Nov_Dec_1998

owns of America International
·e's Summit , MO
>vember/ December , 1998
,lume 15, Number 6
•

November /December, 1998
cirrr;o~_e ___
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November/December, 1998
Published for members of Clowns of America International, Inc.
NOVEMBER/DECEMBER, 1998
COAi OFFICERS
EXECUTIVE COMMITTEE
PRESIDENT: Judy Quest, 715 N. 36, Omaha, NE 68131.
Ph. (402) 551-4185. clealheart@home.com
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VOLUME 15, NUMBER 6
CONTENTS
Peppermint , and how she grew...................... 4
And now, those holiday parties............. ......... 8
How to split your personality ........................... 12
Biographies? Bah, humbug!. ......................... 1 4
Guidelines for kids' magic ............................... 16
Larceny: A problem for joeys? ........................ 20
More whacks ...... ........ .................................. 22
Working with an agent.... .............................. 24
A letter to Mr. C ........................... .................. 26
COAi convention report ................ .............. .. 28
The ABC's of venting .................................... 30
Helpful hints for the working clown ................. 31
Walkarounds with your own 50-50 force deck. 32
How to start your own clown day ..................... 3 4
Alley update .............. ...... ...................... ....... 36
Calendar ........................ ............ .............. ..... 38
A joey's final travail... .................................... 39
Her Oriental gig .................. .......................... 40
From the President... .......... .................. ....... 42
ICHOF reorganizes governance .................... 43
Storyline magic ...................................... ...... 44
Making rounds with Dr. Bugg ............... ......... 45
Treasurer's report.. .................. ................ ..... 46
ON THE COVER -- Thanks to her abilities
as a professional clown, teacher and
author, Karen "Peppermint" Reinholt Is
one of the Northwest's best-known Joeys.
Her story begins on page 4.
STAFF
Business Manager: David Bamett,PO Box 6468, Lee's
Summit, MO 64064-6468. Ph. (888) - 52CLOWN.
coai@clown.org
New Calliope Editor: Cal Olson, 2000 Outer Dr. N. #523, Sioux City,
IA 51104. Ph./Fax (712) 239-4599. calolson@willinet.net
COMMITTEE CHAIRS
Clown Week: James Roberts, 104 Lakeview Dr., Elizabethtown, KY
42701.
Competition: Leo Desilets, 31 Lawrence Ave., Milford CT 06460. Ph.
(203) 877-3869.
The New Calliope 3

November/December, 1998
Peppermint
and how
shegrew
By Angel Ocasio
PO Box 4331
Vancouver, WA 98662
Unlike Halloweens past, this year her costume creation
for the Annual Halloween Party would have an incredible
impact on her life ...
It started in the fall of 1980 for Karen Reinholt, better
known in the world of clowning as "Peppermint."lt was
Halloween night in Portland , OR , where Karen was dressed
up as a clown.Not having the clown education or resources
for cl9wn supplies , Karen got creative.
She fashioned a clown character from resource
information obtained at her local public library, as well as
from bits she had seen on television and from magazine
articles. Karen made a simple wig from the head of a mop,
which she dyed red. She attached a strap to the mop wig to
secure it to her head. Her clown nose was made from half a
ping pong ball (also colored red), and held onto her nose
with eyelash adhesive. Karen applied a water-based
makeup she had purchased in the Halloween section of a
local department store . The application process was a real
learning experience, in that she applied it and washed it off
four times before she was satisfied.
Karen was such a big hit at the party that she took first
place for best costume: a basic one-piece costume with a
detachab le collar, pompons on the front and matching
pompons on her sneakers.
After the party, Karen felt it was a shame to have only
used the costume once, espec ially since she had so much
fun with it. She knew there was a lot more to this clown
business than just a costume and makeup and acting silly.
She really wanted to do something more with it. The
costume went into the closet and Karen went in search of
resources to help educate her in the art of clowning.
She soon became frustrated with what little information
she was able to find in her area. There wasn't a listing for
clowns in the telephone book and no clown alleys were in
existence. Any time Karen saw a clown, they were from out
Angel and Karen: friends and co-clowns
of town , and even they didn't have information about clown
organizations for her.
That spring, another opportunity to get into clown came
for Karen when her church began planning their annual
spaghetti feed. Having been active with various family
programs in her church, Karen found that at most church
events, the children were bored and had very little to do
while their parents socialized. So she volunteered to
entertain the children. Her offer was quickly accepted and
now: What to do? Anxiety set it. All she knew was that she
had made a commitment and somehow she was going to
see it through.
Since she had a few grease pencils, Karen decided to
do face painting, as elemental as it might be; She'd hand
out deflated balloons, too, because she didn 't know how to
do balloon animals. Result? The children swarmed after her.
She was an instant hit.
Not knowing about giving a clown character a name, she
was repeatedly asked who she was. What was her name?
She answered, "Mrs. Clown" -- all she could come up with at
the moment. Of course, the children wanted to know where
Mr. Clown was. Karen told them he was at another event;
she knew that if she'd said there's wasn't a Mr. Clown, a
whole new can of worms would have been opened.
4 The New Calliope

November/December , 1998
Everything went great for her until later in the day, when
it was time to eat. Karen was to learn a very important lesson
about clown behavior . She had arranged for her husband
and their two children to join her for a spaghetti dinner. As
the Reinholt family settled down for their meal, Karen
removed her detachable collar, took off her gloves and
pulled up her sleeves, so as not to get spaghetti sauce on
them. She began to eat and the children gasped. They
were devastated that this clown character had transformed
herself into a regular person.
"It was like Santa Claus taking off his beard to eat,"
Karen recalls. She immediately jumped back into character
and ate very little as she played with her food. She knew
then that eating had to become part of her act or that eating
in character was something that had to be done somewhere
else, away from the view of the public. Karen put aside her
food and went back to entertaining the children.
When Karen went home that night, she knew she
wanted to do more with clowning. She began thinking
about what she could do next. She had gotten a few calls
from friends who had heard she was doing some clowning
and who wanted her to entertain at their children's birthday
parties.
Karen quickly explained that she was brand new and
really didn't know what she was doing, but if they would
bear with her that she would interact with the kids. After she
had made the commitment to do the birthday parties,
anxiety set in again, because she did not know how she
would entertain.
For her first party, Karen went to a local party supply
store and purchased some balloon sticks and round
balloons. She blew up balloons and tied them to the sticks,
got into makeup and - because the party was not far away
- decided to walk. As she walked, cars honked their
horns as they drove by and the occupants waved at her.
She thought how different this was for her. Karen got to the
party, handed out balloons and mingled with the children.
She stayed 15 or 20 minutes, then left. She knew most of
the people at the party because she was godmother to the
birthday child
Had Karen ever wanted to kick back, go into the
bathroom to get out of character and join the party with her
close friends? No. She had separated herself from
godmother/friend and focused on being the clown that was
hired to do a job. Even though she did not charge them ,
she knew that she was there as an entertainer, not a guest.
She was there for the children.
The following year, in 1982, when the church was
planning the annual spaghetti feed, Karen again was asked
to clown. This time she made a connection with someone
who had a helium tank. So, instead of deflated balloons ,
she handed out helium balloons -- and her face painting
had improved, too.
With more events under her belt, Karen was growing in
her clowning. But she was still frustrated because there
were no workshops for her to attend, or anyone for her to
connect with. By the third year of the church spaghetti
feed, Karen established her permanent clown name. She
was never satisfied with the name, "Mrs. Clown, " so,
because her costume was red and white , she came up with
"Peppermint."
The year 1983 was the turning point that Karen had
been looking for in her clowning. She had located
workshops treating mime, makeup and ministry clowning.
She was also connecting with other clowns.
Given the chance to perform a solo stage show for her
congregat ion, she did a silent skit. After she was done, she
changed clothes and very nervously walked out to join
everyone, not knowing what kind of feedback she was
going to get. To Karen's surprise, she was greeted with a
standing ovation. She knew right then that clowning was to
become a way of life for her.
In 1987, Karen went to Windsor, Ont., to the Phoenix
Power and Light Conference where , like a sponge, she
absorbed as much information on the art of clowning as she
could. The conference was interfaced with puppeteers,
mimes, clowns, magicians, dancers -- a wonderful variety of
entertainers. This was a key moment in Karen's life. She
was jazzed! She even took advantage of learning how to
fire-eat.
For the next three years, Karen read everything and
anything on clowning, practically living at the library,
researching and re-researching this art form. She fell in love
with clowning and fell hard. She took advantage of any
opportunity to perform, whether it was a paid event or not.
Her focus was to become the best clown she could be. To
this day, she feels that she should send a letter of apology
to those early day customers. If she charged anyth ing, it
was very little -- $25 or so. She felt it was a perk to be paid
for the opportunity to train, and she took her training very
seriously.
From the minute she finished an event, from the time
she stepped off a stage , left a room or a house, she went
over in her mind what had happened, what worked and
what didn't, what she could have done differently, what she
could have done better. She always tried to have her
performance video-taped. Then she could evaluate the
show and even get the audience feedback, what they
actually picked up on and what went over their heads.
In the spring of 1989, Karen proposed a workshop to
the Portland Schools' Talented and Gifted Program (TAG). It
was titled "The World According to Clowns," and was
geared to children who are academically intelligent ,
Continued next page
The New Calliope 5

November/December, 1998
Peppermint--
From preceding page
involved with arts and crafts, or involved with the performing
arts. The program lasted two years. Karen taught children
the history of clowning, the different types of clowning from
around the world. She also instructed them in makeup,
costuming, character building, magic, balloon art and
juggling. The program took over her life. She taught eight
different groups of 15 children per class. Classes were two
hours long, twice a day, four days a week for 11 weeks.
Later that year Karen was asked by a large fundraising\organization
to attend their weekly meetings and
entertain the staff in a different character that would fit with
their theme of the week. She saw this as a big challenge,
but did not realize how much work would be involved. As a
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"Background music is an essential. component of any
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result, Karen developed several characters that she
continued to use after the meetings. But after a few years,
she retired many of the characters and focused on one -­
"Peppermint."
Karen's career then escalated rapidly. When the TAG
program ended in 1991, she went into clowning full time,
teaching and performing at regional and national clown
conventions, clown alleys and magic groups.
A year later, she got involved with the local clown club,
Rose City Clown Alley #196, and became active performing
at charity events and local festivals. In 1994, Karen was cochair
of the COAi Annual Convention in Portland. She
currently is Director to the Northwest Comedifest, a position
she has held since 1995. Now one of the Northwest's top
clowns, Karen is well known in the Portland metropolitan
area for her famous "Peppermint Party." The author of two
books on birthday parties, she has written eight articles on
birthday parties for The New Calliope.with more to come
(see page 8.). She's an experienced fire eater and
magicianne, and is also a talent agent, providing quality
entertainers for various events.
Whether she is entertaining for a birthday party or
company picnic, Karen combines comedy magic, face
painting and balloon sculpture to present a show especially
suited for the child or company.It is common for a customer
to arrange their event dates to accommodate Karen's busy
schedule.
Karen believes that if you don't continue learning, you
become stale: "Your audience changes every day. The
world changes every day. You need to stay current with the
latest things."
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6 The New Calliope
Skits
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Gospel Magic
Holiday Themes
Illusions
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Sound Effects
Pre-Show Pieces
Exit Pieces
Audience Chasers
She says that being a clown is a lot like being a doctor:
You have to continue educating yourself, continue to grow
and learn, otherwise you limit yourself.
Karen first applied makeup 18 years ago to attend a
Halloween party and took an award. Since that first award,
she has taken several others, not because of her skills as a
seamstress but for her skills as a clown. The awards do not
matter as much to her as the commitment she has made to
her art. She wants to touch her audience through her
performances, and she wants to reach her students
through her teachings.
"You really need to clown from the heart," she says.
"Don't worry about the money; it will come. Explore every
aspect of clowning: hospitals, charity work, libraries,
schools, birthday parties, company picnics, and all. Read,
watch, take classes, learn and do it."
Karen concludes: "My belief always has been that
everyone should experience a quality clown, whether it is
me or someone else."

November /December, 1998
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The New Calliope 7

November/December, 1998
And now, tho1e holiday birthday, ...
(Another in a series of party how-to articles by The New
Calliope's cover clown)
The magic tricks can be subtly or completely changed.
By subtle, I mean to use a trick that you normally would use
By Karen"Peppermlnt" Reinholt
and tie it in to the season with your storyline or patter. For
P.O. Box 13187
example, at a party with a Winnie the Pooh theme, I ask the
Portland,OR 97213
children what color is Pooh Bear's shirt (answer: red). I
It's that time of year again. The holiday season is upon
us and everyone is trimming trees, hanging up stockings or
lighting the Menorah. However, there are still birthday
parties to celebrate. The big dilemma for most parents is to
suggest that we do something nice for Pooh, like make him
a new shirt. I open my sewing bag (change bag) and pull out
a blue silk. The children will tell me it is the wrong color. We
then use their magic to try to change it to red. It usually will
make their child's birthday special enough so
~---------,
turn pink or green before we finally get it right
it doesn 't just blend in with the holidays. Let's
and the birthday child pulls out the final silk,
look at several ways you can adjust your party
to add that special touch.
which is red. This is a trick that can be used at
any time of the year with any type of theme.
During the holiday season , I change it to
The first important thing to remember
occurs when you are party planning with the
parent (The New Calliope, November/Deember
1996). It is imperative to ask if they
making a new suit for Santa Claus. The rest of
the trick continues as explained, with the end
resulting in the birthday child pulling out the
final red silk (Santa's color).
want you to include the holiday in your show
or to focus entirely on the birthday. My
Another example is performing a sponge ball
December birthdays are about half and
routine. You begin by asking what color is
half. Half of the parents ask me to stay
Rudolph's nose (answer: red). The sponge
completely away from anything to do with
ball you hold up is black. They'll tell you it is
the holiday season and focus on their
the wrong color , prompting you to ask for
child's birthday only. The other half asks ......_ _____________
their help with magic. Whatever your normal
me to definitely include the holiday, or give me carte sponge ball routine is, the final outcome is producing the
blanche. One thing to remember when asking the parents red sponge ball. You can find instructional books and
during the party planning is to specify "holiday." I learned videos on sponge ball routines from places like Harry Allen's
my lesson many years ago when I asked a mother if she Daytona Magic and Duane Laflin's Magic and Silks.
wanted me to include some "Christmas" magic in the show.
She responded by telling me they were Jewish.
If the parent specifically asks you to focus only on the
birthday, your party can be planned pretty much as you
normally would at any other time during the year. There are
a few things to keep in mind, however. One is the
excitability of the children during this season.There is so
much sugar being ingested that your audience can be
somewhat hyperactive .If the party starts right after school
lets out, parents will sometimes ask whether they should
serve a snack first. I like to recommend a light, healthy snack
before I get there .
Let's explore what can happen when the parents want
you to incorporate the holiday season into your birthday
show. First and most important is not to lose sight of why
you are there : To celebrate a birthday. Don't get so caught
up in the spirit of the season that you forget to honor the
birthday guest of honor. My party scenario remains the
same. The changes I make are with the magic show, the
balloon animals and face painting.
8 The New Calliope
If you want to change completely to holiday magic,
there are a lot of wonderful choices. Some of my favorites
are using a change bag that looks like a Santa stocking, a
Santa Claus climbing down the chimney (there are several
variations of this), Rudolph silks where his nose is missing ,
making an angel halo appear from your change bag to give
to the birthday girl, etc. These can only be used during the
holiday season, but are wonderfully effective in connecting
with the Christmas spirit. And don't forget, you can use
them to entertain at other holiday events like Christmas
office parties , holiday festivals , etc.
When a parent lets me know they are celebrating
Hanukkah, there are a number of fun ways to incorporate
this into your show. As far as magic is concerned , you can
produce the Star of David from a production box or a
change bag. Also , the "Dreidel " is a wonderful game and
song the children can sing along with.
The use of puppets can involve everyone in the
season. My puppet, Tricksy Rabbit, normally lives in a black
hat. However, at Christmas time , he comes up out of a
Continued page 10

