Call For Competitors

   I was vastly disappointed at the small number of entrants in the Senior and Team championships in Fargo. As a professional juggler, I can say that the benefits of competing are immeasurable. Putting together a competition routine that includes a high degree of difficulty and is entertaining to fellow jugglers pushes personal creativity in new di­rections.

I have been part of Teams Championships twice, and both were great learning experiences and made me a much better juggler and showman. In the 1992 Championship we won a bronze medal, which brought us some wonderful recognition and looks great on our resume. I can't tell you how many clients and agencies are impressed by our winning a medal at an "international" competition.

Our competition routines were very different from our normal show, and their creation helped us expand our repertoire. We've since worked the competition routines into our show, and thereby improved our show a great deal.

As a juggler who attends festivals, I can also say that the championships inspire me. The Montreal Junior Championships got me so fired up and inspired that I couldn't sleep afterward. Lack of competitors equals lack of inspiration for the jugglers at championships events, and I don't think that is a good thing. I hope all talented and creative people in the IJA will consider putting together a competition routine in '94.

I would also like to thank everyone who said how much they liked our 1992 routine. The group really appreciates the support and help over the past two years.

Thanks for a Great Fest

Whew! Now that the Fargo fest is finally over, I have a few minutes to take care of some unfinished business - saying thank you to all the people who helped make it a success.

The complete list of all the people who helped out would fill an entire issue (and be rather boring reading), but there are a few people who need to be thanked: Ginny Rose, without whom there would be no IJA festival- nor cowboy hats; Norman Schneiderman, without whom I would have had some free time to myself during the week; John Noah and all the staff at the Fargo Civic Center who were so nice to us; and everyone at NDSU who kept some of us fed and comfy all week when we had time to eat or sleep...

Ken Clark, my right-hand person; Mary, the Donut Lady, for keeping us supplied with breakfast and "tea, very, very black;" Michael McGinnis, for his impromptu shuttle service, support, and humor; Cardell Poe and Ray Fryson, for providing some relief from festival stresses; Michael Ferguson and the Softclubs people for their moral support; Laura Green for her signs and for just being herself; Ben Johnson for a great and much­needed laugh on Thursday; Jessica Reidel for moral support and happy feet; Bill Giduz for all the news that was fit to print; the Renegades for a comfy couch and great music (thanks for the Johnny Clegg, guys!); the "tent people" for being understanding and flexible; Gladys, the card dealer at the Town House for her generosity and enthusiasm (pick me, pick me!); Richard Dingman for just being there; and especially to every­one who showed up, since that's the reason we have festivals in the first place.

I apologize to those people I've missed, but it all happens so fast - I couldn't believe that a whole week had gone by when it was time to go. Thanks again everyone and I hope to you in Las Vegas, Burlington, or both!

Another View On "Success"

In response to Mica Calfee's article in the last issue, "Success in Booking Engagements..."

Jugglers living in the same area might try standardizing their prices to raise the fees for all. In the mid-80s the mimes in Atlanta did this, since agents were calling all of us and we all charged different fees. By adopting a standardized pay scale (higher than most agents were paying), we set our own price rather than having the client set it for us. We still negotiated our own price, but we also didn't undercut anyone. The result was that we all made more money, and raised the going rates.

Concerning open mike nights... I worked comedy clubs for three years. They might be a good place to start, but I question them as places "to determine the value of your act." Open mike nights feature either very appreciative or rowdy and drunken crowds. Artistry, skill and originality are not always favored by people who can't see straight. Its great to have your friends in the house for support, but if you "stack the deck," is that a true assessment of your act? Comics look down on jugglers as "prop comics." Fortunately, since 60% of comedy clubs in 1991 are now closed, jugglers have the last laugh! There are still many venues where we can perform.

If you want some quick, hard lessons, work the street - that's a great teacher. I also disagree with the article's slant against hat passing. I don't believe an audience is particularly concerned about the amount of money you're making. And where did the author come up with this "$5-$10 per show" figure? One wouldn't last long as a performer that way!