Off Course On Purpose
Chapter 46: You Gotta Have a Gimmic
At one of our Tuesday night juggling club meetings, we found ourselves sitting down with Jeff King and Sean McKinney to chat. The conversation ranged across several topics, none of which were related to juggling or entertainment. But we knew Sean had worked on cruise ships before, so we asked if he had any advice for us, in case we wanted to work on ships one day.
“Don’t become an alcoholic,” he said.
We laughed, thinking it was a joke.
But he didn’t laugh, “I’m serious. People go out there, and there’s nothing to do, and everyone’s partying all the time. Next thing you know, you’re an alcoholic. It happened to me.”
We three fell quiet, unsure of what to say. We’d all heard little pieces of rumors about it. That he’d had a tough time on ship, gotten into alcohol, cracked under the pressure, and fought with his teammate — or was it his agent? Something like that, but none of us knew for sure; he didn’t like to talk about it.
Sean got up and walked across the gym.
We watched to see if he’d pick up juggling props; we wouldn’t miss the chance to watch him juggle, but he didn’t. Instead, he grabbed a basketball and started some dribble drills, deftly bouncing the ball back and forth between his legs.
Jeff pointed a finger at us, “So, you guys have the Legoland gig, you’ve been training, and you’re getting good; what’s the plan here? You want to do ships or colleges, or halftime shows, or what?”
“Yes, all of that!” we laughed.
Jeff waited, knowing a real answer was in there.
“Well, we want to compete in the world juggling championships, teams division. We know it’s a long shot, but if we could even get a bronze, that would be amazing. After that, corporate events and cruise ships would be fantastic, although we only have about twenty-five minutes of material right now, and we hear you need an hour. We’d also like to do colleges. Really, whatever we can get.”
Jeff thought for a moment, “You need a gimmick.”
“What do you mean?” we asked.
“You need something that makes you stand out from everyone else, something no one else has, something no one else can do; you gotta have a gimmick.”
Jonathan and I both sat thinking, but we didn’t know what our gimmick might be.
“Well, now that we know we need one, we’ll think on it,” Jonathan said.
“I’m going to be performing at a local high school in a few days; I can get you in if you want to see the show,” Jeff said.
“That would be great; we’ll be there!”
* * *
​
When we arrived at Jeff’s show, we discovered it was a high school talent show, and they had hired Jeff to perform during the intermission.
We stood on a second-story balcony and watched.
Jeff opened with a ball juggling routine; it was intense, raw, and gritty street-style juggling that made even a jaded high school crowd cheer. Then he took the microphone and hit them with some stand-up comedy — dry, hard-hitting stuff, material and language I was shocked he was doing for high schoolers, but they loved him for it. Then he got out a ten-inch piece of teal-green water pipe and set a blank skateboard deck atop it as a balance board. He jumped on top of it and started juggling three clubs.
The crowd thundered!
Next, he threw one of the clubs high in the air, busted a pop-shove-it (the trick where you jump the board up and spin it 180 degrees beneath your feet), then he landed back in control with the board under his feet, on top of the cylinder, and caught the high-thrown club back into the pattern.
Jonathan and I went ballistic, “Oh my god, that’s a hard trick!”
He went on, mixing skateboarding, juggling, and throwing tricks that were so difficult, and doing it all in a live show!
For the finale, he pulled out a chainsaw and juggled it. The room went crazy! The walls shook like we were having an earthquake, full electric!
He held the chainsaw high and shouted something unintelligible, which made the crowd get even louder. Then he kissed his fingers and waved, strolling off stage like a predator after a kill.
His show struck like a physical blow. I stood on the balcony, stunned to silence.
As things quieted down, Jonathan said, “That was incredible!”
“It was,” I agreed, “and it’s just like he said.”
Jonathan finished my thought, “We gotta have a gimmick.”
“The pop-shove-it skateboard trick. Has anyone ever done that before?”
Jonathan shook his head, “I don’t think so.”
“So he’s the only one doing it, and the chainsaw!”
“Every audience wants to see you juggle a chainsaw.”
“They do,” I agreed, “but it’s been done. If we’re gonna do a chainsaw, we need to do it different from how it’s ever been done before.”
“What are you thinking?”
“I don’t know,” I answered, “but we need to think of something.”
Chapter 47: IJA - Madison Wisconsin - July - 2001
In bold letters, written across the top of my big paper desk calendar:
International Jugglers Association
Festival and Championships
July 24 - July 28, 2001
We’re competing!
The dream of one day competing had driven us for the past four years, and now, it was only one week away.
Skill-wise, we were as ready as we could be.
All that was left to do was burn our performance tracks onto a music CD. We bought a fifty-stack of blank CDs and tried every way we knew to get Jonathan’s PC to copy our competition tracks, but the cantankerous thing refused. It would burn data discs for us all day; it didn’t mind that. But ask for a regular ol’ playable audio CD and, “Gasp, cough, blepf!”, out spat another unreadable disc. The computer itself, the machine that had made the damn thing, wouldn’t even play it.
Admitting defeat, we reached out to our friend, Mark Booyah , whom we’d met through the UCSD juggling club.
He worked as a programmer, and we figured if anyone could get it going, it’d be him.
He told us to come over.
We showed up and explained the issue; he transferred the files from our thumb drive to his Macintosh, inserted a blank CD, dragged the files onto the CD, clicked burn, and two minutes later, the properly formatted disc popped out.
“That’s it?!” I exclaimed.
“Yeah.”
“And it’ll work, just like that?” I asked skeptically.
He took the disc and walked across the room to his CD player. Popping the disc in, he pressed play, and our performance track started.
“We’ve spent days on days trying to get my computer to do what you just did in two minutes,” Jonathan said.
Mark smiled, “I’m sorry about that, but at least you’ve got one that works now.”
“What do we owe you?” I asked.
Mark looked surprised, “Owe? Nothing..” Then, he did an old skool gangster impression, “Don’t worry uh-bout it, I do you a favor, maybe sum-day you do me a favor.”
We laughed and thanked him.
It was such a non-thing to him; he meant it when he said it was no big deal, but to us, it was priceless. Without music, we couldn’t enter the championships. Now, finally, we have it, and in just a few days, we’ll be flying to Madison, Wisconsin.
* * *
Preliminaries were scheduled for the first day of the festival; this was where the competition hopefuls appeared before a panel of judges, and those who did well moved on to the actual competition, usually held the next day.
The main divisions are:
Juniors - Under 18
Seniors - Solo performers 18 years and up
Teams - Any group of two or more
Jonathan and I made a point of arriving early for the preliminaries so we could see what the competition looked like. Once we were in the theater, we took a wall unobtrusively near the back of the room. We watched quietly as act after act went up to run their routines. There was club passing, cigar box variations, ring juggling, diabolo, all the stuff you’d expect to see in a juggling competition. But good as they all were, we didn’t see anything we’d have no chance against. I felt something warm in my chest, and wondered. Is that hope? Half-daring to believe we could have a real shot.
Knowing that we’d be called up soon, Jonathan excused himself to the restroom. The panel called another team to the stage to perform. Two perfectly muscular, perfectly symmetrical men walked out on stage. And by symmetrical, I mean in every way, even genetically — they were twins. Then the music started, and their gleaming white clubs began to dance.
For the next seven minutes, these two individuals executed the most stunning juggling exhibition I’d ever seen. They incorporated gymnastics skills, jumping over each other, stealing juggling patterns back and forth amidst cartwheels and back tucks. They made high throws that flowed into superbly challenging five-club steal variations. And it was all flawless, or more than flawless; it looked easy. Like they had three different routine difficulties in the bag and had decided to compete with the easiest of the lot.
As I watched them, my worst fears and doubts came surging to the fore: that no amount of practice would ever be enough. We’d started later than most, and we were too far behind to ever catch up.
Jonathan returned just as they were packing up to leave the stage, “Did I miss anything?”
“Yeah.. You did.”
“Were they good?”
“The best I’ve ever seen.”
“What’s our chance of beating them?”
“If we go flawless, if we have the best night of our lives, even then, we can’t beat them.”
He looked at me with eyes narrowed, and I could tell he wasn’t sure if I was teasing, so I added, “We can’t win.”
Jonathan considered that for a moment, then said, “Well, we don’t have to stress about anything then; we’ll just go out and have fun.”
Jonathan always knew the exact right thing to say whenever things looked their worst.
One of the prelim judges stood and called, “Team Rootberry?”
“Back here,” we hollered.
“Give your music to the technician, and let us know when you’re ready,” he instructed.
We did as we were told and set up our props on stage.
This is it, I thought, if we don’t deliver now, our championship bid will end, and it’ll be another year of training before we can try again.
Jonathan waved to the sound technician, and a moment later, our music started.
We took the stage with big smiles on our faces, then threw the hardest tricks we knew with six and seven clubs, many at the very edge of what we could do on our best days, and a surprising number landed beautifully. But it was far from perfect, and we had many drops.
Next, we worked up to eight clubs, passed them in singles, stopped and posed, then finished with an eight-club run in doubles to complete the set.
The judges thanked us, made notes, and then called for the next performer to prepare.
We left the room feeling dejected, and I was convinced there was no way we’d get in. There were more seasoned and technically skilled acts than us, and we’d had more than ten drops.
Oh well, I thought, better luck next year.
A few hours later, we were hanging out in the hallway beside the open gym where most of the festival goers were practicing. One of the preliminary judges, Jack Kalvan, half of the performance duo Clockwork, walked up and said hello. He asked how we felt about our prelim performance, and we were transparent in our answer: we didn’t think we had a chance of making the finals, but were happy we’d done it and would come back next year to try again. Jack, a seasoned performer who’d competed in the championships himself, was very kind and offered some encouraging words, then left us to our own devices.
A few hours later, the list of finalists was posted on the back of a door. Jonathan went over to look, but I hung back since I already knew in my heart that we’d been cut.
I watched as he dragged his finger across the paper, then he stopped at one line and exclaimed, “We made it!”
I couldn’t believe it, just a few years back, we’d sat in the back of Jonathan’s little blue truck and set the impossible goal: Compete in the world championships.
And now here we are.
I want to be excited, but there’s no time, I have to practice!
* * *
​
The next day, I woke up early, went to the practice area, and taped my hands in preparation for training. Then I warmed up and had a great session. It was so good, in fact, that I became superstitious that if I let myself cool down, I wouldn’t be able to fire it up again for the competitions later that night, so I kept training to stay warm. After a while, Jonathan said, “I’m gonna take a break so my hands aren’t shot for tonight.”
“Yeah, yeah,” I said, continuing to juggle solo.
* * *
We were backstage, hearing the crowd whenever another competitor took their turn. Then, the MC said, “Next up in the teams division, from San Diego, please welcome, Team Rootberry!”
Our music started.
The roar of the crowd hit like a physical weight, but it wasn’t intimidating; it was encouraging. They wanted us to rock.
We moved through the routine with a fluidity we hadn’t found in the prelims, and every time a club hit my palm, it felt like a victory. The minutes passed as fast as seconds, and suddenly we were doing our last move, a nice run of eight clubs. We pulled it in clean, took our bows, and walked offstage.
As soon as we were off stage, Jonathan turned to me and said excitedly, “Seven drops!”
“Really? That’s all?! Awesome!” I exclaimed.
In the world of high-stakes competitive juggling, seven was a massive win. We hadn’t just survived; we had represented the gritty Southern California Rock & Roll style we loved. And most importantly, we hadn’t embarrassed ourselves.
We were happy. Happy to have gotten in. Happy to have competed. And no matter what happens next, the goal was achieved.
The final acts finished up, and the judges deliberated. Then the judges came back and gave the MC a list of names to read aloud.
I wonder if we did well enough to get a bronze. How cool would it be to have a bronze, I thought.
The MC called out the bronze medal winners, but it wasn’t us, so I figured that was it. We probably hadn’t done well enough to win a silver.
“In second place, the winners of the silver medal, Team Rootberry!”
No way!
We exploded from backstage, laughing and unable to hold back the rush of joy. For a moment, it felt like the whole room had tilted toward us, the cheers, the applause, the thunder of it all. And for the very first time, everything we’d given up to get here felt worth it.
We accepted our medals before a cheering crowd of friends and peers.
Our impossible dream had come true.
Then it was over, and we were backstage changing into street clothes.
As I slipped on my regular shoes, I wondered: if we keep practicing, what are the chances? Could we come back and win a gold?
Hmm…
Chapter 48: 9-11-2001
After the championships, we came home glowing. Not loud or boastful, but quietly triumphant. With a feeling that anything was possible. We had silver medals from the world championships hanging on our walls, proof that the goal we’d set wasn’t impossible after all.
Over the next five weeks, we did what we always did. We went back to work at Legoland. We practiced. We tightened things up. And we made a plan: Train harder than we ever have, return the following year, and make one more attempt at the gold.
Just one more year. One more cycle of discipline and sacrifice, we can do this! And we went to bed on the night of September 10th, 2001, without a care in the world.
* * *
Early Morning: September 11, 2001
Jonathan’s phone rang, which I could hear through the wall of the apartment. I wasn’t sure what time it was, but it was still twilight outside. I hear Jonathan talking; he sounds groggy at first, then alert, “What?”
“No, we don’t have cable TV; all we watch are juggling videos.”
“Ok, thank you, we’ll find a way.”
From the other room, he yelled, “Bill, we need to turn on the news.”
I threw on dirty clothes as he entered the living room in his pajamas. I didn’t know what was happening, but we walked out our apartment door and knocked on a neighbor’s door. We knew the woman who lived there; she worked as a promoter for Dos Equis beer. She didn’t answer, so we knocked on another neighbor’s door, a guy Jonathan had only spoken to in passing. A groggy-eyed, round-faced man with tousled brown hair opened the door. “Wud up?” His tone indicated that this better be good.
Jonathan answered, “A plane crashed into the World Trade Center; we need to turn on the news.”
The guy blinked as he tried to register the information, then, turning back into his place, he started looking for his TV remote. Without a formal invitation, we walked into his living room, two virtual strangers plopping down on his sofa. He hit the power button, and the screen came to life.
We sat at attention, watching as more footage became available. Then, the second plane hit, and the tension grew. There were a million questions and no answers; all we knew for sure was that people were dying right now as we watched.
“Our country is under attack.”
“No one has claimed responsibility.”
“Firefighters are working feverishly.”
“Tower one has collapsed.”
“Airports nationwide are being shut down.”
“A plane just hit the Pentagon!”
“Tower two has collapsed.”
“Another plane has been shot down; I repeat, a fourth plane has been shot down.”
“All commercial aircraft worldwide have been grounded.”
“This unprecedented attack can mean only one thing: WAR.”
