Wednesday, January 3, 2007

Jugglers and More

Those who fit into the category of "class clown" include all types. For some, being at the center of attention does not nec- essarily involve humor. Instead, they might offer excitement or some other brand of entertainment instead of, or in combination with, comedy. Such is the case for jugglers, who occupy a unique niche in the world of performance arts. Jugglers are generally considered variety performers. This group also includes mimes, impersonators, ventriloquists, pup- peteers, and storytellers, among others. Jugglers may entertain audiences by working alone or in groups. They may present their acts in many ways and styles in order to meet the interests and tastes of their audiences. Perform- ers might do a single show, or they may present a complete show in nightclubs, circuses, fairs, carnivals, motion pictures, or on television. O BJECTS Y OU C AN J UGGLE Golf balls Baseballs Softballs Glow-in-the-dark balls Apples Oranges Beanbags Clubs Juggling sticks Rings Torches Knives (handle with care!) The Life of a Juggler The juggler’s life is not for everyone. Those comfortable with the nine-to-five world may find it too unstructured for their tastes. But for prospective entertainers, juggling can offer an interesting array of challenges and opportunities. Jugglers perform under all kinds of conditions. They may work indoors or outdoors, at night or in the daytime. They might per- form in a theatre, in a school auditorium, at a mall, or in the park- ing lot of a shopping center. Nightclubs are often crowded and noisy. Studios may be hot and poorly ventilated. Gymnasiums may have no stage or poor sound systems. Conventions and trade shows can be noisy and distracting. Entertainers must be able to adjust to whatever situa- tion is at hand. Jugglers usually find it necessary to travel to be successful. Many such entertainers travel an established circuit. They wedge rest and meals between travel and performances. When they are first starting, most performers have little time and limited money for meals and hotel rooms. Few entertainers of this type work regular hours. A perfor- mance may be anything from a ten-second television commercial to a full-length performance lasting several hours. They may con- tract for a single appearance or for a long engagement of several weeks. Besides performing, they spend a great deal of time in practice and rehearsals. A one-hour television show, for example, may require five days of rehearsal. Keys to Success What does it take to be a successful juggler? First, of course, is the basic skill of the juggling act itself. Typically, this is mastered first on a small scale and then polished into something that audiences will find impressive. To get to that level, jugglers need talent, stage presence, and self-confidence in order to establish a rapport with the audience. Stamina, self-discipline, commitment, and the determination to keep trying are also vital. So are strength, endurance, flexibility, coordination, and dexterity. Since jugglers and other variety performers must sell them- selves to agents, employers, and their audiences, they must have charm, style, and originality. They must also be able to work well with other performers, technicians, directors, and others. They also should be able to adapt to a constantly changing schedule as well as the stress of a scarcity of bookings. Learning the Craft Want to earn a bachelor’s degree in juggling? Think again. There are no defined educational requirements for jugglers or other variety performers.However,a good academic background will be helpful in many aspects of this career. High school subjects should include English, the arts, and business courses. A college degree is always a strong asset. Many colleges offer programs in drama or theatre arts, and most such programs offer courses or activities that bring exposure to interpretation, costumes, makeup, history, directing, and related studies. Certainly, it is very important to study and practice one’s craft. All successful performers in this area have worked long and hard to perfect their skills. Students who want to be jugglers or other variety performers can start developing their skills in middle or high school. They might appear in school plays and shows and perform at parties, for church and community audiences, and in talent contests. Where Jugglers Work You may find jugglers or other variety performers working in a range of settings. The main centers for the highest-paid workers are Las Vegas, New York, and Hollywood. In large cities, they perform in stadiums, arenas, and other entertainment centers. In small towns and rural regions, performances may take place in schools, churches, or community centers. Performers may work in private homes, on street corners, or in shopping malls. They may also work in nightclubs, casinos, hotels, resorts, and restau- rants. They perform for business meetings, conventions, promo- tions, and industrial and trade shows. They work at a wide range of social events and private parties. Schools and colleges also offer some possibilities. Performers appear for fraternities and sororities, alumni organizations, special-interest groups, class reunions, and student bodies. Col- lege theatre groups also employ variety performers. Organizations of all kinds book performers for meetings, fund- raisers, children’s parties, seasonal and holiday shows, parades, and other social and business events. Performers may find work at festivals, pageants, and fairs. They may travel with a carnival or circus or work on a cruise ship. Variety performers may tour other countries as part of a com- pany or