you up and spit you
out unless you are absolutely fantastic and cool.
Don't set yourself up for failure. Talk to clowns that
already do this to find out how to get started. Call the
institution(s) and ask if they have an existing program and
how can you get involved. Read through old Calliope
magazines for articles on these subjects.
Purchase or borrow books on your specific area
of interest and research, research, research.
Then research some more. Did I mention you
should research? Prepare for success!
Do you need special equipment to perform?
There is nothing worse (except maybe chicken
pox) than walking into a 9,000 square foot
auditorium jam packed with 10,000 children and
you've got no microphone and the teensy tiny
nickels to dime trick. Make sure your show and
props are adequate for the audience. If you
need a sound system either ask the client to
provide one or purchase your own. Be sure your show,
props and magic can be enjoyed close up and far away.
Make sure your material is age appropriate.
Preschoolers may need a fast moving show to keep their
attention. It may be wise to keep it short as well, so you
don't lose their interest. I've also read to avoid fire at small
children's shows so as not to scare them. Older children
might be more challenged with seemingly complicated and
sophisticated looking stuff. They can take the heavy
message magic. They can follow a storyline. If it's family
entertainment you're promising, be sure to keep it clean so
the entire family from baby Joey to Granny Sal can laugh
openly.
Once you know what you can and cannot do, you've
got to figure out how to tell them so they can hire you. If you
agree to volunteer your time somewhere.see if they can
include your name and/or picture in their promotional
advertising. Advertise in your local pennysaver or
newspaper or parent's magazine. Many communities have
some kind of small weekly publication that charges
reasonable rates and may help you design an ad. Be sure
you know the market territory. Does this publication reach
just your town or does it cover several towns? Are you
willing to travel to all these areas? Do you want to do
corporate events? Find out when the community chamber
of commerce meets. Arrange to make a concise yet
entertaining presentation at their next meeting. Leave them
Continued page 44
42 The New Calliope

March/April, 1999
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CLOWNS & THINGS- GOSPEL CLOWN SCHOOL: JUNE 10 th -11 th -12 th , 1999
Convention Site: Crest Bible Church 4835 Gibbs Road; Kansas City, KS. 66106
Learn how YOU can present the Gospel through:
•Hospital Clowning
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•Balloons
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Taught by nationally known instructors: Bev Dowling, Carol Fields, Joyce Olson, Virginia Demming, and others.
Dealers and Clown supplies available.
Pre-registration fee Before June l, 1999: $65.00-After June 1, 1999: $80.00- $85.00 At The Door.
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convention rate: $62.95 + tax for up to four (4) per room. KCI Airport Shuttle number: 1-800-243-6385
For more information e-mail: Bev Dowling .
The New Calliope 43

March/April, 1999
Breaking in --
From page 42
laughing and wanting more so they'll have to hire you.
Have a professional looking flyer or brochure to hand
out after your presentation. Usually they need some kind of
hard copy to present to a committee before they can hire.
Mass mail it to the corporate human resource or social
director of companies in your area. Follow up with a phone
call.
Price accordingly. How? I really don't know a formula,
but I know I price my birthday party package based on what I
would pay someone to entertain for me. As a parent on a
budget, I cannot afford too much, so I price by what I think I
can afford.
You may charge more for corporate events and less tor
a school or church fund raiser. You may charge a kabillion
dollars tor the first hour and scale back the hourly rate tor
each additional hour hired. You may choose to volunteer tor
some and charge tor others. Your tee should definitely take
into account your experience. If you're just starting out,
your tee should not be the same as Hippy the Hairy clown
who has been nosing clients for forty years and amassed
several shelves of trophies and awards tor his/her. clowning
expertise.
Once your foot is in the door, any door, have an ample
supply of business cards, flyers , coupons , personalized
pens, pencils, stickers and/or coloring sheets ready to hand
out. Make sure all the children walk away with a coloring
sheet and encourage them to hang it on their fridge for a
long long time. When you greet a grownup, have a
business card or pen ready to hand out. An inexpensive
giveaway could lead to one or several jobs , so make the
effort to get them into people's hands.
Follow up a gig with a thank you note or letter. Send out
holiday greetings to the clients you wish to work for again.
Let them know how much you appreciate their business
and all the new and wonderful things you have to offer for
the next performance. It may be the icing on the cake as tar
as securing repeat business. One December I sent out
holiday greeting cards to a few of my big customers and one
of my favorites called upon receiving the greeting card to
book me for their next annual summer picnic. When I
finished performing at the picnic last August, they told me
to save the same date for next year.
Aspire.Reach for the stars. Make every performance
your best performance. Give 110 percent at each show.
Love what you do. It will show. Know what you can't do
because that will show as well. Before you know it, you'll
have made your way into the business of clowning and be
in demand. Good luck.
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March/April, 1999
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The New Calliope 45

