Jest For Clowns, A digital journal for and by clowns celebrating the art of clowning

JEST FOR CLOWNS NOV / DEC 2020 VOLUME 3.1

JEST FOR CLOWNS

NOVEMBER / DECEMBER 2020 | VOL.3.1

Dear Subscribers,

Column Deadline: December 10, 2020 2021 Deadlines February 10 April 10 June 10 August 10 October 10

This JestForClowns features Bob ‘Bunky’ Gretton and his lovely wife and clown partner, Teresa ‘Blondi’ Gretton. With a combined 84 years of clowning between them, they have massive experience and colorful stories to share about their lives and journey in clowning.

This issue is the beginning of our third year publishing JestForClowns. We’re introducing San Francisco based Boswick the Clown (former RBBB) who has made a full life of clowning.

Boswick will offer the stuff you really need—snappy one-liners for those questions we’re often asked.

We’ve begun a Highlight category—a splash on someone we feel deserves recognition. This issue we learn more about Tripp Burnett, a young, improvisational, juggling clown who is bound to accomplish great things in clowning.

For many of us, this has not been an easy year to survive. As we head into Thanksgiving and religious holidays remember that we are all rich, because we have each other. Take time to enjoy the holidays and take naps.

Your kind letters and support of JestForClowns, are genuinely appreciated. Please tell your friends about us.

Here’s to better health, better times and a better 2021,

© 2020 Global Touch Press

H

ello again, readers, and a Merry Christmas! Seeing that this is the November-December issue, I thought I’d give a few tips for performing during the holiday season. So, here’s just a few ideas to give your show a truly festive feeling.

Costume: Remember to add a few Yuletide elements to your existing costume, like a Santa Hat, a snowman badge or a reindeer tie. If you want to go that extra mile, you can also come up with a completely new costume and character for Christmas, which I did. P.J the Elf-in-Training, my elf character, combines a clever, mystical being from Santa’s Workshop with a clumsy, clownish oaf who gets things wrong. Notice how both are evident in my look? The red, white and green shout “ELF” in capital letters, but the zany style of hat and the large elf slippers give my character a cartoon-like quality.

Colour schemes: The colours most associated with Christmas are red, green, white, silver and gold, so using props or wearing a costume with all those colours would be an easy way of theming your show. There are red and white appearing/vanishing canes on the magic market, some of which look like candy canes, they’re really cool.

Tricks to perform: Many magic shops sell Christmas themed props, like change bag Christmas stockings, production boxes designed as presents, all of which are awesome. Snowstorm in China, of course, makes a great finale to a Yuletide themed show. But, you don’t need to buy specific items to create a Christmas show. In fact, many standard tricks can be changed dramatically simply by using a different prop or patter. “Cut and Restored Tinsel Garland” or “Torn and Restored Wrapping Paper” are just two examples. Here are a few more.

Haunted Key: This one may sound unusual, but you can use the key which eerily moves by itself to explain how Santa

gets into houses without chimneys.

Sponge/Billiard balls: Use white ones and call them snowballs, then after performing your favourite routine, use a switching device or production item to turn them into a cuddly snowman D-Lite: After performing your favourite routine, throw the lights onto the Christmas tree, which lights up as you do!

There are many ways to theme your show for Christmas. Your only limit is your imagination.

JFC

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JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 VOL. 3.1

Mike Bednarek

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Mike Bednarek

y medical clown persona, Dr. Fun E. Bone, returned to clown doctor rounds at Salem Hospital (Salem, Oregon) in late September for the first time since March, more than a six-month pause while the coronavirus pandemic wreaked havoc on public health, the healthcare system, live performing arts like clowning, and day-to-day life.

It was a long-awaited—and much needed—injection of laughter! But I’ve had to make some adjustments to my clowning with the new reality of COVID-19, including social distancing (no hugs!) and wearing a mask.

What a powerfully expressive tool the face is to a clown!

A mask takes 2/3 of that away, but who better than a clown to find ways to work around that challenge?

New protocol

Before restarting funny bone rounds, I met with hospital administrative and nursing staff to talk about protocol and changes to procedures. It was eye (and clown mind) opening.

For the time being, rounds are limited to Pediatrics, waiting rooms, and hospital campus walkabout until ED (the Emergency Department) opens up to volunteers sometime early 2021.

Wearing a mask is mandatory. I expected that. All staff, volunteers, and visitors don a hospital-issued mask after temperature screening when entering the hospital campus. We briefly discussed some of the 'openface/mouth' model masks as an option, but together decided that I wouldn’t pursue that. They agreed with me that the open-faced masks were kind of scary, albeit helpful for patients to understand what’s being said.

Wearing a face shield, along with the mask, is another option but I haven’t seen the need for the additional paraphernalia.

I didn’t think the pre-printed clown smile masks fit with the simple, accessible nature of my character, and they wouldn’t have met hospital standards anyway. The challenge, then, was to devise some way to 'clown up' the hospital-issue mask. With a simple clowny artistic touch, I added a smile with a Sharpie, using a string red nose over the top, and the reactions and feedback have

been great. “I like your mask!” It’s not just a blank canvas anymore.

I even had a specially-designed and fitted mask sewn for my assistant, Dr. Fowlbreath. It is rubber chicken compliant.

A patient, a little guy just out of surgery wanted the same. After putting a red nose sticker on his drip bag, telling him it would make him feel funny—and it worked almost immediately—he wanted one for his mask. After his mom applied it, I made him an honorary clown doctor, his face lit up, and he said he wanted to be a doctor when he grew up.

I had seen a poster “Superheroes wear masks” and we agreed he must be one, too. A “Boom!” sticker was added to his mask. Then I made a paper napkin rose for him to give to Mom for being by his side.

Room visits

As had been Dr. Fun E. Bone's standard protocol, I continue to check in at the nurses station for recommendations who to visit, which rooms to skip, and any patient-specific information I might need to know. I then do a visual inventory walkaround of the unit to get a general feel for patient census, restrictions, and mood—my funny bone assessment— before visiting specific rooms. The young patients and parents can accept or decline a visit at the door

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 VOL. 3.1

or in their room; it’s always their choice.

Visits into rooms are only allowed if the patient and visiting family members are wearing masks. Visits last no more than 15-minutes, and safe social distancing is observed at all times.

Rooms with unmasked patients and/or with contact restrictions posted can be visited from the doorway only. Bubbles from Dr. Bear are OK outside the room, but I found out otherwise at the very first room visited. After getting out my Pustefix bubble bear—Dr. Bear, in charge of bubble baths—and squeezing the wand up in place, I realized I was masked and thought to myself, “Well, this isn’t going to work very well.” And guess what? It didn’t.

The mask effectively blocked any hard breath of air, unscientific proof that masks work! Just like Bill Nye the Science Guy demonstrated. I considered jury rigging a way to get my breath to the bubble wand using one of those squiggly straws, but thought better yet, I’ll just shelve the use of bubbles until airborne conditions are safer.

Rooms with "Special Contact" restrictions posted cannot be visited and doors should remain closed at all times.

Giveaways like stickers and paper napkin roses will be allowed, either applied directly or given to a parent. I’m having those items delivered in sealed packages directly to the hospital prior to use to mitigate possible germ transfer.

Flexible schedule and other options

Patient census has been relatively low, usually the case during the summer but especially so throughout the coronavirus pandemic and continuing because schools are online this fall. I make a morning call-in to assess patient census and medical clown efficacy on a day-to-day basis on my available mornings Monday, Wednesday, and Friday every week. I’m lucky to have a flexible schedule right now.

With the ED dropped from my clown doctor rounds for the time being, we are exploring other possibilities. We are working on virtual red nose visits as a complement and supplement to in-person clown doctor rounds. And, in a few months, I might be ready to rollout some squeezebox stylings on the concertina I've been teaching myself since April. A forgiving, captive audience will be a necessity.