I’d like to say I grasped what was happening, but I didn’t. I’d been to New York and seen the towers, but now, seeing it live, none of it seemed real. We sat numbly, watching, waiting.
* * *
For obvious reasons, Legoland closed for the day, and we didn’t return to work until the following day.
In the green room, we put on our costumes and walked to the front of the park like we always did.
The park could accommodate over 10,000 visitors a day, but on this day, there was no rush of people and no families scrambling about. Instead, there were just dozens of employees in the bright red, blue, yellow, and green “Lego Citizen” uniforms. Retail store workers stood at silent registers; ticket takers leaned against their turnstiles, and groundskeepers stood ready to pick up trash that wasn’t there.
Realizing what was happening, Jonathan and I began entertaining the employees, doing what we could to lighten spirits. All our shows that day were performed for empty seats; no one was there. Near the end of the day, I saw one of our favorite managers and stopped to talk with him. He told me that the park had sixteen visitors.
“Sixteen on site right now?” I asked.
“No, sixteen entrants for the whole day.” He continued on his way, leaving me to think.
This became the routine, day after day, with only ten or twenty people in a whole theme park. I thought, This can’t go on forever; the park must be losing an insane amount of money.
Chapter 49: Corupzion!
After our silver-medal showing at the IJA, the Portland Juggling Festival asked whether we’d be interested in MC’ing their public show September 27-29, 2001. We’d never MC’ed before, but we saw it as an opportunity to flex our performance muscles and try out some new material, so we accepted. They sent over the details, and we booked our flights for the trip.
* * *
​
When we arrived at the airport, it was a ghost town. Air travel had been reinstated a few days after the 9/11 attacks, but no one had any appetite for travel.
We walked around the airport, and other than the skeleton crew of employees, there was hardly anyone there. It felt post-apocalyptic, as if a world-ending virus had struck, and we were the only ones with immunity.
When it was time to board, the attendant didn’t use the loudspeaker; she just said, “Are the three of you ready?”
Jonathan, I, and one other guy stood up, and that was it — an entire flight for three passengers. There were more crew members on board than passengers.
When we arrived in Portland, the festival organizers picked us up and settled us in with a host family, Mike and Alison. They opened their home to us and treated us like their own from the moment we met; like so many in the juggling community, they are wonderful people.
Early the following day, I was awakened from my slumber on the living room sofa by the jingling of a set of keys. I opened my eyes to see Mike, who, even though it was still dark, was dressed for work and ready to leave.
“Sorry, I don’t mean to wake you,” he said, “but here are the keys to the Nissan; it’s parked out front; feel free to take it and go see the city. Rehearsal for tonight’s show starts at 5:00 pm, so make sure you’re at the theater by then.”
I thanked him and said we’d be there; then he left.
* * *
A few hours later, Jonathan and I were awake enough to dive into the day. We walked out the front door, but we didn’t immediately see the Nissan Mike had told me about. We walked across the yard and stopped at the sidewalk to survey the scene. Straight ahead, across the little two-lane road they lived on, was an older blue Nissan. And to our left, about a house and a half down, was a second newer-looking Nissan.
Jonathan and I looked from one car to the other, then I a
sked, “Which one do you think it is?”
Jonathan considered this for a moment, then said, “This one is closer.” He pointed to the one across the street, “Let’s try it.”
We crossed the street, and I tried the key in the lock. The door opened, so I got in and reached across to open Jonathan’s door; he climbed in while I started the car.
“Let’s go see Portland!” I said, pulling away from the curb.
The first stop was breakfast; we’d heard there was a good diner worth trying. Then we went to a bookstore that was supposed to be one of the biggest in the world, or the biggest independently owned, or the one with the most books, or, by some measure I can’t remember, big and notable. We did find it, but ultimately didn’t go inside; I’ve always got a backlog of ten-plus books I want to read, and I didn’t need to spend more money. Next, we visited Ben Schoenberg’s Juggling Shop, Serious Juggling. It was fantastic to see all the unique props they had on offer and to talk shop with him. Not only is he a significant contributor to the juggling community, he’s also a great guy.
After that, we grabbed a quick lunch and then went back to our accommodation to get cleaned up. Mike and Alison had given us access to their computer, and I needed to check the tracking on a UPS package I’d ordered, so I logged on. As I navigated the screens, there was a loud knock at the front door. Jokingly, I told Jonathan, “Sounds like it’s for you!”
Jonathan laughed, “It did sound like my kind of knock!”
We both laughed, and he went to see who it was.
I kept working, but after a while, it occurred to me that Jonathan hadn’t returned. I closed the UPS window on the computer browser and went to find him. When I got to the living room, the front door was swung wide, and through the screen door I could see Jonathan standing in the middle of the yard, his hands reaching toward the sky. Coming closer, I saw one cop, then two, then, oh geeze, the street is full of cop cars; what did he do?!
I walked to the screen door and hollered, “What in the world is going on here?”
Several cops now swung their guns in my direction and shouted, “Come out, and keep your hands where I can see ‘em!”
“Yes, sir,” I answered automatically.
Stepping outside, the lead officer asked me, “Were you driving that Nissan?”
“Yeah,” I said.
“How did you get into it? Did you hotwire it?”
Confused, I said, “No, I have the key.”
“Where’s the key?”
“In my pocket,” I started to reach for it to show him, but he shouted, “Slowly!” I pulled the keys from my pocket and dangled them suggestively.
“Where did you get those keys?”
“From Mike.”
“Mike, who? What’s his last name?”
“Mike… And… Alison?” I said hesitatingly, not knowing their last names.
“How do you know this guy?” the officer asked, indicating Jonathan.
“He’s my juggling teammate,” I said.
As the officer considered this, a shout came from across the street, “That zis zem, we saw zem!” Looking over, I saw an older man with a Russian accent and thinning hair. An equally aged woman in an old-world brown overcoat stood just behind him, both scowling at us.
At this point, the lead officer lowered his gun, “I’m inclined to believe you.” Then he nodded towards the couple, “But we’ve still got some things to work out.” Shouting to one of the other officers, he said, “Go talk to them, tell them we’re figuring it out.” Then he turned back to me and asked, “Walk me through it; tell me everything you can think of that happened today relating to that car,” he indicated the Nissan we’d been driving.
I told him how Mike had woken me up that morning and said, “Here are the keys to the Nissan; it’s parked out front. Go ahead and use it.” I told him we’d been unsure which Nissan to try, but we ended up trying the closest one, and it worked. So, we drove around until it was time to come back and get ready.
As I told him how we’d secured the car that morning, the officer cupped his chin with one hand, and a small smile appeared on his face; then he said, “Alright, show me.” We walked over; I unlocked the door, put the key in the ignition, and started the car. He smiled openly, then said, “Alright, shut it down. And just for my peace of mind, let’s go try the other Nissan.”
I did as he asked, and we walked over to the other Nissan. When we got there, I put the key in the lock, opened the door, then sat down, and it started right up. The officer laughed and said, “They’re not gonna believe this back at headquarters.”
I turned off the engine and said, “What are the chances that the key would fit both cars?”
“I guess the factory only has so many combinations to choose from; there’s bound to be duplicates.” Then he added, “Hey, sorry about all this; we got a call this morning from the neighbors; they watched you steal their car, called it in, and gave us your description, so we’ve been looking for you guys all day. Then, an hour ago, we got another call, and they said that the same guys who’d stolen their car were back and had just broken into their neighbor’s house, so you can understand why we came in hot.”
“No worries, accident or not, they were violated today.”
“Yeah, now I just have to try and explain it to them.”
“I wish you the best with that.” I said sincerely, “Are we good to go?”
“Yeah, you guys have a good day, and thanks for the excitement.”
“Anytime,” I said, and we both laughed heartily.
He continued toward the neighbor, while I split right to head back to Mike and Alison’s house.
Seeing me going free, the neighbor yelled at the officer, “Why yu not areest zem? That iz zem! I see zem!”
Glancing over, I saw the officer holding his hands up placatingly, trying to calm them enough to explain.
“Corupzion!” he yelled, “Zis iz corupzion!”
I felt bad for the neighbors and the officers, but was happy to have dodged the Grand Theft Auto bullet. It wasn’t lost on us that if we had been pulled over in downtown Portland without the second Nissan there to corroborate our story, things might not have gone so well.
* * *
We might not have been the most experienced MCs, but the lineup for the night was fantastic, and the crowd was generous, so we had a great show. We also got to try a bunch of new bits, just little ideas we’d been kicking around, such as juggling while skip-it’ing, using a Pogoball and a hula hoop, and other childhood toys, which were all well received. And though I didn’t have an exact count, I was confident it was the most time we’d ever done on stage. I’d even read off a few of the introductions, slowly getting more comfortable talking in front of a crowd.
It was a great weekend, but now we had to get back home for our shifts at Legoland.
Chapter 50: The Final Bow
Next to the station where we punched in for work was an A-frame sandwich board with a large handmade sign:
“All-team meeting, every employee must attend.”
We started reading the fine print to see where this meeting was supposed to be, but one of our managers spied us and said that we needed to go to HR first.
This had all the vibes of being a bad thing, but we strolled into the HR office in our typically good spirits anyway. One of the HR ladies led us into a room where a greying man in his fifties was sitting.
Seeing us, he motioned to the two chairs across from him, inviting us to sit.
Jonathan and I looked at each other with knowing eyes, then sat.
The man began, “Good morning, Mr. Root and Mr. Berry. My name is Charles, and I’m a grief counselor. They brought me in today to help you all deal with this transition. Unfortunately, the company will be terminating your contract. But management wanted me to make it clear to you that you’ve done nothing wrong. Because the park’s attendance has been so low since 9/11, all actors, atmosphere performers, costumers, and shows have been suspended. This adjustment will be department-wide.”
He waited to see if we’d say anything, and when we didn’t, he asked, “Is there anything I can do to help you through this process?”
“So they brought you in for us?” Jonathan asked.
“Yes, to help you in this challenging time. I understand that you have both been here since the park opened, so it must be very difficult to hear this news.”
Jonathan turned to me and smiled, “Dude, you know what this means? We can take that trip and go snowboarding in Mammoth!”
Immediately catching his drift, I said, “And we don’t have to ask for time off from work!”
“Yes!” we said in unison, high-fiving in excitement.
Turning back to the guy, we asked, “So, that’s it? We’re done done?”
“Well, I’m scheduled to be here with you for two hours, and you’ll be paid for the time. I have some documents for you to sign, and we also need to talk about your unemployment benefits.”
“We’ll get unemployment?!”
“Yes, for up to one year. There will also be a month-long training program available for those who are interested. You’ll be paid your normal hourly rate for each day you attend, and it will help prepare you to find another job.”
“So we’ll be paid to go to the program and paid unemployment?”
“That’s correct.”
Jonathan and I looked at each other and said, “Well, this keeps getting better and better.”
Then, looking at the guy, Jonathan asked, “Has anyone ever taken it this well?”
“Actually, no… Why are you taking it so well?”
Jonathan leaned back in his chair, “This contract was great; we learned a ton, we had great managers, but it’s long past time for us to move on to the next thing. It’s just been too good to leave, the golden handcuffs thing.”
“But here you are,” I added, “giving us the push we need.”
“What will you do? Where will you go?” he asked.
Jonathan looked at me, but I shrugged, so he answered. “Dunno yet, something bigger, better, fancier, or flashier. But first, we’re taking a vacation and going snowboarding!”
We cheered in unison, and the man smiled too, caught up in our excitement.
Jonathan continued, “Anyway, enough about us, what about you? How’d you end up in a grief counseling, post-firing, employee support gig?”
“Just sorta fell into it. Most days are tough; most people don’t take it so well, but with you guys, it seems the hardest part of my day will be the early wake-up.”
Jonathan nodded, “How early did you wake up?”
“Well, I’m north of LA, so I got up around 4:00 am.”
Jonathan squirmed as if physically pained by this, “Dude, that’s awful. Do you want to take a nap? If you want, we’ll be quiet so you can nap.”
“No, it’s ok, I’m here for you, then I have another appointment after yours.”
I leaned in, “Well, we’re all right. Do we have to stay for the full two hours?”
“You don’t have to stay, but if you leave early, you won’t be paid for the time.”
Bridging my fingers in front of myself, I summarized, “So you’re saying if we left now, you’d still be paid, and technically, you could take a nap?”
Laughing at this, he said, “Yes, I would, and I suppose I could.”
“Perfect,” I said, “It’s a deal then, we’re out of here, you take a nap, we’re going to In-N-Out, then we’re going to the beach to catch some waves.”
“Ok, if that’s what you’d like, I just need you each to sign here and here,” he pointed to the paperwork packs he’d placed on the table, “that will finalize your employment. Your unemployment should start in about fourteen days.”
Jonathan and I signed, wished him well, and left the building.
Walking towards my car, I felt light, like I could fly. I crossed the small street that separated the park from the employee parking lot. As I did, I thought about how this would probably be the last time we ever made this walk, the last day we’d ever work at Legoland.
I probably would have stopped and simmered on that thought for a minute, but Jonathan yelled, “Race ya to In-N-Out?!” Then he took off running without waiting to see if I’d agree.
“You’re on,” I shouted, sprinting towards my car to try and beat him.
Destiny had handed back the reins, and I felt fully alive.
Like before, we’d be living or dying by whatever choices we made, and maybe, that’s where we’re supposed to be.
* * *
We worked hard during our time at Lego; there’s no denying that. But it was the year of non-stop training before the Legoland contract, when nothing was guaranteed, that had brought it all to life.
The work comes first.
You can have an amazing ride, but you have to create it. It will take time, effort, and patience, but if you truly want it, it’s within reach.
And when you get there, don’t rest on your laurels; keep your foot on the gas, so you’ll be ready for the next thing when it comes.
* * *
​
For the Jugglers: Lego Juggling & Contract Stats
We did six shows a day, five days a week.
That’s thirty shows a week, 120 a month. Multiply that by twelve months, and you’re looking at roughly 1,440 shows per year. We worked there for almost three years, so it was somewhere around 4,300 shows.
That’s 1,230 hours of actual performance time. Or, if you prefer a work-week lens, that’s over thirty 40-hour weeks of stage time. Live reps, under pressure, in front of paying crowds.
Jonathan and I both became competent unicyclists and used them to get around the park. We also added a six-foot unicycle and unsupported ladder routine to the show, passing clubs between us as part of our finale.
In addition to stage time, I maintained a rigorous practice regimen of 2 extra hours per day, five days a week. This adds another 780 hours across the contract. So now we’re looking at a combined 2,010 hours between shows and personal training.
