Jan_Feb_2002

The New
Callio~e
f Americ · a International
Clowns ~ A 15358
Richeyv1lle , P
January/February , 2002
Volume 19 , Number 1

January/February 2002
The New
Calli OP--=--e __ _ ____:::::::=:.__
THE NEW CALLIOPE is published bi-monthly :
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The New Calliope
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Send all membership fees to Clowns of America
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Thursday . Call 1 (888) 52-CLOWN
ON THE COVER -- Nancy "Rowdy"
Rosecrans is COAi's Clown of the
Year 200 2. Her st ory, page 4.
2 The New Calliope

The New
CallioP-e
January/February 2002
Published for members of Clowns of America International
JANUARY/FEBRUARY, 2002
COAi OFFICERS
EXECUTIVE COMMITTEE
l'RESlDENT: Cheri Ventur i, P.O. Box 367, Destrchan,
LA 70047. Phi (985) 764-0080. cher ioats@aol.com
EXEC. VICE PRESIDENT: David Barnett, 138 Rainbow Dr., PMB
3839, Livingston, TX 77399-1038. Ph. (816) 304-5696.
davidbarnett@palm.net
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Waldorf, MD 20601.Ph. (301) 843-82 12.
gretton@bellatlant ic.net
TREASURER: Joyce Olson, 4 Ginger Cove. Rd ..
Valley, NE 68064. Ph. (402) 359-4131.
idano @compuserve .com
SERGEANT-AT-ARMS: Walter R. Lee, 1347 Ava Road, Severn, MD
21141. Ph. (410) 551-7830.wally788@erols .com
DIRECTORS
MEMBERSIIIP: Mike Fixer, 36 Simsbury Manor Dr., Weatogue,CT
06089, Ph. (860) 217-0 I 9S. mfixer@worl

January/February 2002
Here's
Clown
co AI' s
of Year
By Cal Olson
A stilt-walking clown whose alter
ego is a cowboy has been named
COAi's Clown of the Year 2002.
She is Nancy "Rowdy" Rosekrans,
of Castleton, N.Y., a member of Happy
Valley Clown Alley# 110, who has
been clowning for 15 years. A panel of
three judges, all working
independently, unanimously chose
Nancy from a field of five nominees.
Nancy, who has earned her living
as a sohool bus driver for the last 25
years, began as a church clown under
the tutelage of a friend, Jan Oliver. The
experience was so rewarding that she
began attending workshops and
seminars to broaden her clowning
experience and expertise. She now
clowns in most of a joey's normal
venues: birthdays, grand openings,
hospitals, nursing homes , and , she
says , "anywhere they need a clown."
Nancy, an Auguste , clowns in a
couple of different costumes. But
she's best known as "Rowdy," a
cowboy character clown complete with
huge hat, boots, neckerchief and
flaming red hair. The character
developed from Nancy 's love of rodeo.
She was a competitor in such events
as barrel racing and goat tying. And
she took her clown cowboy character
from the rodeo clowns: "I never did
any rodeo clowning, but I thought they
were great."
Part of her clown skill repertoire is
stilt-walking, a skill she learned as a
youngster.
"I found a pair of stilts in the shed,"
she says. "And now I can't remember a
time when I couldn't walk on stilts."
Nancy's philosophy of clowning?
"Rowdy from the inside chooses to
fig ht the dark evils of sadness with
laughter, a bad vibe with a positive
outlook, and the down and out
feelings with joy," she says . "I like to
leave my mark of fun and laughter on
anyone I come in contact with."
4 The New Calliope

January/February, 2002
Her friends agree. Here's what
some of them have to say about
COAi's Clown of the Year 2002:
Pat Mary "Scout" Hart,
West Sand Lake, NY: She has
held all offices of (Happy Valley) Alley
and regularly continues to enhance
our knowledge by arranging for guests
and entertainers at our alley meetings.
We have always depended on Rowdy
to keep up alley morale and her
expertise with our finances. She does
not hesitate to refer other clowns for
gigs she is unable to accommodate.
Marie "Mischief" Beck
(COAi's 1999 Clown of the
Year), Schenectady, NY: Nancy
has developed several different
characters and has a business called
"Laff of the Party." She has worked
her clown into many areas of clowning.
She has done Christian clowning as
well as the Caring Clown. She works
with the Clowns on Rounds program at
the Veterans Hospital in Albany. She
has a great sense of humor and is able
to change the mood of the hospital
rooms that she enters.
Sharon Dunlap, Schen-­
ectady, NY: Nancy really puts her
heart and soul into clowning. She has
been a great inspiration to me as well
as other clowns in our area.
Marion "Smile-EZ" Grimes,
Scotia, NY: I have been a member of
Happy Valley Clown Alley for over 20
years, and I have seen (Nancy)
welcome new members, nurture them
with clinics she ran, lining up and
providing guest speakers and performers
from all over the United States,
and encourage these now well-trained
clowns to reach higher, farther.
Michael Reagan, Founder,
Clowns on Rounds, Albany, NY:
There may be others out there that are
funnier. There may be others out there
that have nicer costumes. However, if
you are going to pick someone who
embodies all that a clown should be,
then Nancy Rosekrans is an excellent
candidate for COAi Clown of the Year
2002.
The New Calliope 5

January/February 2002
Convention planning in final stage
By Paul "Fuddy-Duddy" Kleinberger
2002 COAi Convention Steering Committee
The Electric City Clowns. are hard at work! ·we are
working hard to make sure the 2002 Clowns of
America International Convention is the best that it
can possibly be. The City of Saratoga Springs is
anxiously awaiting our arrival. Nestled in the
foothills of the Adirondack Mountains, Saratoga in
April is warm and beautiful. It is just off 1-87,
approximately three hours north of New
York City, three hours south of Montreal
and three hours west of Boston.
The city is typically mild and sunny
during the day time and cool in the
evenings. It is a good idea to bring a
warm sweater or jacket with you. A rain
coat may not be a bad idea, either. After
all, April showers do precede the flowers
of May.
The area boasts several museums,
including the Children's Museum at
Saratoga, the national Museum of Racing and Hall of
Fame and the National Museum of Dance. The National
Baseball Hall of Fame in Cooperstown, NY, and the
Basketball Hall of Fame in Springfield, MA, are a
short drive from the immediate area. The world
famous Howe's Caverns is also a favorite visitor
destination. If you are a history buff, there are many
historical sights and markers to see. Keep in mind
that the Battle of Saratoga was the turning point of the
Revolutionary War. The entire local area is rich in
history.
Like to eat? There is a plethora of great
restaurants, pubs and night spots within walking
distance of the Sheraton. Well known fast food
restaurants are less than two miles away, as is some
great mall shopping. Outlet shopping is only a few
miles up the scenic Adirondack Northway and to the
east in Vermont. Saratoga's award winning Broadway
and downtown offer a great shopping and browsing
experience. It is all right out the front door of the
Sheraton.
Do you like sports? The Saratoga Equine Sports
Center is close at hand, two world class golf courses
are available and the area plays host to a variety of
professional and college sporting events every spring.
Entertainment? There is always a lot going on in
the area. The Saratoga Circus Spectacular will be in
town during our convention and Grammy nominated
recording star Alex Torres and his band will be
appearing at our Sara'toga party .
The Saratog:;i Springs Sheraton Hotel and·
Conference Center requests that you
call them directly to make your
reservations. Please call 1 ( 51 8)
584-4000. The convention room
rates are guaranteed until March 1 5.
Do not delay making your
reservations. Make them now, while it
is on your mind! The rates have been
extended before and after our
convention dates to allow you to arrive
early and/or stay longer to see the
sights and enjoy the area.
Southwest Airlines is the official
convention air carrier. They will save you some
significant money when you use the convention
discount identification number: R5801. Call
Southwest to make your reservations: 1 (800) 433-
5368 . Other air carriers serving Albany, NY, are
offering various specials to help bolster travel and
tourism. Be sure to shop around as you make your
flight arrangements.
You will fly into the Albany International Airport in
Albany, NY. It is a very friendly and safe facility. It
is approximately 30 minutes south of Saratoga
Springs and offers a variety of ground transportation
services to get you to the convention. Car rental
companies include Hertz, Avis, Budget, National and
Enterprise. Cab fare for a single person from the
airport to Saratoga Springs is approximately $50
plus tip . Most cabs are happy to take up to four people
willing to share a ride, bringing the individual cost to
less than $1 5 a person.
Limo services are also available at significantly
lower cost. Flight Link bus service from the airport
is offered by Grayhound-Trailways-VT Transit .
Tickets are $8 one way and $ 1 6 round t rip. Tickets
can be purchased at the information booth adjacent to
6 The New Calliope

the baggage claim area at the Albany airport. Flight
link buses depart the airport for Saratoga Springs at
8:45 a.m., 2 p.m., 3:05 p.m., 5:05 p.m., and 9:05
p.m. Scheduled departures are subject to change.
If you are coming to Saratoga Springs via
commercial bus or train, the stations are just
moments away from the Sheraton. If you are driving
in, there is plenty of free parking around the
Sheraton-City Center complex. For more
transportation information, check the Saratoga
visitors web site, www.discoversaratoga.org.
What's going on during the convention? A truly
super group of educators and entertainers are in
support of our efforts to make you the convention
headliner. Note the tentative itinerary below.
January/February 2002
Plans continue to perk and we expect to announce the
convention class schedule by subject matter on our
web site:
www.webclowns.com/eccaclowns/index.htm. If you
have a question and cannot find an answer, please call
or email us. Our phone is toll free from all points in
the United States: 1 (866) 489-2680. From outside
the continental US, please call us at 1 (518) 489-
2680. Our email address is C0A1Headliner@aol.com.
You can advertise in our convention program. Send
your camera ready materials and a check payable to
the Electric City Clowns by March 10, 2002, to the
2002 COAi Convention Program, 2 Maple Lane North,
Loundonville, NY, 12211. A full page is $75, half
page $50, quarter page $35, and a business card $10.
We will see you in Saratoga Springs April 16-21.
--Tentative convention schedule ---
Monday, April 1 5 5 p.m. Education sessions Rise & shine workshop
8 a.m. COAi Board meets all day Dealers room closes 8:30 a.m. Dealers room opens
6 p.m. Early arrival reception 6 p.m. Supper on your own 9 a.m. Whiteface, Comic WF,
Registration desk open 7 p.m. Registration desk closes Auguste, Sr. competitions
9 p.m. Registration desk closes. Red Nose awards 10:30am Hobo/Tramp, Character
Tuesday April 16 8p.m . Special entertainment competitions
8a.m. Dealer setup 9:30 pm Dealers show Noon Convention buffet lunch
COAi Board meets all day 10:30 pm Hospitality suite Entertainment
10 a.m. Registration desk open Dealer midnight madness 1 p.m. AIR presentation
Noon Opening ceremonies, specials 2 p.m. Single skit competition
Meet the press Thursday, April 18 6 p.m. Supper on your own
1 p.m. Dealers room opens 8 a.m. Registration desk opens 7 p.m. Registrat ion desk closes
Artists in Residence Rise and shine workshop Group skit compet ition
presentation 9 a.m. AIR presentation 10:30pm Hospitality suite
2 p.m. Education sessions 10 a.m. General membership 12 a.m. Compet it ion sign up closes
3 p.m. Education sessions meeting Saturday, April 20
4p.m. Education sessions Noon Lunch on your own 8 a.m. Registration desk opens
5 p.m. Education sessions Entertainment Rise and shine workshop
6p.m. Supper on your own 12:15pm Dutch Treat Alley officers 9 a.m. Balloon competitions
7 p.m. Registration desk opens lunch, host Linda Diehl Dealers room opens
8:15 p.m. Welcoming ceremonies Pres., Elec. City Clowns. 10:30am Paradeability
10: 30pm Hospitality suite 1 p.m. Dealers room open Noon Lunch on your own
Wednesday, April 17 AIR presentation Entertainment
8 a.m. Registration desk opens 2 p.m. Judges' seminar 1 pm Dealers last sale
Rise and shine workshop Education sessions Balloon jam
9a.m. Dealers room opens 3 p.m. Education sessions Face painting festival
AIR panel discussion 4p.m. Education sessions 3 p.m. COAi auction
10 a.m. Red Nose single 5 p.m. Education sessions 6 p.m. Cocktails
performances 6 p.m. Supper on your own 6:45 pm Registration desk closes
Education sessions Dealers room closes 7 p.m. Awards banquet
11 a.m. Education sessions 7 p.m. Sara'Toga party 8:30 pm Awards program
Noon Lunch on your own 10 p.m. Registration desk closes 10:30pm Hospitality
Entertainment COAi Past Presidents Sunday, April 20
1 p.m. AIR presentation Reception, hosts: 8 a.m. Registration desk opens
2 p.m. Red Nose group Electric City Exec. Bd. Rise and shine workshop
performances 10:30pm Hospitality suite 9 a.m. Worship, Joyful Joeys
Education sessions 12 a.m. Competition signup closes 10:30 am Registration desk closes
3 p.m. Education sessions Friday, April 1 9 11 a.rn Hotel check out
4 p.m. Education sessions 8a .m. Registration desk opens
The New Calliope 7