Playfulness in the air

Playfulness—and maybe the need to be playful—has been in the air. People get clowny, make funny faces, use funny voices, and seem to go out of their way to make eye contact, wave, and air bump. Every day, I hear “So glad you’re back!” and “Oh, look, it’s Patch Adams.” My presence has seemed to release something exhilarating and liberating, maybe after such a long stretch of time of seriousness because of COVID-19, wildfires and smokey skies here in Oregon, a stifled, wet blanket start to the new school year, and the silly (political) season we’re in.

[More than once I’ve thought about the Charlie Chaplin quote: “I remain just one thing, and one thing only, and that is a clown. It places me on a far higher plane than any politician.”]

There were smiles all around during rounds yesterday, from the 7-year old boy and his mama—his lovely assistant—enjoying silly card tricks to the 14month old enamored with my red nose over the top of my mask.

Simple, silly, and present—Dr. Fun E. Bone’s prescription for laughter. JFC Mike Bednarek is a physical comedian (Buster) and medical clown (Dr. Fun E. Bone) from Salem, Oregon in the great Pacific Northwest. In his spare time, he spins his wheels (cycling), squeezes the bellows (on the concertina), and gets taken for walks by his wife and dogs. He recently celebrated his 40th anniversary in clowning, and looks forward to what each day brings.

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 | VOL 3.1

http://charliethejugglingclown.com/books.htm

I

cannot enter any of my adult care facilities to entertain the residents because of the pandemic. But unknowingly I found a new audience and an innovative way I can entertain. One, I repeat one of my adult facilities allows a select group of ambulatory residents to stay outside under the portico while I entertain them. I kept my performance short because of the heat index in Florida. If you do a similar event, check with the facility’s activity director to see how long your gig should be without it being a health risk.

From there, while still in clown I went grocery shopping.

My new adventure began as soon as I exited my car. I answered every look and stare with a wave, hello or a tip of my hat. Obviously smiles were of no use while wearing a mask unless you can look for the sudden appearance of wrinkles along the side of their eyes. If people acknowledge you never let it go unanswered either verbally or physically with a wave. You can do this while following the social distancing rules.

One customer greeted me with a “How ya doin?” With no forethought I answered, “Funtastic!” I immediately thought to myself, “Hey, you just invented a brand new word.”

With the word funtastic embedded in my vocabulary, I use it whenever I can. I also ask others to use it too.

After returning home and putting away the groceries and refreshing my makeup, I continued with my errands at local businesses, all the while being as sociable as possible.

It’s sort of like the late martial arts master Bruce Lee’s motto, “The art of fighting without fighting.” For me, it’s “Entertaining without entertaining” by making your clown presence more personable and noticeable.

T Tommy Moore

he problem with adults is, they’re ADULTS! And they think clowns are for kids. So you’ve got to hit them with material adults would enjoy. The easiest way is to work with a clown partner. A partner makes life easy on many levels. If the patient isn’t very responsive because of meds, pain, or worry, you and your partner can do a 3 to 5 minute show between yourselves. The energy generated between you will be surprising. My usual clown partner, Ed Renner/Numbers, is great at this. He should be. He traveled to Russia with Patch Adams! You should definitely be polished and well rehearsed to the point of having a verbal rhythm. Think Martin & Lewis, Allen & Rossi, The Marx Brothers, Abbott & Costello. The patient will immediately realize you’re not just silly clowns doing stuff for kids but actual entertainers with an act. And once you’ve got your act down pat, it’s a great time to bring a trainee clown along with you, so they can see first-hand the rhythm and flow a show should have.

What to do?

The easiest thing to do is comedy magic mixed with jokes. While kids want to see tricks that work and are disappointed if they don’t, adults will be polite, but not too impressed with real magic. Unless you make an elephant disappear. And most hospitals frown on live elephants. So what works for adults are tricks that don’t work, but are funny because you messed them up, or gave the secret away. I highly recommend you watch all the YouTube’s of British comedy magician Tommy Cooper and American comedy magician Carl Ballantine, for tips on how to do clumsy comedy magic. Classic comedy magic like The Baby Gag, Yes/No/Maybe, Supermarket Prediction, or any trick that foolishly exposes the secret is what you’re going for. But you might want to surprise them with one trick which actually works after they’ve seen three or four that don’t and therefore expect them all not to. The difference could be with the final trick when they say the magic word, and so they’re a better magician than either of you two clowns.

Where to get the tricks and props?

Go to any online magic supplier. Most will have a category for comedy magic. But don’t let the comedy magic for kids confuse you. You want adult stuff. Only get tricks that fit in your big pockets. And only do tricks taking a minute or less. Remember, you have 3 to 5 minutes, and if both you and your partner do 2 to 3 tricks, you’ve filled the time. And with quick tricks you keep the pace fast, furious and interesting.

I suggest tricks which only use one prop, but since patients can’t touch props, your clown partner can do any excess prop holding necessary for a trick.

What to say?

Jokes, one-liners for the sake of speed. Use jokes that fit the tricks. If you’re going to start a card trick, tell a joke about playing Blackjack in Las Vegas, or going to Las Vegas. If you’re going to do a trick with a rubber dove, talk about how no real animals were used in your act, then tell a joke about animals. You get the idea. That you’re in the hospital makes jokes about doctors and nurses a shoe in. So the lead in is, “I showed this trick to the doctor.” Then do a doctor joke as you hold the prop.

Do the trick which doesn’t work and say, “It didn’t work when I did it for the doctor either.”

Where do you get the jokes?

In my office I have over 800 joke books. The five I’d most recommend are: The Milton Berle Private Joke File More of The Best of The Milton Berle Private Joke File Joey Adams’ Encyclopedia of Joke Winning With One-Liners by Pat Williams The Big Book of Laughs by Lowell Streiker The best thing about these books is I have them categorized and alphabetized.

So if you need a joke about doctors, just look under D. Stock lines and Asides Quick stock throw away lines are always great to set the mood and fill the air.

“I have a way you will enjoy this trick much more - lower your expectations!”

“I will now do comedy magic - that’s magic for people who don’t have time to practice!”

“The most important element in magic is surprise - and if any of this stuff works, I’ll be surprised.”

“Remember this is mind over matter - if you don’t mind, I don’t matter” When a trick doesn’t work.

“That’ll be on eBay in the morning!”

Your Partner The other excellent thing about having a partner is you can have interruption fun with each other. It’s the white clown/red clown principle, where one is the authoritative straight man, and the other is the clumsy buffoon. Again think Allen & Rossi, Abbott & Costello, even The Marx Brothers. And again, YouTube is a valuable teacher. Watch great circus clowns like The Pompof Theddy Family, and The Rastelli’s, and see how they react to each other.

Some Advice To quote two great clowns: “KISS - Keep it Simple Stupid.” —Otto Griebling, “Don’t be a spaghetti head,” meaning, don’t get all tangled up in details and facts, just get the laughs as quickly as possible. —Lou Jacobs “Hit ‘em hard, hit ‘em fast, and wrap it up!” —Al Flosso, Magician And Aside from Patients Don’t forget nurses’ stations, if they’re not busy, and patient waiting rooms, even cafeterias. Everybody can use a laugh and a distraction from their cares, plus staff and visitors are a great and appreciative audience. And even though you’re doing hospital clowning for adults, always keep a kid trick or two in your back pocket. A mouth coil, a hat tear, a mini-pocket-sized coloring book.

Many times you will find bored little ones in waiting rooms being watched by parents. The parents will love to take pictures of you with their kids.

One Final YouTube If you’d like to see, firsthand, how The Moore Regional Clowns do it, just Google: Comedian Tommy Moore Hospital Clowning, for a few more tips and some live clips.

A Somewhat Different Skill Set Let me stress the fact everything I know about making adults laugh - is from 47 years of making adults laugh in casinos, comedy clubs, resort hotels, cruise ships and more.

It is a very different approach to clowning. In fact, it is a throwback to when European clowns in one ring circuses were talking clowns and were as much comedians as clowns.

