Tuesday, November 24, 2009

HARRY STEPPE


HARRY STEPPE

Harry Steppe (born Abraham Stepner, March 1888 – November 22, 1934) was a Jewish-American actor, comedian, writer, director and producer, who toured North America working in Vaudeville and Burlesque. Harry claimed to have coined such terms as "top banana" (the headliner or top act on the bill), and "second banana." As one of Bud Abbott's first partners, Harry introduced Bud to Lou Costello in 1934.

Born in Moscow to Russian immigrant Orthodox Jewish parents, Steppe was billed as a Hebrew, Jewish-dialect or Yiddish character comedian. His gags and skits were also performed by such well-known comedians as Phil Silvers, The Three Stooges, and Abbott and Costello. Although Steppe had penned the "Pokomoko" (aka Niagara Falls) Routine ("Slowly I Turned, step by step, inch by inch...")" and performed it with The Three Stooges, other writers, including fellow Vaudevillians Joey Faye and Samuel Goldman each laid claim to the skit, too. "Lifting" routines from another performer was standard operating procedure in the early-to-mid 20th century, and the famed routine was performed, without originator credit, by...

Phil Silvers credited Steppe with "introducing the phrase 'Top Banana' into show business jargon in 1927 as a synonym for the top comic on the bill. It rose out of a routine, full of doubletalk, in which three comics tried to share two bananas." Silvers further popularized the term "Top Banana" in his 1951 Broadway musical and 1954 film of the same name.

Steppe performed at several well-known theaters on the Orpheum Circuit. According to Loew's Weekly (a program issued free to theater patrons), in a June 18, 1928 performance at the Loew's Theater in New York, he was billed with Lola Pierce. Reportedly, Pierce was an actress he was linked to romantically. Other paramours of Harry Steppe included Vaudeville performers Victoria "Vic" Dayton (whom he apparently married), Edna Raymond and Leona St. Clair

Death

Pulmonary edema contributed to Steppe's death, according to his death certificate. He was at Bellevue Hospital in New York, New York for two days and had been ill for a month, according to a story in Variety magazine, Nov. 27, 1934. Abe Stepner's obituary appears under "Feature News," Billboard magazine, Dec. 1, 1934, pg 5.






OTTO GRIEBLING: Life Magazine (May 11, 1959)




Requiem for a Clown

A clown in greasepaint asks for a kiss and is rejected. Two weeks later Otto Griebling, one of the most famous circus clowns, is dead. An OpEd remembrance...


"I should have kissed him. I know that now. But he was after all only a clown, his face covered with grease paint and his clothes in tatters....He wooed other women that night. But, as horses and elephants followed the dogs into the rings, I saw no one kiss him. Less than a month later Otto Griebling, one of the most famous circus clowns, died....I wish I had kissed him."

The New York Times, May 20, 1972


CLOWN ALLEY: Reggie Montgomery & Michael Karp


In reference to yesterday's photo, our pal Mr. Karp replied...

Oh brother, Mr. Cashin! Where the heck did you dig that up?

As I recall, this was a "utility" walk around that Reggie and I did on a kind of on-and-off-basis...much as we did a come-in gag for a while...(Reggie switched with Louie DeJesus for that one....)

As I recall, I stood before the audience and mimed that I was about to perform a magic trick of some sort...I had a few that were really, really lame....As I reacted to the audience's lack of appreciation, Reggie stepped forward, and pulled a pinwheel out from under a silk...He worked it so it looked like a trick.

As the audience applauded him, I kicked him, and he chased me to the next stop...
upset that Reggie was clearly the better magician!

All this is recalled terribly imperfectly... Reggie was a great guy.

And Dougie???? Standing there judgemental and snide, ready to top us the moment we moved on--which, of course, brilliant performer that he was, he did!

(My face is caked with dust from nosing around the memories of the Ancient World!)

It was great seeing that photo, Pat...and an honor to be referred to as "our pal"...
Talk to you soon...

Michael

SEREBRIAKOV: (1977)

Link courtesy of Raffaele Deritis



Serebriakov is the father of Valery, (aka Val De Fun).

Monday, November 23, 2009

WALLY ON THE RUN: Trick Kelly & Steve Copeland



Steve Copeland (in Bobby Kay's makeup) and Trick Kelly in WALLY ON THE RUN, a video created for Steve Martin's video contest for his new banjo album.

JOHN HADFIELD: Robot Monkey Head

Hi Pat!

My new music video is finally complete. You'll recognize 4 Clown College grads in it. Wanted to give you a special sneak preview - we're releasing it later today!

Talk to you soon,
John H




In the remote underground laboratory of a mad scientist, a man in a shiny suit steals the head of a robot monkey. A wild chase scene on bicycles ensues - the man and the monkey head pursued by the scientist and his hunchback assistant.


Meanwhile, the headless robot monkey escapes from the lab and wreaks havoc through the town searching for his head. An angry group of townspeople with torches and pitchforks chases him to the edge of town, where he figuratively comes face to face with the man in the shiny suit. After a brief struggle, the head is returned to its rightful owner.

Or is it...