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The New Calliope 9

November/December, 1998
Holidays --
From page 8
Santa hat. One of the routines I use with Tricksy Rabbit is
where he comes out of the hat and tries to convince
everyone that he is actually Santa Claus. The kids have a lot
of fun trying to convince Tricksy that he's a rabbit.
Do your homework and research Hanukkah and
Christmas to come up with some fun plays and skits to
involve the party guests in.
Making balloon animals to go along with the holidays
may be as easy as using red, green and white colored
balloons only. During the holiday season I make a reindeer,
cinnamon bear, snow bunny candy cane, Christmas wreath
and other holiday characters. I like to have the children sing
carols while I'm making the balloons. Face painting can also
be modified to fit into the season. If you specialize in tattoo
styles, you can paint trees, stars, presents, candy canes,
Menorahs, etc. For full face, I offer an elf, reindeer, Santa
Claus, angels and other holiday characters.
As the birthday gets close to Christmas, many homes
will have their trees up and decorated, often in the same
room where you are entertaining. I have seen the birthday
presents piled beneath the tree. I always like to take notice
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of this and make a comment like, "Wow! Look at this
wonderful birthday tree they put up just for your special
day." This always prompts the children into correcting me by
pointing out that it isn't a birthday tree. But is does clarify
right away the difference between what the tree is there for
and what we are there for.
When parents ask me for suggestions of activities for
the children to do either before I arrive or after I leave, it is
fun to get creative. One of my favorites is to have each
guest make an ornament. The materials can be construction
paper, colored glue, confetti, etc. It is nice if they have a
separate small (artificial) tree to sit in the middle of the table.
The children can hang their ornaments to decorate the
refreshment table during the party and then take their
ornaments home with them. Or they can leave them to
create a "memory tree." I remember one young girl whose
December birthday resulted in her having a separate
"birthday tree" in her room that was decorated with all of the
ornaments that her friends had made over the years at her
parties. She had wonderful memories of each of her
birthdays as she decorated her tree every year, adding new
ones with each ensuing birthday
There are definitely some December birthdays that get
celebrated in June every year. I always call these "halfbirthdays"
because they are turning 5 1/2 or 6 1/2, or
whatever. Remember to make those extra special, too,
when they come along.
Finally, relax during this busy season and remember to
have fun with the children. No matter how overpowering the
holidays can be, the birthday party can still be made
special. .. by you!
If you have any birthday party topics that you would like
to see me cover, or if you would like to share any similar
experiences, please feel free to write: P.O. Box
13187,Portland, OR 97213 or email Magicianne@aol.com
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November/December , 1998
How to split
your
personality
By Margaret "Maggie the Maglcal Clown" Clauder
916 Wayland Dr.
Arllngton, TX 76012
(817) 274-5210
Many of you who have been reading my articles must
think I am schizophrenic by now. Anyone who would
develop as many characters as I have must be crazy. As I
mentioned in a previous article, I get bored easily. Also , I
find that developing many different characters meant a lot
more work for me, especially in schools and day cares that
would have entertainment monthly but don't want the same
person in there every time.
If you are interested in being a "split personality ," there
are three ways you can do it:
1. Always dress the same and offer different shows as
the same character. Example: Maggie the Clown and her
Christmas show, her Easter show, her birthday show , her
self esteem show , etc.
2. Dress in different costumes and offer the same show
every time. Example: Maggie the Clown and her birthday
show. Mother Goose and her birthday show. Fairy Princess
and her birthday show. Bucky the Cowgirl clown and her
birthday show.
3. Dress in different costumes and offer a different
show with each
costume. Examples:
Maggie the Clown and
her birthday show.
Bucky the Cowgirl
clown and her Western
show. Bernice the
Bunny and her Easter
show. Freckles the
Dalmatian and her Fire
Safety show. Mother
Goose and her Nursery
Rhyme show. (All of
these can be turned
into birthday parties.)
••~
Each way has its
advantages and
disadvantages. If you
go with #1, the advantage would be a lower cost to you in
wardrobe. You would not have to do costume changes
between shows. I have done this and it is quite easy. I find,
though , that if I am doing a particular theme like Christmas ,
Easter, Nursery Rhymes , etc. , my "Maggie" Clown character
just does not seem to fit the theme as well as other
characters might. Also , Maggie is expected to act a certain
way all the time. I do not see her getting serious over a
serious subject like fire safety with kids. She must always be
stupid and funny. There is nothing stupid or funny about
fire safety. So if you are thinking about keeping your same
clown character and just doing different shows, make sure
the show fits your character.
The disadvantage of this example is that even though
you have different shows, you will still not get repeat
bookings by some clients, because they have seen you
before. You would have several different shows to keep up
with as well. Your set-up cost for having different shows
would be greater because each show would have its own
magic, props, etc.
With choice #2, you can get a lot of work, but it is harder
on you. I know several entertainers in my area who perform
as different characters (not clowns). They have basically the
same magic show but do quick changes between parties to
dress in different costumes. They are busy all the time.
The advantage of #2 is that you don't have to be a
clown all the time. You can just change costumes and go
from show to show . My company has several entertainers
that do this.They may be a super hero for a show in the
morning, and change to a big cuddly Teddy Bear costume
12 The New Calliope

November /December, 1998
for the second and third show in the afternoon, and then
go to a prince for the fourth show in the evening.
A big advantage in this type of entertainment is that you
can usually charge much more for your services . In my area,
clowns are a dime a dozen. There are literally hundreds of
clowns here. I see as much as a $100 price spread and up in
the charge for different clowns ' services. Top clowns in my
area charge $125-$150 an hour. Bottom end "wave"
clowns go for as little as $15 an hour. Unless you are a top
of the line clown, you face steep price competition daily.
In my area I can count the number of people who
perform as GOOD characters at around a dozen. If someone
wants Cinderella to come to their party , they only have three
or four to choose from for an area of more than a million
people. If 25 little girls all want a Cinderella birthday party on
the same Saturday , you can imagine what that does to the
price. Supply and demand. Cinderella can name her price .
So can other specialty characters.
The disadvantage is, where do you change costumes?
These entertainers must build time into their day for
costume changes. This typically takes five to 15 minutes.
Where do they change? If they are not near home, a filling
station restroom sometimes has to suffice. Professionals
never change at an engagement.
Another drawback to this type of entertainment is that if
you do not change your show and you are re-booked by
the same people as a different character, the children will
all shout, "I've seen that!" not to just one magic trick but to
ALL of them. We have started throwing in two or three
customized tricks for each show to avoid this. ·
If you choose #3, which is what I do most of the time, be
prepared to check into the loony farm soon. The advantage
is that you will never get bored and you will be as busy as
you want to be. You will make a lot more money.
The disadvantage is that you have to be extreme ly
organized and meticulous about preparing your shows and
having them truly different from each other. This takes a
great deal of time, imagination and creativity. Your initial setup
cost is great, since it is like starting a whole new career.
Another disadvantage is in costume changes. If you are in
clown makeup and have to change to a completely different
costume with different makeup, this can take some time.
To avoid this pitfall I typically offer my specialty
characters mostly for my school shows during the week. If
someone chooses one for a weekend show.then I have to
be a really good quick change artist Or, what I prefer to do,
sell other weekend customers on taking that specialty
character. Once Bucky is booked on Saturday I will end up
booking the entire day being Bucky. On Sunday I may be
Maggie all day. On Monday I may be Mother Goose all day.
Tuesday I'm Freckles. You get the picture.
The easiest way to do #3 is to have a comp letely
different show for each character. If you go borrowing a
magic trick from this show and a puppet from that show
every time you have your secondary character show,
sooner or later you will forget an important item and be up
the creek. Believe me, I've been there . My clown puppet
just doesn't go with my Mother Goose show. While this will
certainly teach you improv very quickly , it also will give you
high blood pressure.
I now have a separate box for every show I do.I just
transfer the box to my show trunk and I'm ready to go .I have
four different trunks . Three of these stay packed all the
time. The fourth trunk stays empty and gets repacked with
different shows. I would like to have 15 different trunks , one
for each show, but due to space limitations and the cost of
trunks , I have decided against that.
Each show , besides having a unique character , has its
own music, its own magic, decorations, its own props and
puppets . I only have two puppets that regularly travel
between shows, and as soon as I can find replacements for
them, they will have their own shows .
I make a lot of my own custom magic, so the cost of
magic is minimal to me. I will buy a new magic trick just for
one show , though, and not use it in any other. I don't spend
a fortune on magic for a new show unless it is a show I will
perform year after year, like a patriotic July 4th show, a
Christmas show or an Easter show. These shows should
have special magic all their own that is big and flashy.
I own a dozen thumb tips and dozens of special silks
that all have their own place in shows. They get packed
into each box along with scarves, juggling equipment, etc.
Only about four of my shows are all magic or primarily magic.
The rest of my shows have their own theme puppets and
storytelling to go with the little bit of magic I put into them.
if you decide to become a split personality, I know you
will have fun. Whether you go with example 1, 2 or 3 is up to
you . Just remember the advantages and disadvantages to
each; and to be organized , and you will have a great time.
USE THE BEST
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0riginal 11
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The New Calliope 13

November/December , 1998
Biographies? ~
Bah, humbug!
By David "Mr. Rainbow" Bartlett
4129 Livingston Pl.
Durham, NC 27707
I occasionally do clown coaching sessions. During
these sessions an individual (or occasiona lly a small group)
and I try to break through barriers and problems preventing
them from develop ing into effective comic performers.
Somet imes we discuss skills and techniques, sometimes
routines, sometimes marketing, sometimes character
development, sometimes philosophy, and often
combina tions of these . We try to identify the problems and
talk over possib le solut ions.
One such session led to a common practice that is
often misused in its application in clown education.
The lady told me that she had a real problem dealing
with adults when in character . She said she didn't feel
comfortable even talking to adults and that this was a big
problem for her going into people's homes and having to
have any dealings with the parents and other adults during
the parties.
As we talked, I asked her to describe her character. This
question she was prepared for, and she went into a
comp lete biography . Part of this biography included the
age of her characte r, six years old. I asked more about this
and she started talking about the research she had done to
really know what the six-year-old was like. She was trying
her best to be true to the age of her character.
I asked why she even picked an age. She really didn't
have an answer for that, other than to say that the person
who originally trained her made her write out a complete
character biography, includ ing age.
---------, but really looking into her self. She
finally said, "I feel like you have lifted a
boulder off my heart." The intensity
and sincerity of her response caught
me off guard and I made a mental
note to myself to really examine this
moment.
People trying to get into clowning
most often turn to those who have
gone before them for instruction and
guidance. These instructors are really
only able to teach what they
themselves know , even if that
knowledge is sketchy or incomplete.
They often teach in the exact way
that they were taught. This is how
bad ideas and bad practices get
perpetuated to the point of near
binding common law. If an educational tool is misused once,
it will more than likely be misused again and again.
The misused educational tool in this case is the writing
of character biographies. It is easy to point out now that the
lady should not have held on so tightly to her biography.
She was trying her best to make everything she did try to fit
through the narrow confines of something she wrote when
she was very new and essentially clueless. This is a clear
recipe for failure.
I'm glad I was able to talk to her before she just quit
altogether.
The writing of character biographies is a very effective
theatrical tool that really doesn't apply to clowning and
especially beginning clown ing. Without delving too far into
theatr ical philosophy and jargon, here is what a character
biography is used for.
An actor, given a theatrical role, is absolutely tied to the
script and to the director's interpretations. The actor has to
reconcile, at least in his or her own mind, why their character
says or does certain things . This can be tak.en too far also.
You've heard the trite phrase , "What's my motivation?"
Answer : "Your paycheck! "
In order to make the performance believable,
sometimes the actor must create a whole past for their
character leading up to the very moment that the curtain
rises and the play begins. That character biography
contains only the necessary materia l to support the
motivations , feelings , words and actions that appear in the
play itself. Nothing can contradict. Everything in the
biography is there to support something in the script.
I recommended one thing to her. I said, "How about
making your character ageless? What would that do?" She
paused for a long time, looking straight ahead at nothing,
Now really.do new clowns need to do anything like this?
What kind of character study is really needed to get you
ready for Busy Bee?
14 The New Calliope