January/February, 2002
oWNS Of AMERICA INTERNATION,tL
CL C0IIVEN1l0N 2002
SARATOGA SPRINfJS, NEW YO/II(
Sheraton
Saratoga Springs, New York
1-518-584-4000
Conference Rates: Reserve by March 15, 2002
1-2 persons $112 per night
3 persons $122 per night
4 persons $132 per night
Southwest Airlines
The omcta/ COAi corwentlon airlines
1-800-433-5368
8 AM - 5 PM Mon - Fri
9:30 AM - 3:30 PM Sat & Sun
At least 5 days in advance
Discount # R5801
ELECTRIC CITY CLOWNS -ALLEY 285
Full non-transferable registration includes:
All sessions, dealers rooms, misc. events, theme party, and awards
banquet. Extra banquet and theme party tickets are available. Full
adult registration required to participate in COAi traditional competitions.
Single day registrations are available which do not include
banquet or theme party at $65.00 per adult, $45.00 per youth. All
payments in US dollars by personal check or money order only.
Credit and debit cards are not accepted. There is a $30 administrative
fee for a check returned for any reason or for refunds.
No-refunds after March 31, 2002.
APRIL 16 - 21, 2002
Registration:
By November 1, 2001 $115
By February 2, 2002 $125
By April 2, 2002 $135
After April 2, 2002 $145
Youth Registration (15 & Under) $ 90
Extra Banquet Ticket $ 50
Extra Theme Party ticket $ 35
T-shirt $ 15
For single day registration, please indicate the date y ou
wish on registration stub.
Make checks or money orders payable to: Electric City Clowns, Inc., 1971 Western Avenue, Box 275,
Albany, NY 12203. Any questions contact: Registration Manager, Doug "Jelly Bean" Wilder at
hwilder@nycap.rr.com or call toll free from within the US at 1-866-489-2680. Check out our web-site at
www .webclowns.com/eccaclowns/index.htm for updated information.
Last Name: First Name: M.I.: Clown Name: I st COAi
convention?
Yes • No •
Address: City: State : Zip Code
Daytime Phone: Evening Phone: C.O.A.I. # E-mail address:
Registration Extra Banquet: Extra Theme Party T-shirt size: T-shirt: Total Enclosed: May we include you in our
S, M, L, convention directory?
$ $ $ XL, 2X, 3X $ $ Yes • No •
--
8 The New Calliope

January/February 2002
Clowns of America International
Application & Renewal** Form
First Name .................. ......... Mid Initial ....... Last Name ........................................
Street Address .............................................................. .................................. .........................
City .............................................
State ......... Country ............ ZIP Code ....................
.
Phone (optional) .................................... Email (optional) ..................................................
Date of Birth ....................... ..............
Age ............ Sex: M .............. F .............
Clown Name .................. ......... ................. Alley Affiliation ..............................
...
Referred by or Sponsor (include COAI #) ................. ................................................. .
Annual Membership and Renewal Fees: Indicate Amount Paid -----1
New Members U.S ...... $30 * New Members Foreign .... $35 (US Funds)
Renewals U.S ................. $25 Renewals Foreign ............... $30 (US Funds)
Lifetime .....................
$500
Family Membership-US and Foreign: $12 for second and additional members
GROUP LIABILITY INSURANCE .... $90 Yearly Premium July to June
* Full members must be at least 16 years old. Family members ... any age.
-Family members do not receive The New Calliope magazine-
**For Renewals Please Show Member Number and Expiration Date**
COAI Number _______
Exp. Date
Payment Method
Check __ _ Visa --- MasterCard ---
Credit Card Number ____ -____ -____ -___ _
Credit Card Exp. Date _____ _
Signature _____________________
_
SEND APPUCATION/ RENEWAL TO:
Clowns of America International
P.O.Box Clown Richeyville PA 15358-0532
Phone/Fax: 1-888-52clown or 724-632-3214 Web: www.coai.org
Effective July 2001
The New Calliope 9

January/February 2002
Alleys should apply --
AIR: it's time!
By Rex Nolen
COAi Education Director
501 W. 84th St.
Kansas City, MO 64114
Seven Artists in Residence, including several
repeaters, have been awarded two-year appointments by
COAi's Board of Directors. COAi will offer partial
subsidization for the appearance of these Al Rs at events
hosted by the organization's alley affiliates during the twoyear
period beginning July 1, 2002 and extending through
June 30, 2004.
The AIRs represent a wide variety of clown interests
and subjects. All of them are capable of mounting exciting
and informative workshops, and most are willing and able to
fit their workshops to an alley's particular wishes. All eligible
alleys are encouraged to apply for COAi grants to bring the
artists to regional and alley events.
But the deadline looms: Applications must be
sent to me, postmarked March 15, 2002 -- barely a
month away. So alley officers -- let me hear from you!
All COAi alleys should have received application blanks
for the AIR program. If you haven't, contact me right away.
For it's the alley's responsibility to contact the desired
Artist, agree on possible events and dates, and then
complete the application .
This is how COAi helps subsidize AIR appearances:
Payment for the artist will be $200 a day, with COAi
paying one half, up to $300. In other words, three days.
The sponsoring alley pays the other half. The Artist could
charge more, but the difference will be picked up by the
sponsoring alley. Days necessary for travel are considered
days to be reimbursed if some activity takes place.
(Example, traveling on a Friday with an event starting that
evening.)
COAi will also pay half of the Artists travel and per diem,
up to $500. Again, the sponsoring alley pays the other half.
So COAi will pay up to $800 to subsidize a particular
artist's appearance.
Alleys may charge admission for the event to help
cover some of their costs. COAi pays the alley the
amount of the grant after a contact has been returned .
Events must be held between July 1, 2002 and June 20,
2003 to be considered for the current fiscal year. A call
for AIR subsidies for the following fiscal year will be
issued in the January/February, 2003 issue of The New
Calliope.
Subsidy awards will be made from funding to be
determined by the Board in the organization's budget for
fiscal 2002-03. In making AIR awards, the Board takes
into consideration such factors as regional distribution
and expected attendance and audience benefit.
HERE'S HOW: Fill in the AIR application and make
a copy of your contract with the artist (detailing the
specific event, dates, schedule of lectures/classes)
Send it to me: Rex Nolen, 501 W. 84th St., Kansas City,
MO, 64114.
Applications must be postmarked no later
than March 15, 2002.
Decisions on AIR subsidies will be made by the COAi
Board of Directors at its annual meeting April 14-15,
2002 , just preceding the convention in Saratoga
Springs, NY. Notification on funding will be given alleys
by May 15, 2002.
Information about the artists, their backgrounds and
their programs will be found on the following pages .
Please use this material and contact the AIR of your
choice.
If you have questions, please contact me or any
COAi Regional Vice President.
10 The New Calliope

January/February 2002
-Here it is! -- for Parades,
Convention s, Caring Clownin g,
Parties, farting at the Ritz ,
& just pla in having fun!
~!'-~
o-

January/February, 2002
ffol\,er
Don "Homer" Burda is making a repeat performance as a COAi Artist in
Residence. His 2000-01 appointment was hampered by health
problems, but he is coming back in response to numerous requests
and because he loves to teach clown educational programs.
Don began his professional career in 1964 as an equity actor. He
appeared in more than 2,000 performances before making his first
appearance as a clown in 1970. He turned clowning into a full-time
career and has appeared in more than 10,000 performances in the past
31 years.
Don has won 38 major clowning awards and was inducted into the
International Clown Hall of Fame in 1995. He has taught the art of
clowning throughout the United States, Canada and Europe. He is
prepared to present classes in 30 different subjects. He will provide full
course descriptions and outlines, and is prepared to design an
educational event to meet specific alley needs.
Don can be reached at 1408 Knowlton Dr., Sunnyvale,
CA 94087-3151. Phone 1 (408) 245-4732 or 1 (800) 897-
6294. emall homeranddee@aol.com
Charlie
Bruce "Charlie" Johnson has won international recognition as
a professional clown, and has buttressed that work as a prolific
writer on clown subjects, and as the world's premier clown
historian.
He has been clowning since 1974, working as a circus clown,
a featured performer (11 years at the Raging Waters Park in San
Dimas, CA at an entertainment park). and as a special entertainer
in Disneyland. Currently, he is a free-lance clown, including
performance in a 60-minute stage show. He has appeared
before audiences across the world, both as performer and as
instructor.
Bruce can provide an intensive Friday-evening all-day­
Saturday workshop, customizing the event from the 33 classes
listed on his web site. He can also serve as convention headliner,
providing classes, keynote speeches, and competition
coaching.
He can be reached at PO Box 82165, Kenmore,
WA 98028-0165. Phone 1 (425) 481-7143. email
clownjuglr@aol.com
12 The New Calliope

January/February 2002
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The New Calliope 13

January/February 2002
\
'
I
.,,, I
'
....
David "Mr. Rainbow" Bartlett has been
involved in theater since 1977, appearing in
50 full length community and equity theater
productions. He began clowning in 1981
and went full time seven years later. He has
been a featured instructor at many clown
conventions and workshops, and has written
for four different entertainment publications ,
including the last five years as a featured
columnist in The New Calliope. He was an
Artist in Residence in 2000-2001.
David is prepared to "pass on comedy,
performance and individuality ; I try to open
up possibilities and potential and not restrict
students to two dimensional characters of
limited scope. "
He can be reached at 1427
Acadia St., Durham , NC 27701.
Phone 1 (919) 682-3288 . email
mrrainbo1@aol.com
Marie "Mischief" Beck's 23 years of clowning
were climaxed by her selection as COAi's 1999
Clown of the Year. She is making her first
appearance as a COAi Artist in Residence, and
is looking forward to sharing her expertise. "My
belief is that being a clown is a great gift, and we
should always do our very best," she says.
Marie is prepared to present workshops on
every aspect of clowning, from makeup and
costuming to face painting, balloon sculpture,
mime, puppeteering, clown skills and Christian
clowning. She says her church clowning
program and her other presentations can be
designed to fit an alley's needs.
Marie can be reached at 2969 HIiicrest
Rd., Schenectady, NV 12309 . Phone 1
( 518) 785-3046. em al I
mischlefclown@hotmal I .com
14 The New Calliope

Card !\umber:
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January/February 2002
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January,reoruc:11y, .::uu.::
Mama Clown
Marcela "Mama Clown" Murad, an Artist in Residence
during the 1999-2000 season, is making her second AIR
commitment because "I truly enjoyed the experience and will
love to do it again ."
One of the world's best-known and outstanding face
painters, Marcela has been clowning for 23 years, diyiding
her work between home town clowning, world-wide teaching
gigs and, most recently, editing the "Face Painting
International Magazine ."
Marcela instructs on all levels of the clowning art. 1./vhile
she specializes in face painting seminars, she is experienced
in all facets of home town clowning, from birthday parties to
company picnics, school programs and restaurant work . She
shares with the student practical advice that they can easily
absorb and use.
Marcela can be reached at 2117 Hollywood
Blvd, Hollywood, FL 33020. Phone 1 (954) 923-
6013. email mamaclown2@aol.com
Bubba
J.T. "Bubba" Sikes is making his third commitment as
a COAi Artist in Residence . He began clowning in 1989.
and created his clown character "Bubba" primarily as a
hospital clown.
J .T. has lectured at countless clown convent ions
and workshops, was educational director of the
Southeast Clown Assn ., and was on the faculty of
Advanced Studies II in the Art of Clowning .
His teaching style, he says, is to "keep workshops
fun , exciting , factual and informative ." He focuses on
character development, and includes segments on
makeup, magic , institutional clowning , and clown
ministry.
J .T. can be reached at 529 Harrison Ave .,
Orange Park, FL. 32065. Phone 1 (904) 272-
5878 (work) 1 (904) 276-0602 (home). email
Jt@bubbasikes.com
16 The New Calliope

January/February 2002
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Simply pay S 150.00 down with your order. .then $75.00
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The t!lown Fa1r1n
will be at Medicine Wind
Retreat Center,
Jedburg, SC. Set on a
beautiful 60 acre horse
farm, the retreat center
has two bunk rooms,
game area and large
general meeting room.
Medicine Wind Farm is
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The e1ow11 Fa~tn
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May 6 tht"OUgh fl, 2002
Medlelne Wind Reheat C!ellfel'
Couth C!ateDna
The elowtt Fattn has been established to help Christian clowns grow
God's way. The elowtt Fattn is intended to assist not only new aspiring
clowns, but also to help established Christian clowns strengthen their
ministries. This will be an intense week where the "Art of Clowning," will
be combined with the Christian "Heart of Clowning," through God's word,
seminars, and workshops to make an impact on our world for Jesus Christ.
Two of the world's most sought after Christian entertainers and instructors
together with a highly qualified staff will be leading attendees through this
week. Come meet:
J. T. "Bubba" Sikes
Information and Registration
and
http://kandsministries.com/clownFarm. htm
"Mayor Clancey"
nickf@dycon.com or 1-888-777-6078
Janis Roberts
The New Calliope 17