It’s a wonderful thing to have that added dimension of being able to say funny things as well as being able to do funny things. As the great clown David Larible once said, “Every different tool in your box helps you to be a better clown.” So I’m more than grateful for all the years I spent behind a microphone and on a nightclub stage.

Some Day Soon!

Hopefully, when the world gets back to normal, we’ll all be clowning again. Hospital clowns could not go into the hospitals for several months now. But ‘till then here are two stories, one funny, one not so funny, showing why The Moore Regional Hospital Clowns enjoy doing it so much.

The not so funny story first: The nurses tell us which rooms to avoid, patients might be just back from the O.R., or sleeping. One day my partner and I were walking by a room we were told to avoid. But the woman in the room, obviously the patient’s wife, beckons us in. Well, it’s a command performance, so we go in. She says to her husband, “Open your eyes honey, there are clowns here!” He opened his eyes and we did our little 3 minute act. He smiled but didn’t really laugh. Who knows what his condition might have been. As we left, the woman is thanking us profusely. I said, “Well, you’re welcome, but we really didn’t do that much.” She said, “You don’t understand, this is the first time he’s opened his eyes in two weeks.” You never know!

But then there was the time we walked into a patient’s room. She was on the phone. We heard her say, “I have to hang up now, either two clowns just walked into my room, or they have very good drugs in this hospital!” JFC

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ith political tensions at an all-time high, racism raging in the streets of many American cities, and a health pandemic shutting down businesses worldwide, stress, panic and fear are gripping the globe. With so much turmoil happening and no resolutions on the horizon, many political figures have become fodder for news channels and comic strips. I have heard many news commentators refer to government officials as clowns for their inability to cope with all the obstacles before them. As a professional clown, I take offense at that label being given to a profession that is so far removed from what clowns actually are.

Someone recently asked me during a radio interview, “How would the world be different if real clowns ruled the world instead of the Bozos currently running it?” Although I had never really given it much thought, it gave me a moment to pause and survey the current state of the world. How, as a clown, I could tackle some major issues plaguing one and all. Even though the question was asked in jest, I will do my utmost best to tackle this question honestly, humorously and mirthfully.

The Clown Cabinet The biggest change would have to be to the structure of The Senate, The House, and the overall hierarchy of the Presidential cabinet. The Clown Cabinet would consist of the gag-meister, the make-up artist, and the costumer-in-chief. You can’t be a clown and bring joy to the world without specific gags and jokes. This is where the gag-meister comes in. His or her sole job would be to write gags for all the clowns in the cabinet to deliver as State of the Union addresses. Make-up artists would make sure each face looks pristine before the cameras roll. Perhaps the heftiest tasks would burden the costumer-in-chief, as it would be important to have new costumes for each public address, keeping the House of Costumers fully engaged.

Sensitivity Training/Police Brutality A specific issue creating dissension in the ranks is that of police brutality and their incompetence in dealing with different ethnic groups they encounter daily.

Their own fear, prejudice and preconceived notions many times leads them to make reckless decisions that leads to the loss of lives. When this happens, police departments send their officers to “sensitivity training” to best correct this behavior. Frequently this “sensitivity training” includes attending seminars and viewing videos. With every fiber of my clown being, I do not feel this is the most effective remedy.

Sensitivity training should be an immersive experience, just like a humanitarian clown tour. On these tours, clowns immerse themselves in new cultures and customs, deal with sickness, heartbreak and poverty, with one goal in mind . . . bringing joy and peace to everyone they come into contact with.

There is no greater way to become sensitive until you’re placed into situations that force you to tap into that side of your personality. This training shouldn’t be for a few hours—or a few weeks—it should be ongoing with the same objectives in mind.

Clown cops would be equipped with flashy rodeo clown style uniforms, given a loud clown horn, and holstered on their hips should be none other than a rope! When the clown cop car pulls you over and 30 clown cops pop out, the distracter clowns will spring into action. Their job is to distract, entertain and confuse the suspect, while the other clowns grab their Scoot down to the next page for more . . .

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 | VOL. 3.1

ropes and hog-tie the suspect leading to a fun and peaceful arrest.

Political Advertising, Debates and Voting If you have ever turned on your television during an election year, then you are no stranger to seeing a gazillion political advertisements with every snollygoster (yes that is an actual word) taking aim at their opponent. They waste so much air-time talking about their opponent, when the person they should talk about is me! Well, not ME specifically, but to all of us. If you want US to vote for YOU, then what are YOU willing to do to make us happy?

Perhaps make ice cream a vegetable? Send criminals up to the Himalayan Mountains in a skirt to yodel as part of their sentence? Transform military apparel to include stripes and polka dots? If your advertisement is not entertaining, funny, and enticing us with some scintillating reward you will give us, we’ll remove it from the air. We’ll be instructed not to vote for you until you can follow the proper instructions.

If clowns ruled the world, debates would be a variety show.

A major part of each election cycle in the United States is the Presidential debates. This is where each Presidential candidate stands on a stage and is supposed to deliver his or her stance on why they are the best choice for the job. Then how they will address each issue their followers are passionate about. This is the perfect opportunity for each candidate to bloviate, however, they squander this occasion with name calling, nitpicking, and being unpleasant.

Each candidate would be taught how to juggle, ride a unicycle, pack their entire government into a clown car, do their own make-up. Each candidate would stand on a trapdoor. The moment one cannot be jovial or calls the other candidate a name, the trapdoor would open, your debate would be over, and you’d be declared the loser.

If our elections were to become a fun event, more like a game show, perhaps everyone would want to vote.

There is some reason that the Miss America pageant gets more viewers than the debates!

Healthcare One touchy topic surrounding every election is healthcare. Politicians fuss and fight over pre-existing

conditions, how much healthcare should cost, and how much we should help our fellow man. There are several people who have healthcare right. Doctors Without Borders, Clowns Without Borders, and Patch Adams seems to be right on target with delivering medical aid where it’s needed most, regardless of a patient’s ability to pay.

Perhaps bringing back the barter system would be a great idea. If you help provide care for a mechanic with diabetes, then the mechanic will offer oil changes or auto repair in exchange. We all need something, and we all have something to offer in return.

War and Peace If there is one thing I have discovered over anything else since I have become a clown is this: Clowns can get into more places than just about anyone. Clowns are loved and trusted and must always live up to those standards. Delivering peace to the world would be a top priority of all clowns, through programs like Clowns Without Borders.

Clowns Without Borders began in 1993, when children in Barcelona raised funds to send a famous clown, Tortell Poltrona, to refugee camps in Croatia.

The children in Barcelona got the idea from their refugee pen pals, who said, “We miss laughter.”

The first project attracted unexpected audiences of more than 4,000 children, proving to Poltrona there is a great need for clowns and entertainment in crisis situations. He founded Clowns Without Borders to offer humor as a means of psychological support for communities that have suffered trauma. .

Although the idea behind this article began in jest, it really makes one think about how different this world could be if clowns ruled the world. This is just a small sampling of how clowns could change the world given the chance.

Never take for granted how much power, love, and compassion you hold as a clown. Each one of us holds in our hands and hearts the ability to change the world! JFC

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 | VOL. 3.1

BOB ‘BUNKY’ & TERESA ‘BLONDI’ GRETTON Leslie Ann: What path brought you to clowning?

Bunky: It all started in 1977. Teresa was chairman of our neighborhood community Family Fun Day. A week before the event, the person she hired to be a clown back out. Teresa asked me to come to the rescue. She dressed me up as a clown and I walked around for 8hours handing out lollipops, doing improv and meet and greet, having no idea what I was doing. However, I was bitten by the bug. I knew clowning was what I was meant to do.