Totals:
•2,010 hours of performance and personal training
•4,300 shows performed
Berry Bests (During Lego):
•7 club flash, Renegade 75mm clubs (and later, eight additional successful flashes with Euros and Henrys)
•7 clubs, 12 catches
•7 rings, 63 catches (personal best)
•8 rings, 24 catches (personal best)
•5 clubs, 4+ minute run (with five random mixed clubs)
•5 clubs, 3-up pirouette
•5 club backcrosses, flash and gather in triples
•5 ball run, 24 minutes (personal best)
•5 ball, 5-up two-stage pirouette
•7 ball run, 463 catches — set at sunset on the beach in Coeur d’Alene, Idaho (all-time best)
•8 ball run, 32 catches
•9 ball flash, usually hitting 1 out of 3 attempts, using 3 inch Ruby’s Lamé beanbags (Sean McKinney style, millet-filled, loosely packed)
•Daily practice of sword swallowing, hundreds of failures, dozens of vomitings, and one successful swallow, which I couldn’t for the life of me figure out how to repeat. Most days, I’d only get it about 1/3rd of the way down.
Chapter 51: The Gimmick
With the Legoland contract behind us, Jonathan and I took stock and strategized how to best move forward with our careers.
We had a solid twenty-minute show that could be pushed to thirty minutes if needed, but it was still nowhere near enough time to do colleges or ships, both of which required an hour of material.
We decided to keep our YMCA membership so we’d have access to a basketball court to juggle in, and we agreed to maintain a robust training and workout schedule of at least two hours per day of juggling, followed by two hours per day of weight lifting, five to six days per week.
After that was completed, we’d throw in a nice mountain bike ride or go surfing.
We also continued with juggling club twice a week, the San Dieguito Manipulation Society on Tuesdays, and the UCSD Juggling Club on Wednesdays. Both were more than just a place to train. It was a bi-weekly opportunity to get inspired, share ideas, and catch up with industry friends.
I also decided to learn one new three-ball juggling trick/sequence/pattern every day. Before bed, I’d put on a video, flip through Charley Dancey’s 3-ball book, or watch random jugglers on VHS until something cool caught my eye. Then I’d sit in the living room and practice until I’d figured out the pattern for myself.
Some nights, the trick I chose was so difficult I couldn’t wrap my head around it in one session. So I would have to find a different trick to work on and complete. No matter what, I had to put something new in my repertoire every day, or I couldn’t go to bed. This practice would continue uninterrupted for the following year, laying a deep foundation in three-ball exploration.
Every day, I asked myself, How can we level up?
And every day I’d hear Jeff King’s voice in my head: You gotta have a gimmick.
Right, but what does that mean? I still hadn’t figured it out.
* * *
Meanwhile, in addition to our training, Jonathan decided to return to school to finish the master’s degree he’d started a few years before.
I wanted to take on something equally intensive, but what?
I was slowly making progress on sword swallowing and maintaining a daily practice. But I knew we needed more. So day after day, we threw ideas back and forth, trying to find something else that would stick.
“What about a chainsaw then?” I said.
“How do we make it uniquely ours?” Jonathan countered.
“Okay, what about a body burn? Nobody is doing that!”
“Either would be a great addition to the show,” Jonathan answered.
An idea popped into my head: “What if I juggle a chainsaw that’s on fire, while I’m also on fire, and then swallow a sword at the same time?”
We both burst out laughing.
Ridiculous!
Impossible!
I can’t even do one of those things!
We ended the discussion no closer to an answer.
But deep down, I wonder… what if?
* * *
I drive to Home Depot and buy an Echo chainsaw with a fourteen-inch bar. Then, back at the apartment, I felt a mix of giddiness and terror. The thing was loud and heavy in my hands, and I knew right away it would need a custom handle if I were ever going to juggle it.
After a few phone calls, I found a welding shop that resembled the lovechild of a junkyard and a small-engine repair shop. The lot was stacked with rusted mower decks, old car parts, and rusty bicycle frames. Oil had crusted the concrete into a map of old jobs.
I didn’t see anyone, so I went inside the shack that smelled like old grease and diesel. The workbenches were crowded with power tools, old paperwork, and a ramshackle collection of bolts from countless other lives. Behind a wall of salvaged license plates sat the welder. He was the exact man I expected to be running this operation: long gray beard, denim overalls that had never known a soft wash, and hands the color and texture of well-used leather. He didn’t talk much, never made eye contact, and grunted occasionally for punctuation as I explained what I wanted.
He flipped the saw over, then nodded twice and said, “Come back tomorrow.”
I thanked him, but he didn’t respond.
The next day, I returned, and he handed me the saw. It was rugged, beautiful, and tough. But now that I was seeing it, I realized it was too big to fit in a travel case.
I explained the issue and apologized; I hadn’t considered that the handle would need to be detachable.
He just shrugged, wiped his hands on a rag, and said, “I can make it detach.”
He redesigned it on the spot, using a chopsaw with a metal blade; he chopped into his hard work. Then, into the drill press it went. He reworked the bracket so the handle would come off by removing a wing nut and bolt. Then handed it to me for examination.
“It’s perfect,” I gushed, “what do I owe ya?”
“Eighty,” he answered.
I handed him $110.
* * *
Back at home, I take some cotton fire wicking, the same kind used to wrap a juggling torch, and experiment with attaching it to the chainsaw’s blade. Finding a spot on the bar where I can drill holes without interfering with its function, I bolt the wicking in place. The first time I light it, the whole blade erupts, which looks insane. A living strip of flame roared along the bar, and when I pulled the throttle, the flame would vortex, chasing the chain around. So cool!
Now I had to learn to throw it. At eighteen pounds, she was no dainty prop. I respected that weight. At least for now, I was too scared to flip it end over end like a club, so I threw it flat, hand-to-hand, keeping it level.
The first week, it was scary. The second week, I started to trust the saw, and after that, I began to trust myself.
* * *
Next, I decide I need pants that can be set on fire.
I dive into every resource I can find on firefighter gear. What it’s made of, how it’s made, anything.
I quickly learn that firefighter pants are bulky, expensive, and obviously designed for firefighting.
If I show up in a pair, people will know immediately that I’m wearing protective gear, which kills the effect of me spontaneously catching on fire.
So I continue researching until I find a company in Hollywood called Pyrotect. They specialize in fireproof suits for race car drivers and occasionally build burn suits for movie productions.
I call and book an appointment.
* * *
After driving up to their Hollywood office, I sit across from one of their designers and explain what I want:
“I need to be able to light myself on fire, juggle a chainsaw that’s also on fire, then put myself out, all in the middle of a performance.”
He folded his hands and gave me a look like he was weighing whether I was serious. “You know the usual options, right? Full fire suit, fireproof gel, a crew with extinguishers. Hollywood does this a lot, but it’s always in a controlled environment.”
“I won’t have a crew,” I said, “and I won’t be slathered in gel. I need something that can be burnt over and over without giving it away to the audience.”
He tapped a pen against his pad and leaned back. “Okay. So the trick is balancing three things. You want something that won’t let heat through to your skin, but also behaves visually like cloth, and can be burned over and over. We can engineer something, but it’s not typical.”
He thinks for a moment, then picks up his desk phone.
“Hey, can you bring me a piece of that new fabric we just got in?”
A minute later, a woman walks in with an unremarkable-looking beige fabric.
“This stuff looks boring, and it doesn’t offer any heat protection,” he explains, “but it can endure direct exposure forever without deteriorating.”
He pulls out a lighter and holds the flame against the fabric.
Nothing.
Even a loose thread dangling from the cut edge refuses to ignite. And the only trace left when he’s done is a little soot stain.
Then he pulls out a thin, black, foam rubber-like material. “This, on the other hand, deflects heat really well. But if it touches an open flame, it combusts immediately and releases thick black smoke, so you have to have a barrier.”
He presses the two fabrics together.
“I’m thinking, if we combine these, you’ll get the heat resistance from the foam and the fire resistance from the fabric. We’ve never done this before, but if it works, we can make a suit for you.”
He holds the two layers against my hand and prepares to test them with a propane torch he’s pulled from a desk drawer.
I hesitate. “You sure about this?”
“When it gets uncomfortable, just pull your hand back.”
I consider that for a moment, then nod my assent.
The blue flame from the torch bends when it reaches the fabric.
I expect it to burn me immediately, but I feel nothing.
“Oh my god,” I whisper. “It’s amazing.”
Eventually, I start to feel warmth. Then heat. Right up until, “Okay, yeah, wow.” I pull my hand back.
“That was forty-five seconds,” he says. “How long do you need to burn?”
“Probably no more than twenty to thirty seconds.”
“Then this should work.”
* * *
​
I thought we’d cracked it right there, but it still took months of refining, re-fittings, and one close call where I couldn’t get my burning legs extinguished as quickly as I would have liked. But in the end, we’d developed a fire act, unlike anything that’d come before.
I can burn for precisely sixteen seconds before it gets uncomfortable. If I push it to twenty seconds, I enter the danger zone. Twenty-three to twenty-five seconds, it starts to hurt.
Thirty seconds and above?
Well, you’re in a bad way.
But I finally had all the pieces to do something genuinely new, my own invention, a body burn combined with a flaming chainsaw juggle, a gimmick of our very own.
Now, when someone asks, “Can you juggle a chainsaw?” I’ll have the perfect answer.
“Yes, I do, and I light the saw, and myself, on fire while I do it.”
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Chapter 52: We Love What We Do And So Will You
Over a bowl of morning cereal, I considered our situation.
We’d succeeded for the past three years as jugglers, even won a silver medal in the world championships, and we now had a strong gimmick: the chainsaw body burn act. We were doing a lot right. But we didn’t have steady work as jugglers. No long-term contract, and no bookings on the calendar. Sure, the unemployment checks are coming in, but that’s no excuse to sit back and relax. I want to earn my living as an artist.
My eyes drifted to my old Coleman ice chest, which I hadn’t opened since we’d started at Lego.
I could still picture every item inside: the balloon belt, pumps, and everything I’d need to start twisting balloons again. Plus all the gear I’d used for birthday party gigs when I was working as a clown or costumed character: parachute games, cheesy self-working magic tricks, and cheap plastic toys for treasure hunts.
I knew I could call Ruby’s on the pier and be back out there earning money within days. I’d left on good terms, and balloon work had bailed us out before; Edinburgh was proof of that.
It was tempting.
But then, I recognized it for what it was, a step backward, and I didn’t want that. Sure, it’d be easy, but I didn’t sign up for easy. I signed up for a life that is bigger.
Just get rid of it, came the thought, remove it from possibility, just like when I quit all my jobs to pursue performing full-time.
The fear of losing that safety net was instant; balloons were my security blanket, but I also knew it would push me.
Without giving myself time to think myself out of it, I picked up the chest and ran it out to the parking lot. Dropping it in the trunk of my car, I decided I’d donate it to some up-and-coming entertainer.
As if the universe were rewarding my bravery, I remembered something the moment the trunk slammed shut. Months earlier, someone had sent me a list of booking agents. Having a steady gig at Lego, I’d just filed it away, all but forgotten, until now.
Maybe there is work for us, I thought.
Walking back inside, I turned on my computer and opened the file. A long list of names appeared.
With one looking much like any other, I dialed the first that caught my eye.
“Thank you for calling Star Studded Productions. How may I help you?” a bright voice answered.
“Well, hello there, my name is Bill Berry, and I work as half of a juggling and comedy duo called Rootberry. We’re interested in representation.”
“Ok, great, we’re always looking for new talent. Do you have a pen?”
“I do.”
“Take down this email, d___01@starstuddedproductions.com, then send us a copy of your biography, show description, headshot, tech rider, and a demonstration video. Once we’ve had a chance to review your materials, if we’re interested, we’ll contact you.”
“Got it, bio, show description, headshot, rider, demo, not a problem, I’ll get that all over to you asap,” I said.
“Sounds good; thank you for calling Star Studded Productions.”
“Thank you. Take care.”
“You too.” Click.
I hung up feeling like I had represented us well. But there was one problem. We didn’t have a single one of the items she’d asked for.
The only time we’d ever been asked for promo materials before was our Legoland audition. For that, we’d scrambled to put together a makeshift packet, and we never thought about it again.
Suddenly, the weight of the oversight crashed down on me. What a waste. Three years at Lego, and it never occurred to me to prepare for life after Lego. I could have built our website, gotten professional promo shots, assembled a résumé, shot a demo video, all the things that would have made this transition easier.
But I didn’t.
I’d had all the time and resources imaginable, but I’d grown complacent, relying on that steady paycheck that felt like it would never end. Ughh.
Alright, self-immolation complete. Lessons are learned by making mistakes, and I won’t make this mistake again.
A promo pack is priority one. And not just one or two, we’d need dozens, maybe even hundreds. We have to get our name out there.
So I started with the bio. Featuring our three-year Lego credit right at the top, followed by our IJA silver medal, Edinburgh Fringe, Portland Juggling festival, and… Well, it wasn’t a ton, so I tried to think of creative ways to make it sound more substantial.
That’s when our slogan popped into my head.
“We love what we do, and so will you.”
Yes, that’s it! From that moment on, our slogan went on everything.
Once our biography was finished, I turned my attention to the bigger challenges. The demo video, the website, and the photos. I started looking for photographers online, and there were a ton of options, but nothing grabbed me—until one site stopped me cold.
The first image was a breaking wave, perfectly captured. And everything about it caught the eye, pulled you in, made you wish you were there. I scrolled down and saw another, and another, perfect photo after perfect photo. Every page was filled with equally stunning work, including nature shots, sports cars, Coca-Cola, and the Winter Olympics. The lens had transformed every subject into a work of art.
I knew right away that there was no way we could afford this guy. Still, I figured it couldn’t hurt to send an email.
* * *
Dear Mr. Voorhees,
Your work is incredible; the way you catch the moment, freeze the action, and pull us into the composition is truly magic. I can already tell you’re way out of our league, and I highly doubt we can afford to work with you, but just in case: my business partner and I do a comedy variety and juggling show. We swallow swords, juggle chainsaws, and light ourselves on fire.
The last of these, the body burn, we’ve never been able to capture. If the flames show up, we’re too dark. If we’re lit, the flames vanish. It’s been frustrating. But I’m sure if we worked together, you could do it justice.
Thank you for your time; it’s the most valuable thing we can give.
Best,
Bill Berry
Rootberry
We love what we do, and so will you.
* * *
I didn’t expect a reply.
So, I sent a few more inquiries to other photographers, but those messages were more general, just asking about rates and availability.
Weeks passed, and I didn’t hear back from any of the photographers.
Then, one day, I found this in my inbox.
* * *
Bill,
Sorry for the delay, I was shooting in Africa. Would love to work with you, my only availability is Christmas Eve, can you make that?