November/December, 1998
As you develop, it's nice to have little biographical
tidbits that you create to fill a situation. To support an
explanation of my red hair, I created a brother Baldy. I
created my home town Sillyd ,elphia as part of another story
as a situation arose. It took years to create all the little
biographical bits I have about Mr. Rainbow. These
biographical bits were created out of specific need. I did not
create any biography and then try to fit myself into it. One
way is liberating, the other way is constricting. Stay away
from constrictive biographical features. Stay away from any
constricting definitions in your clowning. Develop first, then
explain.
I hope clown instructors out there stop using this
theatrical tool. I can't see any real value in it for clowns.
There are other good, effective theatrical tools out there
that should be used and have great application to clowning.
Next issue I'll describe my favorite, one I call "The Mighty
Adverb."
Oh, by the way, just how old is Mr Rainbow? I'm four, but
that's four clown years and I can't tell you how old that is to
you without a clown-to-plain-people conversion table, and I
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November/December, 1998
By Jim "Crazy Frosty" Adams
1652 Almador Terrace
Atwater, CA 95301
Wanna know what makes children's magic shows
different from other magic shows? AGE. That's all. AGE.
You still have to be entertaining. You still have to go
through the motions of
being a clown, and you
have to entertain. No, I
didn't make a mistake, I
said entertain twice. You
are the center of activity
for however long your
party is for. Everything
that happens is a result of
your actions, because
you 're the Entertainer.
Just remember a few
important things:
ATTENTION SPANS!
The attention span of
most children is between
a micro and a macro
second. At least at times it
... Crazy Frosty, Snowflake appears that way. That
means, if you have a
great cut and restored rope trick that takes 8 to 1 O minutes,
your audience may be watching the spider crawl up the
living room drape before you get to the blowoff. Next time
you're watching TV, notice how many times the camera
changes angles or scenes. That's done on purpose. It
keeps your mind active and interested in what's going on.
Your show should be the same way. Keep it moving and
active. Try not to do two rope tricks, or two scarf tricks, or
two of any tricks of the same kind in a row. It is also not
completely necessary to have your tricks flow from one to
another like you might for older audiences . Kids usually
don 't follow the flow.
KEEP IT VISUAL! I've found over my 36 years as a
clown, that while you're doing a magic trick, the kids watch
more than listen. I tell the people who hire us that I basically
do the visual things for the kids and the verbal things for the
adults. While doing the trick you could say that the building
is on fire and we probably won 't make it out alive. The kids
will continue to sit there and watch you and the parents in
the back will be asking about the fire. That's why everything
we do at a children's magic show is visual. It either changes
places, colors, disappears or gets made into one piece .
And if you make something disappear , for heavens sake,
BRING IT BACK! If you don't, they might feel that you could
do that to them and might scare them.
KEEP IT AT THEIR LEVEL. When a client calls
about a birthday party, or a store calls about a grand
opening, they usually ask what we do, and I tell them,
"everything but windows." Then I get serious and tell them
we do children's magic shows. Of course they want to know
the difference, and I tell them that when we're done doing
the trick, you don't have to tell them what we just did. We've
all seen this happen: The magician does the blowoff and
the adults ooh and ahh, and the kids sit there and say,
"What did he do, Mommy?" Remember, you're dealing with
a 3 to 7-year-old mind. It's alert and active. Don't complicate
your show with a lot of pre-engineered patter. Try to see the
trick from their level, and remember the little child inside the
clown.
GET SILLY! I know the kids are having a good time
when they start saying things like, "You're silly, " or, "You're
a silly clown." I'm doing my job. All kids react to the clown in
trouble syndrome. When you mispronounce something, or
say the wrong color, or can't do something as simple as
blowing up a balloon, the kids become ecstatic. I usually
judge how much fun the kids are having by how much fun
I'm having. If I'm having a good time, the kids usually are,
too.
Remember, you set the tone for the party. If you are full
of energy and let that energy free from the start, everyone
gets in the party mood. Everyone wants to be a helper,
hollers at the right places, and has a lot of fun. Occasionally
we do what we refer to as a rock concert. You know, where
all the kids sit on their hands and look like a box of rocks.
Gotta get those hands busy, get their minds on the fun and
let them know that it's OK to make noise. In other words, get
them involved. That's the challenge.
NEVER DO HARM! You and you alone should
always be the fall guy where someone is going to look
foolish or stupid. Let them be smarter than you . It's OK .
Remember you're the buffoon, not them . It's OK to have
fun but not at someone else's expense. Also , I always make
it a practice to never do tricks that may be unsafe to others.
We don't do the needle through the arm trick, because we
don't want little Johnny going home and trying it out on his
baby sister with Mom's knitting needles . We also don't do
anything with fire for the same obvious reasons . Just
saying , "Don't try this at home," doesn 't always work. If you
don't give them the idea, they won't be as apt to try it.
ENTERTAIN EVERYONE! I have often heard
clowns say that the reason they are at the party is to
entertain the kids, and they don't care about the adults that
are there. Your main objective may be to entertain the kids,
Continued page 18
16 The New Calliope

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November/December, 1998
Tips for pros --
From page 16
but (and here's where your big but comes), if you ignore the
parents, friends and neighbors, or treat them like they have
a disease, you cut off your nose to spite your face. The kids
may love you, but they rarely pay you. Amaze Mom and
Dad, or make Grandma or Grandpa chuckle. It doesn't cost
any more, and remember they rehire and recommend you
to other people they know. I sometimes say things the kids
miss, but that's OK because I aimed for the back row where
the grownups sit.
BE PROFESSIONAL! Remember the old, old, old
Gillette razor commercials? LOOK SHARP. FEEL SHARP.
BE SHARP. That's the approach you should take with your
clown character. If you're going to be a clown, be the best
clown you know how to be. Give the client the clown that
you would want to have at your kid's birthday party.Would
you want a clown to show up at your party with poor looking
makeup or a dirty tattered costume, or with a bad attitude?
(Remember Shakes the Clown movie?) Nope, and neither
does the person who hired you. Act like a pro. Someone
has to be in charge. Take control.Look good. Do your act
with confidence. If you seem hesitant, hem and haw, look
for props that should be ready, or just plain don't have your
act together, it can be embarrassing to you AND also the
person who hired you. The difference between you and
CORNIRITONI
the Halloween clown is ATTITUDE. You're staking your
reputation and livelihood on your performance. That's why
we're all here: To learn more about the art of clowning.
Whether your clowning is for fun, a ministry, a service, or for
a living, always be as professional as possible.
KEEP YOUR COOL! I think we've all done the kids'
party from hell. You know, the one where the adults talk
through your whole show, or the music is so loud that you
have to scream to be heard. Or, the kids tell you they've
seen every trick you pull out of your box. And my favorite,
the kids who act like they're direct descendants of Satan.
How do you handle these problems without resorting to
firearms (and believe me, I've thought of it at times)? Two
words. TAKE CHARGE. If the adults seem to be the bad
guys, find the person in charge and explain the problem.
Sometimes they don't realize there is a problem until you
point it out. Often this will solve the dilemma. If the kids are
the problem ,there are several ways you can handle it. I
establish the magic show rules after I introduce Snowflake
(my wife) and myself. I tell them, "There are three rules to a
Crazy Frosty magic show. First rule is: It's my show and I get
to do all the talking. If you want to do all the talking, you have
to get your own show. Second rule: If you think you know
how a trick was done, keep it a secret. Magicians never tell
how they do their tricks. When we are doing the face
painting, you can whisper in my ear how you think it was
done, and if you're right, I'll tell you. OK? (Usually they all
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November/December, 1998
agree.) And the third rule is: We gotta have fun , 'cause
that's why we 're here!"
Got a talker? Remind him of rule one. A kid who knows
every trick in your prop box? Rule two. And everybody 's
favorite: The heckler. The worst of the bunch. The whole
intent of the heckler is to disrupt your show and draw
attention to himself . If you try to ignore him, he will break
your concentration and throw your timing off and your show
will be a wreck. Getting into a battle of wits with him doesn't
work either. Because even if you win you lose; Saying
things like, "He's living proof Snow White and Dopey had
kids," might make you feel better, but it just reduced you to
his level. Remember , you 're the professional. Handle it like
one .
If reminding him of the rules doesn't work, explain to
him in a quiet voice that you will have one of the nice adults
take him for a walk and explain manners to him. If he
continues on, DO IT. Always remember, someone's in
charge . If not you, the kids must be. Keep your cool.
IT'S SHOW TIME! From the moment you walk out of
the door wherever you put on your makeup , YOU ARE ON.
Like it or not, you have just become the center of
attention.You will make heads turn everywhere. Driving to
the party, people honk and wave. When you arrive at the
place where the party is, the neighbors and every kid in
sight will want to wave or shake your hand, or ask for a
balloon. If you have to stop for gas, or go to the
supermarket, you could be elected mayor. No matter what,
when you're in paint, stay in character. You wouldn't think of
taking your wig off in front of these people; your character is
even more important. When you 're ready to take off your
makeup, you're ready to come out of character. But not til
then.
THE BOZO NO-NOS! I'm sure by how you know
there are certain things you don't do as a clown. Some
things are obvious. Off color jokes, alcohol, drugs, bad
language, and smoking are some of the things we don't do
in costume . The worst thing I've ever seen was at a Fourth
of July parade, where two clowns, after walking the two-mile
route (obviously hot and tired) were sitting on the curb
watching the rest of the parade go by. They each had a
bottle of beer in one hand and a cigarette in the other.
When told this was a major no-no, they both got mad and
quit our alley .
Some of the not-so-obvious no-nos: Using "bathroom "
humor. You can sometimes get a laugh, but it just isn't the
way you should be entertaining the kids. Another problem
is the clown who squirts water on the audience or even the
public at a walkaround event. We had a clown in the Santa
Barbara alley that ruined a festival for two ladies by squirting
them repeatedly. They hated clowns by the time I got to
their area. Water should only be used with another clown , in
a prepared and rehearsed skit situation, never aimed at an
unprepared audience .
The best rule of thumb is, if you don't think it is
appropriate for a clown , or if you have any doubts about
your character giving the wrong signals , then don't do it.
Would you want a little kid to sit down next to you and do
what you 're doing? If not , then your clown shouldn't be
doing it either. Get a copy of the Clown Code of Ethics.
Adopt this as your own code.
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The New Calliope 19

November/December , 1998
Larceny:
A problem
for joeys?
By Bruce "Charlle" Johnson
1602 Locust Way
Lynnwood, WA 98036-9017
Bruce Johnson is known as one of America's most
creative clowns. He is the author/publisher of The Clown
In Times, a quarterly journal devoted to clowning. How to
be more creative as a clown is a major emphasis of the
publication.
before, the combination is a creation belonging to the
originator and shouldn't be copied.
When you copy another clown , you are cheating
yourself. A copy is always inferior. When Dick Van Dyke
imitated his friend Stan Laurel on The Dick Van Dyke Show,
he was careful to get everything just right. When he called
Stan for his reaction, Stan said, "It was just fine Dicky,
except..." Stan spent the next 20 minutes telling Dick what
he had done wrong.
Today few people remember Billy Ritchie, Billy West,
and Charles Amador.They imitated Charlie Chaplin in silent
movies. For years.Chaplin entertained his friends by
imitating his imitators, pointing out all their flaws.
While you can't do what others do as well as they do,
there is something you can do better than anybody else.
Copying prevents you from doing what you can do best. It
blocks you from reaching your full potential.
It has been said that in entertainment there is nothing
new, everything has been done before. That line is often If you gain a reputation for stealing ideas, you hurt
quoted by people who want to justify stealing ideas. yourself because you cut off the flow of ideas available to
Somebody once excused stealing one of my ideas by you. I know of one alley that has several people who steal
telling their alley, "This is one of .-----------------, ideas. As part of their educational
Charlie's routines. I'm sure he won't program, the alley wanted people
mind if I steal it, because he probably to perform part of their birthday
stole it himself." They were wrong. It party shows. They had difficulty
was my original creation, and I didn't like getting volunteers because
them stealing it. I have released many everyone knew anything
of my routines for use by other clowns, performed would be copied.
but that particular routine was a bit that
has become one of my trademarks, so I
reserve it for my own use.
This defense of unethical behavior
is not new.In 1916, Charles Amador
changed his name to Charlie Aplin,
copied Chaplin's appearance, and tried
to reproduce Chaplin's routines in his
own movies. When Chaplin sued him,
his defense was that Chaplin's
appearance was composed of things
Chaplin had copied from others, so it
could be copied. His lawyers listed every element of
Chaplin's costume and the name of somebody who had
used it previously.
If people are afraid you will steal
their ideas, they become
secretive. When you copy ideas,
you take without giving anything
back. People resent that. They
soon exclude you from the flow of
ideas.
As a group, clowns tend to
condemn people who steal
L-------------------' another clown's makeup and
costume, but think nothing of
people who steal another clown's ideas. Yet Paul Jung said,
"The plagiarism of ideas hurts clowning more than copying
makeup and costuming."
For example, George Beban had used the brush
mustache in 1890. The Nibble Brothers had used a flexible
cane by the turn of the century. The judge ruled that while
the elements had been previously used, the "costume en
ensemble" had been created by Chaplin, and combined
with his name was his exclusive property, protected under
the law of unfair competition.
Using the same standard for clown routines means that
even though each separate element may have been used
How does plagiarism hurt clowning in general?
When ideas can be freely copied, we discourage
people from making the effort to create new routines. There
is little incentive to try to be unique if everybody is going to
immediately copy what you do so you are no longer unique
The art as a whole then stagnates.
Nothing takes the joy out of creation sooner than to
hear,"Oh, we just saw somebody else do that." (This
20 The New Calliope