January,r-eoruary LUUL
Jelly Bean
Janet "Jelly Bean" Tucker brings 25 years of performing
and teaching experience to the art of clowning.
She's been a full-time clown since 1983 and began
teaching clown arts classes at Purdue University in 1981.
She began teaching clowning ministry and other classes at
Clown Camp in 1983, and has been on staff regularly since
then. She's a past president of the World Clown Association,
and performs about 350 shows a year.
Janet offers customized classes that cover the whole
spectrum of clowning interests. Her programs can be
designed for brand new clowns, for more experienced
clowns, and for clowns interested in clown ministry.
She can be reached at 6334 New Hampshire,
Hammond, IN 46323. Phone 1 (219) 844-2858.
email clown.etc@poboxes.com
i
jP:'l#A';#'#lll,l,l,lll•·.,,,,,ll.#'l-'1,.l,l,l'l/l,#·l·l,,l,ll-#'1#-,,,,##ll'I~
Behind The Big Red Nose i
, A serious look at how to develop your talents ~
j and discover your direction in today's ~
, clowning. By David "Mr. Rainbow" Bartlett ,
--
' I Feedback from Dick Haun, Camp Zam a, Japan -t
-- ~ "OK. .. now you did it. .. you made me put my Harry . f
: Potter book down to read your "Big Red Nose" book. ,
, I car:i't stop reading it. .. Fascinating!! I couldn't stop -
I reading. Everything in the 'Big Red Nose' book is ~
, relevant and I'm like a giant sponge sopping it all up. I
j The major part of the book presents a useful f
~ challenge for clowns and would-be clowns to strive for ,
: continual improvement and offers insights and ~
: directions, helpful hints and anecdotes based on long l
~ experience as an aid toward that goal. I very much :
~ like the creativity section. Especially the advice to ~
, restrict and narrow items so that creativity is forced ~
upon you in order to achieve a satisfactory alternative ;
i and perhaps a more interesting outcome in your i
1 performance. I look forward to staying up late again S
~ tonight to continue reading it. Thanks for taking time ~
~ to put down words from your experience(s) to help me I
1 be a better entertainer." (Abridged) ;
s i For your copy send $35 (plus $3.50 s/h) to David ,'
~ Bartlett, 1~27 Acadia St., Durham NC 27701 ~
; Or order from www.MrRainbowTheClown.com ,
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18 The New Calliope

January/February 2002
CLOWNS OF AMERICA INTERNATIONAL.
INC.
GROUP LIABILITY INSURANCE APPLICATION
Dear COAi member:
We would like to introduce our new group liability insurance:
As of July l, 200 l, COAI has obtained for members a $2 million group liability insurance
coverage for a $90.00 annual premium. The policy will run July I thru June 30 each year and
is provided by an A+ rated company. For guestions regarding this insurance, please call the
business office or see the attached Frequently Asked Questions Sheet. Send Payment to:
COAi (Clowns of America Intl., Inc.) P.O. Box C Richeyville, PA 15358-0532
Questions?
Contact Shirley Long, COAi Business Manager:
Phone/Fruc: (724) 632-3214 Toll Free: 1-888-52CLOWN
email: coaib11J,gr.1?)hhs.net Web site: ~~ww.coai.org
*Payment can be made by check or money order payable to COAi or by credif card.*
Detach and return the bottom portion with your payment
--------------------------------------------------------------------------------···········----------------------------------
PLEASE -COMPLETE THE FOLt.OWING INFORMATION:
Clown Name __________ Clown Business Name ___________ _
Approximate number of shows performed annually __________
_
O YES I want COAi Group Liability Insurance ($90.oo,:
Total Enclosed
_Visa Mastercard __ Check
Name: ____________ C.redit Card# ____________ Exp.Date: __ _
Signature*: ____________
" Required if paying by credit card
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FAX _____
EMA~--------
The New Calliope 19

January/February, 2002
Makeup
1 0 1
revisited
By Steve Conley
905 W. Ridgecrest Dr.
Kingston, TN 37763
Recently I had the opportunity to see a church clown
troupe perform at a fund raising event. So~eone told me
clowns were going to be there so I was excited about going.
At first sight of the clowns my eyes were immediat~ly ?rawn
to their faces. For a brief moment I thought I was vIewIng
reruns from the 60's television show, Rowan & Martin's
Laugh-In. Remember all of the flowers and peace signs that
Goldie Hawn had painted all over her? Sock it to me, I was
seeing the rebirth of the flower children and it was scary!
It is my firm belief that when we apply our makeup we
should be shouting the old saying, "less is morel" Not only
do I believe that about make up but I also believe it when it
comes to your clown attire, but that's another story.
I thought it would be good to do a series of articles on
clown makeup. Piece by piece, line by line let's take the
face apart, place it under the magnifying glass and have a
look at the do's and dont's of clown makeup. As always, let's
start with the classic Whiteface clown.
I like to think of them as the porcelain dolls of clowning
where every ounce of exposed flesh is covered with white
makeup. A big problem working with grease paint is_ that
most people tend to either apply their makeup too light or
too heavy and therefore have problems as the event goes
on .
Applying the makeup too light means that your skin can
still be seen through the makeup. Almost like the
whitewash on some kitchen cabinets . Applying it too heavy
means that it has a caked up look. It wants to crack and flake
and no amount of powder is going to solve this problem.
Here's the best way that I have found to apply the
whiteface. I get those small triangular sponges from the
Dollar Store that come in a pack of about 20 or so. They are
cheap and disposable. Then, make sure you purchase a
good quality grease paint. Forget about stocking up on the
makeup in the Halloween section at your local superstore.
This makeup is not professional clown makeup! Several
brands of good quality clown greasepaint come to mind,
such as Preface, Mehron, Ben-Nye , Jim Howle, Apples and
I'm sure that there are many others.
The white makeup comes in what I call regular and lite.
The regular is a very vibrant makeup. Some brands include
moisturizers, aloe vera, and anti-oxidants. The lite makeup
is a smooth almost whipped formula. Most are lanolinbased,
highly pigmented which provides a maximum
whiteness but can be used sparingly.
The lite is also good for people who have skin allergies
and it doesn't seem to be as thick or heavy as the regular. It
can be purchased in tubs of 2, 8, and 16 ounces. You can
also get it in a .7 ounce cup .
NOW -- In a brightly lit room take your sponge, dab is the
key, don't apply it thick, this is just your first coat. Y?ur goal
here is to get it very thin; you actually want your skin to show
through the makeup .
Try and get it as smooth as possible. After you have the
whole face covered (that means neck and ears also), get
more makeup on the sponge and start dabbing your face
with it. Do not wipe , dab!
Get more makeup and dab, more makeup and dab. Keep
repeating this over the whole area. Make sure not to get
globs of makeup. Remember , it takes very little -- le~ is
more . When finished, no skin color should be showing. You
will be pleasantly surprised how dabbing on the second
coat magically transforms your whitewashed face into the
porcelain doll look.
Now it's time to set the makeup , or powder your face. I
really like the setting powders put out by the makeup
companies. There are two types of powder . three actually.
The first is a special white setting powder. Its use is intended
for the white makeup that is applied. The second is the
neutral setting powder for powdering the colors. Both are
long lasting, super absorbent and formulated with an
antiperspirant. The third is plain baby powder.
First and foremost , wash your face! For oily skin, use an
unscented oil-free cleanser . For dry skin, apply moisturizer
after cleansing to prevent flaking. Next , dry your face and
allow it to "settle" for about 1 O minutes . If you apply the
makeup now, it will get pushed out of the pores , creating a
"cakey" look .
Some clowns swear by baby powder or com starch and
will not use anything else. I'm not saying it's bad; what works
for one will not work for another . The problem I have with
baby powder is that it makes my eyes water and I real~y don't
need to be known as the crying clown. Baby powder Is also
known to irritate the lungs and that's not a good thing.
20 The New Calliope

January/February 2002
peels off cleanly when sharpened.
'
After sharpening the pencil, apply or draw
the lines right where you want them. Back in
the early days of clowning you would need to
remove the white where you wanted to apply
your colors. This wou ld be done before
powdering. With today's products there is
really no need to do this. Just apply the colors
right over the white. Some still remove or cut
out and that's all right, but for me there is no
need to do that as long as the white is applied
correctly. Keep the lines fine and try not to
make them look thick or scary.
CLASSIC WHITEFACE CLOWNS: Phyllis Davis
(left) of Pearland, TX, and Cheryl Smith, of
Greenwood, IN, who placed third and Top Ten,
respectively, during 1997 national competition.
Apply the powder using a puff. Sprinkle the powder on the
puff, smear it around with you finger and gently start
powdering your face. Do this repeatedly until the entire face
is done.
Some like to take the powder and put it in a sock and tie a
knot in the open end. Take the "powder sock" and hold it
above your face. Close your eyes and shake it, allowing the
powder to fall from the sock to your face. Then take the
sock and dab it against your whole face. The sock works
great but it can be messy at times.
Use a large brush to brush the excess powder from your
face. Put some powder on you(index finger and rub it
gently into the corner of your eye and brush again.
Now you need to line the under side of your
eyes. This is called a live eye. If you do not do
this your eyes tend to not show, but just get
lost in your makeup.
Hold the make up pencil or other lining
device as you would normally hold a pen or
pencil. Turn your hand so the pencil tip is
parallel to the bottom eyelid. For the entire
eyelid, work your way from one ~nd of the
eyelid to the other. For half of the eyelid, start
in the middle and work your way out. Feel free
to add some thin crows feet to the outside
corner of your eyes. I know we don't like them
as people but they look really good as clowns.
If you would like to add some eye shadow use an eyeshadow
applicator. Apply the color of eye shadow evenly
over the lid of your eye. Use a soft color such as pink, peach
or light blue. There are clown makeup companies that make
eye shadows but you can also use what you can buy
at the drug store.
On to the mouth or lip. Again hold the makeup pencil or
other lining device as you would normally hold a pen or
pencil. Turn your hand so the pencil tip is parallel to the
bottom lip. I believe it's best to stay on the lip and not to go
below. If you go below the normal lip line you are giving
yourself a comedy or grotesque look. At this point you may
want to think about adding "pips" to you r lip·.
Now that the white is set we can move on to the colors.
The classic whiteface is beautiful and elegant, so it's
important to stay away from gaudy looking colors. Stick with
the basic colors a·nd you will never go wrong.
Start with the eyebrows. I would suggest black or dark
blue. There are several ways to apply the colors and several
different products that allow you to do so. Most of the
makeup companies make what is called a makeup pencil.
They come in two sizes, slim and jumbo . The makeup pencil
is grease paint in pencil form and was created specifically for
outlining. It is encased in a black "plasticized" casing which
A pip is a round or oval extension on each side of the lip
in the corners of the mouth. An easy way to do this and to
get it correct in size on each side is to take the cap to the
makeup pencil and press it in the corners of the mouth. Try
twisting it a little while pressing. This should make a perfect
circle every time. Now all you need to do is to fill in with the
same color of the lip.
In my opinion, when doing the classic whiteface you
should use red for the lip. I believe it stays with the
elegance theme. Remember, don 't let the top lip touch the
Continued page 22
The New Calliope 21

Makeup--
From page 21
bottom before you powder! Keep the bottom lip red and
the top lip white.
Now for the nose. You could paint a small circle on the
nose or you could chose a nose from ProKnows. These
noses are hand made , comfortable and very durable. They
are made with form fitting foam interior and a strong outer
coating. The noses can be very glossy red but are also
available in matte red or flesh color with a red airbrushed tip.
Custom colors and glitter are available . For the classic white
face I would choose a "tip."The nose is applied using a
nose glue that can be purchased from ProKnows, Ben Nye
or medical adhesive can be used .
Time to powder those colors if you painted on your nose .
Use the neutral setting powder , then brush the excess
powder from your face . If you have a ProKnows or other
brand nose, make sure you powder before adding the
nose.
Next apply mascara to the upper and lower lashes. Again,
this will help to make your eyes stand out and be seen from
a distance and prevents the washed out look. To make
eyes appear larger, apply two coats of mascara. Using a lash
curler will also help.
At this point you could add blush if you would like. You
can use drug store products or you may buy from the
makeup companies. Suck in your cheeks to highlight your
cheekbones . This is where you want to apply the blush.
Apply using even strokes.
Top the classic whiteface clown off with a white skull cap
or colored wig. Don't run out and buy a gaudy looking wig .
Get something short and elegant. You can also add a small ,
pretty hat with the skull cap or wig.
The classic whiteface is pure elegance in my opinion , a
porcelain doll come to life. I'm sure there are other little tricks
fN doing things while app lying make up that I haven't tried
or heard abc, t yet. Everyone has their own form , so to
speak.
The great thing about applying clown makeup is that it's
an evolution every time you do it. There's always someone
out there who will come up with a better way. Tha 's good
news to me.
Next time I'll be talking about the comedy
whiteface and how to apply that look .
1' ~ •••
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with your clown arts education!
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22 The New Calliope

January/February 2002
6 Locations f-0r 2-0021
March 7 - 9
March 13 - 15
April 17 - 19
May 15 -17
June 19 - 22
Nov. 6 - 8
Las Vegas, NV
Chicago, IL
Columbus, OH
Dallas, TX
Norfolk, VA
Los Angeles, CA
Registration includes audio cassette tape album; luncheon and evening
performances; resource notebook; hat; instructors who are
professional family entertainers; planned evening activities; and a
chance to network with entertainers from around the world.
For a list of classes and instructors:
www. Comedy Magic Workshop .com
call 757-423-3867
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The New Calliope 23