Michael
PS: Can you teach me to juggle four?
I jumped out of my chair and threw my arms in the air. “YES!”
Jonathan looked up from his desk. “Good news?”
“Remember the photographer I showed you? The one I said was way out of our league?”
“Yeah?”
“We got him! He wants to work with us. And he’s a juggler, he wants us to teach him four.”
Jonathan laughed, “Teach him? We’ll teach him, bring him props, whatever he wants!”
It was a huge break, and we knew it. It was the kind you can’t plan for, but that changes everything. Christmas Eve was still a few months away, but it gave us another reason to keep our foot on the gas.
Chapter 53: Learning Curves
I tear open the brown paper package and pull out the contents.
​
“HTML For Dummies,” the title reads.
​
Cracking the cover, I start reading. “HTML is short for Hyper Text Markup Language. HTML is the building block designers worldwide use for creating dynamic websites…”
Ugh, I should have started this months ago. But, I guess now’s as good a time as any to teach myself website design.
​
Every day, I read as much on the subject as I could stomach, and every night, I sat hunched over my keyboard, text editor open, with stacks of notes beside me. I typed out my first HTML tags, expecting elegant paragraphs, only to reload the page and find clumsy blocks of text jammed together. I tried bold tags, break tags, and links, but half the time they didn’t show up the way the book had promised. I’d stare at the screen, then back at the black-and-white diagrams, and try to figure out what I’d done wrong.
​
The process was unbelievably tedious: I’d write a few lines of code, save, flip to the browser, refresh… nothing. Or worse, something, but not what I wanted. Links that went nowhere, text that smashed up against the edge of the page when I swore I’d centered it, and every fix meant digging through a mess of angle brackets and slashes, hoping I’d spot the missing character that broke the whole page.
​
Still, the tiny successes kept me going. Slowly but surely, I built our first website.
It wasn’t good, but I was proud of it anyway.
​
I’d written every tag by hand, and it was live on the internet.
​
The celebration didn’t last long, though, because I immediately dove into building a second website, determined to improve on the first. But one thing kept slowing me down: every time I needed to revise anything, I had to upload the files one at a time through the web hosting site. A basic site could contain hundreds of small components, so a single update could take an hour of mindless clicking.
​
I knew there had to be a better way. A little research led me to FTP uploaders, programs that could push an entire site online in just a few clicks. It sounded like salvation. So I downloaded one, certain the problem would be solved, only to spend three aggravating hours trying to make it work. Part of me wanted to give up and return to the old routine, because at least I knew how that all worked. But I kept at it, and eventually, the settings fell into place. Now, with a single click, the entire upload was underway. Instead of the hour it normally took me, it was done in just a few minutes.
​
The math spoke for itself. Yes, the learning curve cost me three hours, but sticking with the old method would’ve burned through those same hours after only a few updates. Pushing through the learning curve turned a once one-hour chore into a two-minute task, and I never forgot that lesson.
​
I made myself a rule: don’t cling to the hard way just because it’s familiar. Always take the longer road today if it makes tomorrow shorter. Even when it feels like a step backward, it isn’t. It’s progress.
​
I stuck with it, and my second website turned out better than the first. It still didn’t look professional, but at least now I had the tools and mindset to keep improving.
​
In preparation for the next push, I headed to half.com, a popular used book site. I added a stack of web design books to my cart, along with several advanced Photoshop Effects titles to help sharpen my graphic design skills. Then, figuring I should have a better understanding of design in general, I ordered a bunch of books on layout and aesthetics.
​
One of the gems from this ordering spree was a book that traced how famous logos had evolved over the decades. It was beautifully illustrated and featured interviews with designers from various design teams discussing their approach and how each logo came to be. A few chapters even included the original concept drawings, showing how the initial ideas were slowly sculpted into the familiar shapes we recognize today. It was fascinating, and I read the book cover to cover, hoping to develop an expert’s eye and apply it in my own work.
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Picture: My first hand-coded website.
Chapter 54: Gods of Sabotage
While I’d been locked in website purgatory, Jonathan crossed a finish line: he turned in the last of his assignments to earn his master’s degree. Huge milestone. One more proof of his ability to see things through to completion. But more importantly, it freed him up to focus on what we both knew mattered most: our demo video.
Neither of us had any real computer skills, but we knew enough to realize the video wouldn’t be built on the computer he currently had. So we drove to Fry’s Electronics.
Entering the digital cathedral of blinking lights, where every piece of tech looks like creator salvation but carries a stomach-clenching price tag, we wandered the rows until one machine caught our eye. A Sony Vaio, billed as a “digital editing studio.” The floor tag promised it would do everything we needed, and it felt like Sony had built it just for us. The $2000 price was brutal, feeling more like a debit card-induced aneurysm than a purchase. Still, if it got us closer to our goal, then it was necessary.
Jonathan put it in the cart.
Next stop: cameras. We picked out a Sony DCR-PC5 Mini DV camcorder. Sleek, shiny, futuristic. $1600. I was paying for this one, plus extra tapes, but luckily, a nice sales guy tossed in a cheap tripod and camera bag to sweeten the deal. We checked out and walked to the car.
Back home, Jonathan set up the Vaio, then he pulled the camera out of its box, and went outside to take some test shots. When he returned, he fired up his Vegas Video program and dove headfirst into editing the clips he’d just shot. At first, I hovered around the camera like a jealous parent. I’d dropped the money for it, and part of me wanted to keep it close, tucked beside my desk when it wasn’t in use. But the truth hit me quick: the camera wasn’t mine. It wasn’t his either. It belonged to the mission. If he needed it to do his work, then it was his tool. I let go of any sense of ownership over it and refocused on pulling my own weight for the team.
That’s when he tossed me a real challenge.
“Hey, this DVD has a clip of us performing, and I need it for the demo, but I can’t figure out how to extract the footage. Can you figure out how to get it?”
I didn’t have the faintest idea how to do it, but I said, “No problem, I’ll figure it out,” and slipped it into my computer’s disc drive.
The task seemed simple, but computers have a way of making even the simplest tasks difficult. My disc imaging software copied the DVD okay, but when I tried to open it, nothing happened. I downloaded a free player, which let me view the footage, but we couldn’t import the same files back into our video-editing software. I tried it all different ways, but warning after warning popped up: Wrong format. Wrong codec. Wrong something or other. I called Mark, our go-to computer guru.
He laughed. “Man, I tried to do that exact thing a few months back. Never cracked it. If you figure it out, call me.”
That landed like a punch. Mark always knew the answer. If he couldn’t do it, was it even possible? I wasn’t sure, but I couldn’t leave it there. I needed to solve it, partly for us, partly so I could teach Mark and pay him back for all the times he’d helped us before.
So I hunted. Forums, freeware sites, sketchy downloads with more viruses than answers. Every program got me some part of the way there, but never all the way. I’d get a video with no audio. Or audio with no video. Error messages, crashes, and even blue-screen-of-death restarts. Frustration mounted, but so did obsession. I stayed at the desk long after Jonathan had gone to bed, long after the apartment went quiet. My stomach was empty and my eyes dried out, but I couldn’t stop. This wasn’t about the task anymore; this was about victory. If we couldn’t figure out something as “simple” as this DVD rip, how were we ever going to make it as performers?
I lost track of time, intent on the task, and the next thing I knew, my cheek was pressed to the desk, keyboard digging into my forehead. The clock read 5:00 am. I’d worked through the night. Missed dinner. Missed sleep. Jonathan’s light was off, the world outside silent. I started to drag myself off to bed, but then stopped cold. If I lie down now, I’ll lose half the day. I can’t risk it. Instead, I grabbed two pillows, crawled under my desk, and curled up in the cubby where the chair usually sat. The carpet was scratchy, and the foam underneath was thin. Perfect, I thought, I don’t want comfort. Three hours later, having gotten the minimum sleep necessary, I woke up wired. No fog, just the need to get back in the chair.
Fresh eyes, fresh energy. I tried again, stringing together a Frankenstein process of five different programs. One to extract, one to convert, one to reformat, one to timeline-sync, and another to patch. Finally, the video and audio played as one. I tested it again. And again, just to be sure that I had it figured out. Then I wrote down the exact process, step by step, and sent it off to Mark, as if it were a secret family recipe.
By 11:00 am, Jonathan had the footage he’d requested sitting neatly on his desktop, ready to edit.
The grind became routine. I leaned into Photoshop, Peak DV (audio), and the website; Jonathan buried himself in filming and editing. Our division of labor was building momentum.
A month later, Jonathan unveiled our first demo video. We crowded around the screen, excited, until the playback glitched. The frames skipped, and digital artifacts flickered across the footage. We tried everything to fix it: updates, re-installs, new tapes, but nothing worked. Four grand invested into cameras and computers, and the product still looked amateur.
It was so frustrating. But glitched or not, we had to send out some promo, so we burned it onto data CDs anyway, reasoning that a flawed product was still better than no product at all.
Then one day, a friend who was computer-savvy stopped by. He diagnosed our problem in just ten minutes: a faulty FireWire card. From day one, our machine had been broken, and we hadn’t known. We contacted Sony, but they informed us that our warranty had already expired. We took it back to Fry’s, but they said the same thing — no luck.
The returns cashier said, “You could buy a replacement card; it would be around $500 installed.”
We thanked him, but we couldn’t afford it.
Standing in the Fry’s parking lot, baking in the sun, we talked it over.
“What if,” Jonathan said slowly, “we bought a new Vaio, took it home, took both machines apart, and swapped their FireWire cards. Then we return the new one with the old card?”
“Isn’t that a little unethical?” I asked.
He shrugged. “It’s been broken from the start. So wouldn’t they just be giving us what we already paid for?”
It was certainly in the grey area, and while it might not be outright theft, it wasn’t exactly clean either. But what other option did we have?
So, the same friend who’d diagnosed the problem came over to help us perform computer surgery. We opened both machines, and soon all the parts were spread across the floor like electronic guts. Only then did we realize the newer Vaio had a different architecture. To swap the cards, we’d need to cut off the connectors, then swap and re-solder them. This was a bigger task than we’d anticipated, and we couldn’t afford the risk of ruining both systems. We aborted. We put the machines back together and agreed to return the newer machine in the morning.
Our friend apologized that it hadn’t worked, then offered us a consolation prize: “I noticed that your computers aren’t networked. If you’d like, I can get them talking. It’ll speed up your workflow and make file sharing a breeze.”
That sounded useful, so we agreed, and he began setting it up. A few minutes later, he showed us how to drag a file from my desktop directly onto Jonathan’s. Then, wanting to show us something else, he downloaded and double-clicked a file from the internet. My screen blinked, then a page opened with a huge black-and-yellow biohazard symbol. My antivirus software lit up, a red warning screen splashed across my monitor, announcing that it had prevented an attack.
But Jonathan’s Vaio had no such protection, and with the computers now networked, the virus spread quickly. I glanced over just in time to see his screen freeze, flicker, and then collapse into black. The machine emitted a momentary burst of sharp static from its speakers, then died.
In seconds, Jonathan’s already crippled Sony Vaio was stone-cold dead.
It felt like sabotage from the gods, like every step up the mountain triggered avalanches that knocked us farther back.
The next day, we returned the new Vaio we’d tried to cannibalize, and Jonathan swapped his now-dead machine for the best thing he could afford: a midrange something-or-other, the sales guy assured us, that could handle basic video editing.
We’d invested all this time and money, and we had managed to build a better-than-nothing demo and a better-than-nothing website. But we were still far from having a professional promotional packet that was worth sending out.
We were out of money and out of options.
Right or wrong, we pinned the blame for these setbacks squarely on Sony, and, in protest, Jonathan and I banned all Sony products from our lives, refusing even to own a TV or any other electronic device from Sony.
Chapter 55: Typhoon Saloon
We’d grown a lot in our three years at Legoland, but we’d primarily been performing for kids.
While there’s nothing wrong with that, we knew we’d need to be entertaining to adults if we were ever going to do cruise ships and the corporate market.
“But how do we prepare for and break into those markets?” I mused aloud.
“No idea,” Jonathan answered, then added, “You think we could pull off a show at a nightclub?”
I shook my head. “I dunno, I’ve heard it’s notoriously tough, that jugglers go in and get eaten alive.”
He grinned, “Loud music, drunk crowds, and everybody itching to dance, how hard could it be?”
“Right. They’re not going to press pause to watch us do some cheesy schtick. So if we’re going to try it, we have to kick ass and knock their socks off.”
Jonathan interrupted, “But before we can do that, we gotta get the gig.”
“And how are we gonna do that?”
“I’ve got an idea.”
* * *
Jonathan and I drove to Pacific Beach (PB), a northern San Diego neighborhood known for its nightclubs. Then we walked Garnet Avenue, or “Club Row,” to scope out the scene. The first club we came upon had a big bouncer outside, but since it was early, he wasn’t very busy. We told him about our act, including sword swallowing and lighting ourselves on fire, then asked whether there was someone we could talk to about it. He looked unimpressed but threw a deadpan wave to an overly done-up blonde who was busy shouting at a waitress. She was exasperated by the interruption and walked over angrily to ask, “What?!”
The bouncer pointed at us, so she turned her blazing eyes on us, “WHAT?!”
Knowing we were off to a bad start, Jonathan asked if they ever hosted entertainment.
Behind her, whatever situation she’d been trying to deal with inside the club boiled over again, and several people started yelling at each other. “We don’t do bands,” she said flatly. “We have a DJ.”
I tried to say, “Wait, but we…” but it was useless; she’d already walked away.
Shot down but undefeated, we continued our stroll.
The next few places we tried were even worse; the bouncers stopped us cold, and we couldn’t get anyone in authority to talk to us.
Another club had its doors shut so tightly, I wondered if they were even going to open.
Jonathan joked, “They must have heard we were coming.”
We both laughed.
Reaching the end of the street where it dead-ended into Crystal Pier, we crossed over and started back the other way, ducking into the remaining clubs we saw along the strip. Most of them were half-dead, thin crowds, bored bartenders, no soul, and no vibe.
We were about to call it a wash when a wall of sound hit us.
The chorus of “You Give Love a Bad Name” rattled our chests so hard I wondered if Bon Jovi himself might be giving a concert. Ahead, a line of red velvet ropes cut across the sidewalk, with two dozen people queued up in their best party gear. This felt different. Colored lights swept the pavement, laughter spilled out the doors, and the bass thumped like it had a heartbeat of its own. I looked up and caught the sign glowing above us in bold blue and red neon: Typhoon Saloon.
Jonathan shouted over the music, “This place is hoppin’!”
“Should we get in line?” I asked.
Jonathan shook his head. “Naw.” And with that, he walked straight up to the bouncer at the front of the line.