November/December, 1998
happens too often in clown alleys. I've seen it happen in
parades , where a clown sees somebody else do a bit they
like, so they copy it and move 1 o feet in front of the
originator.)
It takes time and effort to create something new. It may
also require a financial investment in failed prototypes. The
people who work to be creative deserve to benefit from
their investment. When you steal their idea you are also
stealing what they invested in developing it.
When we steal from other clowns, discouraging them
from trying to create new ideas, we cut off more than just
those ideas. We cut off the additional ideas that would have
been inspired in others. A group of people working
together to inspire each other will generate many more
ideas than each person working on their own. When
stealing makes people reluctant to share ideas, the source
of inspiration for more ideas ends, and everyone suffers.
How do we distinguish between stealing and being
inspired by something? There is a fine line between the
two. If you change it, improve it, adapt it in some way, you
were inspired by the idea.If you take one element out of a
routine, and use it with elements from other sources to
create a unique combination, you were inspired. If you try to
copy an entire routine the way somebody else performed it,
y~u are stealing it.
Perhaps the definition of plagiarism in writing can help
us. The copyright law says that while an idea can be used,
the expression of that idea is the property of the originator.
Also, it allows you to use a portion of another work. There is
a debate on how much you can use; for example, some
people advise that you quote no more than 50 words from
another work. The legal benchmark, though, is, does your
use detract from the originator's ability to benefit from their
creation? The originator has the right to all possible benefits
from the work involved in their creation. To steal from a
written work is stealing from the legal property owned by
another.
Translating that into clown terms, you can use the basic
idea behind a routine, but the specific way the routine was
performed is the property of the originator. You can use a
bit out of a routine, but not the whole routine. You cannot
detract from their ability to benefit from what they have
created. You cannot copy something being used by
somebody else in your market and compete against them
using their creation.
To conf use things, there is something called "public
domain." These are items that are no longer considered the
property of an individual, often because of the length of
time that has passed since they were originated. They are
owned by the public in general. It is permissible to copy
from anything that is in the public domain. You can copy it
but it isn't ethical to claim that you are the originator.
How do you know if something you see performed is an
original creation or part of the public domain and available
for everyone to use? If it is something you have seen many
clowns perform, it is probably part of the public domain. If in
doubt, the easiest way to be sure is to ask the entertainer
who used it.
If an instructor teaches a routine in a class, you can
assume they are granting you the rights to perform it. If it is
their original creation, though , you don't have the right to
teach it yourself, because that detracts from their ability to
earn income by teaching others how to perform it.
Clowns, as a group , should begin considering copying
another person's idea for what it really is: Stealing
intellectual property that belongs to them. When we justify
people stealing ideas, we are allowing the art of clowning in
general to stagnate and deteriorate. On the other hand,
when we encourage and support creativity,we allow the art
of clowning to grow and thrive.
If you are tempted to steal another person's idea,
remember, you are hurting yourself and clowning in
general.
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The New Calliope 21

November/December, 1998
character or skills, the comparing of one clown to another,
and the awarding of prizes without recognition of merit.
In taking a step back.we were able to ask ourselves
some basic questions that ultimately would serve as the
basis, foundation, and philosophy for a brand new
competition format. Those questions:
+ What Is a clown?
+ What should be the goals of clown
competition?
The first question was answered with this definition:
A unique, comical character who uses appearance,
actions, and skills to entertain and make people laugh.
By Mike "Buster" Bednarek
P.O.Box 364
Salem, OR 97308
In an article titled "Take a whack at it" in the last issue of
The New Calliope, I introduced the first two concepts on
creativity from the book A Whack on the Side of the
Head (New York:Warner Books, 1990) by Roger von
Oech. In the book von Oech describes 10 "mental locks"
that inhibit our creativity, and what we can do to overcome
them.
The two ideas covered in that article were:
+ Look for more than one right answer.
+ Use both phases of the creative process:
Imaginative and practical.
Assume the creative position, ·cause here come more
whacks :
CHALLENGE ALL RULES. Pablo Picasso said,
"Every act of creation is first of all an act of destruction." A
good way to drive our creativity is to challenge the rules.
Over time, many of the rules we've attached to our
thinking become blind assumptions. And it's difficult to be
innovative if you're following blind (and outdated)
assumptions. What can you do? Challenge every rule
(except this one).
A great example of this in action is the change occurring
in competition rules. The Rose City Clown Alley.along with
alley leaders from all over the Northwest (and the COAi
Board) took quite a leap of faith in 1997. Collectively, our
clown community took a step back from existing clown
competition rules -- rules which called for makeup
competition emphasizing beauty contest aspects without
We decided that when we looked at other clowns and
ourselves to assess "how good a clown" they or we were,
we would examine the complete clown: How the clown
looks .how the clown acts, what the clown does.
The second question was answered by realizing that it
was time to turn the focus of competition inward and focus
on becoming better, more complete clowns. In that spirit,
three new goals tor competition were adopted:
+ Advance the art and craft of clowning.
+ Recognize and reward excellence In
clown Ing.
+ Make It a positive learning experience for
all Involved: Performers, audience, coaches.
And look what happened when we challenged the
rules ... we made red nose history.
CULTIVATE YOUR IMAGINATION. You can get
into an imaginative mindset by asking "what if' questions
that end with a condition, idea, or situation different from
the ordinary or usual. Some examples:
What if I
made music with
an apple?
What if I wore
my glasses
backwards?
What if I was
eight years old?
What if Mr.
Bean was doing
this?
The next
step is to answer
22 The New Calliope

November/December, 1998
the question. If the answer's a bit goofy, don't stop there.
Use it as a stepping stone to trigger more "what ifs," more
thinking, and more ideas.
Consider these quotes:
"If you take any activity, any art, any
dlsclpllne, any skllls, take It and push It as far as
It wlll go, push It beyond where It has ever been
before, push It to the wlldest edge of
edges,then you force It Into the realm of magic."
Tom Robbins, author
"Every chlld Is an artist.The problem Is how to
remain an artist after growing up." Pablo Picasso
Practice thought-provoking 'what ifs" every day.and
use the answers as stepping stones to finding more (and
better) new ideas.
Apparently, my head is thick enough that I had to repeat
this a few years later in order to learn my lesson This time
performing solo, a vigorously executed hat manipulation
sent the wig on a flight to the footlights.
Gasp! I grabbed it, looked at it curiously, and quickly put
it on -- backwards, completely obscuring my vision. Mixing
some feigned "blind"groping and some purposely offtarget
wig repositionil')g, I worked my way behind my trunk
to do a quick "Wig Club for Clowns" and restored my head
to its proper wiggedness. Since my clown character,
Buster, frequently falls prey to props and situations which
seen to have minds of their own.it all appeared quite
natural.
How snug and secure that wig strap felt during my next
show. What's that saying?"Necessity is the mother of wig
straps"?
LAUGH AND BE PLAYFUL. I have to remind
myself that I'm writing this for a clown audience -- talk about
preaching to the choir! Yet, how often do you find yourself
so serious about a new gag, prop, costume.or idea that you
forget to be playful with it? I know I have.
As someone once said, "Take your art seriously, but
take yourself lightly." The same can be said for your job ,
your family, your child.and whatever role you're being asked
to play.
Next:Be an explorer for new
Ideas.
In his book, von Oech maintains that while necessity
rr------------------
may be the mother of invention, play must be the father.
Most of your new ideas, whether you're clowning or at a day
job, come about when you're playing in your mental
playground.
Says von Oech, "Getting into a humorous frame of mind
not only loosens you up, it enhances your creativity." Get
wacky and have fun! Have a problem? Play with it.Don't
have a problem? Take time to play anyway; see where it
goes.Laugh at yourself.
This philosophy of play came in handy earlier in my
performing career when I flipped my wig on stage -- not
once, but twice.
Through the many hours of preparation and dry runs,
slaps and falls, starts and stops, my wig had always stayed
intact.Who needed a wig strap? So there I was, with my
performing partner Ange l Ocasio, kicking off our longrehearsed
stage show with a lively slapstick version of
"Dead and Alive." Then suddenly there sprang my wig,
freed from the confines of my (thick) head. It, and I, had
fallen victim to an overly energetic snatch of my hat during
the handshake-and-hat-tip sequence in "Dead and Alive."
Horrors! I felt more dead than alive at that point. Without
skipp ing a beat, however, we made eye contact and kicked
the energy level into overdrive. The wig became a "hair"­
raising part of the gag.The audience loved it, saying
afterwards they thought it was rehearsed that way. Ah ,
improv!
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The New Calliope 23

November/December, 1998
Working
with an
agent
By Kathy "Pickles" Dhlngra
178 Carey Circle
Stoughton, MA 02072-1669
Wow -- they called with a job! How exciting that
someone who books other entertainers has called you to
perform under their company name. Imagine working for an
agent or sub-contracting for another clown -- have you
reached the big time? You bet, and it is an awesome
responsibi lity for you and your agent or contractor. Do you
know what to do? Did you ask?
It is quite a pleasure to work for someone else, but
there are rules to follow and many things you should know
before you accept work from someone else.
First, I reco mmend you have an in-depth conversation
with the agent/sub-contractor, and cover expectat ions as
well as any possible scenario you can think of. The agent
has probably experienced all the highs and lows this line of
work has to offer and is still brave enough to take on the
additional responsibilities of farming work out. Get all the
group rules laid out up front so you're comfortable working
for this person's company.
One agent I work for has become a mentor as well as a
friend. I am confident that she will live up to her end of the
bargain. In turn, I must work hard to ensure that her good
name and reputation continues on through me.
So what should you discuss with an agent? You need
to determine your pay and how you will receive it. The agent
usually takes a portion of the fee which covers their
miscellaneous expenses, such as time spent on the phone
booking jobs , phone expense, advertising, and the
occas ional free party, refund or entertainment fee they
have to dole out because someone less than professional
botched a gig, or a client did not pay their fee.
You may sometimes collect the balance (which is your
payment) directly from the client after your performance, or
you may receive payment from the
agent days after the performance
date. You should know this
arrangement up front.
How far are you willing to travel?
personally like to stay within a onehour
radius of home . I know other
clowns who will go as far as it takes if
the price is right. Is a travel fee
incorporated into your pay, or will you
receive an additional travel stipend
for travel greater than, say, 50 miles?
Talk this over with the agent.
What is your availability? Do you
work at any time at all, or do you limit
work to an occasional weekend? An
agent doesn't want to keep
hearing,"Nah, can't do it cuz I'm changing my Brita water
filter that Saturday ." Let them know if you'll take lots of work
or occasional work.
The worst case scenario is, what if the client cancels at
the last minute ... like when you show up? That has
happened to me twice. Both times it was the first time I was
hired by a new agent. And guess what. .. I never discussed
this scenario with the agent up front, so I lost sleep on two
occasions wondering if the agent was going to pay me. In
both cases I was compensated for my time. However , you
can be sure I will discuss that the next time I talk to any
agent.
I want all my bases covered when it comes to pay, as I
never want to have to confront anyone or put anyone on
the spot. You can always choose not to work for someone if
the payment system does not satisfy your situation.
Hopefully, you'll reach a comfort level with your agent and
know they're good for the money.
So, now, what do you owe the agent? A good honest
day's work and advertisement of their company. That's right,
you work for them so you hand out their coloring sheet,
their business cards and literature. In some cases you may
be able to write your clown name on the business card or
coloring sheet, like "Ask for Pickles." Again , make sure you
discuss this with the agent ahead of time, as they may
provide all the literature or give you the okay to put their
business name on your coloring sheet.
Another reason to discuss it up front is it may be more
complicated than it appears . For example, I work for an
agent who has me perform at a birthday party place. If I get
solicited at that establishment, I am to hand out the birthday
party place's card. If in doubt ask, ask, ask. I If you think you
can get away with handing out your own card$ while working
for an agent , you're wrong, wrong, wrong. It is dishonest
and unfair to the company that hired you. All repeat
24 The New Calliope

usiness should go through them . It was their ad or
reputation and time that got you the gig and you should
respect and honor that trust. If it gets out that you broke that
code of honor , you'll have burned a bridge of friendship
and trust. You'll have ruined your good name, and that kind
of word travels. Why take a chance and hurt your potential
of making additional money through channels other than
your own? It is not worth it.
Finally, be clean and always look your best. Be prompt,
give a top notch performance. You have not only your good
name to uphold, but now you have to uphold the good
name and reputation of the company you represent. Don't
let them down. If you do a good job, more work will follow.
Trust me on this one.
Agents want good, honest, hard-working clowns, and
you can be one of them. It's a whole new avenue of
revenue if you play by the rules. Know those rules up front
by having a candid discussion before you agree to work for
someone else.
November/December, 1998
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The New Calliope 25

a
November/December , 1998
lette1t
By Mike "Buster' Bednarek
P.O. Box 364
Salem, OR 97308
Hi Santa!
Sorry I didn 't write sooner. BUT, in case you're doing
some last minute shopping and need a few more ideas for
that favorite clown on your list (hint, hint), here are a few:
ACCORDION, and better yet, a good accordi?n
teacher, one who can inspire me to resurrect my childhood
oompah.
§_ELLY LAUGHS, lots of 'em, spontaneous aerobics
for a clown's heart and soul.
k.OURAGE to break new ground, try new ideas , be
persistent, and take risks in my performances.
12.A NC E class to take my physical skills and expression
to a higher level.
~XERCISES in character and conditioning. One to
develop more of me; the other to develop less .
EOOL'S CAP. An invisible one would be great, so I
can just slide it on when I need some random, contrary, or
childlike thinking.
~RATITU DE and a ~IVING spirit to pay the rent for
this gift of clowning I'm being allowed to use while on God's
earthly stage.
H,A T manipulations to top off performances, extend my
character, and collect loose change .
IMAGINATION, INSPIRATION, and IDEAS to
help this clown-in-progress learn and improve.
J_UDGMENT to know , pursue, use, and perform good
ideas that will work for me.
K,OOKY anything. It just sounds clowny, 'specially with
lots of oatmeal and raisins.
L,OVE for clowning as a performing art, and for n:'Y
audience, family , friends, life itself.and the Creator of 1t all.
M.E SSA GE. Just a simple one to weave into my
performance to leave the audience entertained,
challenged , and with a sense of wonder.
NO NOSE. Been using one so many years, I've
grow-;;-to depend on it, but still need the constant reminder
that the clown comes from the heart.
Q.PPORTUNITIES for growth (and the good sense
to recognize them ). Leave it to me to try to make the best
use of them.
f.LAID fabric . Something in a bright red and blue that
wears like steel and breathes like gauze.
2,UICK 2,UIXOTIC 2,UIPS to help in quandaries
and quagmires like this quirky letter.
ROOM. Two, really -- one with a mirrored wall for
rehearsal, one a walk-in closet for my stuff.
.S,IMPLE-MINDED .S,PONTANEITY, the childlike
fool's ability to tap into the mind's right side , play, create,
and explore "in the moment. "
IIME for reading , observing , reflecting , practicing ,
teaching , coaching , and contributing something to my alley.
1,LNDERSTANDING my potential (and its limitations),
what my audience finds funny , what my students, friends,
and fellow clowns need , and what I can (and should) give .
~OLU NTEERS who aren't afraid, have bright shiny
faces, make your heart melt, and know that they 're part of
the show --not THE show.
yt_ORKSHOPS for training , challenging , exploring ,
stretching , adding new tools , and building for the future.
EXAMPLES, EXPERIENCES, & EXPOSURE
to masters -- outstanding clowns and other entertainers
who set high standards and expectations and who serve as
inspirational role models for those of us "in the sawdust."
YOUTHFULNESS , in the form of attitude , curiosity ,
humor, energy , innocence , resilience, and thirst for making
the most of every day.
~IP, which is probably what I should have on this list,
since all the above either won 't fit down the chimney , can't
be wrapped up and tied with a bow, and/or aren't meaningful
unless I go out and get, learn, or develop them myself.
Well , big guy, I've used up enough of your time. I know
this list looks a lot like last year's -- guess most of my hopes,
dreams, and wishes have stayed the same from year to
year. Anyway .thanks for listening , and have a nice flight!
Peace and joyous laughter ,
911,l,6,Wt
PS: Say "hi" to that red-nosed reindeer of yours.
26 The New Calliope