Robot Monkey Head
Copyright 2006 John Hadfield
and Geri Smith

Cast
John Hadfield - John Hadfield
Mad Scientist - Rich Potter
Hunchback Assistant - Chris Shelton
Police Officer - Mark Manniso
Woman with Broom - Wendy Lapham
Headless Monkey - Bill Champion
Stunt Monkey - John Hadfield
Monkey Head - Hilton
Girls walking dogs -
Julia Russ & Julia Bosso
Dogs - Kenny and Ozzie
Little Boy - Rohan Mandayam

Angry Mob -
Bill Champion
Rosella Champion
Julie Hadfield
Carolyn Bitzer
Suraj Mandayam
Sandy Urban
Chris Shelton
Rich Potter

Executive Producer - John Hadfield
Producer and Director - Nic Beery

Additional Music
Jay Manley

Crew
Nic Beery &
Ismail Abdelkhalek

Caterer - Wendy Lapham

Produced for John Hadfield by
BeeryMedia.com

Special thanks to Nic Beery and Ismail Abdelkhalek

No real monkeys were harmed in the filming of this video

More about John Hadfield, Robot Monkey Head music and merchandise can be found at:

CIRQUE DU SOLEIL: Banana Shpeel

Article courtesy of Don Covington

'Banana Shpeel': Cirque du Soleil
slides into world of legitimate theater

By Chris Jones, Tribune Theater Critic


“Banana Shpeel” grew out of a desire of Cirque founder Guy Laliberte’s to create a vaudeville show. It comes to the Chicago Theatre on Dec. 2. (Scott Strazzante/Tribune photo)



From “Ka” to “Kooza” and “Alegria” to “Zumanity,” the Cirque du Soleil has conquered tents, casinos, theme parks and arenas in almost every corner of the world. It has achieved total dominance of the high-stakes world of Las Vegas entertainment. It has wrestled with the music of the Beatles and the infamous personality of Criss Angel. Come January in Vegas, it will even take on the biggest entertainment icon of them all: Elvis.

But even as it has cut its extraordinary swath through global culture over the past quarter century, Cirque has assiduously stayed away from one huge segment of the live entertainment industry.

Cirque has ignored these mostly historic, occasionally iconic jewels that pepper American downtowns, make up the chain of Broadway and, in the case of the beloved Chicago Theatre, emotionally embody a night on the town.

It is a gap Cirque’s derivative competitors have shrewdly exploited, creating an endless array of Euro-style, animal-free shows such as “Cirque Dreams,” “Cirque Ingenieux,” “Cirque Imagination” and (coming to Skokie beginning Nov. 28) “Cirque Le Masque.”
But with the arrival of Cirque du Soleil’s new “Banana Shpeel” at the Chicago Theatre (it moves to New York’s New Beacon Theatre in February), it is a gap that exists no more. “Banana Shpeel” — originally billed as a distinctive fusion of vaudeville, clowning and musical comedy — will be Cirque’s first foray into the world of legitimate theater. Or will it?

For commercial theater is a byzantine world dominated by rules, agents, unions, writers, composers, star names and ways of operating very foreign to the famously esoteric, famously creative and famously confidential Cirque process of “création.” It is a less-than-controllable world in which Cirque, for all its sophistication, lacks experience. By its own admission.
“Banana Shpeel” will officially be unpeeled Dec. 2 in Chicago. And those who have bet against Cirque in the past have usually found themselves stuck on black with the wheel showing red. But the story so far of “Banana Shpeel” has included some slip-ups.

“We had a lot of good stuff right from the start,” says Serge Roy, the cheerfully frank Cirque producer in charge of “Banana Shpeel.” The ebullient Roy is sitting in the balcony of the Chicago Theatre, even as the remarkably calm and focused director, David Shiner, forges (and re-forges) the high-stakes show on the stage below. “The problems came,” says Roy, unperturbed by the admission, “when we started to put everything together. We were getting into a world in which we are not at ease.”

Those problems were, in essence, the hiring and firing of the show’s two stars: Annaleigh Ashford (who was a longtime Glinda in the Chicago production of “Wicked”) and Michael Longoria (who performed as Frankie Valli in “Jersey Boys” on Broadway). In September, both were seen (and can still be seen via YouTube) on the season finale of NBC’s “America’s Got Talent,” performing a signature number from “Banana Shpeel.”

They are now gone, their characters written out of the show. The number they were singing is gone too. The original composer, Laurence O’Keefe (another big Broadway name who penned the score to “Legally Blonde: The Musical”), has also come and gone from the project. All of his music has been cut from “Shpeel.”

“We make changes like that all the time during our creation process,” Roy says. “The only difference is that, usually, nobody hears about them.”

Indeed not. Internal creative decisions at Cirque typically have stayed internal, which is the way most businesses, creative and otherwise, like to keep things. And (with the notable exception of its “Criss Angel Believe” show in Vegas) Cirque has always de-emphasized individuals and emphasized the creative whole.

Millions of people have seen “O” in Las Vegas. Very few of them would remember the names of any of the performers they saw. It’s the same with “Ka,” “Mystere,” “Quidam,” you name it.

But unfair as it may be, the firing of a troupe of unknown Ukrainian acrobats in Montreal is a very different matter from nixing three respected Broadway names before rehearsals in Chicago.

When Cirque went to agents in New York, seeking top music-theater talent for a show widely described as Cirque’s first foray into musical theater, the presence of those stars was a legitimizing factor. And when they were removed prior to the process of moving to Chicago, the news spread quickly through the New York theater community (and reached this reporter).

Initially, at least, Cirque seemed surprised by all the fuss. But they are now talking about it openly.

Roy and Shiner are at pains to say that the decision to write out Ashford and Longoria had nothing to do with their work or talent. It was simply a decision to move in a new creative direction. In a one-word statement issued through her representative, Ashford said she was “shocked” by the turn of events that removed her from the show.

“Banana Shpeel” had grown out of a desire of Cirque founder Guy Laliberte’s to create a vaudeville show. Partially as a response to the economic troubles in its core Vegas market, Cirque has been doing a lot of brand extension recently, including a foray into magic. Because high-end magic tends to be dominated by individuals who guard their tricks and their personal brand, that meant Cirque had to break its no-star rule and get into creative bed with Angel.