Blondi: In 1979 and as a manager for my husband, he and I attended our first COA convention in Chicago. I had no idea of becoming a clown as I was there to observe and pick up some ideas to enhance my husband’s quest in clowning. I took a lot of notes and prepared to bring back whatever observations to help our little business endeavor work. On the last day of Scoot over to the next page for more . . .

convention, some Shrine clowns who we befriended and were staying in the hotel room next to us, basically “clown-napped” me into their room to create a clown look so I could personally experience clowning. Next thing I knew, I was participating in an indoor mall parade. The (clown) bug bit me quickly! I found I could produce smiles and giggles. (And will always pay thanks to a little boy who tremendously boosted my self confidence to extreme heights to join the ranks of Joeys).

Bob & Teresa Gretton

Blondi Gretton with Jahir Perdomo “Perolito” and Bunky Gretton at Cole Bros. Circus

The Grett on’s Marving L with eon Parada M ard orales “Max”

Leslie Ann: Who are a few of your favorite comedy performers?

Bunky: Burns and Allen. People have told us we remind them of Gorge Burns and Gracie Allen. (If you are so young, that you don't know who Burns and Allen are, please Google or Youtube).

Blondi: Lucille Ball, Carol Burnett, Red Skelton, Danny Kaye—multi-talented performers with visual comedic actions and expressions. They all had comedy writers but it was the way they presented the words and let actions tell the story.

Actions speak louder than words!

Leslie Ann: What is your greatest professional achievement?

Bunky: Being able to command a 45-minute stage show. The first time we ever performed at Clown Camp as instructors we did an 8:00 a.m. show for the staff and students. At the end of the show we were delighted with the positive response from the staff and students.

Blondi: Writing. My love for writing started in high school. I have had the opportunity to write for television, stage shows, magazine articles. Writing programs and shows using the tools of the trade have been an achievement through the years.

Putting a show together, whether it’s a talent show or day care show, the flow is very important, like a tide flowing in and out, knowing where to put the “ha ha” in the right place. My ultimate goal will be to begin writing a book about clowning.

We have the experience, it’s just putting it into interesting verbiage.

Leslie Ann: What was your biggest learning curve as advance clowns for Cole Bros. Circus?

Bunky: Adaptability. We did 115 shows in 12 states and everyone was different. We went in with Plan “A” and a backup of Plan “B.” Sometimes neither would work. Example. Our magic show had to be performed in the round. However, we were surrounded by adults with spinal chord injuries in wheelchairs. So we did sing-alongs with kazoos. So all of you magicians out there, feel my pain. We had day care show where there were only 8 children, ALL under the age of ONE year old.

Blondi: We were blown away when we were asked to join the ranks of advance clowns for the Cole Bros Circus in 2014. We Skip down for more about Bunky & Blondi . . .

quickly learned that advance clowning is similar to town clowning, visiting the communities ahead of the circus dates and spreading the word about the circus coming to town. We accomplished this by familiar performance venues we use in our own clowning business: magic shows geared with the circus theme, interviews, throwing out the first pitch at minor league baseball games, appearances and handing out free tickets for the children.

We found how important it is to be adaptable and be prepared to change things up by having a backup plan.

Interviews might have been our biggest learning curve.

Media have their own agenda but so does the circus, and it was our responsibility to stick to promoting the circus and selling tickets.

Leslie Ann: In your work or creative process, what concepts are sacred?

Bunky: I'm old school so I am a full face light Auguste clown. We were in makeup all day, everyday as advance clowns on the circus, so we had to eat. But we ate in private, away from the public. I like to keep the mystery of the clown.

Blondi: One of our demands on ourselves is to always look our best (makeup and costuming). We want to leave a great first and last impression with the public. We both leave our marital disagreements in the car or at home and it always works. Usually after a performance we have forgotten what we left behind. We keep performances clean for family enjoyment and always choose appropriate verbiage and actions. I am the one who has problems leaving a gig on time. I love entertaining the children and insist on giving balloons to those who are insistent they didn’t get one even if I had been there for hours.

ALWAYS REMEMBER THAT ALL THE WORLD’S A STAGE! Leslie Ann: What could clowns do differently or better?

Bunky: Look your best when you walk out the door. I feel that when I leave the house I'm representing all clowns, so I want to appear the best I can.

Blondi: Clowns need to closely check in the mirror how they look before leaving their front door. So many times I’ve seen clowns whose makeup was quickly applied or their wigs not completely covering their hair. Not a good impression! I am not an advocate for only wearing a red nose and big shoes to signify a CLOWN! Clowns must be clowns. Balloons and face paints are only tools, not the clown. Let your character become your clown not the best balloon or creative face paint or tattoo. Use your comical side to entertain.

Leslie Ann: How do you handle an unruly child?

Bunky: I let Blondi handle and difficult situations.

Blondi: Sometimes children can be unruly (stomping on the clowns shoes or grabbing at your nose or wig.) I will take time out to speak directly to the child in a firm voice that their action(s) were wrong. I think it’s important not to make a huge spectacle. After admonishing, I offer a choice of balloon and chat with them to let them know I’m not angry or upset. Usually it works favorably and adults have often thanked me for speaking with the child.

Leslie Ann: Quick. Word association. What word describes each of you?

Blondi: A detailed person.

Bunky: Quick-witted.

Leslie Ann: Who were your clown mentors?

Bunky: Jack Anderson and Steve 'Peachy Keene' Long.

Steve instilled in me, that a clown is a living cartoon character.

Blondi: Earl “Mister Clown” Chaney, Jackie “L’il Lolli” or “Lollibells” Garner and JT “Bubba” Sikes.

Leslie Ann: What are you known for professionally?

Bunky: Our stage performances and emcee work at conventions.

Blondi: It’s difficult writing about oneself. Professionally, I have been told that my stage presence is an attribute. I’m a people person; I love one-on-one with those I entertain.

I’m surprised when I can make people laugh, giggle or show amazement with my performance. Aside from performance, I love judging competitions and teaching.

Leslie Ann: Who have you worked with in the past?

Bunky and Blondi: Client wise, we started early in learning quickly. We were offered a TV Show on our local cable channel just three years into our clowning. We provided our county with a children’s clown TV show giving us the title of “video babysitters.” The show was based on the old Howdy Doody Show of the 50s and 60s, but more up to date with segments featuring an in-studio children’s gallery termed the “beehivers,” activityville, guest star (a community personality), remote filming on interesting locations throughout our county, and typical clown skits, puppetry, etc. We kept the show on the air for six years.

Many great projects have blessed us. Living a half hour outside of Washington DC has given us unbelievable opportunities, some as a result of being members of Kapitol Klowns, Alley 6 (COAI’s second oldest clown alley), i.e., Easter Egg Roll on the White House South Lawn, picnics for the White House staff, taking over Union Station in D.C. for the day to celebrate International Clown Week, etc. Of course, we have had decades of performing at our county fair with stage shows.

Wander on down for more . . .

We worked with Willard Scott as Santa on the National Mall in D.C. on the Ellipse in the early 1990s. We also enjoyed an appearance with the rock and roll duo, Jan and Dean, for the Annual U.S. Savings Bond Campaign in 1979.

Leslie Ann: In your creative process, what concepts are sacred?

Bunky: I'm old school so I am a full face light Auguste clown. We were in makeup all day, everyday as advance clowns on the circus, so we had to eat. But we ate in private, away from the public. I like to keep the mystery of the clown.

Blondi: One of our demands on ourselves is to always look our best (makeup and costuming). We want to leave a great first and last impression with the public. We both leave our marital disagreements in the car or at home and it always works. Usually after a performance we have forgotten what we left behind. We keep performances clean for family enjoyment and always choose appropriate verbiage and actions. I am the one who has problems leaving a gig on time. I love entertaining the children and insist on giving balloons to those who are insistent they didn’t get one even if I had been there for hours.

ALWAYS REMEMBER THAT ALL THE WORLD’S A STAGE! Leslie Ann: Who were your clown mentors?

Bunky: Jack Anderson and Steve 'Peachy Keene' Long.

Steve instilled in me, that a clown is a living cartoon character.