The bouncer, a mountain of a man, didn’t even acknowledge us. But Jonathan leaned in boldly and asked, “Hey, who’s in charge of special events?”
This got his attention, and he looked at us coldly, clearly weighing whether or not we deserved his attention. I was sure he was gonna shut us down, but then a half-asian-half-white-looking guy dressed to the nines tumbled out of the club with three beautiful women chasing him.
The Asian guy held his hands up defensively, “No, I can’t; it’s too early!”
But the girls insisted, “Come on, do a shot with us!”
He continued his resistance, but they grabbed him and tried to force a small glass of pink liquid into his hand.
Finally, he accepted defeat, “Ok, OKAY, but I’m working, so JUST this one!!!”
He took the offered shot, which made the girls cheer drunkenly, then they all clinked glasses. As soon as the girls brought the shot glasses up to their lips, the man deftly flicked his wrist, dumping his shot across the sidewalk, then quickly brought the empty glass to his own lips, making it look like he had taken it with them.
“You are a bad influence!” he accused.
They laughed, “You just wait and see how bad we can be.”
“So naughty!” he shouted as he collected their shot glasses from them. Then, “Hey, you gotta go back in; no alcohol outside the bar!”
“Ok, Raymond!” they jeered poutily before turning and going back into the bar.
Jonathan didn’t hesitate, “That was a pretty slick move. Not your first bar-b-que!”
Raymond laughed, “I tell ya, these girls will be the death of me. I may be an alcoholic, but I’m not a drunk.”
We all laughed, then Raymond asked, “Can I do anything for you?”
Sensing he was someone of import, Jonathan said, “Actually, we’re entertainers; my buddy here lights himself on fire, juggles chainsaws, and swallows swords.”
I jumped in and said, “And Jonathan here eats fire; we worked at Legoland for the past few years doing shows, but are looking to expand our horizons.”
“Wait, chainsaws, fire eating, sword SWALLOWING? That’s incredible, come with me!” Raymond nodded to the bouncer, and the red ropes parted for us. As we stepped in, the girl who was next in line exclaimed, “Hey, how come they get to go in?”
The bouncer, stone-faced as ever, said, “They’re special.”
“What, so I’m not special?”
His eyes narrowed, and he snatched her license from her hand, holding it under his flashlight longer than necessary. “Depends what this says,” he muttered.
We followed Raymond into the maze of people and were swallowed up by the maelstrom of sound and light. We emerged in the inner sanctum and found a room built up with multiple levels. At every turn, Raymond dodged groups of girls, all of whom wanted a piece of him. Seeing a break in the mob, Raymond broke into a jog across a raised stage area, then up a set of black steel stairs that led to a catwalk. Halfway up, he pressed on what looked like a solid wall, and a hidden door swung open. We slipped through into a dark, narrow hallway that led to a fire escape. To the right, tucked beneath the elevated stage and dance floor, was a small office. I leaned my hand against the wall and felt the bass from the speakers shaking the place to its foundation. Raymond knocked, then entered without waiting for an answer. We squeezed in behind him and saw a balding man sitting at a desk reviewing paperwork.
Raymond spoke to him, “Hey, these guys are performers, and I thought they’d be great for one of our big parties.”
The guy looked at us like he was evaluating cattle, “What kind of music do you play?”
“No,” Raymond interrupted, “they’re circus freaks, fire-eating-sword-swallowing, crazy stuff!”
I quickly added, “I also light myself on fire.”
Raymond threw his hands in the air and said, “And they light themselves on fire!”
The man behind the desk smiled at this, then said, “What’s your rate?”
Jonathan and I were unprepared for this question, and it must have shown on our faces because the man continued, “I’ll give you $250 for three spots; you’ll go at 10:00 pm, 11:00 pm, and midnight.”
After all the rejections we’d had, we were too stunned by an offer to even think to negotiate, so we just nodded and said, “Okay.”
“Raymond will show you around and tell you everything you’ll need to know.”
He didn’t say, “Dismissed,” but it was clear the meeting was over.
Raymond led us outside and began to share his vision for what we might do. He showed us the stage, and we suggested we could do a flaming torch passing bit around a volunteer.
Raymond blinked, “Wait, you’re going to throw flaming torches around someone?”
“We’d like to?”
“That sounds cool, but we better do that with me; I don’t want someone passing out or getting hurt.”
“Sounds good; we can do that.”
Raymond pointed to a small elevated platform inside the circle bar. It had rails around it and was only big enough for one person. “That’s where we put the gogo dancers. Could you do the sword swallowing up there?”
“Absolutely,” I said, hoping I sounded more confident about it than I felt. Though I could technically swallow a sword, it wasn’t consistent; some days, I could do it, and some days, most days, I couldn’t, but I didn’t mention that part.
“Awesome, the DJ can play whatever tracks you want, or if you have a CD of your own, you can just give it to him before you go on. Next weekend, get here at 9:00 pm. We’ll get you set, and then you’ll go on around 10:00 pm. Oh, and don’t wait in line; tell the bouncer you’re performing, and I’ll make sure they know to let you in.”
We nodded and said, “Sounds good, we’ll see you then.”
Raymond looked like he would say more, but five girls had been stealthily sneaking up behind him, and now they pounced. Wrapping their arms around him, they said, “Raaaaymond, come do shots with us!”
“Gentlemen, it appears I’m needed elsewhere,” he saluted crisply, then allowed the girls to drag him away to the bar.
I watched the exchange unfold and heard Raymond tell the bartender, “The usual.”
The bartender made the girls’ drinks, then poured a shot for Raymond from a nondescript container. When the drinks had been distributed, Raymond clinked glasses with them and drank his shot. After he swallowed, he made a show of it being strong, but I’d bet “the usual” was just juice.
We’d only just met, but I was already learning a lot from Raymond. He might be the life of the party, but he knew better than to become a partygoer.
* * *
​
A week later, the day arrived, and we loaded up for the show. When we pulled in, I was stunned — a line snaked out the door and wrapped around the block. Hundreds of people waiting to get in.
Great, I thought, if we bomb, at least it’ll be spectacular.
I pictured 500 voices booing in unison, shaking our bones with their disapproval.
Equipment in tow, we walked past everyone in line, making our way straight to the front.
I’ve seen so many movies where someone struts up to the bouncer, trying to skip the line, only to get shut down and sent back.
Ugh, that would be so embarrassing; I hope they let us in.
We got to the bouncer, who was busily shining his flashlight onto a woman’s ID, and waited for him to finish. But instead, he stopped and looked at us.
Jonathan smiled, “We’re the jugglers.”
The bouncer flicked his fingers dismissively at the woman, indicating that she should back up, and when she did, he undid the red velvet rope and pulled it aside so we could enter.
“Thank you, sir,” I said, dragging my stuff inside.
The girl evaluated our cases as we passed, then asked, “Hey, are you guys the band?!”
Without skipping a beat, Jonathan answered, “Yeah, we’re the Buddhist Punks.”
“Would I know any of your stuff?”
“Probably not, we’re bigger in Europe,” Jonathan shot back.
Classic Jonathan, I thought, always coming up with some off-the-wall thing in the moment.
A few more steps and we disappeared in the chaotic tide of the Typhoon Saloon.
* * *
We glanced around, looking for Raymond, but figured we’d never find him, so we went to the thin, dark hallway behind the main stage. Once there, we set up everything we needed for the first set so it’d be easy to start when the time came. As we did this, I felt a hand clasp firmly on my shoulder.
“My brothers!” Raymond shouted.
I stood to greet him, and he gave me a handshake/bro-hug.
“It is electric out there, and I’ve been telling everyone there’s going to be a big surprise tonight, but I haven’t told them what. So, how do you want to do this?”
We told Raymond what we were thinking, and he clapped his hands in approval. “I love it. Okay, you guys are right after the bikini contest; I’ll take them off and check in with you here. As long as you’re good, I’ll bring you out, and you can blow the freaking roof off.”
We nodded in the affirmative, so Raymond gave us a thumbs-up, then split.
Looking at my watch, I saw that we had about 45 minutes to burn, so I motioned toward the club, silently asking Jonathan if he wanted to go out and survey the scene. He nodded, so we squeezed out the secret door, then up the staircase to “the catwalk,” a tall fire escape-looking platform that rose ten feet above everything else. Once up there, we had a bird’s eye view of the entire club. To the right was the main stage where the bikini contest would be held. In front of that was a pit-style dance area with a floor five feet lower than the stage. Left of that, and below us, was the DJ booth. Across from the DJ booth was a large circular bar, and in the middle of that bar, a tall steel platform with railings, the go-go dancer cage, where I’d be sword-swallowing during our second set.
Gah, I thought, I hope the sword goes down tonight.
As I worried over the details, an arm slid around my waist. I felt a hand grip my stomach, followed by suggestive fingers dragging across my abs. I turned and came face-to-face with a woman who looked like she’d stepped off a Sports Illustrated swimsuit cover.
She wore a flowy beige crop top scattered with burgundy flowers and high-waisted skinny jeans. Long, straight blond hair framed sparkling blue eyes and lightly freckled, sun-kissed cheeks. Her flirtatious smile revealed flawless white teeth.
My eyes must have widened in surprise, because her expression changed, asking a silent question: Was that okay?
I smiled and nodded to reassure her, and her smile returned as she stepped closer, body warm against mine, hair carrying the scent of summer air.
In that moment, I suddenly realized that I hadn’t thought much about women or dating since the breakup, since the heartbreak. And now, all in a rush, I felt myself pulled in. I wanted this, whatever this is.
But then, just as quickly, my professionalism returned, and I thought, Oh my god, how does Raymond do this? Calling on all my willpower, I stepped back and held my hands up gently.
She looked into my eyes as if to ask, “What’s wrong?”
I nodded my head towards the stage, and since conversation was impossible over the music, mouthed the words, “I have to go.”
She pushed out her lower lip and made a pouty face, but nodded understandingly. I fought the impulse to bring my hand to her cheek, to reassure her, to tell her that if the situation were different, I wouldn’t leave.
But I couldn’t; I have a show to prep for.
Jonathan and I turned and went down the stairs to the DJ booth to give him our CD.
“Everything on here?” he asked. “I just press play?”
“For our first set, yes. But for our second set, the one where I’ll be on the go-go stage, I’m not sure what to play.”
“What are you doing?”
“I’ll be sword swallowing, but I don’t have a specific track yet.”
“Sword Swallowing?! Nice! You know what, I’ve got the perfect thing; trust me, it’ll rock!”
His demeanor convinced me he’d actually make it rock and not do something silly, so I said, “Cool, let’s do it.”
“You got it. Oh—bikini contest is starting. I gotta mic up Raymond.”
I glanced over and saw Raymond at the edge of the stage, holding a mic and flashing the DJ a thumbs-up, as if silently asking, we good? The DJ nodded, and Raymond’s voice boomed through the speakers: “Test, test.”
Then, with a grin, he roared, “Alright, eyes on the main stage, because it’ssssss SHHHHOWTIME!”
Knowing we’d be on after the girls, Jonathan and I squeezed through the crowd to reach the backstage area. I double-checked that everything I needed was set up for the body burn, and then we waited.
The crowd roared intermittently, and Raymond would shout to rile them up; the crowd applauded extra loud, and another secret door I’d never seen before opened right next to us. One by one, five girls in bikinis stepped through the opening and crammed into the already tiny hallway. As soon as the last of them had cleared the opening, Raymond’s head popped in, and he asked, “You guys good?”
“We’re good!”
“Ok,” he said, running back onto the stage.
“Ladies and gentlemen, are you ready for something crazy?!”
The roar from the audience shook the walls.
“The two guys coming out next are good friends of mine. They’re freaks—they juggle, they swallow swords, they play with fire, and they’re here to make things hoooot! Give it up for Team Rootberry!”
With that, Raymond swept his arm wide, and we burst onto the stage, hands pumping in the air. I flicked a lighter, and all at once the six torches erupted into flame. The crowd leaned in as we squared off, firelight dancing across their faces.
We locked into rhythm, passing the burning implements back and forth in smooth arcs, and the heat filled the space around us. You never want to drop fire, so we kept it tight, only throwing tricks we were 100% confident about.
On our final throw, the torches spun high, blazing in the dark, and we caught them clean. The crowd erupted, the sound crashing over us like a wave.
We turned toward Raymond and beckoned him forward. He lifted the mic, laughing nervously. “Me?! Oh no, I don’t know about this.”
I grabbed him in a mock show of force, then placed him in the middle of the stage. Jonathan and I lifted the torches again, dropped them low, then passed them around Raymond. My throws passed just inches before his face, while Jonathan’s went right behind his head. Raymond held his hands at his side as we’d instructed him to do in our preshow planning. But when the moment became too ripe not to pick, Raymond instinctively raised the mic to his mouth and said, “I can’t believe this is ha…” His speech was cut short by one of my torches colliding with his microphone-holding arm; when he raised it, he’d widened his profile by a foot, occupying the area where my throws were passing by. Jonathan gathered his torches cleanly, but the torch that hit Raymond ricocheted off towards the front of the stage. Realizing his mistake, Raymond said, “Dude, my bad, I’m sorry, it’s instinct!”
“All good, you ok?”
“I’m good! What do we do?”
“Once more,” I said, setting him up again and retrieving the dropped torch.
Before we could start, Raymond said on the mic, “My bad! I’ll try not to screw it up this time!”
The audience laughed; everybody loved Raymond.
We passed the torches again and finished cleanly.
“Oh my GOD, wasn’t that insane!?” Raymond shouted.
I started blowing out my torches, then Jonathan handed me his, leaving just one torch still burning. He then grabbed a thin steel rod, lit its tip from the last torch, and began his fire-eating routine. His first flame was my cue. I hustled to the back hallway to get into the body-burn rig, fueling everything quickly. I had only ninety seconds until his act wrapped, so I moved fast. Lying on my back, legs over my head, I pulled the pants on and fastened them. I checked the pocket for the lighter I always kept there, grabbed the chainsaw and two juggling beanbags, and was ready to go.
The crowd roared as I stepped on stage holding the chainsaw high. I revved it a few times so everyone could see and hear the engine, and blue-tinged smoke belched from the exhaust. Then I stepped to the front and lit the blade. The audience hushed, anticipation crackling through the room. I gave the chainsaw a few exploratory swings, then brought the flaming blade to the back of my pants. The pants ignited—my internal timer started: seventeen seconds. Swing, release, juggle beanbags, catch chainsaw—three more throws, two more, one more—and finish clean. The crowd went wild!