Longtime Cirque watchers have also noticed its Vegas portfolio is now shrewdly segmented so that there are shows appealing to many sections of the market. “Ka,” an operatic show created by Robert Lepage, holds down the arty high end, while “Criss Angel Believe” attracts a much younger, more blue-collar crowd. But although its tent shows are now slotted into arenas after exhausting the markets that can support the big tops (Sears Centre Arena in Hoffman Estates has announced a booking of the old tent show “Alegria”), Cirque has never had the kind of show that could tour to actual theaters.

So why not create such a show? Madison Square Garden Entertainment, which owns the Chicago and the Beacon, became an enthusiastic partner. Shiner, a highly regarded clowning and physical-theater expert and the creative force behind the hugely successful tent-show “Kooza,” was called in. Shiner put together a conceptual outline. The initial show-within-a-show concept involved a colorful producer, one Marty Schmelky (played by Jerry Kernion), who is auditioning for his ongoing contemporary vaudeville show, “Schmelky’s Spectacular.” Ashford was to play the producer’s singing-and-dancing daughter. Longoria was to play an aspiring actor. The two were to fall in love. Also included: clowning, circus, variety, vaudeville and a Broadway-style love story, replete with much singing and dancing to original O’Keefe numbers.

But once “Banana Shpeel” went into rehearsals in Montreal, it became clear that it could not be or do all of those things at once. According to several of the people involved, there were just too many characters requiring too much exposition.

“The show was becoming too story-based,” Shiner says. “We also wanted to include clowning and variety. But the story element was outweighing everything else. There just wasn’t enough time. … So we would have needed to diminish the roles played by Annaleigh and Michael. And we decided that would have been a waste of their huge talents. It all was a learning process for everybody.”

“It was dragging,” says Roy. “We wanted to do a show with humor and fun. We never wanted to do a Broadway-type show. We found we weren’t comfortable with that. We like to improvise. We like people to have a good time. So we asked ourselves, what would happen if we didn’t try to tell all that story? And once we weren’t telling that story, many of the songs were not needed.”

So Ashford, Longoria and the song stylings of O’Keefe were out. And Cirque, in essence, went back to a world in which it is more comfortable. And within which it has never failed.

“We wanted to revisit the world of our show,” Shiner says. “And we wanted to get our arms around it.”

For sure, Cirque fans will likely notice some new-to-Cirque elements in “Banana Shpeel,” including dialogue and hard-edged slapstick (and, of course, the proscenium setting). But, at least as Shiner describes it, the “Shpeel” that will open Dec. 2 has been shorn of its narrative clutter, and now has a very simple plot.

Various circus acts audition (or are already in Schmelky’s show). A core clutch of five clowns (two of whom are Schmelky’s assistants) alternately aid and disrupt the auditions. A live band, clowning, comedy, variety, tap-dancing and hip-hop are all included. The style is modern and hard-edged. There is a foot juggler. But there is no Broadway-style book. Not any more.

Shiner says the clown routines were created from scratch in the studio — very much in the European theatrical tradition — and were always intended to be at the core of “Banana Shpeel.”

“Our show,” Shiner says, “is based in comedy and dance.”

It will be as simple as that. Cirque has never claimed to have a pretty process. Even during technical rehearsals, Roy continued to tinker. He talked about adding a few more performers, perhaps. He had plans to restage one of the biggest set-pieces. “I’d wish I had a turntable for that,” he said, wistfully, as the remarkable foot juggler works below.

For his part, Shiner says he plans to keep creating long after Dec. 2. “For me, the work is never done until the producers say I can’t come back,” he says.

Unlike on Broadway, nothing (and nobody) is frozen in a Cirque production. Its creations change all the time, even decades after their “création,” and the people who create them say there is no need to change that modus operandi, just because they happen to now be behind a proscenium arch.

A few days before the first preview, Daniel Ross, another of the creatives involved in the production, was standing in the lobby of the Chicago Theatre. Once Shiner and Roy leave, Ross will be the one charged with maintaining the show, which Cirque hopes will tour nationally, maybe internationally, after its New York stand. For years to come. Ross was asked how things were going.

“It’s always the last crunch,” he said, raising his eyebrows and smiling broadly. “I guess we thrive on that.”


CLOWN ALLEY: Reggie Montgomery, Michael Karp & Dougie Ashton; RBB&B

Our pal Michael Karp prepares to kick Reggie Montgomery's behind for wearing penny loafers on the track while Dougie "The Lord of Misrule" Ashton looks on in approval.

IN MEMORIAM: David Mark Slusser


It is my sad duty to inform you of the untimely death of David Mark Slusser, former HI-HO the Clown on the Big John Strong Circus in the early 70s. Dave was the son of Chester and Marylu Slusser, long time Circus fans, historians and model builders.

Ken Slusser

David Mark Slusser

November 19, 2009 5:44 PM
THE PORTERVILLE RECORDER

David Mark Slusser, a long time resident of Porterville passed away on November 3, 2009.


A graduate of Porterville Union High School who completed early to join the John Strong Circus as a professional entertainer performing magic tricks as HI-HO the Clown and working as an advance man for the show. He joined the US Army and was assigned to the 101's Airborne obtaining the rank of Sergeant and served as a trainer at Fort Benning, Georgia and as a recruiter in Virginia. He received an Honorable Discharge in 1979 before coming home to Porterville to take care of his aging parents.


A lifelong circus fan, he was an accomplished wood carver and carpenter, he frequently collaborated with his friend Bill Melton on wagon restoration. For many years he has been a regular exhibitor at the Tulare Antique Farm Show, Five Dogs, and Draft Horse Shows.