Blondi: Earl “Mister Clown” Chaney, Jackie “L’il Lolli” or “Lollibells” Garner and JT “Bubba” Sikes.

Leslie Ann: What are you known for professionally?

Bunky: Our stage performances and emcee work at conventions.

Blondi: It’s difficult writing about oneself. Professionally, I have been told that my stage presence is an attribute. I’m a people person; I love one-on-one with those I entertain.

I’m surprised when I can make people laugh, giggle or show amazement with my performance. Aside from performance, I love judging competitions and teaching.

Leslie Ann: What are you most passionate about professionally? What most excites you about your work and the contribution you can make?

Bunky: Any knowledge I can share with my peers make my happy and joy I bring to the public.

Blondi: Clowning has opened doors in many ways for me, performance, instruction, judge certification, and many endeavors; but perhaps the one most passionate have been the two offices I held in COAI for twenty-four years. I

doubt many people (although I do know of some) would understand the passion behind it. I loved being secretary and being part of great boards through the years helping to make our organization the best in the clowning world. I served to make our organization the best in the clowning world. I served with the best clowns in the world in what I believe were the years where clowning was at its peak. The secretary’s position was more than keeping the minutes.

Transitioning into the role of Membership Director was as enjoyable being able to seek out clowns who deserved recognition in so many ways. I truly enjoyed being a piece of a great membership-driven organization, meeting clowns and taking active parts in the conventions.

Leslie Ann: Where can we find you when you’re not clowning?

Bunky: I spent 39 years playing lead saxophonists for the NFL Washington Redskins Marching band.

Blondi: Life has changed in so many ways this year but our family is our number one pride and joy. Our three children have given us six beautiful grandchildren. Through the years we were typical parents supporting through travel dance troupes and soccer teams plus continuing our clowning gigs.

(I don’t know how we managed to do it all)! For over twenty years I ran our county fair children’s talent show.

Early on I wrote for our county newspaper as a community correspondent.

Leslie Ann: Are there any non-profits you love?

Bunky and Blondi: Number one is definitely not-forprofit COAI. Others include MACA, SECA, and TOBY THE CLOWN FOUNDATION. We also serve on our civic association board of directors. Red Nose Response (RNR) kept us very active instructing others on disaster relief as clowns.

Leslie Ann: Tell us about your evolution in clowning as full-time partners over the years.

Blondi: Being in partnership with one another, we learned by putting one big clown foot in front of the other.

Experience was our reality show in life. Creating a television show gave us a small screen to change and enhance our clowning through the years. It opened our eyes to our imperfections. Continuing to attend conventions to observe clowning gave us added understanding of makeup, costuming, characterization, performance on stage and walk-around, plus tools like balloonology and face painting.

Bunky: Blondi pretty much covers this one.

Leslie Ann: Can you tell us about a challenging gig you faced, and how you dealt with it?

Bunky: It was a humid 100 degree day in August, an outside gig. I had used a product called 'No Sweat' that was Boogie on down for more Bunky & Blondi . . .

meant to keep a clown from sweating profusely. I had not read the directions, (what was I thinking?!) and I poured the entire bottle on my head, then stuck my wig on. During the show, this cascade of green liquid poured down my face and I had to leave the stage immediately.

This is where Blondi went from being my Vanna White to the star of the show, a true baptism by fire. She was a trooper.

Blondi: In the early years of clowning, I was pretty much Bob’s “Vanna White” (assistant in magic shows) although I contributed with balloon sculpting and face painting depending on what type of clown gig. But as Bunky mentioned, I was challenged one day at an outside store grand opening when during our magic show, Bob abruptly whispered to me that he could not see and had to leave the stage. I was panic-stricken! I never had to take the lead in any show, I hardly knew the magic routines except for assisting. However, I suddenly remembered another clown at a convention whose words saved me. “Your audience has no idea what you are going to do!” I used that to the best of my ability by doing the tricks I knew the best and pulling out a few of my own clownie “ha ha’s” I found deep in my pea brain.

It was enough to get through the show and even the manager applauded.

Leslie Ann: What’s the most unexpectedly wonderful compliment anyone has ever paid you?

Bunky: We were doing school shows. While there, we also went to the kindergarten kids for one-on-ones. One little girl earnestly said, “Bunky, You are stupid. You don't know your numbers or colors.” She wasn't being mean, she felt sorry for me. I had played my character correctly and she saw me as stupid. Apparently my character came off correctly. Yay! Blondi: Perhaps the greatest compliment given to me, Blondi, as my more recent auguste character, was receiving the South East Clown Association (SECA) "Bobby Williams" Clown of the Year in 2012. My surprise was an understatement! Glenn Kohlberger, who nominated me (and who served on the SECA board and also as COAI president at that time) also presented the special award in front of my husband, the SECA assembly, and three highly respected icons in the clown world—Earl Chaney (my mentor), Leon McBryde, and Jim Howle, all of whom were instrumental in my clown development.

Leslie Ann: Have you earned any awards or medals?

Blondi: The award mentioned above means so much to me because the nomination came from the president of COAI at that time, but perhaps most importantly from a peer, my friend Glenn Kohlberger. I was thrilled that the

presentation was in front of my husband and three wellrespected clowns: (my mentor) Earl Chaney, Leon McBryde, and Jim Howle. All four have been instrumental in my clown development. In 2000 I was surprised when COAI president Judy Quest presented us with the President’s Award for Beautiful Clown Hearts to both Bunky and “Blinky,” my original clown name.

Bunky: I was awarded COAI Clown of the Year in 2009. th I was also honored to be the 8 person to receive the Lifetime Achievement Award from COAI in 2015.

Leslie Ann: What were some turning points in your clowning?

Bunky: When I was able to make people laugh. It's infectious.

Blondi: The very first time I put makeup on and saw the smiling face of a little boy which told me “I could do this.” When I could go on stage with more confidence and less stage fright. When I could handle a birthday party and magic show on my own.

Leslie Ann: What is your greatest professional achievement?

Bunky: Being advance clowns for Cole Bros. Circus, definitely out of our comfort zone.

Blondi: Writing. Have not mentioned my love for writing.

I think it started in high school in English class. I have had the opportunity to write for television, stage shows, magazine articles. Writing programs and shows using the tools of the trade have been an achievement through the years. Putting a show together, whether it’s a talent show or day care show, the flow is very important, like a tide flowing in and out, knowing where to put the “ha ha” in the right place. My ultimate goal will be to begin writing a book about clowning. We have the experience, it’s just putting it into interesting verbiage.

Leslie Ann: What was your biggest learning curve as advance clowns for Cole Bros. Circus?

Bunky and Blondi: We were blown away when we were asked to join the ranks of advance clowns for the Cole Bros Circus in 2014. We quickly learned that advance clowning is similar to town clowning, visiting the communities ahead of the circus dates and spreading the word about the circus coming to town. We accomplished this by familiar performance venues we use in our own clowning business: magic shows geared with the circus theme, interviews, throwing out the first pitch at minor league baseball games, appearances and handing out free tickets for the children. We found how important it is to be adaptable and be prepared to change things up by having a backup plan. Interviews might have been our biggest learning curve. Media have their own agenda but

Jump down for the BIG FINISH . . .

so does the circus, and it was our responsibility to stick to promoting the circus and selling tickets.

Leslie Ann: What do you want for the world of clowning?

Bunky and Blondi: I don’t believe for a second that “clowning is dying!” I want it to go on in whatever way to bring the mirth it was meant to bring. Clowning has been around for centuries in different styles. People need to laugh unexpectedly, unabashedly, and often. Since I have been clowning (1979), I have seen changes in makeup and styles. Clowns in the 60s and 70s were primarily found in the circus. Detail to makeup and costuming changed up when clowns went from the train to the living room. Clown competitions and conventions have been refined in both areas. However, clown characterizations need more development. We need to continue to work on that. The better we look and present, the public will accept.

Leslie Ann: Anything else you’d like to tell clowns about yourselves?