I stepped out of the worst of the heat, partly for show, partly to extend my burn window. Then, turning my back to Jonathan, I wait for him to save me from the fire. Gloved hands press firmly against the burning wicks, then pull them off in one swift motion. The fire goes out, but the heat lingers, radiating through the pants. I had learned from testing: always extinguish the wicks before it starts to hurt; if you don’t, you’ll burn. Pain is a great teacher, and I’d learned its lessons well.
I bring the chainsaw toward my face and blow out the burning wick on the blade.
Raymond takes it from there: “Can you believe that?! Wow!”
We survived our first club set, and they didn’t boo us. Only two more sets to go.
* * *
Raymond leaned into the back hallway, “Ten minutes?”
We both gave him the thumbs up, so he nodded and split.
Jonathan and I reviewed our plan for the tenth time, then split up to execute it.
I grabbed my sword-swallowing gear and went to the circular bar in the middle of the main room. It had a countertop ringed around it, so I had to squat and go under an open section to get inside. Once there, I set up my gear for the performance. A few bartenders looked at me quizzically, but they were too busy doing their work to talk to me. In a few minutes, I knew Jonathan would start his act, which left me with unwanted time to think.
I’d been working hard on sword swallowing, and I’d even gotten it all the way down a dozen times, but most days, I was happy to get it halfway down without gagging or barfing all over. The only time I’d tried to perform it in front of an audience was at Legoland right before 9/11. The entertainment department hosted a low-stakes talent show, and I’d thought it would be a good opportunity to try sword swallowing, so I entered with that. When they’d called me up, I had a terrible showing and couldn’t even get the sword halfway down. The one positive thing I could say about it was that I’d gotten one more failure out of the way on the road to success.
But would that success come tonight?
Not likely, and yet, it had to. Or at least, I sure needed it to.
Raymond’s voice echoed across the god mic, “Alright, alright, we’ve got another amazing performance coming up for you right now, I wanna see all eyes up here on the main stage because Team Rootberry is back for round two! Let’s hear it for ‘em!”
Jonathan came out to a solid round of applause and began his act. Since everyone was distracted, I used this moment to climb into the go-go cage. My heart began to race, and panic took over. I’m going to fail in front of all these people, I’m going to stand up, try to stick this thing down my throat, and I’m going to projectile vomit from an elevated platform. My lunch will rain down on the bar, the bartenders, and probably splash on the patrons. Everyone will be furious; they’ll have to shut down the whole bar on one of their busiest nights, the management is going to be pissed, we’ll get fired, and poor Raymond is going to be like, “Dude, what happened? I thought you guys were professionals?” I can’t let that happen; I have to get out of here; I can’t do this.
I completely lose my cool and turn to climb down, intending to run out of the bar, but right on cue, the music stops. I look over at the main stage and realize Jonathan has finished his last trick, and now he’s pointing with both hands toward me. Two spotlights hit me, one from each side, illuminating my crouched figure in the go-go cage. I look over at the DJ, and he’s giving a thumbs-up. The instantly recognizable notes of a clean, haunting guitar riff wash over the room. Its eerie, repetitive pattern creates instant suspense and foreboding. The rolling, hypnotic quality brings me to my feet, and suddenly I’m holding the sword high and spinning in a circle so everyone can see. The music builds, and the heavy, driving rhythm draws the audience in, unsettling themes promised in its tone. I bring the sword’s tip to my lips just as Metallica’s “Enter Sandman” reaches its most dramatic notes. I take a deep breath and drift into an alternate state. My eyes close, and I know nothing except the cool sensation of solid steel passing behind my heart. I hear nothing, I think nothing. In this place, there is nothing but the moment, a quiet in the eye of life’s storm.
* * *
The next thing I remember, I’m standing on the floor next to the go-go cage. Jonathan and Raymond are there. Raymond clasps his hand on my shoulder for emphasis and says, “DUDE, that is the craziest shit I have EVER seen! Do you need anything? You want a drink?”
I nod and say, “Yes, please, a water would be great.”
Raymond grabbed the nearest bartender and said, “Hey, get my man a water. Did you see that shit?”
The bartender nodded emphatically, then went to grab the water.
“Alright,” Raymond said, “I’ll see you guys again at midnight; I can’t wait to see what ya’ll will pull out next!” Then he ducked under the bar and was gone.
Jonathan congratulated me and said, “Nicely done!”
“How did it go? Did they dig it?”
Jonathan looked at me strangely, “Did they dig it? They went freaking crazy, couldn’t you hear them?”
“No,” I said.
“Well, they loved it, and you got it all the way down; you even let go of the handle with both hands; you freaking crushed it!”
I was about to tell him I couldn’t remember any of it, but realized how weird that would sound, so I bit it back.
With the most challenging part over, I relaxed a little and started packing my sword gear.
I suddenly wondered if the blonde from the catwalk had seen the show. I glanced around, but she was gone, swallowed up in the crowd, and I didn’t see her again.
* * *
We’d go on to perform many times at Typhoon Saloon, and it became one of our favorite venues to explore our more extreme acts. But at the night’s end, we always packed up and ducked out the back of the club. No drinking or fraternizing, just doing our part, then getting back to full-time training.
* * *
If you’d like to watch a video from our first night’s performance at Typhoon Saloon, you can follow this link or use this QR code to view the Body Burn and Flaming Chainsaw act.
Chapter 56: The Monstrosity of the Seas
We were slowly carving out a niche for ourselves, but we weren’t widely known. So it was a shock when we opened our email and saw a message from Dan Holzman of the Raspyni Brothers.
The Raspyni Brothers are a legendary juggling duo who have performed a Presidential Command Performance for Ronald Reagan, as well as at the Academy Awards, The Tonight Show, Comic Strip Live, Entertainment Tonight, and more. If I copied their entire résumé onto my computer, it would probably crash the hard drive.
Yet, here was an email saying he was joining a cruise ship out of San Diego soon and, having a whole day free, was wondering if we’d like to hang out.
We, of course, said yes immediately. We met him at the dockyards and spent most of the day driving around San Diego, running errands, talking about juggling, and swapping stories. We also visited Balboa Park, one of the city’s once-upon-a-time street-performing hubs. By the time we’d come along, there weren’t many street performers working it anymore, but Dan had tales from the glory days, and we listened intently.
I’d already known the Raspyni Brothers were successful, but Dan’s wealth of wisdom and experience, which he freely shared, was beyond vast. A bottomless well of stories, tips, and suggestions on how we could develop our act and work our way up the entertainment ladder. We absorbed it like sponges, but too quickly; it was time to take him back to the cruise terminal.
On the way, we asked him about the cruise industry. To my surprise, he was not overly excited about it. He said there had been a time in their career when the ships were very exciting, but now they’d reached a point where a couple of weeks per year was enough—more of an opportunity to bring their families on a cruise than anything else.
I believed him, but it was equally hard to believe. To us, the ships were big time—one of the best work opportunities out there for jugglers. It was hard to imagine becoming so established that it wouldn’t excite you.
We pulled into the cruise terminal, and I looked up at the ship. I had never been so close to one before, and I couldn’t believe how big it was—like a whole skyscraper turned on its side and floating by the dock. I thought to myself, I hope that one day we get to work on one of those. But deep down, I feared we’d never be good enough to get there.
Dan directed us to the drop-off zone, stepped out of the vehicle, wished us all the best, and headed off. I watched as he walked down the pathway, getting a little smaller with each step, until, by the time he reached the security booth, he was just a tiny speck beside the Monstrosity of the Seas.
I made a vow right then that I would train harder than ever.
There is the path; it’s right there, far away, but also right there.
Chapter 57: Passing Zone
We read online that another juggling duo, The Passing Zone, would be performing at a corporate event in San Diego.
We knew it wouldn’t be a ticketed event, so we messaged them directly to ask if there was any way we could come and see the show. A few days passed, and then, being the fantastic guys they are, Jon and Owen wrote back to say they’d arranged for two seats to be reserved in the sound booth for us.
Jonathan and I were stoked! The Passing Zone was crushing it in the corporate market, and in our moments of wildest fancy, we dreamed of one day doing the same. Seeing them in action would be an invaluable opportunity.
* * *
​
When the day came, we dressed nicely but non-descript, hoping we wouldn’t draw too much attention to ourselves. We arrived early, found the sound booth, and got settled in so we wouldn’t be a distraction.
The room itself was giant — a vast atrium with an eighty-foot high ceiling — but other than a few technicians and operations crew, it was empty. I guessed the audience was still at a workshop or an event scheduled before the big show. The sound technician started talking into his headset, and then Jon and Owen walked onto the stage for their microphone checks. As they did, they saw us in the sound booth and waved. Once they finished the tech rehearsal, they walked from the stage to the booth and welcomed us. Both were wearing nice button-down shirts with ties, and despite this being a significant corporate event, neither seemed nervous. We exchanged some friendly talk, and then Jonathan asked Jon, “Are they going to let you film? This room would look great in your demo reel!”
Jon and Owen looked at the stage, then said, “You know, we didn’t ask, but it’s okay. We have footage from the Miss America contest and Good Morning America. We even have a clip where we’re performing in front of a one-hundred-foot waterfall.”
Jonathan and I’s eyes widened, “A waterfall? Was the show on an island?”
“Oh no, it was artificial; they’d built it on stage for a big corporate event.”
All of this was said nonchalantly, with no bragging in their tone; these were simple declarations of fact, the normalcy of life for two individuals who’d produced a quality show and delivered it professionally.
As we talked, I couldn’t help but think they were not so different from ourselves, except maybe they were nicer. How can two guys be so darn likable?
Jon interrupted my reverie, “It was good to see you guys, but we need to do our final preparations. If you’re free after the show, why don’t you join us for dinner?”
“We’d love to,” we answered in unison.
Owen chimed in, “You can even help us break down if you like.”
Again, we said, “We’d love to!”
Jon and Owen laughed, “You say that now.”
I knew I was missing an inside joke, but then they laughed their easy laughs and said, “We’ll see you later; enjoy the show.”
* * *
​
Jonathan and I waited patiently until the audience poured in to take their seats. When the show began, a company representative came out to discuss the year-in-review, presenting the numbers and recognizing the contributions of the different departments. Then the speaker said, “It’s time for the grand finale, ladies and gentlemen: The Passing Zone!”
Jon and Owen took the stage with confidence, cracking jokes that were as funny as they were non-offensive. Flowing from one routine to another, they executed a show that could stand side by side with any other and hold its own. It was thoroughly brilliant. And when I thought it couldn’t get any better, they brought three audience members on stage, dressed them in NASA-looking space suits, and connected them to thick cables that hung from a large metal scaffolding. As the music built to a crescendo, they juggled the three audience members, swinging them through space. It looked like they might collide at any second, but they never did. Instead, they swung around the stage, perfectly controlled, in the capable hands of Jon and Owen. The audience rose to their feet, and their applause was deafening. The standing ovation was organic, without contrivance, because the audience loved it, and they loved them, Jon and Owen, The Passing Zone.
Jonathan and I looked at each other and shook our heads. We’d certainly have our work cut out for us if we ever wanted to compete with that.
A good show is made up of so many elements. The bits themselves, the comedy, character, music, and lights, the way it transitions from one routine to another, the performer’s manner towards the audience, costuming, everything.
Jon and Owen had considered all these elements and refined them to a science. Genius is an overused word, but not in this case. Their show was genius.
* * *
As quickly as they’d come, the audience left the room, and the moment the last person was vacated, someone somewhere flipped a switch. Bright overhead lights illuminated the space as brightly as the field at Yankee Stadium. Like ants, employees erupted from the numerous doors surrounding the room. Technicians coiled cables, bar staff cleared glasses, cleaners swept, and managers pointed.
Right in the middle of it all stood Jon and Owen. Like conductors, guiding a team in the disassembly of the massive scaffolding system that the volunteer astronauts had dangled from while they were juggled. We walked down to the front of the stage, hoping to make ourselves useful. From offstage, I heard a loud beep, beep, beep, and a forklift rolled out with a twelve-foot-long ATA case on its forks. ATA stands for Air Transport Association-approved, meaning luggage that is suitable for airline shipment. Jon directed the forklift to drop the case centerstage, then it made two more trips, returning each time with another case like the first. From the rafters, I heard a technician yelling about something being stuck, so Owen, ratchet in hand, climbed one of the tall metal support structures. Getting to the top, he flung one leg over the metal railing and hung off its side in a way that was clearly practiced, then he worked to undo the bolts the technician had been wrestling with. The bolt must have gotten wedged in because Owen threw his weight back and forth, causing the whole scaffold to rock alarmingly. He hammered with the ratchet as he rocked, and the piece broke loose. The forklift returned, and Owen directed the driver to lower the main cross beam before climbing down. As he returned to earth, I was struck by the juxtaposition of this tall, athletic figure, dressed in a white button-down shirt, sweat pouring down his brow, as he labored to break down their creation. This is the real show, I thought; this is what it takes to do what they do.
As the forklift lowered the huge scaffolding pieces into the ATA cases, I noticed one case had its end smashed in. Jon was close by, so I commented, “I guess that one has seen better days.”
Jon looked at it, then said, “A forklift driver backed into it about a month ago. We need to get it fixed, but there hasn’t been time. We’re averaging twelve to eighteen shows per month, so it’s all we can do to move this thing from one venue to the next in time for the next show.”
“Gah, that’s a heckuva job; there isn’t any easier way to do it huh?”
“Oh, there is; we also have this big steel flange that can be bolted into the ceiling. But that only works at certain venues. It just depends on ceiling height and whether the owner is okay with us drilling giant holes in their beams.”
“So you have two different ways to rig it?”
“Yeah, when we started building the people juggling rig, we didn’t realize how big a project it would be. And by the time we did realize, we’d already spent too much on it to turn back.”
“Not to pry, but what did it cost to build it?”
“$90,000”
My jaw dropped, “Ek gadz!” I said.
“Yeah, it’s…” Jon’s words were cut short by a man in jeans and a t-shirt who walked up and asked, “Ready to load?”
Jon nodded, then waved to get the attention of the forklift driver. Once he had it, he directed the driver to pick up one of the ATA cases. He then guided the driver to the loading dock, where an eighteen-wheeler semi-truck awaited. The man in jeans and a t-shirt threw wide the trailer doors and guided the forklift driver in the loading of the first ATA. Then he sent the forklift driver back to get the other two. As they waited for the forklift to return, the driver produced a clipboard and said, “Ok, so this needs to be in Tennessee on the 14th?”
Jon looked over his notes and then confirmed. “Yes, the show is that night.”
The driver tapped a pen against the paper as he thought, “I have a drop-off to make in Birmingham first, but that shouldn’t be a problem; I’ll put down good miles tonight.”
“You’re the best,” Jon said, “we appreciate it.”
The driver nodded matter-of-factly and said, “Yep.”