January/February, 2002
Chinese wanted to
be in picture when
clowns posed in
TiananmenSquare.
With Patch
•
1n Chin a
By Joyce "Ida-No" Olson
COAi Treasurer
4 Ginger Cove Rd.
Valley, NE 68064
ldano@compuserve.com
Recently I went back to China as a clown for the second
time. This time I was with Patch Adams and a group of
nurses and doctors and clowns from Germany, Okinawa,
China, Canada, New Zealand and the United States. When
the call first came, I turned it down. Hey, I had been in China
the year before with Brenda Marshall.
But then I remembered the Chinese people, some of
the most wonderful, loving people that I have ever met.
The next morning I was on the phone begging to go. And
they· let me.
Forty five of us met for the first time in Los Angeles to fly
first to Hong Kong and then Beijing. After 15 hours in the
air, we arrived. We met a dear Chinese friend from the year
before who was to be our national guide. We were in clown
12 or more hours a day for the next two weeks.
Every day we went to hospitals, orphanages, schools,
nursing homes, hotel. The rest of the day we would ponder
over mystery meat. I ate lots of rice, tea and vegetables.
They told me that rice was very binding and later OH, DID I
NEED THAT RICE.
To be clowning with a group of compassionate doctors
and nurses and clowns was awesome. Patch Adams is a
flower child of the 60s and so kind and loving to the
handicapped and ill. Every person on this trip felt the same.
We only had one purpose: To serve our fellow man with
humor and love and compassion. We hugged until our arms
were tired.
We were a well bonded group. Even on the bus, the
alarm would go out -- "small children on the right, three
ladies waving on the left." The entire bus went into action
with waving and clowning as we proceeded. We showered
and crawled into bed aching and tired each day.
China is a world of 100 years ago surrounded by
modern skyscrapers. Toilets are squatters.The hospitals
are not clean by our standards. No air conditioning, laundry
is done by hand and hung out of windows.
The first place we clowned was in Tiananmen Square,
where only 11 years earlier many Chinese had died during
an uprising. For the second time , I stood on the Chinese
Great Wall.
When we clowned on the streets, the people loved us.
There were many memorable times. When visiting a family,
the grandmother apologized as a little two-year-old girl
stood in front of us and wet her pants in the middle of the
room, while we giggled and were reminded of how similar
that was to life at home.
24 The New Calliope

China --
From preceding page
January/February 2002
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And our visit to a junior high school, where we sang
"Down by the Riverside" and the chorus of "Ain't Gonna
Study" and then conga lines and circle groups and they
would not stop. They sang that chorus over and over and
over.
The Chinese people stood in line to take our pictures.
When we tried to get group pictures of the clowns , they
would line up in front of us to get in the picture, too.
And there is universal humor. Chickens are known the
world over, and can get a laugh the world over. Or bodily
functions. At Emmanuel Hospital in Omaha some children
taught me to make obscene noises blowing through a straw
properly placed under my armpit. I taught nurses and
doctors all over China to do this. They loved it.
We rocked babies in our arms singing English songs
such as "Twinkle, Twinkle Little Star," while nurses sang
along in Chinese at the same time.
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Thank you, Patch Adams. This was truly a chance of a
lifetime. You will all be in my heart forever.
When I come back to this country each time I have
clowned overseas, I am so glad to get home. This time, as
the pilot identified the lights to our right as Los Angeles , a
clown started singing "God Bless America," and an entire
planeload of more than 300 people joined in.
I'm so glad I'm a clown. I hope you're glad you're a clown,
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'-"
The New Calliope 25

January/February 2002
'Reverse
for
Creativity
By Bruce "Charlie" Johnson
P.O. Box 82165
Kenmore, WA 98028-0165
Here is a brief excerpt from a new
book being written by Bruce "Charlie"
Johnson. The book is a sequel to his
popularComedy Techniques For
Entertainers. The working title of
the new book is Creativity For
Entertainers.
For many years, I performed magic
with a dove in my birthday party shows.
I did a lot of comedy bits while inflating
a balloon. I attached the balloon to a tray. The balloon
broke, and a dove appeared. I put the dove into a box,
which I took apart. (The box was a prop called a Junior Nite
Club Vanish.) The dove had transformed into an origami
bird that I gave to the birthday child as a souvenir of their
party.
At one party, a very upset birthday girl came to me after
the show. She believed I really had performed magic, and
was concerned the bird didn't like being turned into paper.
realized that since the bird was still in the hidden
compartment of the box, I could reverse the trick. I
reassembled the Junior Nite Club Vanish with the origami
bird inside, opened the door in the top of the box, and
removed the bird. The girl was relieved, and I took the dove
home with me.
SCAMPER
Reversing or rearranging things is a common creativity
strategy. Reverse is included in the checklist of creative
strategies that Alex F. Osborne proposed in Applied
Imagination. As a memory aid, Bob Eberle turned some of
Osborne's concepts into an acronym, S.C.A.M.P.E.R.
That is
S - Substitute
C-Combine
A-Adapt
M - Magnify/ Minimize/ Modify
P - Put to other uses
E-Eliminate
R - Reverse/ Rearrange
Reversing Magic Effects
Words have a strong effect upon us. If a magic trick is
labeled as a vanish, we think of it only as a vanish but often
it can be reversed and used as a production.
I built a punch bowl production using directions in
Volume Five of the Tarbell Course of Magic. It is a classic
illusion that has been used by many magicians. In the
standard version, you throw a square piece of cloth over
your arm, which is horizontal to the floor and bent at the
elbow . This is supposed to look like you are carrying a bowl
of water under the cloth. Then you carry it over
to a round table, put the cloth down over the
table, and pull away the cloth revealing the bowl
that had been hidden within the table.
I wasn't satisfied with the illusion. I couldn't
convince myself that the cloth over my arm
looked like I was holding a bowl of water.
Magician Tony Slydini said, "No one will believe
the things we do if we don't believe them
ourselves." Since I didn't believe I was holding
a bowl under the cloth, the audience didn't
either.
I had purchased another illusion which was
the vanish of a smaller bowl of water. Part of the secret is
that the cloth you cover the bowl with is two layers with a
plastic circle between them. The circle is about the same
size as the bowl. When you pick up the bowl under the
cloth, you are only picking up this circle, and the bowl is
whisked away. It looks like the bowl is still under the cloth.
You carry it forward, grab a corner of the cloth and flick it
away revealing the bowl isn't there. The flat plastic circle is
hidden by the way the cloth drapes when held by one
corner. (By coincidence, that illusion follows the production
in The Tarbell Course of Magic volume five.)
I reversed the vanish to make my punch bowl appear.
made a plastic circle the size of the punch bowl and hid it in
the cloth. When I hold the cloth by one corner the circle is
not noticeable. I flip up the cloth, and catch the circle
between both hands. Because my hands are visible, and a
perfectly circular shape is visible under the cloth , it looks
exactly like I am holding a punch bowl through the cloth.
Now I carefully walk over to the table trying to keep the
circle level. I put the circle down on top of the hidden
punch bowl and whip it away when I remove the cover. At
this point, the audience is looking at the actual bowl and
Continued page 28
26 The New Calliope

C&B House of Clo~

January/February, 2002
Reverse --
From page 26
nobody thinks to look at the cloth. The illusion of this
improved effect is so convincing that I've had people who
really know how it is done comment after the show that they
were afraid I was going to spill the water before I got it over
to the table.
What vanishes do you know? Can they be turned into a
production? What methods of production do you know?
Can they be turned into a vanish? Play around with your
other effects . What happens if you use the method in
reverse? How could you make the effect appear to be
reversed?
This same concept can be used with other things .
recently saw a video tape of an old TV variety show. An
unidentified juggler did reverse back crosses. When a
juggler does a normal back cross, they catch the prop in
their right hand , reach behind their back, and throw the
prop up over their left shoulder , and catch it in front with
their left hand . Then they reach behind their back, throw
the prop up over their right shoulder , and catch it in front
with their right hand.
This juggler threw the ball straight back over their right
shoulder , reached behind their back, and caught the ball
with their left hand . Then they brought their left hand
around to the front, threw the ball straight back over their
left shoulder , reached behind their back with their right
hand, and caught the ball. What juggling tricks do you
know? What would happen if you attempted them in
reverse?
Reverse The Order
When I apply my tramp make up, I use my finger to apply
black for my beard . I apply it thin enough that some of the
skin color shows through , softening my appearance. I also
blend the black out at the edges of the beard instead of
having, an abrupt sharp edge. I do want a neat edge
between the white of my mouth and the black of my beard .
However, I don't want a hard line around my mouth. I
want the edge to blend into my beard . For 20 years I would
apply_the beard first, use a brush to outline my m·outh and
then try to blend it into my beard . Most instructors teach
that doing the outline is the last step. One day, I decided to
try reversing the process. I used a brush to outline my
mouth, blended it out with my finger, and then applied the
rest of.my beard. The result was a simpler process with an
improved appearance. I've been using that method for the
last seven years .
The next time you apply your make up, change the order
you do things in. For example, if you always do your eye
accents before you do your eyebrows , do your eyebrows
first. What happens when you change the order? It might
make no difference , or you may discover a pleasant
surprise . Look at other things you do in preparation for
clowning. Change the order of some of them and see what
happens .
The original finale to my circus clown-juggling act was a
four-ball routine. Then I learned how to juggle three clubs
while spinning a plate on a mouthstick. I tried using the
plate-club combination just before the fina le, but the fourballs
then seemed anticlimactic. So, I reversed the order of
the two routines , but the four-balls seemed to distract from
the combination.
I took the four-ball routine out of my act for a while. Then
I reversed my thinking completely . Instead of using the
four-balls at the end of my act, I turned them into a gag near
the beginning of the act. That was very successful.
Look at the order of the routines you perform. What
happens if you rearrange them? What happens if you
reverse them completely?
Reversal As An Act Premise
At an annual banquet of the Orange County (CA) Magic
Club, one of the members performed a hilarious act built on
the idea that everything was running in reverse. He held up
a rope tied into a loop, and announced it was restored.
Suddenly the middle fell apart . He rejoined the ends by
snipping at them with a pair of scissors. He untied the knot
demonstrating there was just one piece of rope , and
announced that he was going to do the famous cut and
restored rope trick. (This was a very creative use of moves
from George Sands' Rope Sandsational routine.) He
shouted , "it is gone ," assembled a Junior Nite Club Vanish
box, and produced a dove from it. He used a Dove To
Bunny Box to transform the dove into a balloon .
He put the nozzle of the balloon in his mouth, bit a small
hole in it, and let the balloon deflate. He held up a playing
card , announced that it was the one chosen, and then had
somebody pick a card from a deck which matched his
revelation . Then he shuffled the deck . The act continued
in a similar manner to the delight of the magicians in the
audience.
Early in the Twentieth Century, circus clowns were
sometimes given a benefit performance as a bonus. They
received the ticket sales from that specified show . One of
the stipulations was that they had to make changes in the
performance. In Behind My Greasepaint, Nicolai "Coco"
Polakovs describes his favorite benefit performance format.
He would run the show in reverse.
Normally, the flying trapeze act would close the show.
When the audience entered for Coco's Benefit, they saw
the trapeze net and poles scattered in the ring as if they had
just been taken down . When the show began, the prop
crew unrolled the net to set it up, and Coco was revealed
28 The New Calliope

Reverse --
From page 27
sleeping inside the bundle.
What would motivate you to do one
of your acts or routines in reverse?
What would it look like in reverse? How
would you technically accomplish it?
Super SCAMPERING
Robert Alan Black suggests creating
your own acronym of favorite creativity
HintsforJoeys
By Glenda "Coco" Desilets
Northeast Regional Vice President
+ Make sure your costume is one
to two sizes bigger than your regular
clothes. This allows you to add layers
underneath in cold weather , comfort in
hot weather, and room to grow.
+ (Reds) Loreal Automatic lip liner
is the same color as Mehron Red.
+ Attach your hat or hair bow to
your wig with safety pins from the inside
of your wig.
+ Purchase clowny -looking ropes
at Home Depot. Wonderful colors and
reasonable. Remove core from rope
and it is very workable for clowny magic
.
strategies, i.e. C.R.E.A.T.E or
I.N.N.O.V.A.T.E. Jordon Ayan and
Deanna Berg used 36 strategies in
turning T.R.A.N.F.O.R.M. into an
acronym. (They used four strategies
for each letter.)
Choose an acronym that appeals to
you, and fit your favorite creative
techniques to it. This is a good
creativity exercise itself, but it has
additional value.
The next time you are looking for a
January/February 2002
creative idea, use your acronym to
remind yourself of techniques you can
use to generate that great idea.
Copyright
Johnson.
2001 by Bruce
All rights reserved.
Got a question? COAi's business
manager, Shirley Long,
has an open and toll-free
line, 9 a.m .- 5 p.m. Mondays
and Thursdays:
1 (888) 52-CLOWN
SPEAR'S SPECIALTY SHOE CO.
12 Orlando Street • Springfield, MA 01108-2412
WEB PAGE: www.spearshoes.com
E-MAIL: spearshoes@compuserve.com
We maintain "ready-to-ship" in-stock
inventory of assorted styles and sizes
Keep the kids happy!
+ Before putting on my ProNose
with Pronose sticky stuff, I cleanse my
nose with rubbing alcohol to remove
any makeup and skin oils.
+ Carry one or two small candy
sacks to catch the invisible balls. Works
well in or out of clown.
Got a hint for your fellow
joeys?We're seeking tips on makeup,
costuming, walkarounds,props, finger
magic and other clowny stuff. You'll get
a byline and (more importantly), the
thanks of every COAi member. Send
your tip(s) to the editor:
Cal Olson
The New Calliope
2000 Outer Dr. N. #523
Sioux City, IA 51104
PICTURE AT LoCAL PREMIER, SPFLD, MA Nov. I&, :&000
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The New Calliope 29

