Juggler's Bulletin

P.O. Box 711, Tulsa 1, Oklahoma

Number 1, September 1948


COMEDY BALL MOVES - 3 balls are juggled and 2 are thrown high, one after the other - third ball is passed (NOT thrown) from hand to hand over head, and jug. continued.

One ball is thrown up and bounced on head and then other two are thrown from hand to hand - head-ball is caught and move repeated continuously.

COMEDY SHUFFLE - Giant cards (ply. wood) can be juggled 'as plates' - well rounded corners and nearly square shape.


Ruberto Cheisa spins TWO balls on ONE finger! Spinning in OPPOSITE DIRECTIONS!

'Masona' places hat, stick, gloves, matchbox, and pipe on his foot, and with one throw...


Here and there--- Hap and Marie Henry, currently fair-dating for Barnes-Carruthers, have signed with Clyde Bros. indoor circus--- Fred Allen faced "Life", in the Sept. 6th issue, juggling 3 balls--- Remember Naomi Ethardo, (Frances Webster) one time headliner with Ringlings, who balanced on a tier of bottles while juggling plates and balls? She now lies near death in a Temple City, Calif rest home, alone and almost forgotten--- Dean Bunn, Montevideo, Minn. tosses a bit of novelty into his act by juggling potatoes, lemons and apples. All of which goes to prove that juggling is a "fruitful" occupation.

Jugglers on the Screen--- "Give My Regards to Broadway" features several scenes of plate, ball and straw hat tossing by screen stars Dan Dalley and Charles Winninger--- Val Setz club juggles in "The Pirate", and "Song of Scherazade" also has club juggling.--- Credit Walter Winchell for this one; In "Badlands of Dakota" Lon Chaney, Jr. was supposed to scare a pair of old-time Jugs. The scene was a cowboy saloon and Chaney took pot-shots at their clubs as they passed them to and fro. The old-timers had never appeared in a movie before and Director Al Green took pains to tell them how to react, etc. But the "takes" were numerous because one of them continued to look more amused than frightened. Finally, in exasperation Director Green said to him, "Look here, my little man, can't you look scared? Didn't you ever play Poli's New Haven?"

The English "Performer" comes up with an amusing incident which held up Charles Ancaster's act for a full two minutes due to the unrestrained merriment of the audience. One of Ancaster's tricks is to juggle three bread rolls, the third of which he munches until it is reduced to a crumb. Delving into his prop bin, he found only two rolls, but after a more ardent search for the third roll, he was amazed to feel a large mouse run up his arm. The mouse then ran on the stage, came down to the footlights, turned, and made a well timed exit off stage and disappeared. While in the bin "Mickey Mouse" must have had the feast of his life, as except for a few crumbs, roll number three had entirely disappeared.


Next issue, # 48, completes four years of Bulletin publication.

Whether there would be a # 49 and further issues was a question we batted around in our mind for several weeks. We almost took the step of returning unexpired subscription money and drawing the curtain.

But we'd miss putting out the Bulletin--- we'd miss the monthly writings of Doug Couden, Joe Marsh, and Betty Gorham, and all the others who have made the Bulletin worth reading during the past four years--- so the decision was made to continue for another year.

By the time # 60 rolls off the press though, we must with your help have two requirements fulfilled.

1. We must have at least 300 paid subscribers. (We have about 150 now)

2. We must have some active support from the jugglers that have the knowledge and ability to impart it.

We must have enough feature articles in addition to news for the entire following year. There must be enough material on hand so that we can make a selection rather than have to use anything just because it's the only thing on hand--- and then hope that someone will send in something for next issue. AND THESE FEATURE ARTICLES MUST BE IN OUR HANDS-- NOT JUST PROMISES TO DO SOMETHING! These articles must cover juggling techniques, tricks of the trade, new ideas or old ones brought up to date, and other information of interest to all jugglers.

Those are the only two requirements. Do they sound too tough to accomplish? If they are, there will never be a Bulletin # 61!