March/April, 1999
A thousand
words words
words words
By David "Mr. Rainbow" Bartlett
1427 Acadia St.
Durham, NC 27701
The best marketing tool I have used over
the years is my photo. It is no exaggeration o
say that I distributed more than 40,000 copies
of my first post card. I finally retired it after 12
long years. It was still effective but I just didn't
look like the young fool in that picture any
more.
I finally got another photo to replace it. It
wasn't easy. I'd have replaced it much sooner if
I'd found one that was right. I'd had plenty taken
by plenty of people but they just weren't right.
How can you tell a right picture from a
wrong picture? That's easy, and I don't need to
even address that. The trick is learning to pass
on adequate pictures and keep trying to get
the right picture.
They say a picture is worth 1,000 words.
The key to success is getting a photo that says
exactly what you want it to say. What do you want to say
about yourself with your picture?
Whenever I see a clown picture, the first thing I look at is
the eyes. I look to see if the eyes show excitement, energy
and has the special twinkle that says, "This clown is a lot of
fun." I don't expect the recipients of my photos to think this
consciously. I want to.make sure that first reaction is
unconsciously positive and just screams "Fun!" The
costume doesn't do that. The makeup doesn't do that. The
exuberance radiating from the eyes does.
The smile and the eyes must match. That seems
obvious but so often it doesn't. During a photo shoot, it is
easy to get so caught up in the posing and positioning that
the mouth shows smile and the eyes show intense
concentration. It ends up looking exactly like what it is, a
fake smile in a lifeless pose. Your 1,000 word pictorial essay
in this case is starting off with an opening paragraph that
says, "Hi, I am a person in a costume waiting for this guy to
take this picture."
Body positioning is the most inexact of all the elements
of the photo composition. I've often lamented, "Why was I
facing that direction," or, "Geez, sitting down was a lousy
idea," or, "Oh man, I look like a sumo wrestler in a leotard."
A final lesson I learned is that a technically perfect
photo may, for any number of reasons, not be the right
photo. Conversely, a photo with technical flaws may turn
out to be exactly what you are looking for. More on that
later.
Is it any wonder that a professional photographer takes
hundreds of photos just to get one that, with a little touch
up, can be professionally used? Ever done the old 100
photos for $6.95 at the local discount mart and been sadly
disappointed with the results? In my experience, the photo
sessions offered at conventions often get adequate results
but it is the proverbial faint praise I offer. In addition,
everybody's photos end up looking roughly the same.
One of the lessons I learned from my first successful
promotional photo was that today's answers may not answer
tomorrow's needs. My first post card featured me along with
some rather complex balloon animals. I wanted the
postcards primarily as a handout to kids at a party and to use
instead of a business card. My biggest selling point, or so I
46 The New Calliope