Blondi: We were offered our first lecture opportunity at the 1993 St. Louis COAI convention. It opened doors for us throughout the clown world. I really enjoy teaching others to experience what they learn and not let our notes just sit in a book. We learned by watching and

listening at conventions. It took us 14 years to finally compete.

Bunky: I try to do random acts of kindness with my paper roses. We usually look for the longest line in the grocery store and offer the checker a paper rose. When we eat out you give it to the server. Or if we realize there's a birthday happening there, I give a paper rose to that birthday person.

Let me tell you about an experience I had. It was late at night and I was in a restaurant (not in clown) with the Cole Bros Circus marketing director. Sitting nearby, was an older couple. The marketing director offered Circus tickets for the next day to the couple. The husband respectfully declined, saying they didn't have kids or grand kids. The woman never looked up and appeared to be sad. I created a paper rose and handed it to her.

That's when I noticed her tear up. Her husband said, “You don't know what you just did.” I thought I was in trouble. (Gulp) The woman said, “Our house burned to the ground today, and we lost everything, but you took the time to make a rose for me. Now, can I give you a hug?” That's why I continue to create the paper roses for people almost every day..

Leslie Ann: How do you want to be remembered?

Bunky and Blondi: We hope to be remembered as true Ambassadors of Joy! JFC

Frank Bartlet “FELIX” Adler was born on June 17, 1895 in Clinton, Iowa and died on Feb 01, 1960 in New York, NY. He was billed as “The KING of CLOWNS.” Felix first started performing with Ringling Bros Circus at the age of 19 in the year 1914. He then took a few years away during which to serve in the first World War. He eventually returned to The “GREATEST SHOW on EARTH” and performed with Ringling Bros and Barnum & Bailey Circus for more than 20+ years. As a Ringling clown, (back in the days of the massive-sized big top circus tent days), many clowns greatly exaggerated their make-ups and wardrobe sizes and Felix was certainly no exception. He created his own very unique clown make up, clown character and costuming. A one-of-a-kind trade mark of his own, however, eventually his signature styling was copied on many occasions.

Felix was known to have incorporated beach balls in the rear of his costume to exaggerate the size of his derriere. A very funny effect! He also carried a tiny umbrella to add contrast, (having a small umbrella and a large exaggerated padded behind.)

As a trainer of some animals, Felix was known to have trained dogs, roosters, a mule and most notably a trained pig. On many occasions, he made it a priority to make visits to children in hospitals around the country. As an advertising/merchandising promotion, he performed a walk around wearing a hat that looked like a gelatin mold and was kind of billed as the Jell-O Clown.

In 1946, Felix met Amelia Irwin, they were married and became known as a Husband and Wife Clown team. Felix Adler was Inducted into the International Clown Hall of Fame – 1989.

Here’s a little poem that I once came across, and have saved it for a long time, that was written by Felix Adler. I hope you enjoy it.

Amble down to the next page for rare images of Felix Adler . . .

For many long years I’ve been trouping about, And acting up capers, just to hear children shout; Their boundless pleasure, joy and glee; For I’m always happy their pleasure to see.

So, I sit on my clown trunk as I whiten my face, Justly proud of my calling, and content with my place; For by playing the fool seems to brighten some life, To bring back the laughter, forgotten by strife.

So if I should live my life over again, In their world of contention and selfish men; I’d choose I am sure to again be a clown, And think up many more antics to banish a frown.

Though I s’pose there are many who would never agree, And think it much better a rich man to be; But the touch of gold seems to harden the heart; And we miss the great joy in a human part!

© COPYRIGHT 2020 The SEVERINI Company, LLC. ALL RIGHTS RESERVED

© COPYRIGHT 2020 The SEVERINI Company, LLC. ALL RIGHTS RESERVED

THE ED COLLECTION

THE ED COLLECTION

THE ED COLLECTION

NOV.

02 03 03 04 05 07 09 09 11 12 14 19 22 23 23 28

Steve Rancatore (RBBB 84) Carl Ballentine Randy Christensen Art Carney Peggy Williams (RBBB) Danny Kazam Bonnie Jean Brown Ed Wynn Jonathan Winters Bert WIlliams Annie Fratellini James Kuhn Rodney Dangerfield Harpo Marx Leslie Ann Akin Donald ‘Oddball’ Carpenter

DEC.

04 06 08 09 10 13 14 15 18 23 29

Frosty Little Bill Brickle Flip Wilson Emmett Kelly Karandash Dick Van Dyke Spike Jones Tim Conway Joseph Grimaldi Richard Snowberg Bev Bergeron

THE ED COLLECTION

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 VOL. 3.1

Tripp, how did you discover clowning?

I was maybe 4 years old and I fell in love with the art of clowning at the RBBB circus.

David Larible was featured and he brought the kid out in everyone. There was lots of audience participation. Looking back, I felt he gave everyone a license to play, no matter what their age. Then at 12-years-old I tried ministry clowning at my church.

When did you pursue clowning as a career?

Right out of high school. I was 18 and started street performing, worked art festivals, and from there gained a reputation because local business folks saw me. One hired me for an outdoor ice cream business. I entertained the patrons with close up magic, juggling and physical comedy. My goal was to attend RBBB Clown College but that was closed before I had the chance.

What are your goals now?

My goal is to make clowning a full time living. I guest clowned with Three Ring Super Circus in North Carolina and loved the experience. I got an offer to tour with them but the Corona Virus killed that opportunity, at least for now.

Who are your mentors and heroes?

This’ll be tough to list but my heroes and mentors are Charlie Chaplin, Avner Eisenberg (Avner The Eccentric), Buster Keaton, Laurel and Hardy, Bill Irwin, Harpo Marx, Tape Face, Greg DeSanto, Ron Severini, Rob Torres, Iman Lizarazu, Pricilla Mooseburger, Lee Andrews, Kelly Ballagh, and many more.

Are you a silent clown?

I’m a silent clown and primarily remain silent on stage when performing. I’ll sometimes chat with children of all ages during meet-and-greets. I enjoy performing silent more because there’s no language barrier.

How did you come up with your plunger juggling act?

I like using everyday objects to juggle with. Through Circus University, I'm learning how to be a more spontaneous performer.

Tell us about your best gig ever. What made it exceptional?

I’d have to say my best gig ever was being an opening act for Pricilla Mooseburger and Miss Julia at MooseCamp 2019. It had always been a dream to perform in front of my mentors and fellow MooseCamp alumni. It was very nerve-racking but I had a lot of fun along the way and made a lot of memories.

What do you want for the clown world?

I'd love to see younger people get interested. I'd encourage learning the traditions, but I'd push their boundaries to evolve with the times. JFC

ROMANDA PHOTOGRAPHY

Video from TV spot with Cirq. U Circus University https://youtu.be/RBOpvaOhCiw

B

y this time last year, the parade season was over. I was feeling quite idle. Then one blustery day, one of our clown club members emailed asking if any of us would be interested in helping with a Christmas fundraiser at an arts center.

Although they did not want a clown, an elf would do.

Having motivation and ideas, I promptly volunteered.

I would dress as an elf, perform a mixed up telling of ‘Twas the Night Before Christmas, do some other skits and play my flute between the other music acts. It was November 18th and the performance was December 8th. I only had 20 days until showtime!

beach pales with little shovels and added an umbrella.

Because you know, reindeer fly.

2. Collecting lumps of coal for Santa — I painted some landscaping rocks with flat black spray paint.

3. Toy Testing — wrote a couple funny complaint letters to Santa and bought a package of foam toy glider planes to test.

4. Telling of Santa stories. I created a Santa stories book, wrote a mixed up story, and used a Christmas tablecloth for the elves to sit on. This also provided a contrasting color for the white words that fell out of my book, mixing up the story.

Put together a costume with thrift store finds, ordered some striped socks, elf ears and shoes, and started researching skits and jokes. As I was browsing, I saw people posting funny pictures of their Elf on the Shelf dolls. I immediately thought of my grandchildren.