Dave was preceded in death by his parents Chester and MaryLu Slusser and is survived by his older brother and sister-in- law, Ken and Christine Slusser of Santa Margarita, CA and his younger brother Clyde Slusser of Porterville.
A dedicated artisan who loved his craft and life, he will be missed dearly by his many friends and family.
He will be laid to rest at the Veteran's Cemetery in Bakersfield.


Donations in his honor may be made to your favorite charity.

Service under the direction of Whitehurst-Peters-Loyd Funeral & Cremation Service.


Sunday, November 22, 2009

MINI & MAXI

If anyone can translate their Wikipedia bio (in Dutch), please forward it so that I can add it to this post.

















Saturday, November 21, 2009

AHORA: Titanes de la Carpa Grande (1970s)



THE TIMES SQUARE TWO: The Smothers Brothers Comedy Hour

Link courtesy of Drew Friedman and Jay Lynch



From Monsters and Rockets...

The Times Square Two were an eccentric musical comedy duo who were apparently fairly popular in the '60s, appearing on most of the big variety and talk shows of the era - Merv Griffin, Johnny Carson, Dick Cavett, Dean Martin, et al. They affected the personas of a pair of creepy yet endearing nitwits from the bygone days of early vaudeville, with "Mycroft Partner" as a pompous English dandy and "Andrew I" as a storky nerd with Coke bottle glasses, greased and center-parted hair and a squawking, Jerry Lewis voice. (They often introduced themselves as "My Partner and I.")


In reality, "Partner" was Peter Elbling, AKA Harold Oblong, an English writer and character actor who became uniquitous in the '70s and '80s, turning up everywhere from The Phantom of the Paradise to WKRP and Taxi. The "I" in this team was Michel Choquette, a French-Canadian who went on to be one of the early writers for The National Lampoon, among other accomplishments.

At the height of their popularity, The Times Square Two stayed in character even when offstage, claiming to know little about the pop culture of the day and being driven around by a chauffer in a vintage motorcar. They took the act about as far as it could go, finally splitting up in 1970.

The Times Square Two have become rather obscure in the decades since, and footage of their old performances is rare. This clip, from the old Smothers Brothers' show, captures the pair in performance. By being such an odd throwback, their act became sort of timeless. If these two were just starting out now, they would probably baffle and amuse audiences just as much as they did in 1964.


From Michel Choquette...

Peter Elbling and I formed The Times Square Two in Vancouver in 1964, moved to California in 1965, then to New York in 1966. The act broke up early in 1970. Peter has been living in Los Angeles since then, where he has worked in improvisational theatre and as a television actor. He has also made a name for himself as a writer. I stayed in New York for a few years, where I became one of the original contributing editors of National Lampoon. Since then I have worked on various film, theatre and publishing projects. Since 1984 I have been teaching screenwriting and comedy writing at McGill University and Concordia University in Montreal.

If you're interested, I can e-mail you some Times Square Two photos and literature.

Regards,

Michel Choquette


Friday, November 20, 2009

MICKEY McDONALD: Camden Courier-Post (June 9,1933)



"Hebrew skip-dance"?!? Apparently, had circus comedians of the past not bowed to the pressures of "political correctness", we would not have lost the great rabbinical pachyderm routines of yesteryear...



Clown Elephant Puts on Own 'Weber-and-Fields' Show



Of the many uproariously funny clown gags in the Great Hagenbeck-Wallace Circus, coming to Camden next Thursday, probably the most talented is Mickey McDonald and "Joel", one of the clown elephants, in their impersonation of the Hebrew. In this, the huge pachyderm will be seen doing the Hebrew skip-dance, one of the most difficult things ever taught an elephant.

The vast audiences never fail to respond with roars of laughter and applause, as the pair proceed around the full length of the great hippodrome track.

There are 65 funsters with the huge show this season, and all are of national reputations. A clown band of 35 pieces is another of the outstanding clown features with "The Highest Class Circus on Earth."


BLACK BROTHERS: Polack Bros. Shrine Circus (1947)



SANTA CLAUS: One Week Down, Five Left to Go



Santa Claus juggling at Woodbridge Center, Woodbridge, NJ.

Thursday, November 19, 2009

EARL SHIPLEY: From the Camden Courier-Post (June 12, 1933)

At this time Earl was a Producing Clown on the Hagenbeck-Wallace Circus...





"Among the 65 clowns with the Great Hagenbeck-Wallace Circus, coming to Camden next Thursday will be Earl Shipley, one of the most noted funsters in the land of sawdust and spangles. Not only is he famous as a pantomime artist, but he is the producing head of "Clown Alley" for the big show and the leader of the famous Hagenbeck-Wallace clown band."



EARL SHIPLEY: Billboard Article (November 29, 1952)



It seems that 57 years ago, Earl Shipley accurately predicted the coming of "Kuliki Taka".


CLOWN ALLEY: Circo Rolex



THIS is "Kuliki Taka".

Wednesday, November 18, 2009

SIAMESE CAR: Popular Mechanics (1921)


Click on the .jpg above to read the article.

BOBO & FAGIOLINO: Boxing Gag



Recorded on Circo Nando Orfei

KRAFT FAMILY COMEDY CLUB: Leo Laughs at Jokes



My pal Kevin Kraft knockin' 'em dead at the Kraft Family Comedy Club. Attendance was light the night of this taping with only one audience member in the house, his one year old son Leo.

Leo is the type of kid I want in the audience for ALL my shows!

Tuesday, November 17, 2009

KYLE BARKER: Has Hit the Big Show!


Streamwood Clown Joins the Greatest Show on Earth

November 15, 2009

Kyle Barker can recall the first time he saw a circus.