Novembe r/December, 1998
Clowns of America
International
Membership Application
(please type or print)
NAME ......................................................................................
......................................................
Last First Middle Initial
ADDRESS .................................................... ................................................................................
Street City State Zip Code
DATE OF BIRTH ..............................
AGE. .................. Sex: M ........... F .............
CLOWN NAMES USED
SIGNATURE ...............................................................................
Annual membership fees: New members U.S.: $25 New members foreign: $30
Renewals US: $20 Renewals Foreign: $25
Lifetime: $300 (U.S. Funds)
Family membership: U.S., Foreign: $10 for second and additional members of one family.
Send application with remittance to:
Clowns of America, Int.
Box 6468
Lee's Summit, MO 64064-6468
NON-PROFIT NON-POLITICAL NON-SECTARIAN
1. All memberships in COAi are on an annual basis, with membership dues payable in July of each year.
2. If you wish to join COAi as a new member and the date is not June, July or August, your membership will be
pro-rated for your second year.
3. Join at the membership rate indicated above. When you receive your dues notice in June of the next year ,
the amount you should pay to bring your membership up to July of the following year will be indicated on your
card.
4 . For example , if a U.S. resident applied for a regular COAi membership in September, 1998, he/she would
pay $25. In June , 1999, the member would receive a dues renewal notice for $16.67 to bring that
membership up to July, 2000. Thereafter, each year the annual membership fee would be billed in June for
payment by July 1. Foreign and family memberships are similarly pro-rated.
The New Calliope 27

November/December, 1998
Convention:justarozmdthe comer
Registrations are beginning to come in for COAi's
Annual Convention, to be held April 27-May 2 in
Bloomington, MN. And if you're making plans to attend,
December is the month to register, since the $90
registration fee jumps to $100 after January 1.
Members of Minnesota Clown Alley #19 are busy
Who is this clown?
By Bruce "Charlie" Johnson
How many clues do you need to guess the identity of
an inductee to the International Clown Hall of Fame?
+ He is a graduate of the RBB&B Clown College.
+ He created two clown shows for the McDonald's Corp .
+ He was a Goodwill Ambassador for the RBB&B Circus.
+ He was part of the first group of American clowns to
perform at the Clowns International Convention in Bognor
Regis , England.
+ He had his own local TV program.
+ His wife maintains the Department of Clown Registry,
recording makeup designs on goose eggs .
+ His makeup design was inspired by the peace sign.
+ He is the owner of ProNose and ProFace, providing
noses and makeup designed specifically for use by clowns.
+ He is the Director of Advanced Studies in Clowning.
+ He is Leon McBryde.
putting final touches on convention plans. Theme of the
event: "Joust for Laffs." Convention-goers will travel
backwards in time to the 15th century and the Renaissance
borough of Knot-A-Ham in the north of England. Most
convention events will be keyed to this theme; knighthood
will be in flower and chivalry the order of the day.
Participants will be encouraged to wear Renaissance
costumes to such events as the theme party, the
luncheon, banquet and in the hospitality room -- although
that's strictly optional.
A bonus event will be a pre-convention workshop April
27, to be led by Kenny Ahern , a veteran RBB&B
clown/entertainer and educator. The workshop will
concentrate on clown movement, expression , and skills.
A complete offering of seminar speakers and venues is
planned: There will be dealers, competitions , general
membership meeting , hospital and nursing home visits and
much time for socializing.
The full schedule of events will be featured in the
January/February, 1999, issue of The New Calliope.
Right now, fill out the registration form (opposite page),
make your hotel reservations, and begin making plans!
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28 The New Calliope

November/December, 1998
JI nu.sf f nr {Gaff .s
MN 99 COAI Convention
April 27- May 2, 1999
Bloomington, MN
Hear Ye! Hear Ye! Tum back your calendars to the 16th century and join your fellow clowns for the
Renaissance "as it should have been" (we've eliminated all the bubonic plague, scurvy and other nasties!) .
Be prepared to be knighted, squired and/or courted by the fine citizens of Knot-A-Ham in truly a
spectacular style. Don't miss the fun ... register NOW!!
Registration - $90.00 Per Person ($100 from 1/1 to 4/1, $110 to 4/26 and $120 at door)
Pre-Convention 8 Hour Workshop with Kenny Ahem (Tuesday, April 27)
25 Maximum @$45/person (in addition to regular convention fee)
Make checks or money orders payable to
"MN 99 COAi Convention"
and mail with registration form to:
Darlyne Erickson
Questions?
9216 Minnetonka Blvd Call 612/945-0228
St. Louis Park, MN 55426 or DERICK1067@aol.com
Hotel Information :
Radisson Hotel South & Plaza - 7800 Nonnandale Boulevard
Bloomington, :MN' * Call for Reservations 612/83 5-7800
Cost: $85 Single/Double, $95 Triple, $105 Quad & Cabana
Smoking and Non-Smoking Rooms Available Upon Request
-- -- - - -- --- --- - tear along this line- - -------- ---
Joust for Laffs - MN 99 COAi Convention
REGISTRATION FORM
NAME: _ _ _ _ __ __ __ _ _ ___ ___ __ COAl # _ __ __ _ _
Address:
- ------- - ----- - - --- --- --- - ---
City/State/Zip: _ ___ ____ ____ __ ___ ________ _ _
Phone#'s : Day ___ _ _ ___ _ _ _ Evening _____ _ _ _____ _
Clown Name: :
-- - ------- -
• Sign me up for the 4/27/99 Kenny Ahem Pre-Convention Workshop
(Enclose $45 in addition to normal registration fee)
Full Amount Enclosed:
- ---
The New Calliope 29

November/December, 1998
The ABC's
of
venting
By Wllllam "WIiiy from Phllly" Clegg
4945 Gransback St.
Phlladelphla, PA 19120
A guide to becoming a ventriloquist:
+ Don't worry about moving your mouth.,,
+ Use a sock puppet or your hand and start to develop a
voice.
+ After you develop a voice, try to match up a figure or
puppet to the voice.
+ Get a routine that doesn't have hard-to-pronounce
words, so you don't have to move your lips too much; also
remember to try to be funny.
+Use misdirection on words that start with the letter "B"
(like "Billy Boy").
+ Most of all, remember: PRACTICE, PRACTICE,
PRACTICE!
BREAKDOWN:
+ Moving your lips isn't so bad as long as you keep it to
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First Faces 32 pg book
Fantastic Faces 46 pgs
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a minimum.
+Develop your voice. I got mine by first talking out loud,
then slowly closing my mouth until my lips are just about
closed. I also tightened my voice box and talked: Out came
my voice for "Freddy."
+ Find a puppet that matches your voice. It's very
important. You don't want a large figure with a voice that
sounds like a child, or vice versa.
+ A routine should be funny and must make sense;
don't just ramble on. Ten minutes is a good amount of time
for an act.
+ Misdirection is good on hard-to-pronounce words.
Turn your head to one side and look at your puppet or
figure. Also move your free hand and point to something
just when a hard-to-pronounce word comes up. This will
take the audience's attention away from your lips just long
enough for you to get the word out of your mouth.
+Practice, practice and more practice. Don't take your
act on the road until you are ready. Practice in a mirror if
you have to.
+ Have funl If you're having fun, your act will go
smoothly and flow just great.
+ You can tape record your voice and play it back. Be
your own toughest critic.
That's it. Good lucl

Helpful hints for the working clown
By Jim "Crazy Frosty" Adams
1652 Almador Terrace
Atwater, CA 95301
+ Keep an inexpensive single use camera in your bag.
Have an older kid take a picture of you in front of the event
sign, or showing you working.
+ Buy several freezable can coolers (about $3), keep
them in the freezer and take a cold soda along for after the
party.
+ Get a lighted, pop-up magnifier at an office supply
store. It really helps when you're trying to read a map in the
car.
+ Keep some TicTacs in your pocket or bag; helps your
breath, stops "dry mouth" and can be an emergency cough
drop.
+ To keep your face painting selections current, check
out the coloring books at the grocery. You will find popular
characters and simple drawings to work with.
+ Face painting brushes: Wal Mart has a three piece set
for under $2 or larger set under $5.
+ Keep your face paints in a cool place during the
summer months. Some types will puddle and run if left in
hot vehicles.
+ Make extra powder socks, keep one in your dressing
area for a body pat down before you dress out. And one in
your party kit bag can ease the sticky feeling between
parties. Store in zip lock bags.
+ Don't drink ice water , or ice chips just before or during
the party if you do all the talking. Cold water is okay but ice
affects the vocal cords and you can strain or injure your
voice.
+ Make a chart for the mileage to nearby cities and
parks. Note the one-way miles and the time, and maybe
even the best route to get there. Then you'll have a
reference for the next party and for your tax return. I
reference the zip code, too.
+ On your booking sheet, add a line to remind yourself
to request the host to save you a parking space.
• Join the Association - Open to Any Clown in the U.S.
• Membership Benefit is Coverage Under the
Association's Master Policy. Liability Limit of
$1 ,000,000.
• One Million Liability Membership is $85 Per
Year or Any Part Thereof With NO Deductible.
Policy Renews April 25th.
• Certificate of Insurance to be Sent Out
From· The Master Policy.
• Open to Any Clown in the U.S.
• Need Name and Complete Address
With a Check Made Out To:
CLOWNS OF THE U.S. INC.
7732 Cayenne Plz. W.
Woodbury, MN 55125
Ph: (612) 738-0280
The New Calliope 31

November/December, 1998
By Lee "Juggles" Mullally
1817 S.W. 76th Terrace
Galnesvllle, FL 32607
As I indicated in my last article
("Introduction to walkarounds," The
New Calliope, Sept./Oct., 1998),
walkaround clowning involves
entertaining individuals or small groups
of people in less structured settings.
Remember that the clown performs for
one group and then walks around to
another group, so the same bit or gag
can be repeated.
If your audience walks around with
you, as might be the case at a festival
or picnic, you may have to use more
than one bit or gag. The element of
surprise will not occur for those who
have seen you perform a bit or gag
earlier.
The idea being presented in this
article is appropriate for walkaround
settings where the audience remains
in one area and doesn't follow the
clown around, as in a hospital or a
restaurant. For this type of situation,
you can use a 50-50 force deck as a
walkaround prop, and you can use the
concept associated with a 50-50 force
deck to promote your clowning.
Using a 50-50 force deck requires
very little skill.
reference to the numbers and their
significance to me and my character;
for instance, the number 1 O is my age,
or the king is a friend of mine from the
Round Table, or the queen sure rules
England.
Once the audience believes you
are using a normal deck of cards, you
can close the fanned deck and turn it
over so the backs are again facing
upward. You can riffle through the
deck and ask the audience to tell you
when to stop, or you can fan the deck
so only the backs of the cards are seen
and you fan out ONLY the top 26
cards. That "forces" the volunteer to
choose the card you want them to
choose.
Once you know what constitutes a
50-50 force deck, you can take it a
step further, and produce a special 50·
50 force deck that can be used to
promote your clowning. There are
some basic supplies you will need.
First, you'll need some clown trading
cards, preferably of your own
character. You will use these as
giveaways, so you'll want them in large
quantities. I purchase them in 1,000-
card lots.
There are many companies that
produce clown trading cards. I have
used these two:
It's important to know what
constitutes a 50-50 force deck. A
regular deck of playing cards consists
of 52 different cars. A 50-50 force
deck of regular playing cards consists
of 26 different cards and 26 that are all
the same card; thus the name 50-50.
As you hold a 50-50 force deck
with the back of the cards up, the same
26 cards are on top. The bottom 26 are
all different. As you show the face side
of the cards to your audience and fan
out no more than 20 to 26 of the cards,
they will see the cards are all different.
(NEVER extend the fan into the 26
cards that are all the same.)
While fanning the deck, you
should use patter that suggests to the
audience that all of the cards are
different. A technique I use is to make
3714
+ Prolmage (800) 823-7896
+ Kustom Kards (800) 844-
Both of these companies produce
trading cards of excellent quality. You
can contact them for prices. Be sure to
select a picture that best represents
your character and possibly what you
do as a clown. Be SURE to use a high
quality photograph.
You will need a set of
approximately 20 to 26 trading cards of
professional ball players. This is where
you can be creative. You might want to
use baseball trading cards during the
baseball season and then switch to
football trading cards during the
football season. You could select the
cards from your favorite team or you
32 The New Calliope

need to purchase a number of sets.
Once you have assembled your
cards, put the cards of all different
players face down in a pile, and place
the same number of your clown trading
cards on top, also face down.Since the
backs of the trading cards are slightly
different, I usually place a ball player
trading card on top of the pile, so the
back of my card does not stand out.
You are now ready to use your 50-
50 trading card deck for walkaround
entertainment. You can approach the
audience and ask if they have a trading
card collection. You can talk about their
collection and then show the audience
your trading card collection.
Remember, you can fan out ONLY the
first half of the deck.) It's fun to talk
about the ball players in your deck. I
talk about the ball players in my deck
from the sport level rather than a
personal level. For example, I will ask if
they know Reggie White from the
Green Bay Packers and talk about him
being such a terrific first baseman. The
children are quick to point out my
errors.
Once the audience sees that you
have a "normal" deck of trading cards,
you can close the fan deck and turn it
over, so the backs of the cards are
facing up and the top half of the deck
are cards of your clown character. You
can then riffle through the top half of
the deck and ask your volunteer to tell
you when to stop. You can control the
place you stop; it should be within the
top 50 percent of the cards.
Separate the deck so the
volunteer can take the card (actually
one of your trading cards}. Instruct the
volunteer to look at the card so that
you cannot see it. I usually try to guess
the name of two or three ball players.If I
use football cards, I guess a baseball
player 's name, and that gets the
volunteer excited. I then say, "You
probably selected some clown that I've
never heard of." That remark brings a
laugh or a look of surprise on the
volunteer's face. They may even turn
the card around for you to see the
clown.
This is only one method of
revealing the selected card. Once the
revelation is made, the volunteer gets
to keep the card. I usually sign the card
for the volunteer. You are now ready to
move on and find another volunteer.
Carry a few extra clown trading cards so
you can keep the deck 50-50.
You may be interested in creating
a 50-50 force deck of all clown cards.
To that end, get busy collecting clown
trading cards. You can do this when
you attend clown conventions or
camps. I will be happy to exchange
trading cards with you to get started.
November/December, 1998
Just send me one of your cards
and I'll send you the two cards I use.
Before you know it, you'll have
enough cards to make a deck, which
will make this walkaround bit even
more clowny.
In my next article, I will discuss
other revelation techniques to use
with a 50-50 force deck. If you have a
favorite revelation idea and want to
share it in The New Calliope , send it to
me as soon as possible.
Remember to enjoy life -- it's not a
dress rehearsal.
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The New Calliope 33