Now that the People Juggling rig was taken care of, we went back inside. I saw Owen packing his prop case, so I watched from a respectful distance. This case was also an ATA style, which, though small, is dreadfully heavy. Airline baggage allowances may be seventy pounds, but if your case itself weighs forty-five pounds, that only leaves you twenty-five pounds for gear. It didn’t seem efficient, and I wondered if there could be a better way to transport gear. Seeing me there, Owen invited me over, and we chatted as he packed. Once he finished, we walked over to Jon’s case and started to pack it, but then he said, “We’ll have to wait; I don’t know how he packs it.”
That resonated; I wouldn’t know how to pack Jonathan’s gear either. I guess it’s a team thing; we each have responsibilities and ways of getting the job done.
* * *
Once the stage was cleared, they said they were going to run up to their rooms to change.
I almost said, “They give you separate rooms?!” but bit it back; of course they get separate rooms; they’re at that level.
“We’ll meet you at the hotel restaurant,” Jon said.
We nodded and made our way there to wait.
When Jon and Owen arrived, we were seated, and the waiter brought menus. I was starving and ready to eat, but then I saw the prices on the menu.
The entrees were $80 to $120.
Quickly scanning the menu, I spotted the cheapest item: a Caesar salad for $27. Ughh, I thought, I don’t want to look poor and only order a salad; what’s the next cheapest option? There was a duck appetizer plate for $37, so I decided to get that, with tap water. Looking at Jonathan, I silently asked, What are you getting? I could tell by his expression that he was as shocked by the prices as I was.
Just then, the waiter returned and asked if we were ready.
We all nodded, and Jon, intuiting the situation, said, “Yes, we’re ready, and you can put it all on one ticket.” Then he looked at us and said, “We’re gonna bill it to the client, so get whatever you want.”
This drew the waiter’s attention to us, so Jonathan ordered, “I’ll have the Caesar salad,” he said. I smiled to myself and thought, I called it! The waiter looked at me, and I got the duck. Then Jon and Owen ordered their entrees.
While we waited for food, Jon and Owen told stories about their journey as jugglers, asked us about our show, and shared generously any advice they thought would be helpful.
When the food arrived, the waiter set a large white plate with a decoratively scalloped edge in front of Jonathan. Upon it was a single slice of bread, with most of its middle torn out. A single sprig of Romaine lettuce was run through the hole in the bread, allowing the slice to balance on its edge and form an A-frame structure. A thin drizzle of dressing zigzagged across the structure, and a pinch of Parmesan cheese had been thrown decoratively across the whole. Owen received a similar salad and, picking it up to observe the plate, remarked, “A chef and an architect.”
We all laughed, then the waiter placed my plate of duck in front of me. I’d never had duck before, but I figured it’d be the same as chicken. As we all began to eat, I tried my first bite of Duck. Ugh, oily and gamey, though I hadn’t known what gamey actually tasted like until that bite. I chewed it tentatively, waiting for the flavor to improve, but it didn’t. I didn’t want to be rude, so I choked down as much of it as I could, reminding myself that this was a delicacy I should be enjoying. I wondered how many In-N-Out burgers I could have bought with the $37 this duck cost.
In the end, the waiter brought the bill, and Jon grabbed it off the table as soon as it landed.
As he signed the check, I wondered whether they would really bill the client or if he had just read the situation and wanted to help us out. If I had to guess, I’d guess it was the latter, because that’s the kind of guys they are.
* * *
After dinner, instead of saying goodnight and immediately splitting off, they walked with us to the top level of the parking garage where we’d parked. Jonathan and Jon were locked in a conversation, while Owen and I talked separately.
I don’t remember what I asked to prompt it, but Owen pointed out towards the city of San Diego, all laid out before us, “Tonight, nine other corporate events are happening in this city, and all of them hired entertainment. You guys could have been working any one of those while we worked this one. So don’t buy into this idea that it’s a competition; there’s plenty of work for all of us. Just keep getting better; don’t be afraid to raise your prices; be professional; and trust that there will always be enough work.
“That sounds easy,” I said, “but if we raise our prices, won’t we lose some of our clients?”
“Yes,” Owen said, “you will lose some. But you’ll also get new ones. Every time we raised our prices, it was scary, but we took the chance, and we kept moving up the ladder because of it. So it’s up to you to decide how far you want to go.”
I thanked him for the advice, and then we all said our farewells.
What he said that night was a gift, and it has always stayed with me. “It’s not a competition; keep getting better, be professional, raise your prices, and keep climbing the ladder.”
* * *
​
The next day, Jonathan and I went to the gym for our regular training and workout session. For fun, we decided to try the hardest tricks the Passing Zone had done in their show. Three had stood out to us, so we warmed up a little and began trying them.
To our great surprise, we nailed the first two, both on the first try! We laughed, figuring it was total luck. Then, we tried the third and most challenging trick. During the show, Owen had been juggling five rings, then, in mid-pattern, Jon had thrown a sixth ring into the air. Owen changed patterns and seamlessly integrated the sixth ring into his pattern, running the six confidently before collecting them.
Since I was the better ring juggler, Jonathan said, “You be Owen, I’ll be Jon!” We laughed because Jonathan IS Jon-a-than, and then I started a five-ring juggle.
“When do you want it?” Jonathan asked.
“Eh, I don’t know where it fits, so just put a little height on it so I have time to make room.”
Jonathan watched the pattern, lining up where he wanted his throw to go, and launched it.
The ring entered my periphery, so I switched from a crossing odd-number cascade pattern to a six-object fountain pattern with a gap. As if we’d done it a thousand times, the ring came down in the perfect place and integrated into the pattern. I ran the six for another dozen throws, then gathered them all cleanly.
Jonathan and I were shocked; we’d done all three of their hardest tricks on the first try.
Could we have gone out and performed their tricks live on stage? NOPE! Were we going to add them to our show? NO WAY! Did it mean we were as good as them? NOT BY A LONG SHOT!
But it was a testament to how much we’d improved as jugglers. And while we were still light years behind them in every other category, at least technically, we were catching up.
It was a much-welcomed boost to our confidence.
* * *
​
For weeks after, I thought about Jon and Owen’s prop cases. They had a system down, which worked for them; they’d been traveling with ATA cases for years. But I wondered if there might be a better way.
I knew that if Jonathan and I could find a way to travel lightly, ideally without being overweight or oversized on the airlines, our increased mobility might allow us to take gigs other performers couldn’t, so I made that a goal.
Night after night, I found myself down the rabbit hole researching every imaginable variety of luggage, but nothing seemed right. We needed extreme durability and supreme lightness, but those two things didn’t exist together.
Then, one night, I found myself on a website for camera and film equipment. On it, they listed a waterproof case made by Pelican. They had a model numbered 1650, which they claimed could go on a plane without being oversized. When I clicked the specs sheet, I saw the cases weighed twenty-four pounds empty.
The airlines allowed luggage up to seventy pounds. Minus twenty-four pounds of case equals forty-six pounds of gear per case.
46 x 4 (2 checked cases each) = 184 pounds of show
We could do one heck of a show if we had that much weight to work with. And that’s without our carry-on bags, so we could handle even more if we had to.
This was very promising, but at $350 per box, it was a $1400 gamble. If we did this, we’d have to make them work. I talked with Jonathan about it, and he said, “If Passing Zone can spend $90,000 on a rig to juggle people, we can spend $1400 on luggage so we’re light and travel-ready.”
I couldn’t argue with his logic, and though we didn’t really have the money, we ordered the cases anyway.
When they arrived, we loved them and immediately saw the value, but quickly identified a new problem. We’d always used an assortment of stands on stage to display our props, but they didn’t fold down small enough to fit inside the new Pelican cases. Even if they had, they would have taken up half the space inside all by themselves, leaving us less room for props.
I considered this for a few days, then remembered from one of my perusals of Home Depot that in the plumbing section, they had half-inch galvanized floor flanges.
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I’d never used flanges for anything before, but darned if they didn’t seem like a perfect way to attach legs to our Pelican cases. So I made a trip to Home Depot and picked up sixteen flanges and sixteen twenty-four-inch steel pipes to screw into them as legs. As I loaded everything into the cart and felt the weight, doubt started creeping in. The flanges weren’t too bad, but the steel legs were heavy, really heavy. I started wondering if my “solution” was any better than the ATA cases the Passing Zone used. Maybe they’d already figured out the best way, and I was just fooling myself thinking I could improve on it.
The thought that I might’ve just set us back $1,400 on these Pelican cases was a bitter pill to swallow. But it was too late now. I checked out and hauled everything home to show Jonathan.
Examining the legs, he agreed they were way too heavy. But I figured I’d install the flanges anyway to see if the concept worked.
“How are you going to install the flanges?” Jonathan asked.
“I’m going to drill holes in the cases and bolt them on.”
“You’re going to drill holes in our brand new $350 watertight cases?”
“Yeah.”
Jonathan thought about that briefly, then said, “Alright.”
Flipping one of the cases over, I placed the flanges in the corners where they seemed to fit best, and immediately ran into a new problem. The bottom of a Pelican case has ¼-inch molded plastic ridges. I’m not sure if they’re there for structure or just a byproduct of manufacturing, but either way, they kept the flanges from sitting flush.
The ideal fix would be a power planer, but since a belt sander would get the job done and be more versatile, it was back to Home Depot to get a sander.
I ground the ridges down at each corner, then drilled holes and bolted the flanges in place, using lock washers to keep things secure. Unfortunately, I hadn’t bought the right length bolts, so I had to use a Dremel to trim them flush, which left behind sharp little nubs. I figured it wouldn’t be an issue… until I sliced my finger open on one of them while flipping the case over. Danger! Out came the sander again to smooth them down.
Then, I screwed the legs into the flanges and stood the case upright for the first time. Ugly and naked as it was, I started to believe in the concept again. If I could lighten the legs, wrap the base in some custom felt curtains, and do something to dress up the lid, this might work. Not only would it be lighter than an ATA case, but it could also double as our prop stand. A full solution.
First step: solve the legs. I built two test sets: one with wooden dowels, one with PVC. The PVC version technically worked, but it wobbled ominously and looked flimsy when you tossed props into the case. The wooden legs were sturdier, but still not good enough. I even tried combining the two, threading a metal nipple into the flange, then attaching a wooden dowel and sleeving it with PVC, but it was still clunky, and nearly as heavy as the steel ones I was trying to improve on in the first place.
There had to be a better way.
That’s when I remembered the metal shop I’d gone to to have a handle made for my chainsaw. Maybe they could make a custom set of aluminum legs. I started to call, but thought better of it — if you’re just a voice on the phone and your question is weird, no one will take you seriously. But if you’re standing there in person, they have to deal with you. I decided to show up in person.
When the machinist came out, I showed him a flange and one of the steel bars, then asked if he could make the same thing, but in aluminum.
He thought about that a minute, then called a buddy over to look at it. They discussed it and agreed it could be done.
He looked up aircraft-grade aluminum in an old, beat-up catalog, and after browsing for a few moments, he whistled that whistle people emit when something is going to be expensive.
“Oh no, what are we looking at?” I asked.
“Well, we can do it, but the material comes in twenty-foot lengths, and there’s no way to order a smaller piece, so you’ll have to buy the whole stick, and I can’t imagine it’ll be worth it to ya.”
“How much we talking?” I asked.
“Well, the stick will be about $550, then to have it cut down and threaded, that will be another $200, so you’re looking at $750 for a handful of these table legs.” His expression was one of a man who didn’t think it was worth it.
“Yeah, that is a lot.” I conceded.
“Sorry, we couldn’t help you,” he said apologetically.
“No, no, you’ve been a huge help,” I said, “and I’d like to place the order.”
“Really?!?”
“Yes, sir,” I answered.
“Well, I’m gonna need a deposit for the full amount of the material since it’s a special order.”
“No problem,” I tried to sound like I could afford what I was buying.
“Ok, well, let me get your information.”
* * *
​
Two weeks later, the legs were ready, and once installed, they were perfect. Four of these aluminum legs weighed what only one of the same-sized steel legs did. We’d reduced the weight by 75%!
With the leg issue resolved, I went to a costume maker and had drapes made to go around the cases. But this created a new problem: how to get the drapes to stay on the cases? The costumer suggested Velcro, but I knew from experience that Velcro in this application always sags, peels, and looks tacky. Then they suggested snaps, but that would also look saggy over time as the fabric stretched. Out of ideas, the costumer was stumped and said, “Sorry, I’m not sure how you want it then.”
I racked my brain for a solution, and suddenly, an image of my father installing grommets on a fabric banner he’d once painted popped into my head.
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“That’s it,” I said, “We’ll install grommets at the ends, then use a bungee cord to create a compression fit. That way, it can be adjusted by tightening the bungee if the fabric sags down the road.”
The costumer considered this and said, “I think that will work; good idea.”
She made the drapes to wrap around the cases, which could then be tied on with a bungee cord to hide the custom-made aluminum legs.
It had taken time, money, and trial and error, but we’d done it. We had the ultimate luggage: lightweight, waterproof, practically bombproof, and it doubled as our onstage prop cases. We were ready for anything. World tour? No problem. Intergalactic gig? Let’s do it!.
There was just one small issue: the phone wasn’t ringing, and nobody was asking us to go anywhere.
Chapter 58: A Christmas Story
A friend of ours who worked as an actor sent us a message:
“Hey, did you hear about the audition at the San Diego Repertory Theater? They need a sword swallower, so it sounds like you guys would be perfect. You should check it out.”
We thanked her for the lead. It sounded exciting, but I wasn’t sure we’d be a good fit.
Despite taking some acting classes in high school, I was not an actor. But we needed work, and it never hurts to try, so I submitted our résumé.
A few weeks later, we got word: they wanted us to audition. We added it to the calendar and showed up. Once called, we went on stage and demonstrated some of our juggling skills, which seemed to go over well.
Then the director looked over our résumé and said, “It says here you’re also a sword swallower?”
I nodded, already reaching for my prop case. I held the sword up and hoped I would be able to pull it off; every attempt still felt like a coin toss. But if this was what it took to land the gig, I had to try. We needed to work.
I gave her a short demonstration. She watched closely, eyes lighting up when I got it down. Then she shared her vision for the show. “Here’s the idea. We’re doing the classic story of A Christmas Carol, but with a circus twist. That’s where you all come in. You’d be playing the strongman, kind of a big, dumb, oafish type character. And of course, you’d be the sword swallower in the circus show.”
She handed me a sheet with a few lines and asked me to try them out.
“Could you do these in character for me? Big dumb strongman like.”
I tried, but it was tough. Being tall, and in my own mind kind of oafish already, I’d spent years trying not to come off that way. Now I was supposed to exaggerate it!