January/February , 2002
Clown Week:
Getting
Started
By Teresa "Bllnky"Gretton
COAi Secretary
Before any structured program is put into place, it takes
some founding fathers (and mothers) to create, draft, and
enact policies and procedures. Many times a program is
carried on for years without much knowledge as to who was
responsible for rts creation. Such is the case with
International Clown Week.
Frank "Kelly the Clown" Kelly, of Ft. Wayne, IN, was the
first chairman of Clown Week. He proudly holds COAi
membership number 16, a number he received from
Clowns of America (GOA) .
Thirty-five years ago, Ray Bickford, then president of
Clown Club of America, appointed Kelly National Chairman
of Clown Week. At that time, Kelly already had several years
of clowning experience. His enthusiasm as Clown Week
chairman yielded 15 gubernatorial proclamations and five
mayoral proclamations . After a couple of attempts to write
Congress in the mid'60s to get Clown Week proclaimed as a
natiqnal week so that a presidential proclamation could be
issued, he seriously pursued his efforts of organizing
Clown Week . Congressional replies indicated that a bill
passed by both houses in Congress must precede a
presidential proclamation .
Undaunted , Kelly continued to stir things up during
Clown Week, making visits to hospitals and performing
shows throughout his local area, along with his clown club.
It p'.oved su~cessful. Kelly remembers, "During my reign as
national chairman, I was followed by a local television station
all over town wherever I went, even into a beauty parlor,
(and) that caused a stir, believe me. I had newspaper
articles (written) and made Amusement Business
Magazine."
The slogan in 1966 was "Let Laughter Intermix in 66."
More clowns were joining in to celebrate; but Kelly realized
that proclamations made the week "official," which would
lead to greater publicity for the art of clowning.
Frank Kelly: "It was hard to convince people
that there was such a thing as clown week ."
According to Kelly, the Clown Club of Maryland sponsored
~lown Week in 1967 after the death of Ray Bickford (he
dred on August 3, 1967, ironically during the
very week that would eventually be proclaimed National
Clown Week). The following year , GOA sponsored Clown
Week in its first year as an organization . This was the
culmination of two years of hard work performed by
Kelly, Bickford, and Roland Jewett (named Clown Week
chairman in 1967).
The interest grew not only in the clowning community
but also the public a~ media ran stories of clowns receiving
proclamations. Fortitude and determination eventually led
to a House Joint Resolution on Jan . 13, 1969. On Aug. 12
1970, Bill Bailey received a telegram from Sen. John L.
McClellan (Arkansas) stating, "Glad to advise your Clown
Week ~esolution re~rted favorably by Senate Judiciary
Committee today wrth amendment making it effective the
first week of August , 1971. •
Another telegram was sent to Kelly on Oct. 8, 1970 from
Congressman Edward Garmatz (Maryland) that read
"Delighted to inform you that President today signed into
law the clown bill."
Kelly_ personally delivered to the Clown Hall of Fame (then
located rn Delavan, Wis.) all of the written historical facts that
included letters, telegrams, newsletters, articles,
proclamations, etc.
30 The New Calliope

January/February 2002
When asked how Clown Week has changed since 1965,
Frank says, "It has changed quite a bit. Back then , it wasn 't
really proclaimed yet so it was hard to convince people that
there was such a thing as Clown Week. It took a lot of
talking to people ; but as alleys started to form, it progressed
a great deal; and of course being proclaimed in 1971
helped a great deal. It was started to promote the art of
clowning , and I think it has come a long way. In fact , it is
celebrated in Europe as well , so I think we are doing really
well in promoting it."
Through the years , Kelly has continued to promote the
art of clowning throughout Clown Week and all year. Last
July , he assisted Clown Week Chairman Bob Gretton by
forwarding much historical information, including copies of
telegrams , letters , pictures, newsletters , and a beautiful
laminated copy of the original National Clown Week
Proclamation signed by President Richard Nixon.
He and his wife, Bernadette , will celebrate 49 years of
marriage in April. In fact, he is planning to attend the COAi
convention in Saratoga Springs, NY. Their anniversary will
fall on the 18th while they are there. They have three
sons and a daughter.
At 75 years young, Frank Kelly is still quite active in his
clowning. He remembers the birth of his clown character ,
"Kelly," at a church festival where he (like many early
clowns) dressed as a clown, not really knowing how. He
recalls , "While working at my place of employment , a lady
made my first outfit out of gaudy seat covers taken off
furniture. " Then , his mother became his seamstress until
her death , at which time he turned to Betty Cash for his
costume needs. He also recalls making his first pair of
shoes out of paper mache . His first shoe purchase came
from Griffin Shoe Company in the late 1950s for $35 .
He says, "I learned my clowning at first by trial and error,
then conventions , etc. " He fondly remembers the
opportunity to guest clown with the Clyde Beatty-Cole
Brothers Circus in the mid-1960,s along with Carson
Barnes , Kelly-Miller and the old Ford Brothers Circuses. A
friend from Circus Fans of America introduced Kelly to the
owners and they experienced circus life together, including
meals.
Kelly's clown activity has involved mall shows, Indy 500
festival parades , amateur circuses in Peru, IN, grand
openings, restaurants , birthday parties , etc. You can find
him online sometimes in the chat room of the newly
formed COAi eAlley group.
Frank Kelly has been a standout when it comes to COAi
membership involvement. Clown Week is a flourishing
program within COAi and beyond , thanks to the dedication ,
determination and commitment of hard-working clowns like
Frank Kelly.
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The New Calliope 31

January/February 2002
Energy:
Go ahead,
fake it
By David "Mr. Rainbow" Bartlett
1427 Acadia St.
Durham, NC 27701
www.MrRalnbowTheClown.com
I wish you could have been there. It was the
embodiment of everything I have ever tried to teach about
stagecraft. It was beautiful!
I was in Minnesota at the invitation of Mark and Lori
Hurley to do a balloon workshop in St Paul. 'Mlenever I go
places I try to hang around and experience the locale so
that when I go home I have an impression of where I've
been other than that highways and Holiday Inns all look the
same.
My visit happily coincided with the opening of the
Minnesota State Fair (and a Minnesota Twins baseball game
and a St. Paul's Saints baseball game and of course daily life
at The Mall Of America.) To make things better, Kenny
Ahern was one of the featured stage acts. Lori and Kenny
are·both former Ringling clowns and Kenny and I had
worked together in one of Leon McBryde's Christmas
shows in Racine, Wisconsin. I'd worked with Kenny but I'd
never had the pleasure of sitting and watching him.
It was beautiful! Kenny's act was a sterling example of
everything I've ever hoped to teach about stagecraft. His
actual show involved juggling, balancing and skilled prop
manipulation, but the education is not in what he pid as
much as it is in how he did it. I don't do juggling, balancing
or skilled manipulations. I barely stand up straight, but I
learned a lot from his performance.
The three most important things in stagecraft are
Energy, Focus, and Inclusion. When you are putting
together any kind of stage act, whether it is a single act or a
group skit, you need to incorporate all three of these
elements or else you run the danger of falling flat, just as
you run the risk of falling off a two legged stool.
I'll address all three elements individually in three
consecutive New Calliope articles. As I said, please keep in
.-------------, mind that one or even two
of these elements are not
enough to create a
dynamic, effective and
entertaining stage
performance. You will
need all three.
Stagecraft Part 1-
Energy I
It is easy to mistake
energy for movement,
often thinking that
increased movement and
increased speed means
increased energy. In
Kenny's act, he exuded energy even when he stood still.
Many equate energy with a strong vibrant loud voice.
Kenny works mostly in mime. So where did the energy
come from?
There was energy in his posture, his expression, his
eyes, his enthusiasm, his preparation, his confidence, and
the deliberate way he made every move, fast or slow.
Believe it or not, I was tremendously impressed by the way
he-infused energy in how he wiped sweat off his face.·
Nothing he did was unconsidered or weak. He never
meandered. His intensity never waned. His face, and
especially his eyes, never lost its shine.
Successful stagecraft includes an understanding of the
psychology of the audience. This knowledge is used to
manipulate the audience to the performer's benefit. A
skilled stage performer like Kenny can use his own energy
to galvanize an entire audience. It's electric. It's
communicable. It's exhausting!
OK, so you are a 55-year-old woman with arthritis. Can
you exude energy too? Yes! Franklin D. Roosevelt is
considered to be one of the most dynamic, electric,
energetic personalities in U.S. history. Oh, and he was
confined to a wheel chair.
It's more in your mind and your approach than it is in
your physical abilities. I've seen acrobats with five times the
physical ability of Kenny but with only a fraction of his stage
energy.
How do you do this? A key element in this kind of
energy is confidence and commitment. You must either
have total confidence in yourself and what you are doing
(yeah, right!) or, you have to learn how to fake total
confidence in what you are doing.
Audiences love strength and confidence and respond
positively to it. They honestly don't much care about
technical correctness. They easily forgive errors in
32 The New Calliope

January/February 2002
Mr. Rainbow--
From page 32
execution, flubbed lines, missed steps in choreography,
and broken or missing props. What audiences want to see
more than anything else is a confident performer
committing themselves fully to whatever they are doing.
Convince the audience that you have that confidence
(whether that confidence is real or non. and they will follow
your act or skit with great interest.
On the other hand, audiences, especially kid
audiences, can smell fear and react badly to it. If you hold
back on them because of any insecurity they know it. The
worst thing a clown entertainer can project is lack of
commitment to being a clown and fully carrying through on
the comedy. They do this by being tentative about what
they are doing, and by showing hesitation and selfconsciousness.
Tentativeness, hesitation and selfconsciousness
are the antithesis of energy.
I often see clowns perform almost apologetically,
especially around older kids and adults. It is obvious they
have no self-confidence, no committed direction, and
actually fear their audience. The irony is that fear of failure
that causes this kind of inhibition virtually guarantees failure.
It is painful and embarrassing to see. It is a self-generated
downward spiral.
Think of most of the skits you've seen in competition at
conventions. Most of them suffer from a severe lack of
energy. I was at a professional workshop one time when
someone showed me a video of the skit competition from a
major regional clown convention. While watching the video
I became aware that I could tell whether the skit would be
any good based on the way the clowns came up the stairs
to get on the stage. That's all it took to see if the requisite
energy and confidence was there.
Back to Kenny. The thing that made his act so riveting
was that he committed himself fully to every movement and
every moment in his act. By doing so he infused it with
energy , which in turn energized his audience. The energy
he created by his projected confidence and commitment
made me believe that I was in the capable hands of a true
professional .
Are they faking the confidence that drives the energy?
Ask them sometime and don't be surprised if the answer is
"yes." I know I'm faking confidence many times when I
perform. It's confession time. To all those people who
wrote such nice things about my confidence and
professionalism after the SECA Live Birthday Party turned
into a show for 90 English Second Language teenagers
and was covered by a local TV station: I was scared to death!
Who in their right mind wouldn't be? I just didn't let the fright
show and tried my best to convince everybody I was
completely in charge. Ha!
But, and this is important, audience members don't
know and don't care if you are faking confidence. From
audience perspective it doesn't matter. The energy is the
key and that projected energy is a major element of
success.
Energy, don't get on stage without itl
Next Issue: Focus.
COAi
simply
thebest
"The 1:alAce to go for C(own. Sticker~"
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I get the exact same feeling when I see Carol Crooks,
and Janis Roberts perform as clowns. I get the exact same
feeling when I see Duane Laflin and Kohl and Company
perform magic. I get the exact same feeling when I see
Dave Mitchell and Mark Wade do ventriloquism. I get the
exact same feeling when I see Suzy Hammer do
storytelling. They all perform different things in different
venues at different speeds and with different levels of vocal
usage. What they all have in common is 100 percent
unapologetic, energetic commitment to everything they do.
The New Calliope 33