Lest we be misunderstood, Let us make one point clear. We're not looking for an angel. We wouldn't continue publication if someone dropped $1000.00 in our laps and said, "Here's the dough, use it to put out the Bulletin" --- That isn't what we want--- We want the Bulletin supported by actively interested jugglers. Tf there aren't enough of that kind around, then we're wasting our time, and the Bulletin is something that should have dropped dead the first year.

We've taken up space that should not have been necessary--- But it's something to think about!


Around September of 1941 Spud Roberts called our attention to a story in Today's Woman Magazine titled "Juggler's Dream" by John Klempner. Not so long after that Bill Talent began calling our attention to a film being produced with a tentative title of "Off to Buffalo" in which there was to be considerable juggling done. Later the title was changed to "Give My Regards To Broadway" and released under this title but it wasn't until we saw the show that it dawned on us that the film was taken from the magazine story. By now you've probably seen the film and know that Bill Talent and Duke Johnson handled the juggling instruction and technical advice on the flicker. All the juggling done by the stars was learned by them in the short space of about four months and you'll have to agree that it was cleverly worked out and well done with such limits of time. It is interesting to note that the director considered it far easier to teach actors how to juggle than jugglers how to act. Of special interest from a publicity slant was the awarding of a Diploma to the stars completing the Bill Talent - Duke Johnson School of Juggling course. Reproduced below are pics of the awarding ceremony and the diploma presented. In the group pic from Left to Right are Fay Bainter, Charlie Winninger, Barbara Lawrence, Dan Dailey, Lloyd Bacon-Director, and Bill Talent.

Francisco pens of the death of Max Baresh August 19, 1948, at the age of 63. Max had formerly worked in the famous Morris Cronin & Co. juggling act and also with Elmira & Co. "furniture tossers" and later as a single performing with sticks, clubs, hats etc. Frank continues, "Please thank Rudy Cardenas, Larry Weeks and Lou Folds for their aid. I think this is a fine example of jugglers sticking together in time of need."

News Briefs: Rudy Cardenas playing Cincinatti after his Paramount NYC engagement and then back to his native Mexico to visit his mother later to return to the States.--- George DeMott reports visits to their Millville, Pa. home of H. H. Brown and Vin and Mrs. Carey. George opened Sept. 5th at Milwaukee, Wis. for a school season with Bureau of Lectures of the University of Wisconsin. After the new year working with University of Minnesota Bureau of Lectures. George further reports stopping off at Abbott's and visiting with Fred Merrill wno is an old time juggler formerly with Morris Cronin troupe and others.--- By now you've all seen Look's treatment of the Jamestown Jugleree--- Those of you that were there, and knowing the great number of pictures taken, are probably disappointed in the final presentation-- Alas and Alack, the fate and fortunes of publicity --- If you haven't seen the October issue of "Friends", the Chevrolet house Organ better snazz down to your local Chevvie dispenser and grab a copy. Grant Heilman's treatment of the Lind club manufacture is excellent.--- And if you can't find a copy, Russell Torello has a few extras.

THE BALTIMORE SCENE - as seen by Vin Carey

Chester Dolphin and Co. were at the Hipp theatre the week of Sept. 9th to Sept. 15th. A customer was in my shop and told me there was a juggler there that had some great comedy but did not do a lot of juggling. So I went over to see; the customer was right to an extent, the comedy and gags 'were terrific and kept the audience in howls all through the act but--- the juggling was wonderful. After a comedy egg and cane balance he did a three ball routine, four and five ball routine and then a great gag on nine balls (not the old one of having the balls fastened together in threes) but something else of his own. Then the head stand bouncing four balls on drum while upside down. Some fine routines with three Lind clubs. A bottle balanced on his head is jerked to back of neck and he does a hand stand balancing bottle and picks up a glass of liquid in teeth back to feet and drinks from glass as he jerks bottle back to top of head. Then does head stand on revolving ball and spins rings on each leg and each arm and one on stick in mouth. Company is Mrs. Dolphin who adds "cheesecake" to act and a few comedy bits. Went over great, and was a delightful conversationalist as we had a bite together after the show.