"I think it was from Moscow, and it was at the Armory off National Street in Elgin," the 27-year-old Streamwood man said. "I was 8 or 9, but I remember it was a small show, with just one clown. With one finger, he balanced himself on a globe. And I thought, 'wow, people can do that,' " Barker said.

As with most dreams, it took life experience and perseverance to realize that goal.

Sure, there was that trip to the circus in the back of his mind, and the magic tricks he loved to perform when he was in grade school. But Barker's dream began to take shape at the age of 14 with the first time he put on clown make-up.

He'd seen a picture of legendary Ringling Bros. clown Lou Jacobs, was inspired to try such a look for himself, and fell in love with greasepaint for the smiles it could bring.

Sure, many kids his age were playing sports or doing other school activities. But Barker — a former Courier-News paperboy, who lived in Elgin from the age of 4 until his freshman year in high school — was bored with classes at Larkin, then at Dundee-Crown in Carpentersville, where he moved with single mother Donna.

A summer job at the age of 16 did hold his attention for a bit: He played costumed characters at Santa's Village in East Dundee, including a Pluto-like dog and a Momma Bear.

"It was very hot to wear one, and there was tons of fur," Barker said. "They gave us ice packs, which you could attach to places inside the costumes, but those never really did the trick."

Barker wound up quitting school for three months. Then, in a move to get his act together, he enrolled in Lincoln's Challenge in Rantoul, a National Guard-run military school for at-risk youth. At the age of 17, he enlisted in the Army and became an ammunition specialist.

There he made friends with a soldier from Pennsylvania who was involved in clowning, which inspired him to put on the greasepaint once more.

"It was the fact that you could have a career making people happy," Barker said.

While still enlisted, he wound up getting a job as a clown at a brew pub in Columbus, Ga., entertaining customers by riding a miniature bicycle, making balloon animals and cracking wise.

"They had great burgers and it was a wonderful place to work," Barker said.

As for how the other soldiers reacted to his act, "they already knew I was quirky," Barker recalled.

After an honorable discharge in 2001, Barker came back to Streamwood, where his mom had settled with his stepfather, Mike Friese. Barker eventually wound up joining the Triton Troupers Circus, a small performance group that calls Triton College in River Forest home.

He also found work for a time with Around Town Clowns of South Elgin, playing at parties and corporate events. And he joined the Clown Guild of Metropolitan Chicago, the card of which is still in his wallet.

That led to meeting "a whole bunch of clowns who were really into what they did," Barker said. In 2003, one of his new clown buddies, Dorothy Miller, who performs as Blab-i-gail, told him about Mooseburger Camp, a school in Minnesota dedicated to the art of clowning.

After finishing the weeklong session, Barker continued performing and even started his own online prop shop. He also worked for a time as a security guard and as a clown for guests at a now-closed Old Country Buffet in Hanover Park.

"I convinced them to let me be a clown," Barker said. "It was a first lesson in negotiations."

Barker also wound up falling in love, getting married, and for a few years gave up his passion to work in customer support for T-Mobile.

Barker is uncomfortable talking about this part of his life, in which he wound up unemployed and divorced, with his wife having custody of his daughters Shaylee, 4, and Brienna, 5.

"I've put on the clown face for them many times," Barker said.

Shortly after his marriage dissolved in November 2008, Barker turned to performing as a way of dealing with the emotional turmoil. He sold some old clown props, beefed up his character and did a few parties for kids of friends from his job at the cell phone firm.

Then, early this year, a buddy from Triton told Barker about Ringling Bros. holding auditions for Clown College to be held April 6 at Madison Square Garden in New York City. Barker learned more details from his clown friends he met on Facebook, and he planned his trip accordingly.

He rented a Mazda, picked up some props along the way in New Jersey, including some plungers and clothesline, and hit the Big Apple.

In something that seems like a clown bit, Barker said he wound up standing in a line with one other candidate for 35 minutes before realizing they were at the wrong door.

"I got bored, so I walked around the corner and saw the real line, marked with a big sign that said 'Clown Auditions,' " Barker recalled.

Getting a shot at Ringling Bros. "was surreal. But once I got on the floor of Madison Square Garden, I felt comfortable, like it was where I belonged," Barker said.

He did some warm-up exercises with other performers, then got a chance to impress those doing the casting with his shtick: juggling and trying to do a tightrope act across the clothesline held up by two plungers. But when the time came for calling out numbers of the chosen few, Barker's was not among them.

"I figured, 'hey, I had my shot, but the show must go on.' So I started packing up and said my good-byes," Barker recalled.

Still, with his foot just that much more in the door, Barker kept chasing a job with Ringling Bros. He continued to send contacts links to videos he had posted on YouTube and kept in touch with the Facebook connections.

"Then, on Sept. 11, he got a call asking if he was still interested.

After hanging up, "I was rolling around on the ground and my mother almost did a back flip," Barker noted.

"I got it! I got it! I got it," he screamed three times after landing the gig, a one-year contract and on-the-job training with the Greatest Show on Earth.

Making it extra exciting is that the job started Nov. 5 at Rosemont's Allstate Arena, where the circus settles in every fall before moving to the United Center.

Barker never got to see the big Ringling Bros. show until he was in his 20s because "we were too poor." But now he will be a "First of May," which is what veterans call first-time, first-generation circus performers, playing his creation, Babble-On, with Moe from "The Three Stooges" hair and requisite baggy clothing.

"He's an Auguste, a type of clown that is funny, silly, does pratfalls and pretty much is assured of pies in the face coming his way," Barker said.

While Barker never gave up on his dream, he hopes to make it all the more sweet by playing in front of his daughters before he heads out on the circus train.

"That would be wonderful," Barker said. "I am not sure if I can make it happen, but I'm an optimist."