January/February , 2002
Take it
and make it
YOURS
By Kay "Sweet Pea"Turner
5401 Brownfields Dr.
Baton Rouge, LA 70811-1002
Have you ever seen a makeup design, character trait, or
skit that you just had to copy? It may have been because
the original was professional looking, well-defined, or just
down right good. It was probably a success in whatever fc. m
it appeared. It made you feel good, had positive audience
reaction, and now you want to use it to do the same for
others.
Copyrights can be a legal reservation or an assumed
right. In clowning, it is a custom that each clown has the
rights to his/her character, makeup, and costume designs.
Therefore, each clown should be an original. If you were to
assume a predetermined character, there is a great chance
you will not be as successful. Your natural actions and
reactions would not match that of the original performer. If
you tried to copy a makeup design, you may find it does not
look as well on your face.
When imitating a performance by another character, your
rendition of the action will not look the same as the original.
It might ruin the punch line or the comedic mood of the
scene. No two people can exactly present the same
material, look, or performance. Even though your copy of
the original might be slightly different, you still do not have
the right to copy any other clown or his performance
material. Take only the parts you liked and make it yours
So, what do we mean by "take it and make it yours?" Was
there one particular thing in the performance or look that
really pleased you? Take that one item and develop it into
something originally your own. It might have been the
design of the clown's mouth. Add that design to your own
ideas for the rest of your face. Maybe the way another clown
walked is something you wanted to copy.Try that walk,
doing it repeatedly until it feels natural. You will probably
find, at that point, your walk is not exactly like the one you
saw. The original idea leads you into something more your
own.
This concept applies to all forms of clowning and
entertainment. We should each want to stand on our own
two feet rather than be carbon copies of other
performers.This borrowing of ideas is just a boost toward
developing your own look and material.
(
It can be very difficult for a First of May to
come up with a totally original clown face
design. It often helps to look at pictures of
seasoned clowns to get ideas. This can also
teach proper technique for designing each
clown character type.
For example, a potential Auguste would not
want to look at Tramp face designs. As various
designs are observed, certain features may
have been marked as desirable . These are
ideas to use as a starting point to design a
clown face. Use the ideas from the pictures,
adjusting them to create the look you desire. This way, the
seasoned clown's makeup design has not been copied.
When it comes to clown character development, the
same wchnique of watching seasoned clowns can help. A
certain movement, trait, tone of voice, or prop usage may
be appealing as a potential part of your future clown. Again,
you do not want to copy the other character, but rather take
ideas and develop them into something special that fits you
personally.
Sometimes we see another clown doing something
exciting that we would like to repeat, but after analyzing, we
must admit we do not have the skills or talent to do it. If you
lacked the ability another clown displayed in stilt walking,
you would not be able to perform in that activity until you
learned the skill.
You might like an entrance or exit method of a clown.
Take the action and see what your clown character would
do with it. A clown character is never fully developed. There
should always be room for tweaking. Even seasoned
clowns find new ideas to try from other clowns.
Skit performance is one of the most common areas where
an original is copied. Not everyone has the ability to write a
skit from scratch. Skit books provide a broad selection from
which to choose. The problem is, too many performers are
doing the skits exactly as they were printed. Some skits are
so good they are excellent when seen repeatedly .
However, the performance would be much fresher if
revisions are made to the routine.
Update the jokes, comedy, punch lines, or theme of the
skit. Create a new surprise ending. Change the characters
to create new interest. Change the words and add current
slang or cliches. Take small pieces from several routines
and join them together to create a new program. This can
work well using fairy tales and nursery rhymes. Performers
are giving new life to old classic routines by modernizing
them.
Any program you present should fit your clown
character. If you feel awkward in a presentation, either you
have not practiced enough or the part may not be
34 The New Calliope

January/February 2002
appropriate for you and your character. If you perform magic
in your show, try avoiding the printed patter purchased with
the trick. Make up your own. Brainstorm all the different
reasons you have for performing the trick and put a story to
one of them . Add some clown character "history" and
develop an original patter for the magic. This will make your
performance seem real to your audience because it is more
Calendar
Feb. 9, 2 0 0 2: Clowns Like Us Alley #303 one day
workshop, North Port, FL. Info.: Paul or Muriel Norton (941)
764-6123 or email crackerslolo@earthlink.net.
Feb. 15-1 7: Show Me Clowns for Jesus, national
conference, Lake of the Ozarks, MO. Info. Ph. (800) 346-
2215.
Feb. 17-21: Great Clown Adventure, Las Vegas,
NV., Info.: Ph. (320) 963-6277.
March 6-10, 18th annual International Balloon Arts
Convention, Hyatt Regency O'Hare, Chicago, IL. Inf.: (800)
458-4222 or (614) 840-0868.
March 8-10: Comedifest 2002, Portland, OR. Info.:
Phone (360) 260-8557, email www.comedifest.com.
March 13-15: Chicago area: Comedy Magic
Workshop 2002. www.ComedyMagicWorkshop.com
April 2-7:World Clown Assn. 20th annual convention,
Mesa, AZ. Info.: (800) 336-7922. email
PatLayWils@aol.com.
Apr i I 5 - 7: Balloon & Magic Mania,
Goldsboro, NC. Info: Phone (800)256-9699. Email
emilyb@nc.rr.com
April 16-21: COAi International Convention, Saratoga
Springs, NY. Info.: Phone toll-free 1 (866) 489-2680. email
hwilder@nycap.rr.com
April 17-19: Columbus, OH: Comedy Magic
Workshop 2002. www.ComedyMagicWorkshop.com
May 15-17: Dallas, TX: Comedy Magic Workshop
2002. www.ComedyMagicWorkshop.com
May 25-27: Face Painting International Convention,
Orlando, FL. Info.: Phone (954) 923-6013. email
EditorFPmagazine@aol.com.
June 19-22: Norfolk, VA: Comedy Magic Workshop
2002. www.ComedyMagicWorkshop.com
July 28-Aug. 2 or Aug. 4-9: Mooseburger Camp,
Koinonia Retreat Center, South Haven .MN. Info.: Phone
(800) 973-6277. web site: www.mooseburger.com.
real to you. It also makes remembering the patter lines
easier. Again, it will suit your character rather than mimicking
another.
Just because something done or said works successfully
for one clown does not mean it will work that well for all
clowns. Some of today's popular clowns have special lines
or movements they use regularly which create a lot of
laughter from the audience. Other clowns have copied
these and used them in the same way, but with a lesser
audience response.
Clowns must work hard to develop material that is just
right for their character. Certain movements or responses
may take years to perfect. Rehearsal, timing, and analyzing
are very important.
Seasoned clowns have stored up gag files of comments,
actions, jokes, ideas, skits, tricks, walkarounds, and other
performance material. They may have a file on things other
clowns have done that they might draw from for future
material.
There is nothing wrong with being energized with
creativity from the work of another clown. It is actually a
compliment to that performer.If you feel you must repeat
something exactly as it was presented, please give proper
credit to its writer, creator, or original performer.
Always seek proper permission to use someone else's
material. This also applies to making copies of printed
material.
Please respect the unwritten copyright and custom of
giving credit where it is due. Let us respect each other and
this profession of clowning.
If you have comments or suggestions, please
send an email to sweetpea8@bellsouth.net or
write Kay Turner, 5401 Brownfields Dr., Baton
Rouge, LA 70811-1002.
COIRNIIRSTONI
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The New Calliope 35

January/February 2002
From the
President
By Cheri "Cherri-Oats" Ventur i
COAi President
The New Year has already begun. It is a time to look
towards the future with new directions and enthusiastic
expectations. Opportunities are waiting to be had. We ask
ourselves what opportunities are in our future . All
opportunities are not big and thunderous nor do they make
themselves available at the appropriate time. Sometimes we
have to open our eyes to the opportunities around us and
take a risk.
We will all have the opportunity to grow this year both
as a person and as our character. By exchanging ideas with
others we can help our clown skills develop to a new level.
Do we need to improve our shows? Do we need to update
our materials? How do we present ourselves?
This is the great time of the year to catch up on new ideas
by reading past articles that maybe you didn't have quite the
time to look at over last year. I like to take all the Calliopes
'l{;rc;rc;rc;,c;rc;rcAA/

How to force
( continued)
By Ann "Tuttles" Sanders
225 Lake View Dr.
Toano, VA 23168
In response to my article titled
"Forcing with cards" (The New Calliope,
November/December, 2001 ),
Wanda "Wanda Jean" Meredith, of
Cordova, TN, points out that she is not
active in an alley and doesn't wish to
purchase 20 decks of cards. However,
she would still like a walkaround card
trick that utilizes the method I described.
The problem can be easily resolved
by purchasing just one deck of
cards and using your imagination. You
can cover the faces of one deck with
pictures, numbers, letters, shapes,
etc. This easily lends itself to customizing
the cards with a specific theme,
such as a holiday.
You need to select one picture or
shape that you wish to force (taking
the place of the three of clubs in the
previous article) and make 20 identical
copies. If you know how to use a word
processor or a graphics software program
, the possibilities are almost
endless.
Keep in mind that you will need to
make the copies on good quality paper
so that the faces of the cards you are
covering do not show through. I use
double stick tape instead of glue to adhere
the pictures to the cards, since
most glue I tried cau'sed the paper to
wrinkle. If you plan to use the trick on
multiple occasions, you may wish to
laminate them.
If you purchase inexpensive
cards, you can buy a couple of decks.
This would allow your volunteer to
keep the forced card without too much
expense to you. To add to the fun,
you can photocopy a picture of yourself
(or use your business card) and
make that the card you force. What a
great remembrance of your apearance,
as well as a fine way for them to contact
you for future bookings!
:;~e
January/February 2002
More tnformation? our website www .comedifest.co
or call (360) 260-1:557 or email at comedifest' ~aol.com
Sponsored by: Wo rld Clown Association
Hosted by: The LUV Clowns of Arizona
WORLD CLOWN ASSOCIAT ION
20TH ANNUAL CONVENTION
ARl•IIIMA BDIIMIJ UP
&••ti l•f. lUIII MDL Ulm.-&
HOTEL REGISTRATION
WCA Room Rate
CONVENTION DAY TRIPS
Check webs ite for updates:
S90.00 + tax single/double www.worldclownassocia tion .com
NOTE: DEADLINE DATE OF
MARCH 1, 2002 FOR THIS RATEi
(Mention that you are with the
Wot1d Clown Association)
HILTON PHOENIX EAST/MESA
.. 1011 West Holmes Avenue
_._.,..,,, Mesa, AZ 85210 ·'
I ~ 1-300-544-5866 ...
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· · · · Reci,si-"i~r,o~
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•
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Name-----------
Clown Name---------
Address ---------------- WCA Number __ _
2 ~~~;;;;;;;;=-=~~~~--:._rr;;;;
City, Phone State , Country, ZIP ~~~~ ~-Mail
Pre-Convention • Judging Qualification • (All Day) • SS0.00 Hotel Food RequeS!:
Special Classes • Face Painting (8 a.m.-12 noon). $3S.OO Kosher Meals
Sign-Up ~equired a Balloons (12·30-4·30 P m ) SJS 00 __ Vegetarian Meals
.._______ . . . . • . REPLY BEFORE 03/18/02
Payment: __ Check __ Credit Card: (Circle One)
Card Number: _____________________
MasterCard or Visa
Card Name: _______ _..,ard Holder Signature :. _______
(PRINT)
(REQUIRED)
__ I am going lo compete in: • Make Up • Single Skit CGroup Skit • Balloons • Paradeability
__ I am interested in learning more about the "All Around Clown" Competition
__ I am interested in the "Alley of the Year" Award
SEND CHECK OR MONEY ORDER TO: !RAVEL ARRANGEMENTS:
QUESTIONS:
Wor1d Clown Association Came Me Away Travel Pat Lay Wilson. Administrator
c/o Linda Evans, Treasurer Call G~lleen Foreman Phone: 1-800-336-7922
199S N. EHis Street " (800) 211-28S7 e-mail: PatLayWilS@aot.com
Chandler,~ A ,8S224 e-mail: colleenff@aol.com and Check the website:
, www.wol1ddownassociation.com
•,_ · ,_ ....... Ill &II IDDI
_
_
The New Calliope 37