This week at State theatre is Joe Astor and Rene, just over about six weeks from England. Joe is a brother of Billy Swift of the Three Swifts and started his career as one of the Morris Cronin act. Does a delightful comedy act with the assistance of Rene- Balls, plates, and clubs. Rene in evening gown and Joe in a burlesque make-up with bald head, red moustache, baggy pants etc. Joe announces each trick in a sort of English version of double-talk and the running gag gathers more laughs with each repetition. Joe says they have eased up a bit on the difficult tricks but do the ones they do with precision. Several tricks with three clubs only with lots of laughs, then six club passing for a finish. Rene does some solo work with three clubs and Joe with three balls. Then three plates with comedy passing off Joe's head etc. A very pleasing act and a charming couple to visit with as Joe knows or knew many of the old timers and worked with them in years gone by.

STUFF & THINGS by John Alexander

Tucson, Arizona: Not hearing from Doug for over three years, the first thing he asks is, "How about writing a 'Stuff & Things'?" My first reaction was, 'That's just like Doug', so here goes.

I recently saw a juggler who displayed rare skill in the mechanics of his work but the impression he made on his audience wasn't anything to write home about. He was just another juggler and in a short time would probably vanish from the scene. Then I saw another juggler who didn't have nearly as much skill but the impression he created was W.O.W.! Why the difference? The first man knew juggling tricks while the second used showmanship to advantage. He impressed his audience by clever movement, expression, near-misses, etc. The audience was impressed with the difficulty of what he was doing and responded to the tense situations he had created in their minds. That was the professional touch. It proved that it takes more than mechanical skill to successfully sell juggling just as it takes more than an ability to flip cards to be a successful magician. Maybe you'll hear from me again. (We hope so, John. To fill out his S & T here are excerpts from his letters.)

In case you don't remember me, I was the only 1-legged juggler you had run into in all your travels. I have the photo Lola took of us. (This appeared in March, '45 Bulletin). In 1946 I worked up a show of magic, vent, and juggling and played the southern part of the state. I now play only part time as I am still with the Tucson Recreation Dept. and Sect. of our Jr. Chamber of Commerce. I was elected Pres of the Tucson Magic Club and have opened a Magic Shop in addition to my other activities. (How can a guy be so busy and live in Tucson where it's hotter than the hinges of Hades, I don't know! We stopped off and got the snap of John juggling racket & balls. John spent his vacash in Calif and visited us at Capistrano Beach--- Doug)

JUG JUGGLESON'S LETTER by Doug Couden illustrated by Joe Marsh

Dear Roger. Well here's some hot news right off the pan. We got an offer to go into Burlesque after hersh split his sides at my high class comedy. He said I could start as 3rd comic but I could go right up the ladder and be top banana in no time the way I bowl them over. Anyways the lst banana tips his elbow too much and is also an awful chaser. He said Marie could be a talking woman but I don't like the idea of all them morons out front ogling Marie's gams. Being a carny was bad enough and we aint going no lower in this racket by playing no burlesque houses. Life is too short and anyways I wouldnt have no time to work on my juggling features. Well at the Waldorf we been here so long that the mgt. says we can change now so I sprang with a brand new opener. This is how I done it. I walk on in tails wearing a plug hat and cane and go right down front and doff my topper, ha, ha. Then I pull a rabbit out of the hat which fools the customers that think I'm a magician which I aint. Then I fasten the hat on top of my cane and set the rabbit on top of the hat. I balance the cane and all on my chin and take my coat off which Marie takes and then I go into my juggling act. Now don't run this here idea of mine in jugs bul Roger as I don't want no jerks who cant dope out their own business grabbing off my original opening number. First thing you know you'll see a whole slew of jugglers balancing rabbits on hats then where would I be. Back on the lousy carnival or the pickle works or worse still writing sheet on the stem with glims. I was the guy who invented the gag of pouring water out of a can until it was empty then going back and doing it all over again and you know it wasn't long Roger until there was a jillion other so called comedy jugglers doing the same thing all over the country and I never even got no credit for doping it out in the first place. So long, pal. Jug. (Jug, we'll never reveal your hat cane and rabbit balance to a single juggler. That'll be one secret we will take to the grave with us-- Roger)

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