March/April, 1999
thought at that time, was my ballooning ability. I've come a
long way since then.
The problem that eventually developed over time was
that the photo begged the question, "Can I have a
balloon?" And, invariably, people asked for the big complex
balloons on the card instead of the normal balloons that
keep a line moving. As time went on, I often wasn't at places
to do balloons at all, but my full color 1,000 words just
screamed the word "balloon" over and over again! I learned
to live with the problem but swore·to fix it in my next
promotional photo.
I got a call from one of the portrait photographers in my
area. He wanted to add some interesting photos to his
portfolio for a contest and offered me a free sitting and
copies of the prints. These came out more than adequate
but no one photo stood out to me as the definitive photo of
Mr. Rainbow. They contained a lot of specialty shots that
included singing, magic, Christmas and general mayhem. I
made a collage of many of the prints for a larger full color
promotion piece. I have had very good luck with that
collage. I had one promoter say it was the best photo
collage of an entertainer she had ever seen and, based on
it, hired me for a festival.
Finally Lady Luck smiled on me. I was having something
run off at a videographer's and came by in costume after
visiting the hospital. The videos weren't ready and his wife
suggested he take a few photos of me while we waited. He
had a setup I'd never seen before. We were able to
examine on the computer screen each shot after he'd take
it. This setup was fantastic! We were then able to scrutinize
the effectiveness of each angle and sight line for every
shot. Stuff I thought would be good looked horrible, and we
changed our focus immediately instead of shooting a roll of
shots taken of me in a fatally flawed position.
Shot by shot we were able to zero in on the best
composition of the photo. After that it was a matter of
catching just the right facial expression and especially the
right look in the eye. The right picture finally got taken and it
was absolutely obvious. It was also not a perfect picture. I
can point out at least four flaws, but it said exactly what I
wanted my photo to say.
Oh, and by the way, this article, not including title, is
exactly 1,000 words.
Samson would have been a great clown. He brought
down the house.
Then there's the Joey who has a good job with the
circus. He gets shot out of a cannon, fifty dollars a day and
mileage.
1999 Schedule
* Leon "Buttons" McBryde
* Tony, "Junior" Jones &
* Marcela "Mama Clown"
Three of the most DYNAMIC instructors
in the art of clowning. Bringing you
the highest in quality education.
for more Information call:
Murad 1-800-472-5696
May24
Marietta. GA
May25
Warren Robbins. GA
May26
Jacksonville. FL
May 29 & 30
Clearwater. FL
June 1
Raleigh, NC
June 2
Richmond. VA
June 4
Allenstown. PA
June S
Solem. MA
June 7
Rochester. NY
June 8
Johnstown, PA
June 9
Pittsburg. PA
June 10
Cleveland. OH
June 12
Colombus. OH
June 14
8irm1nghom. AL
The New Calliope 47

March/April, 1999
By Dan "Dano" Lake
Director, Alley & Region Support
13005 Lakerldge Dr.
St. Louis, MO 63138
Three new alleys have joined COAi since my last report:
Alley 321
Circus City Clowns
3411 Shingle Oak Terrace
Sarasota,FL 34237
Alley 323
Jolly City Kllckers
136 Bunker HIii Ln.
Quincy, MA 02196
Alley 324
Kansas Rlngleaders Clowns
PO Box 48661
Wichita, KS 67201
Drop these new alleys a line and welcome them to the
club.
BY THE TIME you read this article, the deadline has
already passed and letters will be going out to the alleys that
haven't sent in their annual report form and rosters. Those
alleys will be put on my inactive alley list. In order for the
COAi Board to keep up with the alleys and their members,
we must have these reports in a month before the annual
COAi convention. This gives me time to make an updated
and accurate report for the Board and Regional Vice
Presidents. Please find out from your officers to see if they
have sent in the report.
How to keep your members coming to your
club meetings:
This is one of the most complicated and hardest
questions alleys ask.
One answer would be education, education,
education. Clowning has many avenues on which to travel.
Not all of your clowns want or care for all of the roads you
can go, so it is important for the board of your alley to be
attuned to what its members' wants and needs are.
Many educational sessions can come from within.
Experienced members who have been successful with
their clowning over the years will have information to impart
to your members. While some may have the experience
and training, they may not be teachers. A person teaching a
class, who is not organized or prepared, will bore your
membership to death. This will not be a healthy incentive for
your members to keep coming to meetings.
Another avenue: Outside speakers who are in your
area. Contact them to speak at your next meeting. Don't be
afraid to spend some money on your members. If your alley
doesn't have money for education, hold a fund-raiser for
your educational needs.
Many non-profit alleys believe that since they do
functions for free that they should be given everything
available, for fr~. While that's a nice thought, it takes time
and money to go to different educational functions, and
most experience comes at some kind of price. Check out
the many different educational opportunities and see what
will fit the needs of your alley and its financial situation.
Next Issue I wlll 11st the Inactive alleys.
IF YOU WOULD LIKE TO START AN ALLEY in
your area, first you need to contact me so I can send you
our alley startup kit. Then you need at least five clowns to
start an alley. All of your members need to be COAi
members at all times to hold a charter. There is a one-time
fee of $100. For more info, write or email me at the
addresses on page 3.
Clowningly yours!
New Web site for COAi
By David Barnett
COAi Business Manager
Clowns of America lnternatinonal has a new Web site
address. We are now located at coai.org. Please change
your browsers to our new address and take a look at us.
COAi's Board will be approving a new Web master who
will be maintaining and correcting the site, so watch for
changes. Incidentally, if you are interested in getting bid
information for the Web master's position, please contact
COAi President Judy Quest for a package (which will be
considered and approved by the Board in April). Her
address is on page 3.
If you have any suggestions to improve the site,
anything you'd like to see on it, tell Judy about that, too.
Since changes will be approved or evaluated at the spring
Board meeting, you have several weeks to send her a note.
48 The New Calliope