As the clowns say to wish each other good luck, "Bump a nose."


Kyle, now that you are on the Big Show if I ever hear you say "Bump a nose" again I'll beat you across the face with a powder sock full of Qualatex balloons and heart shaped stickers ; )



BUSTER KEATON: Excerpt from "The Paleface"



RUSLAN GANEEV: German Wheel



YACOV NOY



Monday, November 16, 2009

WORLD CIRCUS CULTURE


In conjunction with the Festival International du Cirque de Monte-Carlo (International Circus Festival), Telmondis (audiotelevision company), and the World Circus Federation, To the Moon Productions is filming a documentary highlighting Circus culture across the world.

SYNOPSIS:
When four circus acts leave their home countries to compete for the gold medal at the 34th International Circus Festival of Monte-Carlo, cultural ties are transcended and the true meaning of the circus world is illuminated. Their languages are different, their music contrasting, and their country’s opinion of the circus differ, but each performer has the same sparkle in their eyes. At stake is the equivalent of an Academy Award; recognition, respect, and a chance for stardom under the big top. It’s the Golden Clown.

See the acts we will follow to the festival!

UNIQUE AND BENEFIT
This film takes the subject of the Circus worldwide and gives it an international perspective as never done before. The circus has a culture of its own, a culture outside and beyond age, country and time; that's what makes it so unique. Highly overlooked, the Circus is a unique subject that has the ability to open up the hearts and imaginations of young and old, rich and poor, conservative and liberal. The film will invite viewers to enter the world of the circus, where, for both the performers and the audience, differences are suspended and magic and art unite. It will be a reminder to those who have forgotten that the world of make-believe and magic still lives in the art of the Circus, the characters that create it, and a old rich history. Both the magical and the extreme physical elements of the Circus will educate and inspire, and the artists will be brought into the well-deserved mainstream spotlight.

Angela Snow’s (Director) RELATIONSHIP TO MATERIAL
I have been drawn to the world of the Circus since before I can remember; maybe it was the trapeze hanging from my Aunt’s New York loft, one of my earliest memories. To me, my Aunt, Karen Gersch, encompasses the universal circus character, as she has been telling me tales of that world my whole life. To me the Circus is the utmost example of people giving in completely to their dream and taking the risk to push themselves creatively and physically to the limit. Who knows, if my parents had taken me to any more Circuses I probably would have run away and joined one, instead here I am, with my camera and love of filmmaking trying to capture what it is that fascinates me, Karen, and people worldwide about this unique and unexplored world.

END RESULT
Once completed, the feature film will be aired on TV, screened at Festivals, and sold as a DVD locally and internationally. Contact with international distributors will be made and distribution of the DVD will be coordinated with major Circus groups and events. -

GET INVOLVED!
Are you a Circus, Circus school, or Circus organization? Let’s work together. Promotion can happen on both ends & down the road screenings for the film can be set up in conjunction with events. Contact me!

KEY CREW:
ANGELA SNOW, Director / Producer
IAN ISSITT, Cinematographer
ERSELLIA FERRON, Associate Producer
ACROBRATS, Fiscal Sponsor


THE FILM MAKERS NEED TO RAISE $8,000 DOLLARS BY JANUARY 1ST!
Funds needed! Filming begins December 2009 – January 2010. Editing will commence immediately after, depending on funds.

Please click the title of this post to be taken to TO THE MOON's website and consider clicking the link and contributing to this very worthy project.


MAX LINDER



STEVE "ETIENNE" MCGINLEY: Working the Cruise Ships



MUSTAFIN & ABDIKEEV: Bendover Gag (1982)



JIGALOV & FRIENDS: Pause



Sunday, November 15, 2009

KOKO THE CLOWN: Out of the Inkwell

From Wikipedia...

Koko the Clown was an animated character created by animation pioneer Max Fleischer. The character originated when Max Fleischer invented the rotoscope, a device that allowed for animation to be more lifelike by tracing motion picture footage of human movement. To test out his new invention Fleischer photographed his brother Dave in a clown costume. After tracing the film footage amounting to some 2,500 drawings and a year's work, Koko the Clown was born. Using this device, Max Fleischer was able to secure a contract with the John R. Bray Studios, and in 1919 they began Out of the Inkwell as an entry in each monthly in the Bray Pictograph Screen Magazine released through Pararamount (1919-1920), and later Goldwyn (1921). Aside from the novelty of the rotoscope, this series offered a combination of live-action and animation centered on Max Fleischer as the creative cartoonist and lord over the clown. The clown would often slip from Max's eye and go on an adventure, or sort or pull a prank on his creator. Fleischer himself wrote, produced, co-animated and directed all the early shorts

At first the character had no name and was known simply as "The Clown," or "Fleischer's Clown." The series was very popular and in 1921, Max and Dave Fleischer formed their own studio, Out of the Inkwell Films, Inc. Their films were distributed through the States Rights method through Warner Brothers, Winkler Pictures, Standard, and finally The Red Seal Pictures, Corporation. The "Clown" was named Ko-Ko in 1923 when Dick Huemer came to the studio as their Animation Supervisor, and it was at this time that the canine companion, Fitz was created to share the mischief. Heumer also redesigned the "Clown," and set the drawing style that made the series famous. The illustration at the heading is an example by Huemer.

In the films produced from 1924 to 1927, the clown's name was hyphenated, "Ko-Ko." The hyphen was dropped due to legal issues associated with the new association with Paramount beginning in mid 1927 following the bankruptcy of The Red Seal Pictures Corporation. "Out of the Inkwell" was also retitled for Paramount as "The Inkwell Imps" and continued until July, 1929, ending with "Chemical Koko,". "The Inkwell Imps" series was replaced by Flesicher's new sound series, "Talkartoons".