with a USO group. They may appear in stage shows, at dinner theatres, in motion pictures, and in television shows and commercials. City parks, recreation departments, and amusement parks may hire jugglers for special events. Getting Started in Juggling The road to juggling typically begins on a small scale. Many per- formers start out in local charity or school programs. They may appear on talent shows. As they become better known, they audi- tion for booking agents, producers, and other possible employers. Trade journals, websites, and the yellow pages list jobs, the- atrical agencies, and booking agents. Performers may get leads through a union or from friends and associates. They can make phone calls, send e-mail messages, write letters, and send resumes to potential employers. They must have a portfolio, and possibly videotapes or other media, to show prospective employers their record of performances. Beginning variety performers in New York and other major cities may develop their acts in clubs, cabarets, and places that offer an open mike. Some entertainers perform on the street or at festivals. Performers of this type have no guarantee of promotions or higher pay. Those with talent, determination, and luck may find openings for paid performances. Performers who become known locally may hire an agent to get bookings. A few may become celebrities. Others may be satisfied with steady work. Successful performers may work as solo acts, or they may start their own companies and advance to directing and producing. They may work as promoters or agents for other performers. Or they may work as performers on a part-time basis, sandwiching such activ- ities around the requirements of a regular job. International Jugglers’ Association A great source of information about this field, and an important provider of helpful services and support for practitioners, is the International Jugglers’ Association (IJA). In operation since 1947, this nonprofit organization focuses on the advancement and pro- motion of juggling throughout the world. The IJA members rep- resent a diverse array of skills, ages, and interests and span the range from amateurs to dedicated professionals. Membership is open to all who seek to share their love of juggling. The mission of the IJA is to educate and render assistance to fellow jugglers. The organization provides accessible information pertaining to juggling and jugglers and records and maintains the history of juggling. It offers a wide variety of services, includ- ing an annual festival, workshops on topics of interest to mem- bers, and a magazine. Its online store offers videos, DVDs, and other merchandise. The organization also produces videotapes of its events and instructional materials that members may purchase. Juggler’s World magazine, which is published by the IJA, presents reviews of new videos, books, and props; descriptions of some of history’s great juggling acts; interviews with the juggling world’s most fas- cinating personalities; historical information; and more. Contact this organization as follows: International Jugglers’ Association PO Box 112550 Carrollton, TX 70511 www.juggle.org Another source of information about juggling is the Internet Juggling Database. This online site offers answers to frequently asked questions, basic details on learning to juggle, information on juggling clubs, schedules of forthcoming performances or events, a video database, articles on juggling, and more. Check it out at www.jugglingdb.com . Financial Prospects The earnings of jugglers vary with their skill, fame, employer, geo- graphic region, and the kind and amount of work. They may receive anywhere from $25 to five-figure fees for one performance. Some of these entertainers earn more for an hour than others do for a week, but the pay for that one hour could be their entire income for a month. For union members, minimum pay rates are governed by agreements established by groups such as the Ameri- can Guild of Variety Artists, the Screen Actors Guild, and the American Federation of Television and Radio Artists. The American Guild of Variety Artists represents performers in nightclubs, circuses, and other places that present live enter- tainment. The American Federation of Television and Radio Artists serves performers of live or taped radio and television programs. The Screen Actors Guild serves performers in film, television, and commercials. The Associated Actors and Artists of America is an umbrella organization for the nine AFL-CIO unions that rep- resent performing artists. All these unions negotiate contracts on wages, hours, and working conditions. Performers may sign indi- vidual contracts with special terms. Union contracts also set terms for overtime and residuals (pay- ment for reruns of films, commercials, and television shows in which the performers appear). The performers may also get a per- centage of any sales from videos, DVDs, or other items such as dolls and games modeled after performers. Because most performers are self-employed, they do not receive the fringe benefits other workers get. Although they work nights, weekends, and holidays, they seldom get extra pay. Union con- tracts may include pension plans, health insurance, and other aid. Entertainers who work for one employer long enough can collect unemployment insurance when the job ends. Sick leave and paid vacations are rare. National and local arts organizations some- times offer group insurance and other benefits for those not cov- ered by union contracts. Most performers have other jobs. Many take whatever kind of work they can get to fill in between jobs. They may sell their tapes, films, DVDs, books, or