March/April, 1999
Ridiculous action music (and Stuff)!
#1--K~
Pray;z (cassette) Song, includt: Don't Be a Roly
Poly/ J',•e Got /lfy Shoes on Backwards/ John 3: 16 (cha..:ha-

Clowns of America International
Income, expense and balance statement
as of Jan. 31, 1999
W.R.C.A. CONVENTION
IN LAUGHLIN, NEVADA
NOVEMBElt 7 -11, 1999
LECTURES, SEMINARS AND WORKSHOPS
FOR THE BEGINNER, INTERMEDIATE
AND ADVANCED PERFORMERS.
"t®MJffe(!,'iJU'iJU®&I$"
"@(!,IJ(b(!,/!{$ rf@)/!{ IJ(b/1 rJ@ff/!{
t11®rJJ&IUff~ ff{!,(!,@$ "
SPECIAL GUESTS INCLUDE:
DA VE MnCHELL, PAULA BIGGIO,
LARRY MOSS OF BALLOON HEADQUARTERS,
BETTY CASH, AUNT CLOWNEY, JIM HOWLE,
THE BALLOON OUOE, THE WAY COOL
BALLOON GUYS, ANO MORE . ..
CONVENTION FEE: $85 POSTMARKED BY 8-1-99
$90 AFTER 8-1-99 AND AT THE DOOR
JUNIOR JOEYS: $45.00 (UNDER 18 YEARS)
REGISTRATION INCLUDES CLASSES, BANQUET AND MEMBERSHIP
SPECIAL ROOM RA TES
RIVERSIDE RESORT HOTEL & CASINO
FOR HOTEL RESERVATIONS CALL:
(800) 227-3849
BE SURE TO MENTION THE CONVENTION FOR THE SPECIAL RATE
FOR ADDITONAL CONVENTION INFO CALL:
President, Jack Frank or
Secretary, Pat Frank
at (714) 897-0749 / FAX (714) 894-3945
E-mail to WRCA@juno.com
========================================
last period
8EGISTRA TION FQRM
NAME. ___ ____ CLOWN NAME. __ _
ADDRESS. __ __ ___ ___ _ _
CITY _ __ __ _ STATE __ ZIP __ _
PHONE~-- -- - - AGE IF JR. JOEY
IS THIS YOUR FIRST TIME TO A W.R.CA CONVENTION?
AMOUNT ENCLOSED$ __ _
MAKE CHECK PAYABLE TO: W.R.C.A. & SEND TO:
WRCA, P.O. BOX 1975, HUNTINGTON BEACH, CA 92647
REVENUE
Dec/Jan.
Membership $5,743.01
Alley charters 100.00
Magazine ads 2,875.00
Merchandise 312.00
Convention
Interest
Misc. 418.50
Cl.Hall of Fame
Web page (10.00)
TOTAL REV. $9,438.51
EXPENSES
Returned checks
New Calliope prod'tion 4,540.00
Editor fee 4,765.00
New Calliope postage 1,500.00
Computer service 3,313.48
Postage 452.45
Printed matter 3,298.60
Merchandise
Cl Hall of Fame
Publicity
Convention
Education
Misc. 40.20
Fall Board meeting 370.40
Officers phone/postage 56 .27
Trophies 21.00
Board meeting 1,620 .00
Professional services 2,390.39
National Office 680.15
Innovation/development 50.00
Excellence in clowning
Clown Artist/ Residence 112.00
Directory 4,610.79
Web page 5,300.00
Insurance
Tax payment
TOTALEXP. $33,119.73
BALANCE SHEET
Carry over from
$24,876.75
Total revenue 9,438.51
Total expenses 33,119.73
Money Mkt.Acct. 299.70
Petty cash
2,000.00
NET CASH BAL. ($804.47)
HELD IN CDs
Respectfully submitted ,
Tony R. Jones, Treasurer
YEAR TO DATE
$63,391.25
900.00
12,735.00
2,520.00
418.50
1,050.00
$81,014.75
13,076 .00
19,060.00
5,340.00
11,612.23
2,792.72
7,952.54
3,058.35
314.01
180.66
296.79
370.40
1,203.85
622.62
6,129.44
5,806.02
2,219.00
100.50
1,049.50
4,610.79
6,300.00
1,796.59
135.00
$94,028.01
81,014.75
94,028.01
$76,186.40
2,000.00
12 7,143.25