Throughout the 1920s, the Fleischer studio proved to be one of the top producers of animation with clever humor and numerous innovations. In 1924, Fleischer decided to go a step further and introduce a new series called Ko-Ko Song Car-tunes, sing-along shorts (featuring "The Famous Bouncing Ball"). These early cartoons were actually the first films ever to use soundtracks (two years before The Jazz Singer and three years before Steamboat Willie). These sound shorts received limited distribution through the 36 theaters owned by The Red Seal company, which became defunct shortly before the sound era officially began. While the last KOKO films were being produced, the Fleischers returned to producing sound cartoons with a revival of the song films named ["SCREEEN SONGS"], which were released to theaters starting in February, 1929. Throughout this transitional period, the Fleischer Studio continued to produce a number of innovative and advanced films between 1929 and 1933.

In 1931, Koko was taken out of retirement and became a regular in the new Fleischer Talkartoons series with costars, Betty Boop and Bimbo. Koko's last theatrical appearance was in the "Betty Boop" cartoon, "Ha-Ha-Ha" (1934), a remake of an "Out of the Inkwell silent, "The Cure" (1924). Koko's first color appearance was a cameo in "Toys Will Be Toys,"(1949),one of the revived "Screen Songs" series produced by Famous Studios. The colorized version of Koko also made a cameo appearance in the ending scene of Who Framed Roger Rabbit.

In 1958, Max Fleischer set out to revive Out of the Inkwell for television, and a series of 100 color episodes were produced in 1960-1961 by Hal Seeger using the voice talents of Larry Storch.

















Saturday, November 14, 2009

BIM BOM

BIM BOM
From Wikipedia...

Bim Bom was a Moscow Circus clown duo consisting of Ivan Radunsky (Bim) and various "Boms" along the years.

Their clown act was enormously popular, but often banned or censored due to its politically critical humor. Each act would begin with an original song and dance performed by Bim. Radunsky had been a member of the Bolshevik Party, and were pledged members of the futurist movement early on. But after the 1917 revolution the duo turned their wit against the new power.

Bim and Bom desisted from mocking the Bolsheviks only when their couplets so offended Latvian Riflemen in the audience that they shot up the circus and threatened to do the same to the clowns.


120th ANNIVERSARY OF THE FOVAROSI NAGYCIRKUZ

Link courtesy of Mike Naughton

Documentary by János Domokos about the 120 year history of the Municipal Circus (Fővárosi Nagycirkusz) in Budapest. The film was commissioned by the Hungarian Circus and Variety Nonprofit Company.








And who took the Bronze at the Festival in Budapest in 2008?
America's own Rob Torres, who is on his way to Monte Carlo in 2010!!!




FELLINI'S CLOWNS: Cirque dans l'Univers (# 81)

Article courtesy of John Towsen



Fellini's Clowns
L. -R . Dauven and Jacques Garnier

Translator's note: Federico Fellini's 1970 film, The Clowns, has been widely accepted as a realistic though somewhat exaggerated picture of the European clown tradition. For his documentary, Fellini used many old clowns living in France. Their reaction, and that of the French circus world, was unfavorable. The following essay from Cirque dans l'Univers (# 81) takes a critical look at Fellini's historical accuracy and journalistic integrity.


Fellini, for us, is La Strada, Il Bidone, Roma, Open City, Nights of Cabiria, Satyricon and ten other films dear to our hearts. And so we awaited The Clowns with as much faith as impatience. Had not the great Italian filmmaker announced that the work would be "an homage to the fascinating world of the circus?"

We have seen The Clowns.

We were totally disappointed, and quite disgusted.

We do not deny that there are some beautiful cinematic moments in The Clowns, and the contrary would be surprising. Even when he works on commission ‹ and this is the case, since it originally was conceived as a documentary for Italian television — Fellini remains a great artist. There are beautiful images and very successful sequences: the awakening of the child at the beginning of the film,, the setting up of the small circus, the death of the auguste in the seats, the burial, the closing trumpet duet.

But these represent only a few moments. And the film is more than two hours long!

Fellini as a child was — he recalls in an interview — "traumatized," we would say today, by clowns. (More likely by augustes. But he does not seem to make the distinction.) The experience has happened to others. They got over it and they orgave. Not him. And he is taking cruel revenge.

It is not so serious that he slips into his film bits of nonsense that provoke laughter where he did not intend it — that, for example, he has Annie Fratellini label as a xylophone a musical instrument François Fratellini, who claimed to have invented it, nicknamed the "flex-a-tone." And where did he discover that wild animals only "understand" German? If the film were honest, that is to say, in good faith, these trifles would not be worth mentioning. We know worse.

What is sad is that Fellini has retained only what is sordid and ugly about the circus. In Venice, Max and Alex Fischer, humorists justly forgotten, only saw the dirty water as it washed away garbage and dead dogs. In the circus, Fellini sees only vulgar, coarse, horrifying grotesqueries. Venice will always exist, with its palaces and its canals. The circus and clowns will outlive Fellini.
It has been said, and the critics have repeated it, that for Fellini, filmmaker and thinker, the circus was merely a pretext, his grand plan was to show us that we are all clowns at certain points in our existence and that grotesques also meet every day in life. Thus the astonishing gallery of ridiculous personages he takes pleasure in presenting to us: the dwarf nun, the stationmaster puffed up with authority, the fascist officer whose presence terrorizes the small boys, the old soldier always at war with the Austrians. Everything in the film is made grotesque, with two exceptions: Fellini himself and his script.