other products. Future Prospects While jobs in this field can be exciting, the prospects for employ- ment are limited. There is no accurate estimate of the number of performers or the number of jobs available. The unemployment rate is very high—perhaps 60 to 65 percent for these workers. The competition is stiff. The number of job seekers is always greater than the number of jobs. Most entertainers work only part-time. At best they make only a modest living. Only a very few become rich and famous. Words from the Pros Introducing Jack Kalvan Jack Kalvan is an entertainer who is based in California but who works all over the world. His training includes a number of com- edy, acting, and dance classes, including Greg Dean’s Stand-Up Comedy Workshop in Los Angeles. Jack has been interested in entertaining since childhood. At the age of twelve, he unwittingly determined his fate by teaching him- self to juggle three balls. Juggling quickly became his main love and obsession. Jack honed his juggling skills for many years while fulfilling his more scholarly ambitions. He earned a degree in mechanical engineering from Carnegie Mellon University in Pitts- burgh and then took a job in robotics at IBM Research in York- town Heights, New York, where he actually worked on building and teaching a robot to juggle. He eventually quit that job to pur- sue his true love, a career in juggling. Since starting his career, Jack has performed thousands of shows in hundreds of cities around the world. He has appeared on television shows such as the "Drew Carey Show" and "Days of Our Lives." "I had so much fun practicing juggling, I spent most of my free time doing it," he says. "I was becoming pretty well known by other jugglers. When people offered me money to juggle, I could not turn it down. While I was working at IBM in New York, many of my friends were doing street shows. It looked like fun, and they were making pretty good money at it. I did some of my first shows passing the hat in New York’s Central Park and Washington Square." Now, much of his time is spent at home. But when he does work, he makes enough money to live on the rest of the time. About twice a month he spends a day on the phone calling up agents and trying to get work. There are times when he works every day for long periods. At one time, when he was performing extensively at colleges, his days were mostly spent driving to the next show and sleeping in hotels. Now he is usually employed for one show at a time. He has enjoyed performing in Atlantic City and also in Japan. He has worked frequently on numerous cruise ships. When not performing, he periodically develops new shows. This involves a substantial amount of time writing new routines and rehearsing them, as well as writing and designing new promotional materials. "The best thing about this career is that I get paid to juggle," he says."And I am paid well enough that I can spend most of my time at home with my family, doing whatever I want. I seldom have to get up early, and I don’t have to work in an office. I am self- employed and can take the shows I want and not take the shows I don’t want." He says that at first the travel was very exciting, but now it’s one of the things he likes least because he usually doesn’t have time to go sightseeing. Jack worked with a partner, Rick Rubenstein, for about ten years doing a two-man show called Clockwork. The two met in college and became friends and then partners. Later, Jack made the transition to performing exclusively solo shows. "I would advise that you not expect to become famous or wealthy," he says. "Remember that it may take years before you have a good show. Be original; the world doesn’t need any more corny juggling acts. Research, but do not copy what others have done. Do what you are good at. Never be satisfied with your show; always strive for improvement." Introducing the Raspyni Brothers Dan Holzman and Barry Friedman present themselves as the Raspyni Brothers. While they are not actually brothers, they are a successful juggling duo. The two partners met in a park in the 1980s when they were twenty years old, and they quickly formed a partnership to perform comedy/juggling shows.After more than two decades of entertaining, their credits include "The Tonight Show," a command performance for the president, "Circus of the Stars," and the "Jerry Lewis MDA Telethon." They have performed as the opening act for Tom Jones, Robin Williams, Billy Crystal, and other famous entertainers and have also won several juggling championships. For their previous jobs, Dan sat in a room and sorted x-rays. Barry drove a forklift in a small warehouse. "These jobs had a tremendous bearing on our career paths because we knew that if we didn’t find something more interesting and challenging to do with our lives, they would just bring us more x-rays and pallets," Dan says. Today, they spend much of their time on airplanes flying around the country as well as to other nations. On show days, they meet with clients and make sure that they understand exactly what is expected of them as performers. When at home, they meet and talk about new markets, new routines, and new projects to make themselves more popular. They also practice juggling, usually for an hour each day. Asked what they like most, the two list the travel, the money, the excitement of performing, meeting and working with famous celebrities (because it humanizes them and makes their level seem attainable), being on television, seeing new places, staying in world-class resorts, getting standing ovations, seeing people laugh so hard that they have tears in their eyes, doing encores, sending postcards from the