November/December, 1998
How to start
your own
clown day
By Jerry "Yo Yo" and Connie "Topsy" Yarbrough
Uptown Clowns COAi Alley #301
Last Jan. 24, Uptown Clowns and the City of Largo, FL,
Recreation and Parks hosted the first "Florida Clown Day" in
Largo Central Park. Clowns and clown alleys from all over
the state were invited to attend the one-day celebration
honoring clowns who live and work in Florida. Some 87
clowns registered for the event and donated their skills to
paint faces, make balloon animals, fill helium balloons, do
walkarounds, magic, juggling and a comedy skit
show -- all free to the public.
Participating clowns were fed hot dogs,
soda and cookies, and given a canvas tote bag.
Largo officials estimate that 3,000 people
attended Florida Clown Day and two other
events scheduled in the park that day.
Feedback from the City of Largo and the
community at large was very favorable.
Feedback from the clowns who attended was
excellent and our alley was encouraged to do it
again in 1999 -- and we will.
Uptown Clowns formed its unique affiliation
with the City of Largo in 1996. Since that time
the alley has clowned for numerous citysponsored
events. We don't know of any other
alley in the country that has a similar
relationship. We are proud of our association.
Here's what to do if your alley is interested in doing its
own Clown Day.
FORM A COMMITTEE. A handful of dedicated
members can do it all. The chair should have a good
overview of the entire event, call the meetings and be the
main contact. Our alley has co-chairclowns and 1 O other
members on the committee who are responsible for
registration, food/refreshments, balloons, face painting,
travel (list of area hotels) , door monitors, group photo,
mailings, publicity and whatever else is needed to make the
day a success.
AN 11-STEP CHECKLIST FOR THE
COMMITTEE
1. Decide on the name. You can call it anything you
want-- "Georgia Clown Day" or "Augusta Clown Day,"
"Alabama Clown Day," "Birmingham Clown Day." Pick your
state or city or both.
2. Choose a date. It can be any day in any month. We
found that weekends are better for families . We chose
Saturday, Jan. 24, because it tied in with two other park
events. A nice Saturday afternoon in Spring would be a
great time for the event, before the weather turns hot.
3 .. Find a place to hold the celebration. Contact the city
parks or recreation officials to find out if they are interested
in co-hosting the event. A city park is a good place to start. If
the park has a building, pavilion or center where you can
hold the event, that's a bonus. If the park doesn't have a
building, they may have a big tent or several smaller tents or
a meeting hall. If you hold the event outside , you should
have a place to come inside if the weather turns bad. Tell
city officials that this is a free day for the citizens of their
community and the clowns will donate their time and talents
to paint faces, make balloon animals, do skits, a magic
show, juggle or just plain meet and
greet -- whatever your clowns can do to
entertain. You will also need a stage
and sound system.
4. If you can't find a park, talk with the
local mall manager.If you can find an airconditioned
mall and it has room
enough for a stage, sound system and
some tables for face painting , balloons ,
etc ., you can do your celebration there.
The mall benefits from the increased
crowds you are sure to attract. If it has a
food court, the mall might agree to pay
for food and refreshments for
participating clowns. Make sure the mall
promotes the event in their advertising
and on their marquee or signs.
5. Once you have established the date and place, mail
out notices at least three months before the event to every
alley.clown club and individual clown you know in your
state. COAi and WCA have membership directories that list
alleys and individuals by state. To keep track of the clowns
who will attend and help with face painting, balloons, etc.,
include a blank form on which to list name, address and
phone number, and ask them to send it back to you.
6. Contact the local newspapers , radio and TV stations
to publicize the event. Emphasize that it is free to the
public.
7. Find sponsors who will help fund your out-of-pocket
expenses such as mailing costs , signs and food and
refreshments if you plan to feed the clowns. Our rule is we
only feed clowns in full makeup who register for the event.
Sponsors should be listed on your signs at the event.
8. Call your balloon and face painting suppliers and ask
34 The New Calliope

if they would be willing to be a sponsor by donating
materials. Otherwise, you will have to buy the materials out
of the funds you collect from other sponsors.
9. A clown dealer room is another incentive for clowns in
your area to attend. Florida is blessed with many fine
dealers who come to Florida Clown Day. If you have clown
supply dealers in your state, call them early and ask if they
want to attend . We found that the fourth weekend in
January was an open weekend and dealers were not
booked for other events. A modest fee for each dealer
table should be established.
November/December, 1998
I wasn't always a
(lC 1L
I USED TO BE

November/December, 1998
Alley 319
Red Nose Brigade
P.O. Box 3031
Lacey, WA 98509-3031
Alley 320
4-Corner Clowns
408 Zuni Pl.
Aztec, NM 87410
By Dan "Dano" Lake
Director, Alley & Region Support
13005 Lakerldge Dr.
St. Louis, MO 63138
Four new alleys have joined COAi since my last report:
Alley 317
Payasos Profeslonales Del Sur
Calle Comerclo 115 P-2
Juana Diaz, PR 00795
Alley 318
Klownz Around Tulsey Town
121 West Inglewood
Broken Arrow, OK 74011
Drop these clowns a line and welcome them to the
organization.
CLOWNING AS AN ALLEY: The basis for this
article was a letter from a joey who reported that his alley
worked an event where they had plenty of clowns, but not
enough people in the audience to entertain. They did really
well as a whole unit, until after a while one member caught
themselves defending their clown.
All of the clowns there are friends with each other and
they've done a lot of events as a group. But they got bored,
says our letter writer, "and in a little while they were saying
things to each other -- nothing bad, but there were some
insulting jokes and competition between a few. And before
you knew it, they were becoming defensive with each
other."
"Thanks to everyone who made
1998 a huge success!"
"As new clowns, this was our first convention. We
couldn't have asked for better. Great job!"
Ed & Patti Boda, 1998
''.[ laughed, I learned, I cried! This is so
much more than a convention- it's
aerobics · for your heart."
Dianne McKinney, 1998
Make your plans now
to attend the next
count!)
Clown
J-·-!
July6-11
1999
Branson,MO
For information•
9.19 785-2377
Look for future ads
in this magazine!
One of the important features of being part of an alley is
how to act around other clowns. Now, This can be a twoedge
sword. An alley will teach you clown ethics, things like
no smoking, drinking alcohol or using unsuitable language
or acts in clown. Letting the clown who's entertaining
someone have his own space; don't upstage or try to draw
the person or persons from the other clown until he/she is
done. (That is not to say you can't help out, but it should be
by consent or by prearrangement.) Even if you're bored to
death at an alley event, don't gang up on the first child or
person that comes by.
Always be as positive and supportive as possible with
other clowns, even if they're not a part of your group.
A clown's makeup comes in many forms, and not only
what goes on the face. Your clown's special character and
mannerisms are a part of your clown, so other clowns in the
group need to act the character that is their own clown . If
Clown One has a particular patter (even if it's the best
you've ever heard), develop your own. Aside from the
ethics of the thing (see Bruce Johnson's article page 20), it
would be dead boring if a person or child is asked the same
question, told the same joke or shown the same trick four or
five times at the same event by different clowns.
Another strength of an alley is socialization , having a
special night out with the other alley members , or being a
member of an alley drill team, kazoo band or skit troupe.
These special times can be held once or twice a month. You
36 The New Calliope

November/December , 1998
will learn everyone else's clown personality at these more
relaxed times. After a while, usually a couple of years, you'll
all have stories about each other and about clowning. While
it's a lot of fun and can be so funny it brings tears to your
eyes, leave these stories and inside jokes or put-downs at
the rehearsal area. Never tell things in public that will hurt or
embarrass other clowns. Clown personalities have no room
or time to be defensive when they're in clown, and it
doesn't do yours any good either.
REVIEW: Don't smoke, drink alcohol, say or do
unsuitable things in clown. Don't invade another clown's
space. Don't copy parts of their acts or patter. Don't put
down or use inside jokes or be abusive to other clowns on a
gig. Learn good clowns skills and ethics. Be positive,
supportive and helpful. Do as many events for your alley as
you can. A strong alley will produce good clowns with all of
the right attitude. Do your part for your alley. Be a strong
alley member.
IF YOU WOULD LIKE to start an alley in your area,
contact me so I can send you our alley startup kit. You need
at least five clowns to start an alley, and all alley members
need to be COAi members to hold a charter. There's a onetime
fee of $100. For more info write or email me at the
addresses on page 3.
KNOCK, KNOCK
Who's there?
Repeat.
Repeat who?
Okay. Who, who , who, who.
KNOCK, KNOCK
Who's there?
Agatha.
Agatha who?
Agatha blues in the night.
KNOCK, KNOCK
Who's there?
Tarzan.
Tarzan who?
Tarzan and Stripes Forever!
KNOCK, KNOCK
Who 's there?
Luke.
Luke who?
Luke for the silver lining ...
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The New Calliope 37

November /December , 1998
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.Nov. 6-8: Kentucky Clown Derby, Louisville, KY.
Info.: (919 ) 785-2377.
Nov. 7: One-day Seminar featuring Steve Kissell, KC
Hall, 6501 N. Classen St., Oklahoma City, OK. Sponsor:
Just Say Ho Alley. Info.: (405) 943-9510.
email bobnnancyrya n@webtv .net
Nov. 8-12 : WRCA Convention , Laughlin, NE. Info.:
Jack or Pat Frank, Ph. (714) 897-0749 , Fax (714) 894-
3945. email: WRCA @juno , com
Jan. 22-23, 1999: Joey to the World 5 Gospel
Clown Convention , Sagement Church , Houston, TX. Info.:
Ralph Dewey , (281) 479-2759.
Jan . 22-24 , 1999: Magic & Fun on Main Street
USA, Port Jefferson , NY. Info.: (516) 331-2833 .
sch1999 @aol.com
Jan. 23, 1999: Florida Clown Day, Largo, FL. Info.:
Bill Baumgardner (727) 391-4553 or Linda Fajv an (727)
585-0431.
Jan. 30-Feb. 6, 1999: 6th Annual International
Clown Convention aboard Carniva l Cruise Line's
Imagination, sailing from Miami. Info.: Clown Desk,
International Fun Travel: (800) 843-3093.
Feb. 19-21, 1999: Circus Magic, Williamsburg,VA.
Info.: Lou Page (757) 423-7503.
March 5-6, 1999: Clowning: The Fun Life.Houston ,
TX . Wendi Allen (281) 8TT-9134
magicmore@mailexcite.com
March 6, 1999: A day with Dom and Juggles,
Orlando Fun World Alley #288. Info.: Wendell Outen, Ph.
(407) 322-5672. mttop.sally@juno.com
March 26-28 , 1999: Clown-in Illinois '99, Moline, IL.
Info.: Pat Hays (319) 326-1355 , or Loren Beck (815) 652-
3311.
April 23-25, 1999: Northwest Comedifest '99,
Maryhurst College , Portland, OR. Info.: Angel Ocasio Ph.
(360) 260-8557 . email Ocomedy@aol.com
Aprll 27-May 2, 1999: COAi's international
convent ion, Bloomington , MN.
May 12-15, 1999 : Comedy College , Las Vegas,
NV. Info.: Steve Kissell (757) 423-3867 .
May 20-23, 1999: Carousel of Clowns, Ocean City,
NJ. Info: Dana "Dazzle" Endresen (732) 591-2600.
June 16-19, 1999: Comedy College, Norfolk , VA.
Info.: Steve Kissell (757) 423-3867.
Aug. 21-27, 1999: Advanced Studies,
Henderso nville, NC. Contact Linda or Leon McBryde. Ph.
(540) 473-2271 or (800) 990-4214.Fax: (540) 473-1230 .
38 The New Calliope