January/February 2002
The Slow
Months
By Karen "Peppermint" Reinholt
P. 0 . Box 13187
Portland, OR 97213
email: Pepprmnttc@aol.com
We've made it through the summer
company picnics and more recent holiday
parties. Now come the 'slow months' where
most entertainers have an opportunity to have
a little R & R (rest and relaxation). Traditionally, January
through April are the months that tend to have less
corporate events than other times of the year. This is not
the prime time for store promotions, corporate parties,
sidewalk sale promotions, etc. However, there is never an
end to birthday parties. As we all know, birthday parties are
a year-round business. No matter what the time of year,
there are always children having birthdays.
However, these next few months are still the best time
to get caught up on things . For one thing, it is a great time
to clean up your office. Get those booking sheets filed
away in three-ring binders. Organizing all your event sheets
will help eliminate the shuffling of papers or always looking
for something later on. Take time to update your database
of clients' names , addresses and phone numbers. Put
together some new promotion material and mail them to
prospective clients. Get in touch with event coordinators to
find out what their near future needs will be.
Take a look at your business cards, brochures, fliers and
advertising. You may not realize how long it's been since
you updated the information on these important
promotional materials. Keep these current, add your fax
number, e-mail address or website URL.
This is a good time to spruce up your costume or make
new ones. Take a look at what you wore last summer. Have
your outfits seen better days? Are the colors less than
vibrant? How does your wig look? Frizzy or limp? If that's
not the look you want, now is a good time to give it some
TLC or buy a new one. And don't forget to look at your hat,
bow or whatever you wear on top of your wig. Does your
hat need a fresh look with a new ribbon or flowers or simply
a cleaning? Has your bow seen better days? Don't forget to
change the look of your hat to go with any new colors of a
new costume. If you wear a skull cap, remember to wash it
regularly to keep it clean and bright.
How about your shoes? Polishing should be done
regularly. Let's take a look at the heels and soles. A trip to
the shoe repairman can give your shoes new life. And don't
forget your socks. Whether you wear leotards , striped
knee-his, anklets or a combination, check to
make sure there are no holes, loose ribbons,
lace or bad snags.
Clown gloves really take a beating. If you
wear white, you know how difficult it is to keep
them clean. I wear red gloves, which don't
show the dirt as quickly. However , I put on a
fresh new pair of gloves for each new event.
And I keep a spare pair in my car at all times. If
you cut the fingers off your gloves, now is a
good time to make sure that there are no split
seams or holes. Repair what you can. Discard
those you can't repair. Our hands (and gloves)
are noticed by everyone as they watch us
make a balloon, perform a magic trick, paint a face or simply
shake someone's hand. Speaking of hands being noticed ,
I recommend using hand cream to keep your hands from
drying out , especially during the winter months. As often as
we wash our hands, the natural lubrication of our skin is
compromised. Using a good, quality hand cream can really
help. I apply it generously right before putting a fresh, clean
pair of gloves on. Make sure ahead of time that the hand
cream you use will not adversely affect the balloons.
Several years ago, I stopped to have my nails done on
my way to a school event. It was one of those times when I
couldn't fit it into my schedule any other way. So, I sat there
in the salon in full costume and makeup getting my nails
done . When I left the salon, I went straight to an event. As I
inflated the first balloon , it popped. I tried another one and
another one. Each time, it popped. It occurred to me that
the finish on my nails was affecting the balloons. I quickly
used some hand cleaning gel and the problem was solved.
I have not made that mistake since.
Another item to check out is your balloon apron. This is
an item that gets used regularly and gets touched by
inquisitive , sticky little fingers. The colors also might be
fading. I recently had new balloon aprons made for each of
the holidays , so they are a part of my costume now, too . It is
fun to wear the different aprons. It is also nice to know
they're all clean, fresh and vibrant colors.
Let's also take a look at your props. How long has it
been since you really looked at your bloomin' bouquet?
Are there any feathers left on the handle? How about your
rope tricks? Is the rope clean? Are the ends frayed? Do
some of your props need a fresh coat of paint? Are the
surfaces clean? Glass surfaces void of fingerprints? Do
your silks need to be cleaned and/or pressed? Do the
edges need to be hemmed? How does your magic coloring
38 The New Calliope

January/February 2002
book pages look? Are the edges curling?
Magic items are expensive to buy. Consequently, it is
important to take care of them so you won't have to replace
them often. However, when your prop has seen better
days, then it is probably time to buy a new one. This is an
investment in your business. The audience notices when
your props look dirty, broken or are in need of repair. If the
focus is on how bad your prop looks, the audience might
miss what you're actually doing. It doesn't look professional
to have stains or holes in your magic silks or other items.
If you use puppets, check their costumes, wigs, shoes ,
etc. If a button eye is loose or an arm is dangling, take the
time to repair it. The illusion you are creating of your puppet
coming to life might be jeopardized if the child is focused on
something that is falling off.
Music can play an important part in performances.
When you have taken the time to put together a wonderful
collection of songs for your show , it is a good idea to keep
the original fresh and new, using copies for your show.
That way, you can always go back to the original and make
another copy when you need it. Now is a good time to do
some research and put together new music for your shows.
Don't forget that these next few months are an
excellent time to improve your clowning with education.
There are a multitude of books, magazines, videos, clown
conventions, etc. that can offer new ideas to enhance what
you are already doing. Brainstorm with other entertainers.
Write a new skit. Improve an old one. Learn a new skill.
Practice, practice, practice. Perform for your alley. Perform
for the neighbor children. Learn the classic skits. Improvise
and come up with different endings to the classics. Go
through your notes from the last convention or festival you
attended. It's amazing how much information is in those
notes that you might have forgotten.
If each of us takes the time to go through and clean up,
spruce up, improve and learn new things, we will be ready
when the rush of summer events arrives. Our costumes will
be fresh and new, our props will be clean and repaired, our
performances will be renewed and improved. This is a great
way to spend the new few months.
And, as always, have fun with your clowning!
Clowns & Things Gospel Clown School
April 4-5-6-7, 2002
Emmanuel Family Outreach Center
7101 Quivira Rd.; Shawnee. KS. 66216
Learn the art ~f both secular and Gospel clowning:
Learn how YOU can present the Gospel through:
• Clown Skits
• Magic
• Clown Make Up
• Puppets
• Comedy & Clowning
• Balloons
• Hospital Clowning
• Face Painting
• Developing Ym•r Clown Character
• Story Telling
Taught by nationally known instructors: Bev Dowling, Joyce Olson, Virginia Deming, Toni Bodle, Lohren Meier, David Aldridge & many others.
Dealers and Clown Supplies available -Auction starts at 5PM. Saturday.
Registration starts 6PM Thursday & BAM Saturday.
2 FREE Shows open to the public: Friday 7: 30PM & Saturday 9: 30AM.
Pre-registration fee received before March 4. 2002 is $60.00.
Registration fees received between March 4. 2002 and April 4. 2002 is $70.00.
Registration fees received at the door is $80.00.
No cancellations or refunds after March 4. 2002. A $20.00 fee will be charged on all cancellations before April 4, 2002.
Family Discount: For each additional family member attending. deduct $10.00.
Example: Husband & wife or parent & child would cost $110.00 instead of $120.00 before April 4, 2002.
Mail checks to: Clowns & Things
I 756 S. 31 Street: Kansas City. KS. 66106-2809
For more info Call: Bev Dowling 913-236-8808
Name: Clown :cN:--am-e: __ __ ______ _ __ _
Available host motel: Fairfield Inn 913-262-4448
660 I Frontage Rd.; Merriam, KS. 66202
$59.00 +tax per night (includes breakfast)
Airport shuttle available from KCI: Call 913-262-0905
913-236-4552 FAX or E-mail:
Address: ------------- --
City: _______
State: ZIP:
Phone number:
---
Your E-mail add..,..r -e-ss- : ----- - -----
Amount encloseo: $ ___________
_
The New Calliope 39

January/February, 2002
Participants at the lighting of the
National Christmas Tree. From left:
Barbara "Sweet Thang" Ford, Mich-
A Yule gig
By Michael Cox
COAi Mideast Regional Vice Preslden~
Thursday , Dec. 6, 2001, is a day that will be long
remembered by five East Coast clowns . With a juggler and a
magician, they were pre-show guests (and performers) a
the 2001 Pageant of Peace in Washington, DC. Held on
the grounds of the Ellipse between the White House and
the Washington Monument , this is the annual ceremony of
the lighting of the National Christmas tree by the President
of the United States .
The five clowns : Carol "Holiday" Coleman-Spaulding ,
Donna "DeJay" Branham , Patti "PJ" Arentz , Barbara "Sweet
Thang " Ford, and Michael "Bonkers" Cox . The juggler
( dressed as a wooden soldier) was Paul Belanger and the
magician was Michael "Majik the Magician" Joseph .
This gig was a long time in coming . All of us had to be
reviewed by the production company putting on the show .
Appropriate holiday costumes were required ; pictures in
and out of costume were required . As contact person ,
Holiday spent almost four months putting the thing
together.
ael "Bonkers" Cox, Donna "DeJay"
Branham, Carol "Holiday" Coleman­
Spaulding, Patti "PJ" Arentz.
On the big day, Sweet Thang and Bonkers left
Richmond , VA, in full clown . Vehicles around us either
slowed down for a double take or speeded up to avoid what
they thought they had seen. PJ traveled south from
Chambersburg , PA, to Annapolis , MD, where she me
Holiday, who drove them to DC. DeJay traveled from
Arlington, VA, via the Metro, Paul traveled down from
Baltimore , MD. We met at Michael Joseph 's business on
Pennsylvania Avenue , and traveled by stretch limo to our
assembly point near the Ellipse. Here we got ID's for
admittance as part of the preshow.
As we walked across the street to our assigned areas,
cameras were flashing everywhere; everyone wanted
photos with the clowns! At our assigned positions , we
entertained guests entering for the upcoming show. What it
meant was, we clowns helped keep the guests calm and
diverted during a lo-o-o-ong security check .
Secret Service agents were everywhere . Bonkers and
Sweet Thang were handing out heart-shaped flag stickers
to all who approached us. Bonkers got several of the
agents to take a sticker and wear it. A TV camera crew even
filmed him placing one of the stickers on a guest. Paul got
to do his juggling routine for security personnel stationed at
the gates . Holiday handed out flag pins; DeJay and PJ
entertained . Michael did his walkaround magic. The
atmosphere was electric! Excitement was mounting!
We were a mixed bag as far as experience in this event
goes : For Holiday and Michael Joseph , it was their third
year ; for DeJay and Paul, the second year; for the rest of us,
it was our first time.
About 4 p.m. Sweet Thang, Bonkers and Paul
proceeded through the inner security where we were
searched and passed through a magnetometer . Once
inside all seven of us went onto the stage to be introduced,
40 The New Calliope

January/February 2002
one at a time. Every camera was focused on us, including
TV cameras sending it overseas live on the Armed Forces
Network. Then we left the stage and went to our reserved
seats for the show. President and Mrs. Bush arrived to a
standing ovation and, after having everyone sit down, the
President spotted the clowns and pointed recognition our
way.
The show was fantastic , including Shirley Jones and
Santa as emcees, with The Manhattan Transfer, Travis Tritt,
Frederica Van Stade and Audra McDonald entertaining.
The Christmas tree was lighted by Mrs. Bush and two
children who had lost a parent in the 9-11 Pentagon crash.
After the Bushes left the stage , our group got to go on
stage with the performers . We hugged them all, sang
Christmas songs and posed for countless pictures.
The show was over and we headed for home. But our
memories will linger forever. Yes, Virginia, there really is a
Santa Claus!
Directory's a-comin'
A COAi membership directory is under production, and
will be mailed to all regular members of the organization in
the near future.
Production of the 2002 COAi Membership Directory
was approved by the organization's Board of Directors as a
special service to members. The last directory was issued in
1999 .
Spokesmen for COAi pointed out that the directory is
not a service that is routinely offered; rather, it is a special
service provided in addition to the normal amenities that go
with COAi membership.
Production of the directory is under the direction of Cal
Olson, Calliope Editor, and Bu~iness Manager Shirley
Long, working closely with Chris and Cindy Herrman, of
Beaverton , OR, who provided skilled computer assistance.
Hint: Because of production costs, This directory will be
issued on a one-per-member basis. Hang onto it!
Have you ever wondered ....
+ If corn oil comes from corn, where does baby oil come
from?
+ If a cow laughed, would milk come out of her nose?
+ If you ate pasta and antipasta, would you still be
hungry?
+ Why do they report power outages on TV?
+ Why is there an expiration date on sour cream?
+ If the black box survives a plane crash, why isnHhe
whole airplane made out of the stuff?
+ Shouldn't there be a shorter word for "monosyllabic?"
Clowns of America
International
Income, expense and balance statement
October 31, 2001
REVENUE Sep./Oct. 2001
Membership $11 ,350.47
Alley charters
200 .00
Magazine ads 2,495 .00
Merchandise
123.00
Interest
1,104 .27
Web page
50 .00
Education
324.00
Insurance (Mbrship) 3 ,600 .00
Misc.
TOTAL REV. $19,246.74
EXPENSES
Credit card charges 208 .82
New Calliope prod'tion 4,043.95
Editor fee 5,120 .00
New Calliope postage 1,500.00
Business Manager 3,219.86
Natl Office supplies 291. 99
Natl. Office postage 787 .57
Natl. Office phone 803.22
Printed matter 87.98
Merchandise 1,897 .66
Officers phone/postage 253.61
Trophies
Web page 315.00
Insurance
Income taxes 1,356.00
TOTAL EXP. $19,885.66
National City Bank of PA checking acct
Money market accounts
Year to date
$49 ,736 .63
400.00
8,790 .00
1,535 .75
2,439 .26
490.00
374.00
19,260.00
400 .00
$83,425 .64
745 .07
8,287 .95
10,240 .00
3,313.70
5,927 .23
291.99
2,170 .62
1,478 .17
5,544 .87
1,897.66
537 .03
64 .51
880.00
4,585.00
1,356 .00
$47,319.80
$33 ,710 .64
108,150.97
American Natl. Scholarship Money Market 7, 114.01
Contingency Reserve 133,458.23
Natl Office operating fund 2,000.00
TOTAL $284,433.85
Respectfully Submitted,
Joyce Olson, Treasurer COAi
The New Calliope 41