Caribbean to all the people who said they would never make anything of themselves, and eating in New Orleans. The main shortcoming is the need to be away from home so much."Our life is the textbook case of ‘the greener grass’ theory," Barry says. "We usually find ourselves either at home or on the road and wishing for the other. Too often, friends get married on weekends when we are traveling. Too bad more people don’t get married on Tuesday nights; we’re usually available!" The two advise others to work hard and be creative. They offer these tips:"Don’t ever take no for an answer; someone will say yes if you keep asking. Believe in yourself. Don’t ever treat life like a rehearsal. Do what you love, and if you are good at it, the money will follow. The beaten path has already been taken, so blaze a new one for yourself. Don’t ever be content with what you have done; there is only one time to quit, and God lets you know when that time has come." Introducing Jonathon Wee Jonathon Wee is a San Francisco–based entertainer.He has a bach- elor of arts degree in economics from Luther College, a small, private liberal arts college in Iowa. Jonathon is largely self-taught. He learned primarily from going to juggling festivals, seeing other jugglers, and juggling with them. He started out by learning to juggle three bean bags when he was in eighth grade at the age of thirteen.A woman was teaching a few people to juggle, and he thought it looked like fun, so he joined in and was immediately hooked. He spent much of his spare time just standing in a corner of the room, or wherever he could find space, juggling for hours. Then he taught two friends, and the three of them started doing small shows for birthday parties and picnics. Their first real job of any distinction was at the Minnesota Renaissance Festival when he was fifteen. "I was first fascinated with the juggling itself," he says. "The feeling of satisfaction, of learning something that seemed impos- sible but soon became easier and easier,was compelling.And there were no boundaries—just so many possibilities. Hundreds of tricks with three balls, then working on four balls, then tricks with four, then five, and so on.And then when that got boring, all I had to do was pick up rings or clubs (the things that look like bowling pins) or flaming torches, and it was all new again." He also found juggling was a fun thing to do with others. "You could teach each other, show off what you had learned, or chal- lenge the other person or people to do what you can do. The next step was cooperating and learning to pass between two or three or more people. That group effort and accomplishment was a fun way to meet and bond with people. But I became truly attracted to it as a profession when I got onstage and realized that I could make people laugh and applaud. And the fact that I could actually get paid for it was almost too good to be true!" One summer during college, Jonathon had a job laying sod. He remembers it as the most miserable working experience he had ever had. It was dirty, back-breaking work, but the experience helped him realize that by comparison, juggling was something really wonderful. He still had some thoughts about a more main- stream job after college, but he knew that his college education was at least going to keep him out of doing hard labor, and he was glad about that. Once he made the commitment, Jonathon was able to build a successful career. He and his partner often work for corporate clients, juggling their products while making jokes or references to the industry or company. They also perform at comedy clubs, on cruise ships, at NBA halftime shows, and other venues. Most of their performances take place evenings and weekends. "I love making people laugh,"he says."I love being able to travel and meet interesting people in exotic and fun places. And I love the possibilities. I never know what the next phone call is going to be—it could be a great new gig, a trip around the world, a spot on a television show, or an audition for our own television show or movie—anything!" Introducing Doubble Troubble Jugglers Nick and Alex Karvounis are based in Las Vegas but work all over the world, including shows on cruise ships. Both earned bachelor of arts degrees in film and television production from New York University. The two began juggling in elementary school when their gym teacher taught the entire fourth grade juggling during class. Of the hundreds of children he taught over the years, Alex and Nick were the only ones to con- tinue juggling as more than just as a hobby. On weekends during middle and high school, they practiced juggling with many ama- teurs and professionals at the Baltimore Jugglers Club. By this time, the two were already performing a twenty-minute magic and juggling show for children’s birthday parties. They found they enjoyed making people laugh. "I think, in the long run, the reason we continue to perform our comedy and variety show is the satisfaction and joy you get when you step out onto stage and make a theatre full of thousands of people laugh," Nick says. "I remember seeing an article on Anthony Gatto, another juggler from Baltimore, and his job in Las Vegas. I remember seeing a photo of him on stage juggling seven rings. I said ‘Wow!’ And that’s another reason I love to perform. I love to see people walk away from our show and say ‘Wow . . . amazing.’ Pure satisfaction!" After performing at children’s birthday parties, conventions, and other events in the Baltimore area on the weekends during high school, Nick and Alex went to college. Their four years at New York University in the heart of the Big Apple proved reward- ing. During the summers they worked at a resort in the Poconos, where they served as camp counselors during the day and enter- tained at night. The first time they performed onstage was as an opening act for a comedian. The manager asked them to do fifteen minutes, but they lost track of time and ran over thirty minutes. Nevertheless, the pair was still invited back. They also began to experiment with street performing. "Street performing is where an act can really become refined," Nick says. "It is when you are out on the street that you really learn how to keep an audience. If your show isn’t interesting enough or funny enough or exciting enough, the audience will leave. I am truly convinced that the street is what makes or breaks an act. The street will separate the good from the bad,the strong from the weak.The street is where we learned to deal with hecklers in the crowd. This experience with street performing and passing the hat for a few bucks is where we really learned to appreciate the audience. The only reason we as entertainers survive is because the audience decides that we should survive. The second the audience stops lik- ing you, you’re dead." From New York and the Poconos, they moved on to theme parks, such as Bush Gardens in Williamsburg and Walt Disney World in Orlando, Florida. After relocating to Orlando for work with Disney, they were offered their first job on a cruise ship. "Cruise ships are definitely the place to be,"Nick says."The the- atres that we perform in are more beautiful than most showrooms in Las Vegas. They are state-of-the-art theatres that hold more than a thousand people and have forty-foot stage ceilings, orches- tra pits, and millions of dollars worth of lights and sets. On a seven-day cruise with RCCL [Royal Carribean Cruise Line], you can expect to see two celebrity entertainers, two large-scale- production shows, and three to four other variety artists. Every act is professional and entertaining. Our work on the cruise ships is very rewarding and exciting." Nick and Alex find that many people think their jobs are easy, but it’s not just a matter of putting on a one-hour show and then sitting back for the rest of week. Even though a show may last a fraction of a normal workday, there is much more that goes on behind the scenes. When they are between contracts, much of the day is spent making phone calls and sending out promotional materials. Many phone calls are made to their agents and prospective clients, searching for that next booking. They also stay busy on the com- puter, designing new brochures and updating materials for their portfolio, sometimes taking days or weeks to achieve the exact look they want for the client. With the use of desktop-publishing software, Alex and Nick have mastered the design of new promo- tional materials directed specifically to a prospective client, adding that personal touch to each piece. For instance, when they were designing promotional materials to submit to the National Basketball Association, they added NBA photos along with pictures of their act to make the materials more personalized. Any given day may continue with the unexpected as well. An agent may call and ask if they can send promotional material to a client for a last-minute job. Everything in their office stops so that they can send out a package overnight halfway around the world. One hour later, after a long line at the post office, they are back in the office with other projects still waiting for them. When evening comes, they may still be working. "People wonder why we don’t stop at five o’clock. It may be quitting time in Las Vegas, but halfway around the world in Tokyo, there is an agent who needs to talk to us. We have come to find that there are no office hours in this business as well as no week- ends or holidays. When the phone rings, the phone rings, and if you don’t pick it up you may miss an important job. And it has happened to us before, so we quickly learned our lesson." Another part of their work is trying out new routines at the gym or on the racquetball court. It may takes months to perfect a new routine with new props and choreography.A typical rehearsal might run an hour. Through trial and error, they begin to find what feels right and looks right. They note that the process can be frustrating because when they are learning new tricks, their tim- ing may be off, and they may drop things. But all the hard work pays off when the trick is perfected and applause and laughter come from the audience. Their act includes a good deal of comedy. Some of their humor- ous material comes by accident. If they are in the middle of a show and someone slips or says the wrong word, they may turn it into comedy. They say the most rewarding part of the job is the actual show."It is exciting to see and hear an audience laugh and respond to the juggling and comedy," Nick says. "The travel also makes for a unique and interesting part of the job. We are in a position to do what we love to do and see parts of the world that we thought we’d only see in history books or on the Travel Channel. Our performing has taken us to nearly every continent on the earth and seeing and meeting people of every culture and back- ground. It has been a learning experience far beyond anything we could have expected, which is what makes us enjoy taking our show on the road." They add that while traveling may bring excitement, it can also become tiresome. Waiting in crowded airports and carrying lug- gage are definite downsides. "There is more to performing than just knowing how to juggle," Nick says. "There have been some great jugglers in the past who couldn’t entertain an audience. The