November/December, 1998
A joey's
final
trava ii
By Don "Ski" Berkoskl
COAi Past President
P.O. Box 34272
lndlanapolls, IN 46234-0272
Over 13 months ago, I was
diagnosed with incurable prostate cancer. My yearly
physical in September , 1997, showed a PSA level of
149.6. Normal is Oto 4. My doctor selected a specia list for
me. After taking all the tests , he confirmed that the cancer
had escaped the prostate and metastasized in my spine,
ribs and pelvic area. There is no cure for this type of cancer.
The bones will eventually deteriorate from the inside.
I have no fear of dying. I would just rather not be there
when it happens.
Attitude and a good sense of humor , combined with
the prayers of many people, is one of the best prescriptions
for any type of life-threatening illness. As I write this article, I
am preparing to do a one-hour stand-up comedy routine for
the Man to Man prostate cancer support group. They meet
once a month and usually have a doctor , nurse or specialist
for their programs, which sometimes are a little depress ing.
My philosophy of life is that everyone should lighten up. We
need to forget our problems as easily as most of us forget
our blessings.
My wife Ruby and I have started a business called The
Humor Connection , to bring humor to corporations ,
hospitals , schools, etc., with keynote and after-dinner
speeches , seminars on humor (which are tailor-made to fit
the needs of the company) and stand-up comedy. We are
both professional clowns. Over 17 years ago, I saw the
need in health cares , prisons and hospitals for clowns to
come in and visit. Every health care facility has at least three
people who have absolutely no one. The clown has the
ability to break down the barriers and bring the gift of love
and humor to any situation.
I founded an organization called Smiles Unlimited
Universal Clown Ministry and began training others as clown
volunteers. More than 5,000 people from all walks of life
have completed the training program and have gone out to
bring smiles and love to thousand s whose lives have been
When I found out about my cancer, I was not
as down as I was niad! That lasted about a
day. With humor and the right attitude , I am
able to share with others the healing powers
of laughter , humor and love. As "Ski the
Clown ," my signature is "Love, laughter and
tears. " These three words encompass the
emotions for a happy and joyful life: Love for
yourself , your God and others ; laughter, the
prescription for a long and happy life; and
tears of joy and sadness , the cleansing power
of the soul.
When you 're laughing , you're listening. And if
you 're listening, you 're learning. We all need
to learn to reach down inside and make a
difference in our own lives and the lives of
others.
-
Love, laughter and tears.
Editor's Note: Ski's legion of friends and fellow joeys
may want to drop him a line or send a card. The Good Lord
broke the mold after He made this guy.
God bless, Ski -- we'll see you down the road.
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The New Calliope 39

November/December, 1998
Three American clowns
(from left), Linda Hulet
Troy Peace and Toni
Perrine, observe Taipei's
Lantern Festival
I-let Otiental gig
By Linda Hulet
COAi Southwest Regional Vice President
The announcement had just come over the PA that we
were descending into Taipei. Sleep had been difficult
during the 14 hours in the air because I was filled with
excitement. And now I stared out of the window strain ing to
see the airport lights. Could it be that two short weeks ago I
was in Las Vegas planning the next few weeks of "normal "
activities?
The phone rang. A clown friend had called about an
offer to travel to Taiwan. As usual, I barely had to think about
it, always up for an adventure. My,how plans change in the
blink of an eye! I had two short weeks to alter my life.
Leaving my iron plugged in was the least of my worries.
Putting your personal and professional life on hold for three
months is no easy task, but a person rises to the occasion
when the motivation is there.
I wasn't alone this time, though. I had been asked to
find another clown and on a fluke saw my friend Toni
Perrine at a local restaurant and jokingly asked if she would
like to go to Taiwan. To my amazement she said "Sure." To
make a long story short, she is sitting behind me on the
plane.
There were 14 of us altogether on this trip, six members
of a ska band, one country singer, one Italian accordion
player, two American Indians, three clowns and a magician .
Little did we know that we would all be living and working
together 24f7. Our living quarters was a three story house
in the middle of tea fields. It had a teeny tiny kitchen
equipped with an apartment size refrigerator. A small
washing machine and even smaller dryer (it held two pair of
pants if we were lucky) were our laundry facilities . Thirty-four
steps lead to the L-shaped bedroom which was shared by
the three females in the group.
When we arrived we were treated to McDonalds! Little
did we know that a hamburger might be the last
recognizable food we would see for a while. The first day we
were expected to do two sets at the theme park as
rehearsal for the management to decide where they would
place us at the park. The park hosted a lovely lunch, lazy
susan style, to introduce us to native food. It was, uh,
interest ing. Full-bodied animals and slimy things graced the
table . Our adventure was well under way. Shopping for
groceries was also quite an experience. The first time we
just wandered around the shop for about half an hour with
empty baskets because we couldn't identify anything.
Soon after our arrival we were given an information
sheet titled , "Little Things You Should Know About
Taiwan ." What an understatement. Here are some things
we learned: 1. Traffic signals are merely suggestions.(Take
this and run with it.) 2. Pedestrians have no rights. (Refer to
#1.) 3. Motor scooters, scariest things on two wheels. (They
go anywhere and will.) 4. Elevators. (Prepare for stampede).
5. Bathrooms. (ALWAYS, ALWAYS take paper with you.
Nutt said.) 6. Taxis -- they are great as long as you write your
destination in Chinese. (The exper ience is great and
compares with your favorite roller coaster .)
We were told to expect typical California weather. In
reality, it rained almost every day and we are talking HUGE
thunder storms. It was also freezing and we had no heaters
for the first month. Our night wear consisted of two pair of
pants, layers of shirts, three pairs of socks and gloves under
40 The New Calliope

our pajamas. Yes, I admit it, I'm a California wimp (MAJOR).
Our work day wasn't very glamorous. We were in line for
a shower by 8 a.m. and the first group was picked up by a
van at 9 to be taken to the amusement park. The day
included three individual sets and one group set. We were
always on the lookout for Americans. More than once I ran
up to someone and excitedly began talking to them, only to
find out they were from Germany or Sweden. But when
they turned out to be American ... we took turns
monopolizing their time as we were longing for a
connection to home.
Now back to our day. I wound up doing most of the face
painting, which was a real Godsend as I became quite ill
fighting bronchial pneumonia. In fact, everyone was ill at
one time or another. Running to the clinic or hospital
became a daily occurrence. We were back at our house by 6
p.m. Our dinners consisted of grilled cheese sandwiches,
spaghetti, cup-a-noodles, PB&J, and lots and lots of rice. I
cannot describe to you the excitement of receiving a goody
box from friends in the states. I had many knocks on my
door when receiving one of these and Yes, I shared.
(Well .. everything except the macaroni and cheese.)
Evenings were spent playing Scrabble or Uno or
watching TV. Sometimes one of the guys would play his
~uitar. We were working, playing, sleeping and eating with
this group with only one day off per week. Moments of
solitude were cherished and whenever we got the chance,
Toni and I would go into town just for a change of scenery.
Clowning is always a challenge when in a different
culture. What props do you bring? What actions could be
misinterpreted? American comedy may not be accepted.
Many things must be adjusted to appeal to a foreign funny
bone. One thing that stands out in my mind is that the
Taiwanese people are very proper and would not come on
stage to assist in a gag or magic. They also did not want their
faces painted but wanted their neck, chest or hand done.
(Go figure.) It was not out of the ordinary to be painting
someone happily chatting on their cell phone either.
I have told you about the differences, but I think it is
important to let you know that there are many things that
bring a smile that are universal. Did someone say
PICTURES? Everyone has a camera and a clown is such a
novelty that I probably could have spent most of each day in
a Kodak Moment , with several peace signs flashing. They
LOVED the Coloring Book. The Needle through a Balloon
was also a hit. I made some adjustments to my Mis-made
Flag routine, so that I ended up with a Taiwanese flag and
the people went crazy!
People are people wherever you are. In Taiwan they
were so wonderful and helpful to us. We made friends that
we will never forget. Did I come home wiser? You bet.
Would I do it again? What do you think?
Augu,I:
'.I I - '.17
Setting the Standard for Excellence
- Limited Enrollment -
$100 deposit will reserve your registration with balance due
on August 1, 1999 (optional 6 month payment plan available)
Location: Kanu ga Conference Center, Hendersonvill e, NC. -
Kanuga is located in the beautiful Blue Ridge Mountains of Western
North Carolina, overlooking a large lake, with comfortable ADULT
accommodations, delicious food , mild climate , and the best training
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Choose from the List of packages below co sl.Uc you.r spec ific needs:
Training Only (no room or food included)
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Dorm Room. Training and Meals (dorm room
style accommodations with shared baths)
$475.00 $100 deposit with 6 additional
payments of $63.00
Cottage. Training and Meals (2 per room with
shared bath) $575.00 per person $100
deposit with 6 additional payments of $80.00
Private Room. Training and Meals
$675.00 $100 deposit with 6 additional
payments of $96.00
Contact: Linda or Leon McBryde
(540) 473-2271• (800) 990-4214 • Fax: (540) 473-1230
E-mail: ProKNOWS1 @aol.com
Advanced Studies• P.O. Box 12 • Buchanan , VA 24066
Registration deposit is refundable until August 1, 1999.
Participants must be 18 years of age or older.
Students are responsible for transportation to and from airport.
---------------------
Registration Fonn
Name: _ __ __ ____ __ ____ _ _
Clown Name: ____ _____ _ _____ _
Address: ___ ____ ____ __ ___ _
City:, ___ __ _____ Stata: __ Zip: ___ _
Phone: __ _ ___ _____ _ _ ___ _
Fax: __ __ _ ________ _ __ _ _
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Payment Option: Oeposit $100 + • check enclosed
Circle package: A B C D • Credit Card • Visa • Mastercard
a Payment Plan 6 pymts of __
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Expiration Data: ___ Signature: ____ __ __ _ _ _
L---------------------J

November/December, 1998
~tom the
... ,~~·.,
.. ,.·,,,
I . -
~
By Judy "Dear Heart" Quest
COAi President
Happy Holidays! No matter how you celebrate, it is a
great time of year for clowns . I'm sure many of you do
holiday shows or participate in parades or parties.It is just
such a great time to enjoy the wonder of children ••may we
never completely grow up. So have a wonder·filled holiday.
LOTS OF THINGS are happening on the national
level of COAi. I was honored to be the presenter of an
affiliate's certificate to the Midwest Clown Association in
Chicago in September. Mainly due to the work of Midwest
Regional Vice President Patricia Bothun, this affiliation
means a sharing of resources that will benefit all of us. This
is actually COAi's third such affiliation, following the South
East Clown Association and the Texas Clown Association.
Many COAi Board members were on hand to join in the
celebration. We want to thank Midwest for shaking hands
COSTUMES
by Betty
with us in this way and for showing us a wonderful time in
Chicago.
WHEN IN CHICAGO, COAi Board members present
held a brainstorming session to kick off the two•year term of
this Board. While there were many, many ideas and it was
hard to choose priorities, we did settle on three to propose
to the whole Board at its fall meeting Nov. 19·21 in
Minneapolis. These are marketing (especially international),
alley and regional support, and education. It is the sincere
desire of the entire Board to make this organization very
responsive to ttle needs of COAi members , if they belong
to an alley or not.
WE ARE VERY HAPPY to welcome three Regional
Vice Presidents -- Andrew Stevens (International), Agi
Farkas-Hibbert (Canada}, and Pedro Santos (Latin
Countries) •· who will be intensely involved with our effort to
become truly more international. These regional vice
presidents are active members of the Board and welcome
your ideas. Andrew and Agi have special challenges with
the geography they cover, but they are enthusiastic and
willing to work with clowns from their regions.
ALLEY AND REGIONAL SUPPORT is the
portfolio of Director Dan Lake. We have lots of ideas to
welcome new members , to acquaint them with nearby
alleys, and to encourage people to gather in regional
conclaves at the international convention. But we would
love to hear YOUR ideas. What does your alley or region
expect from the international organization? Give Dano a
jingle, or email him your ideas.
IT'S NO SECRET that education is a favorite priority
of mine. Rex Nolen, COAi's new Director for Education , is
perfect to lead this effort. A teacher himself.he has
expertise to offer. I know from recent experience at my own
alley in Omaha that he is a wonderful teacher of clowns.
Ideas for scholarships to educational events and grants to
organizations are on the table. We feel this is one thing that
we want to be known for: Excellence in the many aspects
of clown education.
Tony Jones
1872 Daiquiri Ln.
Lutz, FL 33549
Betty Cash
2181 Edgerton St.
St. Paul, MN 55117
SO, "HOLD ONTO YOUR HAT, LORETTA!"
This COAi Board is on the move. Creativity is in the air. As
you read this, the Board's fall meeting in Minneapolis is
history, so watch for things to happen. BTW: I hope you
have made your reservations for the convention in
Minnesota. looks like it will be a GREAT ONE!
For the best value in top quality clown
wardrobe and accessories give us a call.
1-800-47CLOWN
OR FAX AT 1-800-442-6432
Keep a smile in your clown heart.
(Editor 's Note: Due to my error, the state of Louisiana
was omitted from President Quest's listing of states in the
South Central COAi Region (The New Calliope,
September/October, 1998). With the states of Colorado,
New Mexico and Texas, Louisiana is an integral and vital part
of the South Central Region.
42 The New Calliope