They had already taught me to play an Elf on the Shelf game, where they would go into another room and pose as Elf on the Shelf. So I recruited my little elves, ages 7 and 5, to join in my fun.

After this, I created other run-on’s and skits to use: A. For a skit called Ho-Ho-Ho practice, I remade an old puppet into a Santa puppet. My elf got it all wrong.

B. It’s tough juggling presents, deliveries and Santa, but three stuffed Santa's were easy to juggle.

C. A baking sheet with brown letter E’s on it, for a run-on gag — “I baked some Christmas brownies, want some?”

D. A red snow-cone with a white shooting snowball on top.

E. Two Christmas flute songs I played on my flute.

And, to pull it all together, I worked like a blizzard for 20 straight days!

I kept their costumes simple. I inserted tag board cones into Santa hats, cut off the white pom-poms, and turned felt tree skirts into shirts. My elves picked out their own props for Elf on the Shelf poses. Never underestimate the creativity of children. They created this game, owned it, and performed it magnificently.

To make it all flow together, I made a theme for our performance: Elves in Training. I designed the routines so it would be easy for my two elves to following along, not having to memorize lines.

The training included: 1. Reindeer cleanup duty. I bought two red plastic

The lessons I learned from this experience:

A clown needs opportunities for clowning; watch for them, take them. Doing is how we gain experience. A clown needs ideas and inspiration. Using what I found online, I’m happy to share my adventures with you. I hope this inspires you to keep clowning in the winter.

I had a jolly old time, and jest in the nick of time! JFC

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 | VOL 3.1

Performing Performing for for people people with with disabilities disabilities

W

hen we perform as clowns, we often encounter folks sensitive to loud noises or to being touched. There may be folks who are wheelchair bound, who have hearing loss, or do not see very well. Sometimes a child has a tough time sitting still or focusing their attention for more than a couple of minutes.

When a client contacts me and I’m filling out a booking sheet, one important question I ask is: will there be anyone in the audience who may have a disability. If possible, I will try to make accommodations so everyone will have a positive experience. Let your clients know if your show includes loud noises, flashing lights, or live animals. You can turn down the volume, omit the strobe, or leave the animals at home if there is an issue with those types of things. Invite audience members that may have hearing or sight impairments to sit up close in the front row.

It’s also okay to allow a child to stand in the back of the seating area and just watch, if that makes them more comfortable.

Sometimes the performer can settle a very active child down by asking them to be the special helper and hand out stickers or just hold on to a prop. Be sensitive to the fact not all disabilities are outwardly obvious. It is important to treat everyone equally, with thoughtfulness, dignity, and care.

If a child seems afraid, allow them to come to you rather than you approaching them. A loud personality can intimidate, so sometimes I act shy, peek around a corner, and do a pinky wave before coming up to someone. Sometimes a child will be more comfortable talking to a puppet, which is a brilliant way to break the ice. One of my clown friends tells a story about an experience with a blind child.

Although it is not his usual practice, he allowed this young man to touch his costume, his face, and his clown nose. The boy was enthralled and his mother was crying tears of joy. Set your own limits but focusing on the needs of that special person, treating

Skedaddle on over to the next page . . .

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 | VOL 3.1

them with kindness and compassion, and making them feel special, can turn into a beautiful encounter. Always talk to the person directly when possible. If a person is non-verbal, they may have a caregiver with them who can help communicate. It is always best to speak to them, make eye contact, and treat them no differently than you would anybody else.

An excellent way to facilitate making a design choice for a balloon or face painting design is to offer a picture chart rather than a word menu. This way a very young child or someone who is non-verbal may readily show you what they want. When making the balloon animal or painting their face, give a constant commentary of what you are doing; what color you are using, and what part you are painting or sculpting. By talking to the child, it can ease their misgivings, keep them calm, and help them sit still for a longer time.

For an activity such as face painting, it might help to allow the child to hold on to a sensory toy such as a squishy ball. Some kids don’t really want their face painted, so a suitable option is to paint their arm or hand instead. Quick, easy designs are probably best. If they want their face painted, stay away from their eye area. Again, choose a design that is quick and make sure the child looks in the mirror as often as they wish.

Speaking of face painting, Darci McHenry of TeachArt2Me offers this advice: Keep the four “T’s” in mind: Texture - Some children may not like the feel of a sponge or paintbrush on their face. You can show them the sponge or brush and rub it on their hand first to reassure them it is soft and won’t hurt.

Touch - Some kids may not like being touched on their head, face, or arm. Ask permission first. They feel like they are being tickled by the brush. Tell the child to make a fist with their hands, or sit on their hands to help them sit still.

Temperature - Face paints can feel cold on the skin.

You can offer to test a swatch on the client’s arm first, so they can understand what it feels like. If the wet paint isn’t an option, perhaps it is time to pull out dry powdered pigments to apply the design.

Time - Bear in mind some people can only sit still for 15-20 seconds at a time. Explain what you are doing, step by step, while you are doing it. Ask the child to hold a sponge for you while you are painting. Giving them a “job” to do may buy you more time.

If you follow Darci’s words of wisdom, you will set yourself up for success. I agree with her when she says, “All they are looking for is to be loved and treated with respect.” JFC

JEST FOR CLOWNS

NOVEMBER / DECEMBER 2020 | VOL. 3.1

This impressive trick is a sewing project requiring a good sewer. No, not “sue-er”, as in an underground conduit for drainage and waste matter. Yuck. No, this requires the other pronunciation of the word, “soe-er”, one who sews. I was going to phonetically spell it “sow-er”, as you might sow or distribute seeds, but realized “sow” is also pronounced as in a female pig. Another yuck. Ain’t English grand?

Anyway, here’s the effect. The performer shows a bunch of loose, unstrung pearls in a glass (see Figure 1). Pour the pearls into a small black bag. After the proper incantations, you’ll open the bag and the pearls fly into the air, where they’re caught by you and shown as a complete necklace.

Figure 2 shows the making of the bag. Mine measures 5” by 8-1/2”, but you can make it any size, relative to whatever you’re trying to vanish.

The bag is held together with ¼” strips of Velcro® strips on each side. Cut down conventional Velcro to make the strips that width. At the top of the bag is a secret pocket. The opening of the pocket has Velcro strips to keep it closed (see Figure 3).

At this point I must state in my not-so-humble opinion the most valuable tools for the magician are Velcro, black elastic, magnets and gaff tape.

You’ll need to buy two cheap pearl necklaces from the Dollar Store or a party supply. Cut one of them so all the pearls are separate and put them in a glass. Put the bag together, so it looks like–uh–a bag, but leave the secret pocket open. Place the complete necklace in the front pocket.

To perform, show the pearls as separate and individual. You might also want to give some to some to hold for a moment. Pour the pearls into the bag, into the secret pocket.

Using fingers of both hands, press the Velcro together to seal Mosey on down to the next page for the big finish . . . .

JEST FOR CLOWNS

NOVEMBER / DECEMBER 2020 | VOL. 3.1

the pocket.

The performer now grabs the top edges of the bag and quickly pulls them apart, causing the bag to “rip” open and the necklace to fly into the air. The performer catches the necklace and holds it against the open bag for contrast (see Figure 4.) This rip-and-catch sequence will take a little practice. Dropping the necklace is a bummer for your show.

As I mentioned previously, you can make this most any size.

I have a much larger one used to vanish a wooden disk about 6 or 7 inches in diameter. Actually, the head of a Forgetful Freddy trick, if you know what that is. Here, instead of a transposition of one object into another, you would put the object into the secret pocket and then rip the bag showing the object as vanished. In fact, you could use this as a utility vanisher or as you would a change bag. Think of the possibilities! Alton Brown, one of my favorite TV chefs, advocates every kitchen gadget should be multipurpose. He says the only thing in the kitchen for a single purpose is a fire extinguisher.