novelty of juggling wears off quickly, so you must come up with something unique to keep the audience’s interest. To keep your show interesting, you must make the audience like and relate to you onstage. Finally, the most important thing is that you have to enjoy what you are doing. If not, move on and try something else. Good luck!" Other Variety Performers Along with jugglers, a number of other career areas involve some type of variety performance. In addition to those of actors and musical performers (covered later in this book), they include the following: • Acrobat • Amusement-park entertainer • Announcer • Aquatic performer • Dancer • Disc jockey • Impersonator • Magician’s assistant • Mime • Narrator • Psychic • Puppeteer • Ring conductor • Rodeo performer • Show girl • Stuntman or stuntwoman • Talk-show host • Thrill performer • Ventriloquist • Wire walker Making It as a Mime A mime is a performer who practices pantomime, which is the art of conveying stories by bodily movements alone; no words are spoken. Sometimes this art is called mime for short, as is a person who practices it. Mime performances can be seen frequently as practiced by members of amateur theatre companies, but relatively few men and women make a career of it. Like jugglers or other variety artists, many mimes pursue this art as a hobby or part-time career. Those who love mime feel it offers a special challenge, since performers may use only their skill with bodily movement or facial expressions to convey emotions or other concepts. Marcel Marceau Without doubt, the world’s most acclaimed mime is Marcel Marceau. Born in Strasbourg, France, Marceau became interested in mime as a child and eventually made it his career. He studied under another famous mime, Etienne Decroux, and ended up becoming famous not only in Europe, but also in North America and elsewhere. Marceau created Bip, a character in a striped pullover and bat- tered opera hat who became his alter ego. Bip’s encounters with people, animals, and objects became the stuff of legend in the entertainment world. Marceau has been performing in the United States and Canada since the 1950s, both in live performances and on television. His awards are too numerous to list. The French government awarded him its highest honor, the Legion of Honor, and he holds honorary doctorates from Ohio State University, Linfield College, Princeton University, and the University of Michigan. If you are interested in exploring a career as a mime, you cer- tainly will want to watch him perform and study his style. Even if not, anyone can enjoy his wonderful performances. For additional information, including details about upcoming performances, visit the website offered by the Marcel Marceau Foundation at www.marceau.org . Learning Mime To learn the art of mime, consider taking classes. Sometimes you can find workshops or classes offered by a local college, university, or individual performer. A few organizations specialize in such activities. The American Mime Theatre, located in New York, teaches a unique approach based on an identified balance of playwriting, acting, moving, pantomime, and theatrical equipment. This approach differs from that of the French schools and is taught only at the American Mime Theatre. For information, contact: The American Mime Theatre 61 Fourth Avenue New York, NY 10003 www.americanmime.org Mime Theatre Studio, located in North Hollywood, California, offers weekly classes in mime theatre throughout the year. Begin- ners complete an introductory level made up of six classes. After that, they may attend classes at more advanced levels for as long as desired. Short-term workshops are also offered. Students at this school learn the fundamentals of the art, basic physical and dramatic skills, specialized movement skills, "physi- calization"of emotion, and stylization techniques. In the course of their studies, they are exposed to techniques developed by Marcel Marceau, Etienne Decroux, Polish master Stefan Niedzialkowski, and others. For more information, visit the Mime Theatre Studio website at www.mimetheatrestudio.com . Venturing into Ventriloquism Another specialty in the area of variety performance is ventrilo- quism. Performers who develop this skill project their voices so that the sound seems to be coming from somewhere else, typically from a dummy that forms the other half of a comedy act. While some performers specialize as ventriloquists,others com- bine this approach with other types of comedy. Some use it as a gimmick to deliver religious messages or other material. If you’d like to explore this area, consider getting in touch with someone who is a practicing ventriloquist and asking for tips. Or take a class or workshop. A good place to get started is the Inter- national Ventriloquists’ Association. This group offers an annual festival and publishes a magazine, Distant Voices. It also provides helpful networking opportunities. For more information, contact: International Ventriloquists’ Association PO Box 17153 Las Vegas, NV 89114 www.inquista.com Here is your next birth-name challenge: Jennifer Anastassakis. For More Information Daily Variety Magazine 360 Park Avenue South New York, NY 10010 or 5700 Wilshire Boulevard, Suite 120 Los Angeles, CA 90036 www.variety.com Daily tabloid for the entertainment industry International Jugglers’ Association (IJA) PO Box 112550 Carrollton, TX 70511 www.juggle.org Internet Juggling Database (IJDb) www.jugglingdb.com Screen Actors Guild (SAG) 360 Madison Avenue, Twelfth Floor New York, NY 10017 or 5757 Wilshire Boulevard Hollywood, CA 90036 www.sag.com

1 comment:

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