She encouraged me.
“Come on, lean into it! Imagine you’re slow, a bit clumsy, but lovable. Give it a shot.”
I gave it another try, but I couldn’t force myself to pretend to be these things I so desperately didn’t want to be in real life. So no luck.
Her brow furrowed, “We auditioned George the Giant, and he was fantastic. But he’s asking for a tidy sum for the run.”
I knew of George, a seasoned sword swallower. And at a massive 7'2" tall, he’s a real-life giant! I’m competing with him for the part of the sword-swallowing giant? Ha! There’s no way we’re getting this gig, I thought.
“Thank you so much for coming in and auditioning,” she said, “If it looks like a fit, we’ll reach out.”
* * *
It was a long shot. But they did need a sword swallower. So maybe, just maybe, that’d give me a chance.
About a week later, we got the call: “You’ve got the job.”
I was thrilled. Not only would this add a professional theater credit to our résumés, but it would also give us a chance to work in a real theater!
Funny, my goal had originally been to be a backstage tech, but then they’d said I wasn’t qualified enough to be taken seriously behind the curtain.
Well, fine, I’ll go stand in front of it then.
With this booking, it felt like things had finally come full circle.
* * *
​
There were several weeks of rehearsals, but it wasn’t too hard for me. I only had one line in the whole show. My “other lines” had mysteriously disappeared after my unenthusiastic audition, but I was fine with that, less oaf to pretend to be.
Most of my stage time was spent as living filler. There were several scenes where Jonathan and I would wander around the stage, pretending to be townsfolk out for an evening stroll. We’d greet other actors as if passing by on the street, small nods, and friendly “Merry Christmases” whispered here and there. It wasn’t showy or flashy; just background noise in a bustling town square. For these parts, we didn’t even have blocking or choreography; it was more about creating atmosphere and filling the space so the leading actors could command the audience’s attention elsewhere.
Then came the funeral scene. This was the moment when each circus performer stepped forward to honor the deceased with a small demonstration of their act. It was the one time I was really front and center, everyone watching, the spotlight on me.
I was the last performer to go on, the headliner, doing the sword swallow.
For the first seven shows, this went perfectly. Each time, the sword went down smoothly. But by the eighth day, I really had trouble. I re-centered myself and tried again. I managed to get it down on the second attempt, but the grind of daily shows was wearing on me.
On the tenth day, I stood backstage, ready for my cue. I looked over at the table where my sword lay in wait. Every night, the props manager staged it there so I could grab it as I walked on. But this time, as soon as I looked at it, I started to gag. I quickly looked away, and the sensation subsided. I looked again. Dry heaves. I couldn’t even look at the sword without my body trying to vomit.
I began to panic. What do I do? I’m up next. I could hear the music and the applause as the act before me wrapped up.
And now, it’s my turn.
Confident of nothing except my impending failure, I walked over, picked up the sword, and stepped between the curtains.
It was a mournful scene. I bowed my head in sorrow, though tonight, I didn’t have to act. I was sorrowful. Sorrowful that I was about to embarrass myself and the entire production by vomiting onstage in front of a packed house.
I took my mark and looked out into the darkness where the audience waited. I sprayed solution on the blade, then placed it between my lips. Immediately, my abs jumped. Warm stomach acid surged up my throat.
I tried to swallow the sword anyway, but my body rejected it completely. I aborted the attempt, barely clamping my mouth shut in time to hold the bile back.
At that point, all pretense of acting vanished. I was no longer the dumb strongman. I was just me: Bill Berry, in a one-shouldered animal print toga, fighting off nausea under the stage lights.
I swallowed a few times, trying to clear the taste. Then I took a huge breath. A breath that brought me back to center. A breath that reminded me that I still had ownership over this body of mine.
I looked out at the audience and gave them a little smile. They couldn’t know exactly what was going on, but sensing the tension, they cheered and clapped in support. That encouragement helped, and a measured calm came over me, unlike anything I’d felt before.
I placed the sword back between my lips, took one last breath, and exhaled. As I did, I raised the sword and guided it into my body. No flinch. No gag. No panic. Just perfect, calm and control. I let go of the handle and stood fully present. I’d never felt more in command of myself, and there was no urgency to remove it, no need to rush.
The applause rolled on. When it finally faded, I still didn’t move. Only when the music for my bit ended and the next part of the scene began did I pull the sword, and the crowd went wild. They knew they’d witnessed something unusual, even if they couldn’t explain exactly what it was.
I couldn’t explain it either. But the last of the blocks had shifted, and for the first time, just days before my twenty-fourth birthday, I’d found unity within myself.
Each night thereafter, I walked out more confident than the last. All I had to do was breathe and focus, and the breath would take me to that place of stillness and command. A state I could summon at will, like the flip of a light switch, on stage or off.
I wondered what else might be possible now that I truly owned the sword swallow. What else is hiding in the depths…
Chapter 59: Michael Voorhees
We were halfway through our contract at the Repertory Theater when Christmas Eve arrived. The show would be dark that day, a rare pause in the run, but for us, it wasn’t a day off.
Months earlier, we’d committed to a shoot with photographer Michael Voorhees, and this was the only window he had available. We’d been building toward it quietly, knowing that if we nailed it, the images would become the foundation for our promotional packet and help us level up our game.
Before dawn on Christmas Eve, we loaded the car to beat the worst of Los Angeles traffic. The city was still asleep as we pulled onto the freeway, and we rode most of the way in silence, each of us carrying the same knot of nerves in our stomachs. We navigated to the address in Newport Beach and pulled into the parking lot.
Voorhees’ building was proud, with white stucco and sharp glass lines; more than just a place to take photos, it was a place where visions come to life. We shut off the engine, and since we were over an hour early, we settled into our seats and tried to sleep. The car windows fogged from our breath as the first light of morning crept across the sky, and Newport Beach slowly woke up around us.
Right on time, a sleek car pulled up, and Michael Voorhees stepped out.
He had an air of practiced calm, the kind that thrives in a high-pressure world of deadlines and big-name clients. We scrambled awake, straightened our shirts, and hurried to meet him.
The introductions were quick and efficient, then he ushered us inside. The studio was immaculate, cavernous, with white walls stretching up around us. Well-placed windows allowed the morning light to pour in, giving the whole place a glow. He walked us past racks of equipment, through hallways that smelled faintly of fresh paint and film chemicals, until we reached the space where we’d be shooting.
“I thought we’d work in the cove,” he said, “in two days, I’m shooting for Porsche, and I’ll be repainting after we’re done today, so it won’t matter if we scuff things up.”
I blinked at this, “How are you gonna get a Porsche in here?”
Michael pointed at a large metal roll-up door and said, “They’ll bring it in on a truck, then we’ll pull it in through there.”
This was said matter-of-factly, not braggy, and I realized that at his level, shooting for Porsche was just another day on the job, so I tried not to look impressed.
Jonathan leaned in, studying the space. “So the curve — it’s to erase the corner? Make the room feel bigger?”
Michael nodded, “Yes, by eliminating the 90-degree angle where the wall meets the floor, it fools the eye into thinking the space goes on forever.”
Jonathan nodded, “I’ve heard about it, and I’ve seen people do it with a roll of paper, but I’ve never seen a real plaster and paint one.”
Michael smiled, “It’s one of the best features in the studio, and I think you’ll like the result.”
We both nodded as if a great result were already preordained.
“I’m thinking I’ll do the first half in digital,” Michael said, “then switch to film; that way, we have two chances to capture what you’re looking for.”
Jonathan nodded, “Are you shooting mostly digital now?”
“Half and half,” Michael reflected, “digital has been great, and that’s where everything is going, but for certain shots, I still feel more confident with film.”
“Whatever you think is best,” I said, “just tell us what you need, and we’ll get it done.”
“Ok, go ahead and set up, then we’ll work out the composition. I’ll be back.” He left us to prepare.
We placed our props around the space in a way we thought would look good, then we started getting dressed. I pulled out the black suit I’d saved since my California Center of the Arts interview, while Jonathan unfolded his own dark suit to match. As I put mine on, I flashed back to a workshop we’d taken at the Lodi Juggling Convention a few years before. In it, professional tradeshow juggler Scotty Meltzer had advised: “If your promo makes you look like a two-thousand-dollar act, you can charge $2000. But if it makes you look like you’re only worth one hundred fifty dollars, you’ll never break out of the $150 range.”
We wanted to look like a two-thousand-dollar act.
Michael returned, asked if we were ready, and then snapped a few test shots. Once he’d reviewed these, he said, “Let’s rearrange these props.”
Michael moved like a director setting a stage.
He checked the angles through his lens again, had us shift the props an inch one way or the other, took a few more test shots, and then had us make even more adjustments.
At first, it seemed nitpicky. How big a difference could it make? I thought. But then he called us over, “Here, look at this,” he said, holding up the camera for us to see.
The first image looked like two guys with some random stuff in a room. In the second, it looked like harmony, us and our tools caught mid-sentence in a story we hadn’t even known we were telling. I couldn’t believe the difference between the first frame and the corrected one.
“Composition,” he said simply. “That’s the difference between a picture and a photograph. It’s why one shot out of a hundred will be magic while the rest are just okay.”
We nodded, feeling like we’d just been let in on a secret about photography.
Now satisfied with the settings, he said, “Alright, let’s have some fun.”
The rest of the morning blurred into rhythm. The click of the shutter became a drumbeat, and Michael’s voice cut clean instructions through it.
“Tilt your chin.”
“Shoulders left.”
“Eyes up.”
Then he dropped a rule that has stuck with me forever:
“Every time you hear the shutter, change something. A tiny movement, a new angle, a different expression. Don’t just hold one look for two hundred frames, give me something fresh, dance with the camera.”
So we danced. Snap — chin down. Snap — victory arms. Snap — point at the lens. Snap — twist from the shoulders. We stopped thinking and let the rhythm carry us.
By the time Michael lowered his camera, we were as wrung out as we were exhilarated. “I think we’ve got it,” he said, already scrolling through.
“How many shots?” Jonathan asked.
“Four-hundred digital, two-hundred-fifty on film,” Michael replied.
“Wow,” we said in unison.
“I’m going to get these burned onto a CD so you can take them today, and I’ll mail the film along in a week or so. Go ahead and pack up; then, if you still have time, can you teach me to juggle four?”
“Of course, we have as much time as you need!” we said.
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Chapter 60: Avoid the Punch
The Fern Street Circus is a fixture in San Diego’s circus and performing arts scene, offering a community circus program that teaches kids a range of circus skills. It also acts as a booking agency, and they occasionally send work our way. So I wasn’t surprised to get a call asking if I was available for a last-minute New Year’s Eve event at Hamburger Mary’s. Hamburger Mary’s is in the happening San Diego neighborhood of Hillcrest, known for its over-the-top parties and parades. Specifically, the booker had requested that I swallow swords, and since I was available, I accepted the gig.
Upon arrival, I found the contact, who promised, “This is going to be the biggest New Year’s party ever,” and was then led to a small white house behind Hamburger Mary’s. The living room area, I was told, would act as our green room. Several other performers were already milling around. All were male and scantily clad, with knee-high boots and exposed skin shimmering beneath abundant layers of spray-on glitter. Their makeup was bright, their movements flamboyant, and their running conversation was naughty and crass. When they spoke, the tone was high-pitched, often with a hint of a lisp, a characteristic likely adopted. None of this phased me; we’re performers. If you’re modest, judgmental, or easily offended, it’s probably not the best career for you. That said, they were a “little extra” throughout the event. At one point, one of them asked me what I did, and I told him I was a sword swallower.
“A SWORD SWALLOWER? I think you just unlocked a new fantasy. Are swords the only thing you swallow?”
“So far, I’ve stuck to cold, hard steel.”
The boy in the lime green thong looked at the one in the bright purple one and said, “He said hard,” and they both laughed. Then the one in green asked, “Have you had any of the punch? It’s super yummy.”
“I haven’t, is it alcoholic?”
“It is; it’s got quite a kick.”
“Maybe I’ll have one later; I don’t drink when performing.”
“Suit yourself,” the more exuberant one in green answered, turning his attention to a nearby mirror and his huge fake eyelashes. The one in purple smacked his lips together to try to get the glitter evenly distributed.
I waited for the start time, then went out and did my sets.
Most were uneventful; there were a few sloppy people, and I got the typical low-hanging fruit, suggestive in style, dick jokes every sword swallower has heard a million times. I just nod, roll with it, and act professionally.
My last set was from 1:00 am to 1:45 am, and having finished my rounds, I went back to the green room to pack up. I found it empty, whether because the performers were out on set, or upstairs in one of the bedrooms, I didn’t know. What I did know was that I was desperately thirsty, so I searched around, hoping to find a bottle of water, but none could be found.
That’s when I spied the big, glass, clamshell-shaped punch bowl the glitter angel had invited me to try earlier. Walking over, I saw that it still had ice in it. A stack of floral-patterned disposable paper cups set right beside the bowl, inviting any passerby to ladle themselves a taste. Picking up one of the waxy Dixie cups, I poured myself a portion and took an exploratory sip. A sweet, pleasantly tropical flavor brought my taste buds to life. I couldn’t taste any alcohol in it, and after four hours of performing, it was hitting the spot. I upended and finished the remainder in my cup, and considered pouring another, but I thought better of it. I still had a forty-five-minute drive ahead of me; my night was not yet over.
Grabbing my gear, I hit the road. Navigating to I-5, I set out on the drive from San Diego to Encinitas. As I drive, I begin to feel funny. Or maybe floaty is the better word. It’s been a long night, but I don’t feel tired. Am I sick? I don’t feel sick. What is happening?
Looking down, I notice that the stereo display reads 2:21 am, and the little colored lights of the equalizer bouncing up and down seem unusually interesting.
Turning my attention back to the road, the world inexplicably began accelerating. All the streetlights blur, like when you squint your eyes hard but don’t entirely close them. Everywhere, all sources of light emitted long trails, like what happens in a Star Wars movie when they activate light speed. Now I know something is wrong. I turn on the car’s AC full blast to try to clear my head and think back over the night. That’s when it hits me — the punch! They drugged the punch! Just as I thought this, the lightshow kicked into overdrive…
* * *
The next morning, I woke in my bed.
I have no other memory; I don’t remember driving the rest of the way home or climbing into bed. Just waking here, and feeling happy to have somehow gotten home safely.
I knew I’d dodged another bullet in the minefield of entertainer life.
Well, I thought, since I didn’t make a resolution last night, here’s my New Year’s Resolution.
Never again will I drink from an open punch bowl! Ha!
And, if I get two resolutions, may we get good enough to go back to IJA and have the chance to compete again.
That’s all I want…

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