ICHOF
•
reorganizes
governance
Reorganization of the International Clown Hall of Fame's
Board of Directors was initiated at the organization's tenth
annual induction ceremonies last summer.
The move gives ICHOF two separate boards with distinct
responsibilities. The Governance Board, made up of
community leaders from Milwaukee, will handle fund-raising
and obtaining a site for a new clown museum. The Clown
Advisory Board will handle clown-related matters, including
induction of new honorees, education, traveling displays,
and designing displays for the new museum to be built in
Milwaukee.
The original ICHOF Board specified that the new Clown
Advisory Board was to be composed of leaders in the art of
clowning from around the world. CAB members are Jack
Anderson, Florida; Penny Beitel, Canada; Bert Berger,
Wisconsin; Roy Brown, Illinois; Peggy Helgason, Iceland;
Bruce Johnson, Washington; Chris Johnson, Illinois; Bruce
Nelson, Wisconsin; Piet Nortje, South Africa; Arthur Pedlar,
England; Richard Snowberg, Wisconsin; Kumi Somayama,
Japan; Don Stacey, England; Hunter Stevens, Wisconsin,
and Janet Tucker, Indiana.
Snowberg and Stevens, who have been on ICHOF's
Board since the organization was founded, are CAB cochairmen
.
The CAB set up committees to handle its duties: Induction
Process Review, chaired by Snowberg; Induction
Nominating.Stevens; Caring Clowns, Snowberg;
Acquisitions, Stevens, Displays and presentations, Barry
Dechant ; History/Education and Promotion, Bruce
Johnson, and Induction Program, Tucker.
ICHOF has a preview center open at the Grand Avenue Mall
in Milwaukee.
Availab le at these pric es:
10 @ $2 = $20 min.
30 @ $1 =$30
60 @ $1 =$60
Jest Clown Noses
One size Fits All
are made of soft bright red plastic.
The noses are a half sphere with an
elastic string that fits everybody!
• perfect for teaching adults
. • instant costume s
• give aways for kids
}~g i -~ 0
: $l 1
0 2
~ Todd Victor 9328 Champs Elysees Forestville, CA 95436
90 @$1 = $90 Jest In Time (800) 829-9360
November/December, 1998
U.S. Postal Service
Statement of Ownership,
Management and Circulation
(Required by 39 U.S.C. 3685)
1. Publication Title: The New Calliope
2. Publication Number: 010-498
3. Filing Date: Oct. 1, 1998
4. Issue frequency: Bi-monthly
5. Number of issues published annually: 6
6. Annual subscription price: $15
7. Complete mailing address of Headquarters or General Business office of
Publisher: P.O.Box 6468, Lee's Summit, MO 64064-6468.
Contact person: D.W. Barnett
Telephone: (816) 373-5696.
8. Complete Mailing Address of Headquarters or General Business Office of
Publisher: Clowns of America International , P.O. Box 6468, Lee's Summit, MO
64064-6468.
9. Full names and Complete Mailing Addresses of Publisher, Editor and
Managing Editor:
Editor: Cal Olson, 2000 Outer Dr. N., Apt. 523, Sioux City IA 51104.
Managing Editor: Cal Olson, 2000 Outer Dr. N., Apt. 523, Sioux City IA 51104
10. Owner: Clowns of America International , P.O. Box 6468, Lee's Summit,
MO. 64064-6468.
11. Known Bondholders, Mortgagees.and Other Security Holders Owning or
Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other
Securities: None
12.Tax Status (For completion by nonprofit organizations authorized to mail at
special rates). The purpose, function, and nonprofit status of this organization
and the exempt status for federal income tax purposes: Has Not Changed
During Preceding 12 Months.
13. Publication Title: The New Calliope
14. Issue Date for Circulation Data Below: September/October 1998
15.Extent and Nature of Circulation Average No. Copies
Each issue During
Preceding 12 mos.
a Total No. copies (net press run) 6,100
b. Paid and/or requested Circulation
(1) Sales through dealers and carriers,
street vendors, and counter
. sales (Not mailed) 142
(2) Paid or requested mail subscriptions
(include advertisers' proof
copies/exchange copies 5,667
c. Total paid and/or requested circulation 5,009
d. Free distribution by mail 141
e. Free disttibution outside the mail gJ
f. Total free distribution 191
g. Total distribution 6,000
h. Copies not distributed
(11 Office use, leftovers, spoiled 100
(2 Return fron news agents 0
i. Total Sum of 15g, 15h {1}, and 15h {2} 6,100
Percent paid and/or requested circulation 96.81
Actual No.Copies
of Single Issue
Published nearest
to filing date
5,500
~
5,168
5,267
148
gJ
100
5,465
35
0
5,&JO
94.37
16. Publication of Statement of Ownership. Publication required. Will be
printed in the November/December 1998 issue of this publication.
17. Signature and Title of Editor, Publisher, Business Manger, or Owner:
David Barnett, Business Manager. Date: 10-1-98.
The New Calliope 43

November/December, 1998
~totyline magic
By Steven Bender
Alias Mr.Plckle of lckle Plckle Products
About 15 years ago, I was given a Magic Spiral. It was
given to me by a couple who had been to Japan. It was an
interesting optical illusion. For those of you who are
unfamiliar with the Magic Spiral, let me first tell you what it
looks like. If you removed the wire binding from two spiral
notebooks and put them together, it would look like a Magic
Spiral. However, the bindings wouldn't work like the Spiral.
The Magic Spiral is two pieces of coiled wire, but
one piece is made clockwise and the other counterclockwise.
Hence.when they are put together, they will
move without hardly being touched and it looks as if the
Spiral is getting longer. It looks like it's doing something, but
in reality it's doing nothing.
For years, I had this gift and from time to time I would
show it to whomever came over to the house. When people
asked if they could buy one, I had to respond that I had no
idea where to get one, since this one came from Japan and
was given to me as a gift. Finally, and I don't know why I
didn't decide to do it sooner, I asked my Aluminum Spinner
if he could make the Spiral. The initial ones we made were
from dull wire. It wasn't until a few years ago that we began
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making it out of bright aluminum wire. It now looks like it
should. Once we discovered the bright wire, I even made it
in a JUMBO size.
Perhaps my reason for not making it sooner was that I
had no Storyline to go with it. It seemed like the more I
showed it, the more my patter developed. In fact, after all
these years it's in my current lecture Tableside Magic. I bring
it out and refer to it as a Do Nothing. This is my Storyline that
goes with it.
"A year or so ago I was given this by my daughter as a
present. I know you're looking at it and wondering what is it.
I did the same thing. Then she informed me that it was a Do
Nothing. Now, I tell you that up front. It does absolutely
nothing." While I'm saying this, I'm working the Spiral. "She
gave it to me because she said I was quite good at doing
nothing. I thanked her. For with the Spiral I can do nothing
for hours, days, even weeks. Of course, you have to ask
yourself as you're watching me do nothing whether it is
better to be doing nothing or simply watching someone
who does nothing, even though he does it quite well. Here,
I am doing it. Here you are simply watching me do it. Yes, I
do it well, but that's because I've been doing nothing for
years.
"Bear in mind that nothing can be done standing or one
can do it sitting in a comfortable chair. I prefer to do it
standing when I'm doing it for a group. I can do it slowly, or I
could do it more rapidly. But when you're doing nothing,
why rush? The beauty of the Do Nothing is that when you
get tired, you can put it back where it was when you
started." (At this point I begin to push it in toward itself,
rather than making it appear as if I'm pulling it out, but keep
in mind that either way, nothing is happening. It simply
appears that something is happening.) "So that if you pick it
up again later you can begin where you left off. Of course,
when you're doing nothing, does it really matter where you
start or finish? I throw out these philosophical questions
only to give you something to think about while you're
sitting there watching me do nothing. In actuality, the
questions are about as meaningful as what's just been
done. Think about that!"
There you have it: my Do Nothing routine . As small a
prop as it is, it can be done for 30 to 40 people without any
problem ·· or for one or two. It's fun for me to do because it
gets a reaction and people ask about it afterwards. As I've
said before, Storyline Magic is taking an effect or a prop and
instead of merely doing the trick, the effect serves as an
enhancement to the story. Just the patter without the Spiral
wouldn't be much. But the Spiral enhances the patter , just
as the patter enhances the presentation of the Spiral. The
success of one's presentation, as I've said before (but that
isn't going to keep me from saying it again) is based on how
entertaining one's performance ultimately is. Entertain yoU1
audience with Storyline and they will want to see you
again and again. ·
44 The New Calliope

'#; ~L Making t0und~ with
D -~~ D
:__;:;/ t. C> ugg
-~Yl·.,'\·~•
POTPOURRI: I pulled out my idea folder.and there
were a lot of small items, so here they are:
You don't have to lie awake in order to succeed --just
stay awake days.
Honesty is the best policy, although sometimes
keeping your mouth shut is even better .
Why straighten the picture on the wall when you are in
the middle of an earthquake?
Children laugh 400 times a day.By the time they are
eight, they laugh half as much.
Love is blind, but marriage is an eye opener.
Laughter is like changing a baby's diaper -- it doesn't
permanently solve any problems, but it makes things more
acceptable for a while.
MARILYN "JELLO" GUSTAFSON, of St. Paul,
MN, writes to remind me of Peeper Puppets. They are small
and can easily be carried in your pocket. They consist of a
pair of round eyes connected by the bottom half of a plastic
ring, or I have seen them connected with a piece of cord or
flexible plastic. The eyes go on top of your fingers and the
connector goes under your fingers so that you can hold
them. When in place you have a true "hand" puppet. If
interested write One Way Street, PO Box 5077,
Englewood, CO 80155-5077.They also have "Peeper
Puppets Idea Book" with ideas for Sunday School, plus
character ideas. I have also seen Peeper Puppets at other
clown shops.
WAND.A "VAIL-A-BILITY" YOUNG of Springville,
IA, made up 30 three Piece Chicken Dinners using 35mm
film canisters and three kernels of corn and sold them in
front of Wal-Mart as a promotion for the CROP Walk. CROP
is the Christian Rural Overseas Program that was started by
farmers in Indiana shortly after WWII to feed the hungry
around the world. It soon spread across the country,
especially in rural areas. She says that at a dollar apiece they
went like hot cakes . The money of course went to CROP
and Wal-Mart matched it. That plus the publicity for the walk
made it a great success.
November /December , 1998
of the child in all of us. She's my source for the rap skit
"Three Short Necked Buzzards. " If you would like a copy of
the words , send me two 32-cent stamps and a selfaddressed
#1 o envelope.
DID YOU HEAR about the City Slicker who decided
that he would become a chicken farmer? He went to the
store and bought 300 baby chicks. In three weeks he was
back , saying he needed 300 more. The store keeper was a
little shocked and asked him why. After all, he had bought
300 just three weeks before. "Well , I dunno, " said the City
Slicker, "whether I planted 'em too deep or too close
together, but they haven't come up yet. "
I HAVE FOUND that there are a couple of versions
of this next one going around. Here's the one that I heard:
What do you get when you cross an elephant and peanut
butter? Well , you either get peanut butter with a terrific
memory or an elephant that sticks to the roof of your mouth .
THIS COLUMN FOR NOVEMBER/DECEMBER
1 9 9 8 brings to a close five years of writing "Making Rounds
with Dr. Bugg." It seems to me that this would be a fitting
place and time to bring this effort to a close. It has been a
real pleasure and joy to write these columns every other
month and to hear from so many of you from so many
different places with so many great ideas for me to share
with our readers. I have enjoyed meeting many of you at
clown gatherings from time to time.
So, with some reluctance, but knowing that the time
has come, I bid you a fond farewell from this column. If I run
across any items of interest, I'll send them on to Cal and he
can decide if they are of enough interest to include as an
item in The New Calliope. See ya down the road and as I've
always said, "Keep 'em smilin'."
To reach Dr.Bugg write to Chuck Rlnkel,
5921 Wlnwood Dr. #215, Johnston, IA 50131.
Rlnkel Is a retired United Methodist pastor and
for six years was the Caring Clown for Ottumwa
(IA) Reglonal Health Center.
Editor's Note: I had hoped this column would not be
written for a long time. But I bow to Chuck's decision. He is a
real pro. How can you tell? First, a true professional always
hits the mark, and Chuck never missed a deadline in five
years. Second, a truly professional performer always leaves
his audience wanting more. God bless, Chuck
HAD A CALL from Marty "Huggles" Testament of
Columbus, OH. At 82 she is still bringing smiles to the faces
The New Calliope 45

November/December, 1998
Clowns of America International
Income, expense and balance statement
as of Sept. 30, 1998
REVENUE
Membership
Alley charters
Magazine ads
Merchandise
Convention
Interest
Misc.
Cl.Hall of Fame
Web page
SEPT.
$45,593.78
400.00
6,440.00
1,053.00
970.00
YEAR TO DATE
$45,593.78
400.00
6,440.00
1,053.00
970.00
TOTAL
REV.
$54,456.78
$54,456.78
Let 'em know
you belong
Multi-colored shirts with COAi logo:
Size 2X $25.00
Size 3x $28.00
(only sizes available)
Add $3. 00 postage and handling
Post-paid
stuff!
White T-shirts w/wagon logo:
Sizes L-2x $10.00
Size 3x $12.00
Patches
Pins
Decals
New stuff!
Multi-colored Hats
License plate holders
$3.00
$3.00
$1.00
$15.00
$ 3. 00
Order: Walter R. Lee
1347 Ava Rd.
Severn, MD 21144
( Checks payable to COAI)
46 The New Calliope
EXPENSES
Returned checks
New Calliope prod'tion 9,347.00
Editor fee 4,765.00
New Calliope postage 3,840.00
Computer service 4,890.99
Postage 1,322.17
Printed matter 911.40
Merchandise 3,372.36
Cl Hall of Fame
Publicity
Convention
Education
Misc.
Fall Board meeting
79.48
256.59
Officers phone/postage 271 . 68
Trophies
Board meeting 699.85
Professsional services 1,830.00
National Office 679.19
Innovation/development 50. 50
Excellence in clowning
Clown ArtisU Residence
Directory
Web page
Insurance
Tax payment
1,000.00
1,796.59
TOTALEXP. $35,112.80
BALANCE SHEET
Carry over from
last period $89,208.79
Total revenue 54,456.78
Total expenses 35,112.80
CerUDep. Maturity
CerUDep. Purchase
NET CASH BAL. 33,552.77
HELD IN CDs 127,143.25
Respectfully submitted,
Tony R. Jones, Treasurer
9,347.00
4,765.00
3,840.00
4,890.99
1,322.17
911.40
3,372.36
79.48
256.59
271.68
699.85
1,830.00
679.19
50.50
1,000.00
1,796 .59
$35,112.80
$89,208.79
54,456.78
35,112.80
80,000.00
75,000.00
33,552.77
127,143.25

November /December , 1998
TO ORDER CALL:
1-888-523-2640
Each sticker is 2" in diameter and comes on a roll of 250.
When ordering don't forget to ask for our product list.
hof
Bu,,
get a C ;;, 3 l>o]Js
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() 1997 THE GAG BAG by Rex Nolen
Shipping & Handling
TOTAL
$4.00
Visa , MasterCard, American Express accepted.
Call 1-888-523-2640
Or send check or money order to:
The Gag Bag
501 W. 84th St.
Kansas City, MO 64114
The New Calliope 47

November/December , 1998
Here are three of the four clowns selected to be
featured on Canadian postage stamps. The set,
tltled the Canada Post Circus set, was Issued Oct 1.
From left, Tramp Sylvain "Cashew"Provost, Auguste
Giovanni "Patapouf" lullanl,and Whiteface Frederico
"Fredollnl" lullanl.
Clowns of America International
P.O. Box 6468
Lee's Summit , MO 64064-6468
Periodical Postage
Paid at Bluffton, Ohio
II
48 The New Calliope