January11-eoruary, 2uu2
A call for Editor's bids
Bids are being accepted for the position of editor of The New
Calliope. The editor's bid will be based on a three year
contract, and will run from July 1, 2002, through June 30,
2005.
BIO SPECIFICATIONS
1 . Bids must be postmarked no later than March 15, 2002. A
copy of the bid must be sent to each of the four following
COAi officers:
President Cheri Venturi
P.O. Box 367
Destrehan, LA 70047
Executive Vice Pres. David Barnett
138 Rainbow Dr.
PMB 3839
Livingston , TX 77399-1038
Sergeant-at-Arms Walter R. Lee
1347 Ava Rd.
Severn, MD21141
Regional VP Danny Kollaja
4221 Winters
Corpus Christi, TX 78415-5156
2. Bids may be submitted by one person or a group; however,
one person must be designated as editor.
3. Bids should include bidder's qualifications and references.
4. Bids must be submitted with 3 samples of the bidder's
work.
5. Bids should include:
a. An Editor's fee for writing and editing the publication.
b. A fee based on a minimum of 48 pages per issue of The
New Calliope, to be published six times a year (every two
months).
c. A fee that would cover costs of additional 8 pages.
Note: Bids must be for a ''turn key" operation, in that the editor
assumes all duties and costs of producing camera-ready
copy of each issue of the magazine , which the editor will
send or deliver to the printer of the magazine.
EXPECTATIONS:
1. Candidates for the editor's contract must attend (at their
expense) the COAi Board meeting in Saratoga Springs , NY,
in April, 2002, for a personal interview.
2. The editor will have complete responsibility for all preproduction
phases of the magazine's operation, including
layout, writing, copy-editing, photography and
advertising.
RESPONSIBILITIES OF THE EDITOR:
1. Production of material that is consistent with polic ies and
guidelines set by COAi 's Board of Directors.
2. Production (at the editor's expense) of professional quality
color photographs of selected competit ion winners at the
annual convention.
3. Production of a four-page supplement in Spanish to be
included in every other issue (three times a year) of those
copies of the maga;zine sent to the Latin American Region.
The supp lement should include stories from the current issue
of the magazine.
4. The editor will make arrangements for a translator and
provide camera ready copy to the publisher. COAi will pay for
the translator; all other expenses will be incurred by the
editor.
5. Solicitation and copy-editing of clown-oriented articles from
qualified authors.
6. Solicitation, placement and billing of all advert ising carried
in the magazine. Advertising revenue will be received by the
editor and forwarded to the COAi's Business Manager on a
timely basis.
7. A 60-day accounts receivable (or two billing cycles
receivable) will be sent to the Treasurer and the Executive
Board.
8. The editor is expected to attend all COAi Board meetings,
general membership meetings and annual COAi conventions
to produce stories and pictures of these events.
9. The editor will work with the COAi webrnaster, the COAi
Executive Committee, the COAi Board and the COAi
Membership Chair as requested to provide information,
material, articles, etc., to help promote COAi through the
magazine and the website.
MEMBERSHIP DIRECTORY:
Awarding of the editor's contract does not necessari ly mean
the editor will help to produce the directory . He/she will be
required to place a separate bid.
Bids submitted by candidates for the editor's contract must
cover all phases of the editor 's operation, including office
costs, supplies, telephone , shipping costs and all other costs
involved in bringing each magazine to camera ready
condition. The editor will supply all equipment necessary to
effect the contract. He/she will also work with a printer of the
Board's choice.
The contract will be signed by the winning bidder and the COAi
President at the 2002 Board meeting in April. This contract will
be signed for a three-year term.
42 The New Calliope

January/February 2002
A call for Web Master's bids
Bids are being accepted for the position of the position the bidder's work.
of Web Master of COAi's website. The Web Master's bid 5. Bids should include:
will be based on a two year contract with an option for
a. A fee for maintaining and improving the Web site.
the third year and will run from July 1, 2002, through
b. A fee based on a minimum of 4 hours per month.
June 30 , 2004.
BID SPECIFICATIONS:
1. Bids must be postmarked no later than March 15,
2002. A copy of the bid must be sent to each of the
three following COAi officers:
President Cheri Venturi
PO Box 367
Destrehan , LA 70047
Executive Vice Pres. David Barnett
138 Rainbow Dr.
PMS 3839
Livingston , TX 77399-1038
Sergeant-at-Arms Walter R. Lee
1347 Ava Rd.
Severn , MD 21141
2. Bids may be submitted by one person or a company .
If it is a company , then only one person must be
designated as Web Master.
3. Bids should include bidder's qualifications and
references .
4. Bids must be submitted with three (3) examples of
EXPECTATIONS:
The Web Master will have responsibility for all phases
of the Web Site, including monthly changes to the
membership database and bimonthly changes to the
New Calliope's page and annual changes to the
Convention web pages.
RESPONSIBILITIES OF THE WEB MASTER:
1. Coordinate improvements by working with the COAi
President's appointment.
2. The webmaster will work with COAi's editor and
Business Manager on the magazine and the website.
0
Bids submitted by candidates for the webmaster's
contract must cover all phases of the webmaster's
operation, including office costs , supplies, computer ,
telephone , shipping costs and all other costs involved
in maintaining the web site except the server storage
fees.
The contract will be awarded to the winning bidder at
the 2002 Board meeting in April. A formal contract will
be prepared and signed as soon as possible after the
award. This contract will be signed for a two year term
with the third year option.
Multi-colored golf shirts
M-XL ... $30 XXL-XXXL .. . $33
(add $3.50 postage)
Sweatshirts . .. .. ........... .. ....... $20
(add $3.50 postage)
Colors: Ash and green. X-large only
Post-paid sruffl Pins ... ... ...... $3
Pac hes .. .. .... . $3 Decals . . .. ... . . . $1
License plate holders . .... .. . . . .. .. . . $3
Muli-colored baseball hats .. . .. ... $15
COAI
stuff~
Order: Walter R. Lee
1347 Ava Rd.
Severn. Mt> 21144
(make checks payable to COAI)
The New Calliope 43

January/February 2002
Storyline magic
By Steven Bender
Alias Mr. Pickle of lckle Pickle Products
I'm happy to report that there are some people reading my
column. The last article received numerous calls inquiring
about the effect from England called Christmas Lights.
Unfortunately, I had run this item in my Pickle Club Update
Letter #36 and was sold out of the item when my article
appeared in Calliope. How many did I sell? Nice of you to
ask. I sold 72. Since many of you have never heard of the
Pickle Club, I'm running an ad so that you can have the
option of joining the Club.
Now it's Storyline Time. There's a brand new effect
from India called 20th Century Card on Ribbon. This is a
very inexpensive trick, but I see it as having great Storyline
potential. What you receive are two ribbons. One normal
ribbon and one ribbon with two cards attached to it. Inside
of one card is a third card, which when you pull down on the
ribbon ever so slightly, appears to materialize magically
between the other two cards . If this were made in the
states , there's no telling how much it would cost for the
specially gaffed card. But it wasn't made in the states, so it's
very reasonable.
having to force a card or doing anything with a regular deck
of cards.
Now what you have are two kings who were told to
carefully guard the queen's sister's five-year-old. Need I say
that the sister was married to the other king.thus the reason
for there being two kings . The queens were busy in the
kitchen preparing bubblegum soup , while the kings were
supposed to keep little Marvin busy until naptime.
King Henry, however, showed little Marvin his surprise
bag (change bag) and little Marvin, being the curious type ,
jumped into the bag (toss the five into the bag). When the
kings saw what little Marvin had done, they quickly lowered
a ribbon into the bag and told little Marvin to grab hold of it.
But when they looked into the bag they did not see little
Marvin . So they went in after him, not thinking ahead.
Had they thought ahead, they would have realized one
of them needed to stay behind to pull the other, as well as
little Marvin, out of the bag. Luckily, the soup was soon
made and the queens came looking for the kings and little
Marvin. They heard a cry of help from inside the bag, and
while one queen held onto the other , she reached into the
bag and grabbed hold of the ribbon, slowly pulling both
kings, who were holding on for dear life, from the bag.
"But where is little Marvin?" asked the queens in
unison, meaning together.
I'm not usually interested in card effects, but when I got
a sample of this I liked it so well I immediately ordered more . "Have no fear , little Marvin is here. Just give a tug on
Since then , I've reordered three times. Magicians can easily the ribbon." They did so and unbelievably, little Marvin
find a use for this effect. What about clowns? Well, let's just instantly appeared.
say you took a glue stick and pasted kings over the two
cards that show on the ribbon. The kings will be your
Inside they went , happily , for bubblegum soup.
helpers .Let's say the hidden card is a five. You could tell a
story about someone five years old , using a duplicate of the Packs flat, plays big and costs very little -- what better
hidden card to represent your five-year-old. This eliminates for a Storyline effect?
~3-~ ~~~ _..g~
~ If you're not a member of The Pickle Club, ~
~ now is you're chance to join up. fJ
~ Twice a year, in February and October ~
)If You'll receive an UPDATE LETTER )(
a with NEW Items at Special Prices. G
The Cost to be added to the computer: $2.00
Mail your check to:
lck/e Pickle Products ~
Q 808 Somerton Ridge Q
R
St. Louis, Missouri 63141
In the Memo simply put: Add Me to the CLUB
\; Update #36 had 83 Items. ~
~,;:;;::::~§.:'~~~
~ Don't miss out on #37. {:,
JI
Last walkaround
Jose 'Nino' Martinez
Jose Manuel Vargas Martinez, also known
as Mexico's beloved Bozo the Clown , died in
Mexico City Oct. 19, 2001 . He was 70.
He began his career as an actor and had
considered becom ing a tango singer or
bullfighter before finding his calling as Bozo.
He starred in TV shows and entertained
several generations of children. Since Bozo
was also a famous U.S. trademark, Vargas ,
faced with a lawsuit, changed his clown name
to Nino.
He was buried in full makeup.
44 The New Calliope

January/February 2002
Schools Need 8 Fnnd .. Safatl? Glown" Shows
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Attention All Clowns!
Receive Our 2 hr
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For only $25 ($30 in Canada) you can get this exciting
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1-800-472-5696
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The New Calliope 45

January/Feb ruary 2002
getting too big and heavy to carry .)
The bad news is, I can 't tell you the routine as it is
different each time I do it.
'(
International
•
view
.... _....
, _"61 • . ~ . ~ ..... ~-- ·., -....__...--'£..: ~~&:..:.~ - .
By Andrew "Kooky" Stevens
COAi International Vice President
kooky@kookyclown.com
They say nothing is new when it comes to clown skills or
routines and everything can be traced back to an earlier
routine or skit. Possibly this is true; they have just been
handed down and then adapted by the descendant to
whom it was handed. Sometimes they have been adapted
so much they do look like new routines, as they are so
different.
With this thought in mind, I wondered if it were possible
to create a unique routine that could be played in a house
or a hall or even on a stage. It would have to be quite simple
to do, so magic was out, as I am not clever. And it would
have to be suitable for all ages. It must be something that a
young child could understand and above all, it had to be
really funny, with a lot of audience participation. There was
one last thing: It would have to be portable with no set up
time and reset almost immediately. Finally, it would be good
if it were different to a certain degree each time it was used.
Not too much to ask, was it?
A one-man brainstorm, which lasted for quite a few
years, and the result was Kooky's Bag Routine, or "It's a
Rabbit." I have just thought of that name for the routine, so I
am still brainstorming after 30 years.
The props needed: A soft toy rabbit and a large cloth
bag and a few other soft toy animals. That's it: Away you go!
The routine? Oh, yes, just ask the audience would they
like to see your rabbit and pull out the wrong animal. That's
it; away you go. I told you it was simple, and it can play for
five to 30 minutes. Average time: 15 to 20 minutes.
I think you doubt this is possible. Well it is, and the
problem is, I cannot tell you anything else about it. The
routine almost plays itself. It just runs with the help of the
audience.
The number of animals is up to you. At one time I had 30
in the bag at the moment I am traveling with 12 or 13
different ones, including the rabbit. (Well, the bag was
Now comes the good news. I will be demonstrating "It's
a Rabbit," at COAi's International Convention in Saratoga
Springs, NY, in April. This will be the first time that I have
demonstrated this routine at any COAi event. I am planning
to bring in an invited audience of children to entertain with
the "It's a Rabbit" routine , so anyone attending the
workshops will be able to see how it plays. I will then invite
the children to leave and go into detail as to how it works
and how it can be adapted for you to use.
If you have never seen this routine before at Clown Camp
or a few other places, then it could change your whole
clown show. If you were to use this in your show and do
magic, you could use 20 minutes less magic, and how many
tricks is that?
The cost of registration and hotel rates for the
convention would not cover the value of this routine, as it is
almost priceless. If I could sell it I would, and I would be one
rich clown. I can't sell it, as will become obvious when you
see it. If you miss this one you may well regret it for a long
time to come. I do not plan to show this routine again in the
USA, as it takes up too much baggage space to transport.
If I have whetted your appetite, then I look forward to
seeing you at the convention . It promises to be one of the
conventions that people will be talking about for years to
come as the most spectacular convention ever. It will be
"COAi Saratoga 2002, I was there!"
Advice from the past
How to handle hecklers was suggested in an article in
the April-May , 1980, issue of the old Calliope (wonder how
they'd play today?):
+ Lace up your shoe -- your tongue 's hanging out.
+ Your cage is clean now ; you can go back in it.
+ Join a football team and KICK OFF.
+ Make like an airplane and BUZZ OFF.
+ Will you go out in the traffic and play?
+ If you belonged to me, I'd trade you off for a dog and
then I'd shoot the dog.
+ I could make a monkey out of you, but why should I
take all the credit?
+ Next time you give your old clothes away , stay in
them .
46 The New Calliope

January/February , 2002
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The New Calliope 47

January/February, 2002
Starting off 2002 with waves and smiles: Members of
Peachtree Clown Alley #300,Atlanta, GA.
Periodical Postage
Paid at Bluffton, Ohio
Clowns of America International
Ri~heyville, PA 15358
January/February 2002
Volume 19, Number 1
48 The New Calliope