This little bag is multi purpose. You can also use objects other than the pearls, such as links of chain, paper clips, pieces of rope, ribbons, color changes, you name it. It also lends itself to a variety of stories. Such as a princess with a broken necklace no one could fix and a wonderful wizard who finally can do so.

Have fun with this. It’s pretty and has action, and it packs small and plays big. But as always, remember it’s just a prop, because The Magic is You. JFC

M

y passion lies in happy guest and client experiences, and turning profit when I paint faces. I apply my artistic craft, and paint from a menu with limited number choices from which guests choose a design. During the holiday season there are several Nosy Reindeer and Snowflake Swirls offered. For me, this just works. The menu makes the process more efficient, resulting in repeat faces and customers.

My holiday events support my business and they should support yours too. And while our calendars are not all full this winter, quick, clean designs are most desirable for low contact face painting. Lines at my events are busy and I need fast designs to please a wide range of children from babies to teens.

Overall, I like a few event themed designs on my board which I can change up to make it appear as if I have more designs. I may have one design in two differing colors I give two different titles. Maybe it’s the same design element but placed in different spots on the face. Something on the cheek can take on a fresh look by placing the key element on the forehead. Same design, different placement. My mind’s eye sees the same design but minor changes in where I place the accent elements allow me to process and paint the designs quickly.

For the winter holiday I like snowmen because I can do one simple design four or five ways. I keep it simple to not only move quickly, but because a less complicated, simple design has instant curb appeal as that guest slides from your chair.

And simple designs allow you to spend your time in executing impressive lines.

I have attached a few images for reference. Use a cheat sheet to peer at as you learn to be more proficient. For a spark on the job if need or just to help you decide on those few variations you will have on your board. Tools make work easy, and easy work means you can work quickly. What you save here, you spend in making sure you execute that

simple design to the best of your ability. The better you are means you can sell your skills for a higher profit.

Among the best clients are those with budgets and annual events. Holiday events are some of the best repeat customers for a fiscally healthy business. And as many clients have annual events, there is sure to be an event out there waiting for you. Malls and churches, service groups and schools, all have something going on where a face painter can be hired. Market yourself with post cards, emails, and phone calls to secure a few holiday events to assure your winter income year after year.

The last best reason I like corporate and school events is I can come in with a limited kit and just zone into the face painting and entertaining. I like these clients because they provide a good portion of my needs such as a canopy, table, chairs, electrical power and signage. And some level of crowd control.

There is nothing better than having the client call the end of the line and hand you a check. And you pack up that smaller kit and off you go to a Happy New Year. JFC

JEST FOR CLOWNS

NOVEMBER / DECEMBER 2020 | VOL.3.1

Hello there, my fellow Joeys and Picnic Gamers!

We have come to the end of my dissertation on picnic games. This issue, I want to take some of my favorite games you may or may not have heard about or have played in your picnic games packages. I will enhance, change and tweak them to make them even more fun.

Three Legged Race - Normal

Candy Scramble for the little ones For example, everyone has played a sack race, or some version of a sack race. In fact, the very first game I played and won was a sack race at age 7 at my very first company picnic for the company my Dad worked at.

What I have found was to use the sacks for more than one purpose, including a 3-legged race and targets for a Frisbee toss, which we mentioned in previous issues.

But what if you played the game for one aged group of kids, say the 7-9-year-olds, and you now want to use it for teenagers? What to do? Simple! You have the teens do the game, but backwards. It is hilarious to watch, as they have to maneuver around obstacles while maintaining the backwards momentum.

Three Legged Race Backwards!

Another excellent variation of a theme for me is to go big. For example, I have played a water balloon game for adults and teens, but I call it the big bomb.

Imagine if you will—in the voice of Rod Sterling, playing a water balloon toss, but the balloons are 1/2 3/4 filled 11 inch balloons. Each weighs almost 1 and 1/4 pounds. I’ll include a copy of a photo when one of those puppies breaks open on someone.

JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 VOL. 3.1

shower caps and hot mitts. Back at the picnic grounds: Teams of two men each had to don the shower caps and aprons, pick up a broom and sweep an aluminum soda can from one end of the track, around a cone and back. The next man in line had to take said cap and apron and repeat the process. Upon completion of this, the first man on the team had to take back the apron and cap, plus put on a hot mitt and pick up the tong.

They then had to pick up the frying pan which contained a rubber fish and flip the fish continuously as they ran down the track to the cone at the end and come back again. If a fish fell out of the pan, they had to use the tongs to pick it up again, put it back into the pan and continue where they swapped off.

Big Bomb during play!

An Aftermath of Big Bomb!

Another great, yet heavy, game we have played is the ski game. Several pairs of painted boards which are 6-feet long with rope handles on them for four different people to stand on. Pulling the handles tightly upwards, the quad of people has to in unison step up to move a ski forward. Then repeat it on the other leg. The obstacle is they have to ski down the track, go around a cone and come back.

Bucket Brigade is fun, but that water is COLD! Another popular game is mummy wrap. Basically, a team of two, usually a mom and daughter, would play.

Each team received a roll of cheap toilet paper. I know what you’re thinking. This was Pre-Covid pandemonium. The daughter would wrap their mothers up to look like mummies. I always gave out awards for best wrapped and fastest wrapped.

Bucket Brigade!

On a hot day, Bucket Brigade is fun, but that water is cold! Kelley and I decided one day to spend a small fortune on reusable things at the local Big Lots and 99 Cent stores. We bought six of the following items: brooms, aprons, frying pans, tongs,

Wheelbarrow Race with Teens and Adults!

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JEST FOR CLOWNS NOVEMBER / DECEMBER 2020 VOL. 3.1

Another popular game is mummy wrap. Basically, a team of two, usually a mom and daughter, would play.

Each team received a roll of cheap toilet paper. I know what you’re thinking. This was Pre-Covid pandemonium. The daughter would wrap their mothers up to look like mummies. I always gave out awards for best wrapped and fastest wrapped.

The Ever Popular and Messy Egg Toss!

Mummy Wrap (when TP was plentiful and cheap!)

A fun game to play for the little ones is what I call frog pond. I found old pieces of fake grass and cut them into large round circles of approx. 2 feet across. The kids each receive two pieces and have to stand on one piece as they toss out their second piece, but not too far away. As they have to jump on it, reach back and grab the first piece and continue down the track to the finish line.

In the last couple of years, Kelley and I have been using another game as a finale. We call it target practice. The props are simple: paper lunch bags, a small plastic cup and a bucket or two of water. The idea is to have each player, one at a time, come up to the bucket and then, and only then, open their bag. I would quickly dump into the bag 2 cups of the water.

The player would quickly twist the top closed and then heave the bag, with water in it, towards the target, a cone at the end of the track. The object is to be the closest to the cone. But after they throw their bag, they go out onto the field and stand over their bag. The next person tosses their bag. Many people get wet as the bags burst open near one another, and/or the bag tears open if the person tries to toss it too hard. This sprays the water all over the nearest competitors.

There are literally hundreds of other games that can and have been played. But I want to end on a game that my dear friend and Picnic Coordinator, Laurel Ward, gave me as a final, final game! It’s called clean the green. After every picnic there is always a ton of trash picnic goers toss upon the ground.

Someone has to clean it up. Why not let the kids do the cleaning up? We would announce the winner of this game will receive the grand prize, yet everyone will receive something for playing. Every child, or team of 2 or 3, gets a small garbage bag. Upon my signal, they would run throughout the park and pick up trash off the ground, or tables, but NOT OUT OF THE TRASH CANS. Then come back to my area, very near the garbage receptacles. Upon my signal, a whistle blow, whoever had the most full bag would receive the grand prize.

Everyone else received something small. Squirt guns are popular in the summer heat.

Well friend, fans and fellow fun-time frolic fiends . . .

I hope this series has been fun for you as well as educational/inspirational. I’ve had a blast doing it. I want to remind you to always learn from each other.

Help each other. But most importantly, keep on smiling! JFC