March/April, 1999
Rubber Stamps Make Face Painting Easy:
All you need to do is COLOR!
Actual size
Be an expert in 5 minutes! Simply ink a Burpo rubber stamp on a washable stamp pad and
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to 2 in. Burpo's child-safe ink washes off with soap and water and is FDA approved.
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A1 A2 A3 A4 A5 A6 A7 AB A9 A10 A11 A12 A13 A14 A15 A17 A18 A19 A21
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A22 A23 A24 A25 BO 83 85 86 810 811 812 813 817 819 820 824 825 826 827
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C20 C21 C22 C23 C24 C25 C26 C27 C28 C29 F1 F2 F3 F4 F5 F6 F7 F8 F9
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F10 F11 F12 H1 H2 H5 H6 H7 HS H9 H10 H13 H14 H15 L 1 L2 L3 L4 LS
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L6 L7 L8 L9 L10 L12 L13 L14 L15 L16 L17 L18 L19 L20 L21 L22 L23 L24 L25
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L26 L27 L28 L29 L41 L42 L43 L45 M1 M2 M3 M4 MS M6 M7 MS M9 M10 M11
Q0~~Q , ~~ l ~~~ ~ :£ 6 ~ t1 Q:?~ ~ ~ G.2
M12 M13 M14 M15 M16 M17 M18 M19 M20 M21 M22 M23 M24 01 02 04 07 08 09
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T12 T14 T15 T16 U1 U2 U3 U5 U6 U7 US U9 U10 U11 U14 U15 U16 U18 WO
~~ U & @~ 7* ~~~ ~ i A @~~ ~ ~
W1 W2 W3 W4 W5 W6 W7 W8 W9 W10 W11 W12 W13 W14 W15 W17 W18 W19 W20
Call toll-free any time 1-888 410-3500
We ship Priority Mail SAME DAY; express and COD delivery available
Call: 1-509967-5401 Fax: 1-509967-5301 Email :info@burpo.comWebsite :www.burpo.com
Mail to: Burpo, Inc., 1842 Blue Heron Blvd, West Richland, WA 99353
Caution: Some inks labeled "child-safe " are not necessarily safe and washable on skin. Use Burpo's ink
or get manufacture(s safety information and test ink thoroughly . Stamp designs © 1999 by Burpo, Inc.
Visit us on the worldwide web at www.burpo.com
PRICES (effective January 1999)
Individual stamps. . . . . . . . . $ 10 each 'Specify black, red,
12 stamps, including pad and ink' . . 105 total blue, purple, green or
25 stamps, including pad and ink' . . 195 total orange ink
Stamp pad' .. .
. 4 each "$5 flat rate applies
Bottle of replacement ink' .
Shipping and handling . . . .
. . 6 each to US (Priority Mail),
. . 5 total" Canada and Mexico
(air). Other nations:
Shipping billed at cost
G8 ~ Ill [;13_
The New Calliope 51

March/April, 1999
Members of Kansas City Clowns Alley #92
recently celebrated their 20th year as an
afflllate of COA/COAI. And they haven 't
slowed down, staying busy with parades,
fundralslng marathons,hospltals, nursing
homes and more.
Clowns of America International
P.O. Box 6468
Lee's Summit , MO 64064 -6468
Periodical Postage
Paid at Bluffton, Ohio
52 The New Calliope