These caricatures, so overdone that on stage they would be unacceptable in a tenth-rate revue, might give the work "philosophical dimension." Yet, were this true, it would change nothing. For whatever motives, Fellini has offered us an image of the circus that is outrageously deformed, and totally out of touch with reality.

Is it not a mockery of the public to try to ask some of today's clowns whose talent is not in question to try to recreate the Fratellini trio? The scene — set in an insane asylum, for no particular reason — is unbearable. François, who was grace itself, has become a clumsy lout in the hideous mask of wickedness. Does this serve the truth? Antonet is no more "real," nor is Footit, who plays "Je cherche après Titine," a song composed well after his death, when another was clearly suggested: "A la maison, nous n'irons plus..."

We can also wonder if Fellini, taking advantage of the undeniable prestige of his name, has not abused the trust of the clowns invited to collaborate on his film. To encourage them to "talk shop" after a hearty meal and several drinks and, in the flood of conversation, isolate their responses, is that really honest? We have our doubts.

But everything is allowed to the great master, as Federico Fellini surely knows. M. Bouglione appears in one scene —M. Bouglione is photographed from behind and does not speak a word ... and it is not the real Bouglione! Fellini ridicules the old artistes who had the courtesy to receive him into their homes: Loriot, Bario, and Jean Houcke (who was never a clown). How do you say "low-down" in Italian? It is true that the filmmaker has a very peculiar concept of journalism.

For anyone who is in doubt, he has only to refer to the declarations made by our friends Fredy and Nello Bario to François Jacques, who published them in Le Nouvel Observateur last March 15, as follows:

"When Fellini came to see our father — Papa Bario is eighty-seven years old — he found him all smiles. He asked him to recount his past, but he systematically stopped him when he spoke about anything humorous. 'Tell me about your last time in the ring, when you became ill in the Circus Knie in 1956! Tell me sad stories.' To think he made our father cry. Realizing the same tactics would not work with the dwarf Ludo, he got him drunk and then had him talk. He cried then. When Maiss doubled as Papa Bario, Fellini decided on the circus at Amiens, because it is empty. He had proposed filming us (we still did not know what his movie was to be like) but he found us too modern..."

What more is there to say?

Of the remarks made by Tristan Rémy — whose voice seemed dubbed in the version we have seen — Fellini has kept but a few responses, and this is a shame. especially since one is driven to wonder if the filmmaker has not on several occasions distorted — intentionally or not — Tristan's ideas.

Our friend (Tristan Rémy) feels — and has for a long time — that "the whiteface clown is dead," for lack of invention, lack of self-renewal, and failure to impose his presence to the same extent that the auguste has, always inclined to have things his own way. Fellini goes much further: he proclaims that "the circus is dead."

A gratuitous and false affirmation, it hardly need be said. M. Fellini no doubt ignores some fifty circuses, large and small, performing in his own country, and we can count dozens in France and England . . . and a few hundred in the USSR.

But it is too much to ask the great filmmaker to be informed or even to be consistent. At the end of the film, it is a whiteface clown who says: "The auguste is dead. I alone remain." M. Fellini is probably alone in not knowing that if clowns — whiteface clowns — have become rare,the augustes remain numerous. And that many of them are excellent.

One more word, to conclude.

The Clowns is perhaps not "an evil deed," as it is termed by one of our friends who cannot pardon Fellini's deliberate denigration, but it is certainly a film that spectators have good reason to sulk about, and a work that will add nothing to its creator's glory.

As for the clowns, not to displease Fellini, but they are still going strong. The Francescos, the Chabris, Chiky and Co., the Rivels, the Rudi-Llatta, Charlie Caroli, Zavatta, the Bario, and many others prove themselves every night.

The art of the clown, disappeared?

Sans Blââââââgue, Signor Fellini?
__________________________________

Reprinted from Mask, Mime & Marionette
Translated by Diane Goodman


Friday, November 13, 2009

JANGO EDWARDS: The Nouveau Clown Institute



For more on Jango Edwards and the Nouveau Clown Institute, please click HERE.

I CLOWNS: Finale



From Wikipedia...

I Clowns (also known as The Clowns) is a 1970 television film by Federico Fellini about the human fascination with clowns and circuses. It was made for TV, the Italian station RAI-TV with an agreement that it would be released simultaneously on TV and as a cinema feature[1]; RAI and co-producer Leone Film compromised on its release, with RAI broadcasting it on Christmas Day, 1970, and Leone Film releasing it theatrically in Italy the following day, Dec. 26, 1970.[2] It is a part-documentary, part fantasy.

SASHA CHEVOTKIN: Picnic



Wednesday, November 11, 2009

JANGO EDWARDS: Tonight in NYC!!!

DO NOT MISS THIS SHOW!!!


"GO HOME CABRON Cabaret "

A special performance celebrating Jango Edwards
and the Global Nouveau Clown Tribe.
His last night in New York !

Come celebrate with us!

ONE NIGHT ONLY
Wednesday, NOV 11, 8pm-?

Featuring JANGO EDWARDS and JEF JOHNSON
with "Minister of Mirth" BEN CARNEY.

SATURDAYS, NYC
31 Crosby Street
(between Broome and Grand)
SOHO


FREE TO ENTER,
PAY TO LEAVE !




***** Free admission to the Jango Edwards Museum of Stupidity to the first 50 people! ******



DIMA: Comedy Hand Stand



THE BIG APPLE CIRCUS: Bello is Back!

Link courtesy of Don Covington



Tuesday, November 10, 2009

SID CAESAR: Piano



THIS MORNING ON TODAY!





I will be one of the performers appearing this morning on NBC's Today Show from 7-9 (EST) during the weather segments on the plaza. Now that you know the who, where and when, tune in to see the what, why and how.